"Feminists were psyched that I had armpit hair"
About this Quote
The line lands because it’s both a brag and a shrug, a tiny pop-cultural time capsule from an era when women’s bodies were treated like public policy. Paula Cole isn’t really talking about hair; she’s talking about how a female musician’s credibility could get stapled to a visual cue that signaled “serious,” “authentic,” “not manufactured.” Armpit hair becomes a shorthand for refusing the soft-focus femininity the industry preferred, and the fact that “feminists were psyched” points to an uncomfortable dynamic: even resistance can turn into a costume people cheer for.
The intent feels half-amused, half-exasperated. Cole frames it as something that happened to her, not a manifesto she issued. That passive framing matters. It suggests she was caught in other people’s narratives - the music business’s demand for palatability on one side, movement politics hungry for symbols on the other. In that squeeze, the body becomes a billboard: fans and critics read identity off a grooming choice, then reward or punish accordingly.
The subtext is a critique of tokenization. Support can still be reductive when it’s “psyched” about the accessory instead of the art, the songwriting, the work. Coming from a 1990s alternative-pop context, it also nods to the decade’s gender politics, when “natural” aesthetics were marketed as rebellion and rebellion itself was quickly made legible, sortable, and sellable. Cole’s wit is in how she makes the whole spectacle sound faintly ridiculous - because it is.
The intent feels half-amused, half-exasperated. Cole frames it as something that happened to her, not a manifesto she issued. That passive framing matters. It suggests she was caught in other people’s narratives - the music business’s demand for palatability on one side, movement politics hungry for symbols on the other. In that squeeze, the body becomes a billboard: fans and critics read identity off a grooming choice, then reward or punish accordingly.
The subtext is a critique of tokenization. Support can still be reductive when it’s “psyched” about the accessory instead of the art, the songwriting, the work. Coming from a 1990s alternative-pop context, it also nods to the decade’s gender politics, when “natural” aesthetics were marketed as rebellion and rebellion itself was quickly made legible, sortable, and sellable. Cole’s wit is in how she makes the whole spectacle sound faintly ridiculous - because it is.
Quote Details
| Topic | Equality |
|---|---|
| Source | Help us find the source |
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