In 1972, a wave of change swept through society with the passing of Title IX, which made discrimination based on sex in schools illegal. This was also the year Marlo Thomas and her talented cohorts released Free to Be… You and Me, a groundbreaking album aimed at children that tackled themes of gender roles, equality, and acceptance. Who can forget those road trips where we sang along to the empowering anthem “William’s Doll” or the tender ballad “It’s Alright to Cry”?
Marlo Thomas was inspired to create Free to Be… after a frustrating search for bedtime stories for her niece, only to find books that perpetuated outdated gender stereotypes. Gathering a group of creative friends from the entertainment industry, including legendary figures such as Mel Brooks and Diana Ross, Thomas produced an album that would shape the childhoods of many.
While some parents today still introduce Free to Be… You and Me to their children, many have gravitated toward newer children’s music. A few years ago, I gifted my niece the album on CD, only to find it collecting dust during a visit. Perhaps I was being overly nostalgic, wishing to share my cherished childhood memories with her, while she preferred the latest Teen Beach 2 or Frozen soundtracks. Nevertheless, the album’s lessons and catchy melodies remain just as vital, progressive, and uplifting as they were decades ago.
Highlights from the Album
- Free to Be… You and Me (music by Stephen J. Lawrence, lyrics by Bruce Hart, performed by The New Seekers): The title track is a stirring invitation for children to embrace their individuality. With beautiful lines like “Take my hand, come with me, where the children are free,” it evokes the spirit of another iconic ’70s song, “I’d Like to Teach the World to Sing.” Who among us doesn’t yearn for a world where everyone can be authentically themselves?
- Boy Meets Girl (written by Carl Reiner and Peter Stone, performed by Mel Brooks and Marlo Thomas): A humorous exchange where Mel Brooks and Marlo Thomas comically swap gender identities based on childish reasoning. Brooks insists that Thomas, wanting to be a fireman, must be a boy, while he, with his bald head, must be a girl. The playful confusion is ultimately resolved when a nurse arrives.
- When We Grow Up (music by Stephen J. Lawrence, lyrics by Shelly Miller, performed by Diana Ross): This poignant song, featured in both the album and TV special, captures children’s fears about growing up and the uncertainties that come with it. It resonates deeply, reminding us that friendships can endure through life’s transitions.
- Don’t Dress Your Cat in an Apron (written by Dan Greenburg, performed by Billy De Wolfe): This whimsical tune champions personal expression in fashion, reminding us that everyone should wear what they love—echoing the sentiments of kids who prefer mismatched outfits.
- Parents Are People (written by Carol Hall, performed by Harry Belafonte and Marlo Thomas): This track sheds light on the idea that parents have lives, interests, and identities beyond their roles as caregivers. It encourages children to see their parents as individuals, highlighting diverse professions and aspirations.
- Housework (written by Sheldon Harnick, performed by Carol Channing): Channing’s poetic performance reveals the hidden truth behind housework, emphasizing that it’s often a chore no one enjoys—yet it can be more bearable when shared.
- Helping (written by Shel Silverstein, performed by Tom Smothers): A humorous take on the complexities of helping, this poem reminds us that not all help is helpful—perfect for recalling those childhood moments when assistance went awry.
- Ladies First (based on a Shel Silverstein poem, performed by Marlo Thomas): A cautionary tale about entitlement, this track sends a message that insisting on privilege can lead to unexpected consequences.
- It’s All Right to Cry (written by Carol Hall, performed by Rosey Grier): The emotional weight of this song encourages children to embrace their feelings, something I personally struggled with as a child. Its gentle message resonates even today.
- William’s Doll (music by Mary Rodgers, lyrics by Sheldon Harnick, performed by Alan Alda): This song beautifully defends a boy’s desire for a doll, challenging the stigma around gender-appropriate toys and advocating for nurturing behavior in future fathers.
- Atalanta (written by Betty Miles, performed by Alan Alda): A tale of a clever princess who chooses adventure over marriage, this story conveys the message that happiness can be found outside traditional gender roles.
- Girl Land (music by Mary Rodgers, lyrics by Bruce Hart, performed by Jack Cassidy and Shirley Jones): This eerie song critiques the concept of gender essentialism, warning against the limitations imposed by societal expectations.
- Glad to Have a Friend Like You (written by Carol Hall, performed by Marlo Thomas): The album concludes with a sweet celebration of friendship and individuality, emphasizing that everyone’s uniqueness contributes to a joyful community.
Listening to Free to Be… You and Me today evokes a wave of nostalgia, but it also serves as a powerful reminder of the lessons we absorbed as children. The album is not just a collection of catchy tunes; it is an essential education in gender equality and acceptance that remains relevant. Every child should experience the joy of the title track at least once!
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In conclusion, Free to Be… You and Me is an iconic album that offers invaluable lessons about acceptance and individuality, and its messages are timeless.
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