Stock Aitken Waterman (SAW), the iconic songwriting and producing trio behind numerous 80s and 90s pop hits, have publicly criticized contemporary pop star Sabrina Carpenter, sparking controversy and reigniting discussions about the evolution of pop music and its portrayal of women. The trio, comprised of Mike Stock, Matt Aitken, and Pete Waterman, expressed their disapproval of Carpenter’s revealing stage outfits and sexually suggestive lyrics, arguing that such presentations are a disservice to the progress made in women’s rights. They contend that Carpenter, possessing undeniable talent, needn’t resort to such tactics, suggesting she is pandering to a male audience and undermining female empowerment. This critique has generated a significant backlash, considering SAW’s own history of producing music for artists like Kylie Minogue, Sam Fox, and Sinitta, who often sported similarly revealing attire and performed songs with suggestive undertones.
The trio’s comments reveal a generational divide in understanding the complexities of female agency and expression in the music industry. While they argue that Carpenter’s choices represent a regression in the fight for women’s rights, a counter-argument posits that such choices can also be interpreted as an expression of female empowerment, allowing women to embrace their sexuality and control their own image. The debate hinges on whether such displays are a genuine expression of self or a calculated strategy to appeal to a predominantly male audience. Determining the intent behind these artistic choices is subjective and fuels the ongoing discourse surrounding the representation of women in pop music.
SAW’s criticism extends beyond Carpenter’s image to her lyrical content, which they deem “lazy” for its explicit sexual references. They contrast this with their own songwriting approach, which they describe as more allegorical and allusive when dealing with sexual themes. This critique reflects a shift in lyrical content over the decades, with contemporary pop music often embracing more direct and explicit language. Whether this represents a decline in songwriting quality or simply a reflection of evolving societal norms and artistic expression is another point of contention.
Beyond their critique of Carpenter, SAW also commented on the broader state of the music industry, lamenting the diminished significance of the charts in the streaming era. They argue that streaming services, while providing access to a vast music library, have deprived the public of the sense of ownership and excitement that came with physically purchasing music. They believe this shift has diluted the impact of chart success and altered the relationship between artists and fans. They further contend that the modern music industry lacks the public-driven influence that once shaped the charts, suggesting that industry manipulation and practices like payola now play a more significant role.
The trio’s comments on the evolving music landscape are intertwined with their criticisms of modern reality television. Pete Waterman, who served as a judge on “Pop Idol,” argues that current reality shows are overly cautious and prevent judges from offering honest, potentially critical feedback for fear of hurting contestants’ feelings. He believes this stifles the authenticity and entertainment value of these shows, depriving viewers of the candid assessments that once made them compelling. He extends this critique to the broader television landscape, suggesting that excessive regulation and a focus on avoiding offense have led to a decline in quality programming.
The criticisms levelled by Stock Aitken Waterman, while controversial, offer a valuable perspective on the changing dynamics of the music industry. Their comments, though potentially perceived as outdated or out of touch by some, highlight the ongoing debate regarding the representation of women in pop music, the impact of streaming on the industry, and the evolution of reality television. Their perspective, shaped by decades of experience in the music business, contributes to a broader conversation about the challenges and opportunities facing artists and the industry as a whole in the digital age. Their reflections on their own legacy, coupled with their critique of contemporary trends, prompt reflection on the cyclicality of pop culture and the enduring quest for authenticity and artistic merit amidst evolving commercial pressures.
