In the essay ‘Betwixt And Between: The Travesties of Mick Jagger,’ Manon Steiner considers Jagger in all his complexities, as an androgynous sex object and ‘objectifier of women,’ a ‘showgirl’ and ‘lustrous devil’, an icon whose subversion of traditional masculinity others him, but yet is the same man who wrote ‘Brown Sugar’ (1971), ‘Under My Thumb’ (1966), and ‘Stupid Girl’ (1966) – songs frequently cited as evidence of racism and misogyny being part of canonical rock’s vernacular.
"Under My Thumb" is a song written by Mick Jagger and Keith Richards for The Rolling Stones. The last third of the book brings us up to date: Weezer’s Rivers Cuomo and Pulp’s Jarvis Cocker are the locus of intersectional examinations of how their treatment of women of particular class and race in their songs has impacted not just these women’s particular fandom, but how they came to imagine themselves in relationship to these artists. 'Under the thumb' is still used today with much the same meaning as when it was coined in the 18th century. In 2003, Richards acknowledged this,[3] saying: "we came up with 'The Last Time', which was basically re-adapting a traditional gospel song that had been sung by the Staple Singers, but luckily the song itself goes back into the mists of time."

And apparently such lines inspired Mick to write UNDER MY THUMB. This collection is more than the sum of its parts, it’s a book that arms us with the clarifying arguments we need in this moment, it boldly instructs us not to let anyone off the hook – namely, ourselves.

But its passion. In 1967, after the imprisonment of Jagger and Richards on drugs charges, the Who recorded "The Last Time" and "Under My Thumb" as a single.

The song's lyrics, an examination of a sexual power struggle, were very much in tune with the rebellious, vaguely misogynistic attitude that the mid-'60s Stones had cultivated, though the concept of Under My Thumb is arguably more sophisticated–even psychological–than any of the other controversial songs the Stones had released up to that point.

Footage still exists of a number of performances of this song by the Rolling Stones in 1965: from the popular BBC-TV music show Top of the Pops, the 1965 New Musical Express Poll Winners Concert and American TV shows including The Ed Sullivan Show and Shindig!. Creative Commons Attribution-ShareAlike License. As John Entwistle was away on his honeymoon he authorised the Who to do the record without him and bass parts were overdubbed by Pete Townshend. Women were often treated like dirt and they make up the dirt that these men are allowed to stand on, their lives and experiences deemed inconsequential and paling in comparison to genius.’, Stephanie Phillips’s ‘The Two Sides of Phil Spector’ offers perspective on what it means to be a black feminist who loves Phil Spector’s production, and holds the twin truths of history: he treated Ronnie Spector and Darlene Love like garbage despite giving them career-making hits. It is a hopeless pursuit. Its first appearance was as an album track on 1966's Aftermath, and though it was never released as a single, it is one of the band's more popular songs from the period, appearing frequently on best-of compilations. Though this anthology was years in the making it lands at the perfect time, amid the continued #metoo fearlessness. Courtesy: Wikimedia Commons; photograph: Mick Rock. [18], In May 2019, Richard Ashcroft announced that the Stones had handed over their copyrights on the song to him.[19]. The scholarship here is deep, but the way these writers interrogate their own fandom and unpack what they connect with (and why) is the book’s real coup. The thrill of this book is that it claps back with a cackling ‘SO WHAT?

Let us know what you think of the website. Jagger later reflected on the track in a 1995 interview: "It's a bit of a jokey number, really. These chapters are love letters. It doesn't take a feminist to see that this song is super misogynistic. In 1965, Andrew Oldham Orchestra recorded the song for the album The Rolling Stones Songbook. At a time when so many critics and artists are shrugging off the shifting cultural tide with the insistence that we all must ‘separate the art from the (problematic) artist,’ Under My Thumb shows us just how lazy and unintellectual that suggestion is.

[Verse 1] Under my thumb the girl who once had me down Under my thumb the girl who once pushed me around [Chorus] It's down to me The difference in the clothes she wears Reading Under My Thumb: Songs That Hate Women And The Women That Love Them (Repeater, 2017), I was struck by a thought that had me laughing – I was imagining men writing the book’s inverse.
My mind just keeps fogging over. Many listeners also note that the woman who is the subject of the song was previously the dominant figure in the relationship, and that the narrator was originally submissive to her, making the implications of the song more complicated than simple chauvinism. ‘And it is because I connect so deeply with these young black women that it hurts to acknowledge the reality of who Spector was and how he treated his stars. While there may be songs by women castigating men with a particular vehemence, or taking aim at the lot of them for one man’s betrayal – you’d struggle to curate a misandrist playlist that spanned longer than a few hours. See also: Under … Marissa Chen describes the creeping alienation she felt as a Weezer fan, lamenting racial fetishization on Pinkerton’s ‘Across The Sea,’ (1996) she writes ‘[The song] had been about me. Under My Thumb exhibits a feminism that is expansive and rich rather than precise and dogmatic.

The recording and its distinctive passage for strings was written and arranged by David Whitaker. Courtesy: Wikimedia Commons; photograph: Santiago Felipe. Björk performing in Mexico City, 2017.

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