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Abstract
The 1965 Rolling Stones' hit, "(I Can't Get No) Satisfaction", epitomizes domineeringmasculinity and aggressive sexuality. Saturated with unrelenting rhythms, emphatic vocaldelivery, cocky and phallocentric lyrics, musical climaxes, and abrasive guitar timbres,"Satisfaction" has been regarded by many scholars and music critics as the anthem of the cockrock genre's music representative of male power and domination. Yet despite the song'sassociation with a particular type of (white) male-identified, virile (hetero)sexuality, it has beencovered by a variety of musicians of different races, genders, and sexualities. This thesisexplores three cross-gender covers of "Satisfaction" recorded and performed by PJ Harvey andBjork (duet, 1994), Britney Spears (2000), and Cat Power (2000). Using theories ofintertextuality, this project examines the ways in which all three musicians manipulate andsubvert the dominant paradigms of the original song.