Seventies music was a magical time for a certain kind of woman. She was a free spirit, unafraid to express herself through her style and music. She danced to the beat of her own drum, embracing her individuality and breaking free from societal norms. In a decade defined by its rebellious nature, she stood out as a true icon. This magical woman was not afraid to challenge the status quo. She used her music as a platform for activism, addressing important social and political issues of the time.
What happened to Cathy? Almost an hour later, Pat called back. She’s home, she said with great relief. She said she suddenly felt like she was in trouble with me. She’s sorry she took so much time to get home. I breathed a sigh of relief and untied the knot in the cord, a wish fulfilled.
Place this circle on the altar encircling your Goddess candle, and leave it there for a while, meditating if you wish on the phase of the moon with which you have charged the cord. They must be entirely separate sounds, but they could be related to the things you saw, as long as you are clear that you are indeed hearing them and not thinking that you should be hearing them because you saw them in the first round.
She used her music as a platform for activism, addressing important social and political issues of the time. From women's rights to racial equality, she used her voice to demand change and inspire others to do the same. She was a symbol of empowerment, showing that women could be powerful forces for change.
The study of Italian vernacular religion and magic
Most of the data on which my chapter is based were collected by Italian ethnologists and folklorists between 1880 and 1980, with interruptions during the First and Second World Wars. The study of folklore is never a politically neutral act, however. The kinds of materials collected, and the ways they were presented, were conditioned by the preconceived notions of the scholars collecting them. Italian unification in 1861 was followed by a great wave of urbanization, especially among the elite and middle classes, who sought in the life of the cities and the new capital a level of cosmopolitanism and sophistication unavailable in rural areas. This movement led to a surge of Italian nationalism, and a new focus, partly born of nostalgia, on what came to be called tradizioni popolari, popular or folk traditions. Italians located the source of their national identity and cultural authenticity in the Classical period, the last time the peninsula had existed as a unified entity under the aegis of the Roman Empire. Early Italian scholars sought in folklore some kind of link to that Classical past, as well as to that other touchstone of Italian national identity, the Renaissance, in order to show that contemporary Italian culture carried on an ancient, uninterrupted tradition that legitimized the existence of the state.
The early collectors worked from an evolutionary premise. They assumed that the practices of the Italian peasant class were remnants of an ancient, ‘primitive’ belief system dating back to pre-Classical times, which was destined to disappear as its bearers became ‘civilized’. Their attitudes ranged from the affectionate respect that Sicilian collector Giuseppe Pitrè brought to his informants, most of whom were also his medical patients, to the disdain of Giuseppe Bellucci, the title of whose 1919 work Il feticismo primitivo in Italia e le sue forme di adattamento (Primitive Fetishism and its Adaptations in Italy) speaks for itself. 5 While the work of early collectors has left us a wealth of material, including proverbs, charms, spells, cures and narratives, these scholars made few attempts to understand the role of magical belief systems and practices in the context of the lives of rural agricultural workers. Instead, they often preferred to compare them with the customs of ancient civilizations, so they could ‘prove’ an uninterrupted oral transmission of culture from Classical times to the founding of the Italian state. Beliefs and practices were presented as fragmentary and incomplete, not as parts of the integrated belief systems of individuals and small communities. They were also stigmatized as the ignorant productions of a peasant underclass. Because most early collectors were men, their concerns reflect those of their male informants. So, for example, we have a great many reports from men about women’s power to bind with potent love spells, but we do not know whether this reflects women’s actual behaviour, or men’s fears and anxieties. More significant still is the absence of ethnographic attention to women’s ecstatic traditions connected to saints’ cults. It was not until the 1970s that women began to enter the ethnological professions in greater numbers, and conduct fieldwork centred around women’s issues, that more information on women’s actual practices became available.
Survivalist perspectives flourished well into the Fascist period in Italy (1922–44), supported by a government whose political interests were served by the projection of contemporary cultural praxes into a gloriously imagined past. But, ultimately, survivalist perspectives were themselves rejected as outdated after the Second World War, as scholarship began to reflect a greater interest in contemporary social conditions and issues of power imbalances between the industrialized north and the underdeveloped Meridione (south) in the developing nation-state. It was the Socialist writer Antonio Gramsci, who was imprisoned by Mussolini, who most strongly influenced the post-Second World War generation of Italian ethnologists. Gramsci’s writings on folklore were brief, but significant, for they moved Italian ethnology away from survivalism at last. For him, folklore was not a ‘survival’ that was quickly disappearing, but an integral part of the cultures of rural Italian peasants, and a product of particular historical and cultural circumstances, and worthy of study in its own right alongside literature and history. In genres such as festivals and celebrations, he saw emergent forms of peasant resistance – clever, creative ways the rural underclass subtly undermined the power that the hegemony exercised over their daily lives. Following Karl Marx, Gramsci saw folklore as part of the ‘superstructure’ of society – those forms and accretions that grow out of particular economic configurations. He also believed that folklore, especially certain forms of folk belief and magical practice, were a kind of ‘false consciousness’ that ultimately blinded peasants to the forces that oppressed them by hiding the real sources of domination under a veil of mysticism. So while Gramsci idealized folklore as peasant resistance, and sought to legitimize its study as a form of culture in its own right, he also saw popular religiosity and magical practice as ultimately crippling, a relic of the past that needed to be discarded to bring about a more equal distribution of power in society.
This philosophy was very much at the heart of the work of two great Italian folklore scholars of the mid-twentieth century: Alberto Maria Cirese and Ernesto De Martino. Cirese expanded upon Gramsci’s theories of folklore, urging its study as part of subaltern culture that existed in contraposition to the hegemony of church and state. De Martino was interested in documenting and analysing Italian magical practice to understand thoroughly how magic worked within the economic, cultural and historical context in which it existed. Thus his groundbreaking studies of the evil eye belief complex and tarantismo emphasize peasants’ captivity in a system of social relations rooted in economic, social and gender oppression. Still, despite De Martino’s own origins in Naples, centre extraordinaire of the occult in southern Italy, and his deep knowledge of ethnology, he and his followers, like Cirese, saw magic as primarily a tool of the poor and weak, a form of resistance against systematic forms of domination that was ultimately unsuccessful. They assumed that as economic opportunities became available to the subaltern class, folk magical practices would cease to exist.
Both the survivalist perspective and the Marxian attention to materialist context made important contributions to the understanding of folk magical practices by emphasizing their historical continuity with earlier systems of thought, and their relationship to systems of power and domination. However, both approaches ultimately failed to address the deeply spiritual nature these practices had for their practitioners. This spiritual significance is, I suspect, the reason why despite the disappearance of Italy’s grinding poverty and backwardness by the mid-twentieth century, vernacular magical practice has persisted, albeit in mutated forms. Nor are its manifestations limited to underdeveloped rural areas. As ethnologist Cecilia Gatto Trocchi has shown, urban centres are now the sites of a variety of occult and esoteric practices, from traditional fortune-telling to New Age religious movements, which are rooted in earlier systems of magic and healing. 6 Today, a new generation of seekers is reviving old practices such as tarantismo as a way of affirming local and regional identities in an increasingly globalized Europe. 7
Her style was a reflection of her unique personality. She embraced the bohemian aesthetic, with flowing dresses, bell-bottom pants, and stacks of colorful bangles adorning her wrists. Her hair was long and free, often decorated with flowers or flowing in the wind. She wore her individuality proudly, unapologetically breaking fashion rules and defining her own beauty standards. But it wasn't just her style that made her magical. It was her music. She sang with a passion and raw emotion that captivated audiences around the world. Whether it was the soulful sounds of Aretha Franklin, the rebellious rock of Janis Joplin, or the folk melodies of Joni Mitchell, her music spoke to the hearts and souls of a generation. It was a soundtrack for a revolution, inspiring people to question the world around them and fight for what they believed in. The magical woman of seventies music was a symbol of freedom, individuality, and empowerment. She was unafraid to be herself, defying societal expectations and carving her own path. Her music continues to resonate with us today, reminding us of the power of self-expression and the importance of standing up for what we believe in. She is a timeless icon, a symbol of an era when anything was possible - a true magical woman..
Reviews for "The Global Influence: Women from Different Cultures in 70s Music"
1. John - 2/5
I found "Seventies music magical woman" to be quite disappointing. The songs lacked depth and originality, and it felt like I was listening to a generic collection of forgettable tunes. The lyrics were uninspiring and lacked any meaningful message. Overall, I didn't find anything unique or captivating about this album.
2. Emily - 1/5
I have listened to a lot of music from the seventies, and "Seventies music magical woman" falls short in comparison. The album lacks the essence of the era it tries to represent. The vocals are lackluster, and the melodies are unmemorable. The whole album feels like a poor attempt at modernizing seventies music, resulting in a disjointed and inconsistent sound. I was left thoroughly unimpressed.
3. Mike - 2/5
As a fan of seventies music, I was excited to listen to "Seventies music magical woman." However, I was left disappointed. The songs lacked the soul and energy that defined the music of that era. The production felt overpolished, stripping away the rawness that made seventies music so special. I couldn't connect with the songs, and they failed to evoke any sense of nostalgia or sentimentality. Overall, it felt like a mediocre attempt to recreate the magic of the seventies.
4. Sarah - 2/5
"Seventies music magical woman" was a letdown for me. I expected to be transported back in time to the groovy seventies, but instead, I found myself listening to a generic pop album. The tracks lacked the vintage charm and authenticity that made seventies music so incredible. The attempts to infuse modern elements into the music fell flat, resulting in a confused sound that didn't resonate with me. I was left craving the real deal, rather than this uninspired imitation.