As the leaves turn golden and the world inches closer to Halloween, the air is thick with mystery and magic, inviting us into the cosy embrace of autumn. While witches have cast their spell on cinema, the music world has a witch of its own—Stevie Nicks. With her ethereal voice and flowing shawls, she's long been crowned the "White Witch" of rock. What makes her truly captivating, however, is not just her mystical persona but her remarkable ability to continually reinvent herself across generations. Recently, she returned to the stage on Saturday Night Live, performing her new single Lighthouse. At 76, she’s still casting spells—this time, through a beacon of hope amidst the fog. Nicks’s work has endured, offering listeners a source of comfort during this cozy season, especially when many feel wounded and the airwaves are filled with confrontational sounds. To be Stevie Nicks is to provide a warm shelter in the heart of autumn and a light in the darkness.
Nicks’s enchantment extends beyond her music; it’s woven into every detail of her persona, from her ethereal voice to the mystical wardrobe that has become her signature. Standing at just 5'1", Nicks knew how to cast a spell on stage, using platform shoes to elevate both her height and presence. Her bohemian style—full of layered textures, flowing fabrics, and intricate accessories—conjured an aura of magic.
Although often associated with witchcraft due to her all-black ensembles and the spellbinding vibe she exuded, Nicks firmly denied any connection to Wiccan beliefs. At one point, she turned away from her dark wardrobe due to these misconceptions, opting instead for lighter colours. Yet, she eventually embraced her inner sorceress once more, returning to the flowing black attire that made her feel powerful. Whether donning fringed shawls or brooches that sparkle like talismans, Nicks’s style is an extension of her magic—one that has made her not only a rock icon but also a timeless trendsetter. Her music, with tracks like “Rhiannon,” “Dreams,” and “Landslide,” casts her legendary spell over Fleetwood Mac’s most unforgettable albums and her debut solo album, Bella Donna (1981). Rumours of Nicks’s witchcraft intensified when she participated in the soundtrack for Practical Magic (Griffin Dunne, 1988).
As socio-musicologist Simon Frith observes, a true pop star must master the art of duality—balancing the enchantment of their star persona with the spirit of each song. For Stevie Nicks, however, these two identities have merged into something far more magical. Her celestial, witchy persona and the characters she breathes life into through her lyrics are one and the same. Nicks doesn’t just sing a song; she conjures it—summoning both her astrological essence and lyrical spellcraft to create a bewitching presence that blurs the line between performer and enchantress.
The 1970s witnessed a phenomenon called “The New Age,” a spiritual and philosophical movement blending occult practices, medieval healing arts, and indigenous traditions. While male figures in metal, like Led Zeppelin and Black Sabbath, often dominated this landscape, Nicks changed that when she joined Fleetwood Mac in the mid-1970s, especially after the release of “Rhiannon,” a song about a Welsh witch.
Pagan-inspired imagery remains prevalent in contemporary culture, as seen in many music videos of female icons and the rising trend of young women embracing benign representations of the occult. They are reclaiming rites and ceremonies once vilified or punished. Today, cloaks, crescent-moon pendants, flared chiffon skirts, and ornate headdresses grace runways, city streets, and flourishing Etsy shops.
When Nicks joined Fleetwood Mac in 1974, she was between 26 and 27 years old. In that era, many women were expected to be married by their mid-20s and might even be considered older in society’s eyes. Despite the transitional decade and the rise of feminist ideals with more white women on the workforce, many minority women faced exclusion. Nicks stood out as a deviant figure, known for her multiple affairs and lack of children. The collective imagination surrounding witches draws from historical contexts.
During the Middle Ages, Christianity—especially Catholicism—dominated European life, repressing Pagans who revered nature and its cycles. Wise elderly women were often labelled as witches, and the Inquisition further marginalized this knowledge. The publication of Malleus Maleficarum in 1496 by Heinrich Kramer and Jacob Sprenger solidified negative perceptions of witches in Western folklore.
One of the earliest representations of witches appears in Shakespeare’s Macbeth (1606), where the 'Three Witches' manipulate Macbeth’s fate, reminiscent of the three Fates of Greek mythology. Since then, witches have become widely recognized in society, characterized by broomsticks, animal companions (often black cats), a deep connection to nature, and a female heritage passed down through generations. These witches are typically depicted in black dresses and pointed hats, often portrayed as outsiders—either by choice or circumstance. They frequently embody power, often being unmarried and associated with an inherently evil vanity, disdainful of children.
The representation of witches has evolved alongside the women’s sexual liberation movement. One of the first portrayals of a witch as a protagonist came in “I Married a Witch” (René Clair, 1942), paving the way for more narratives featuring witches in leading roles—be they cute, hot, or wicked. These stories often normalize witches as benevolent beings who conceal their powers due to societal judgment. However, some narratives continue to depict witches with traditional negative traits, incorporating revenge plots—especially in horror films and fairy tales, where witches contrast with princesses.
Princesses are often portrayed as young and beautiful, while witches are older and ugly. Between the lines, princesses are thin and maternal, whereas witches are depicted as overweight and childless. These stories perpetuate societal beauty standards that equate youth and thinness with worth, manifesting in contemporary society through the rise of aesthetic procedures and the phenomenon of "greyphobia." Notably, the rise of “MILF” stories and anti-ageism and body positivity movements are also significant.
However, much of the discourse surrounding the representation of witches in Western culture centres on white experiences, while the witchcraft of non-white societies and intersectional narratives remain significantly misrepresented. Negative connotations persist, often relegating these narratives to secondary or omitted elements in media. For instance, religious or spiritual practices like Candomblé and Umbanda are often mislabelled as witchcraft by prejudiced individuals and conservative news outlets due to their African roots. In the English language, 'witch' is frequently used as an insult, while 'wizard' is considered a compliment. Additionally, the term 'witch hunt' is often employed by individuals who claim to be unfairly persecuted by women they have historically oppressed, reflecting fears among certain hegemonic groups that their power may be waning.
On October 12, Stevie Nicks sang “The Lighthouse,” a song she wrote shortly after Roe v. Wade. The second wave of feminism in Europe and the U.S. sparked discussions around reproductive rights, highlighted by the U.S. Supreme Court's ruling on Roe v. Wade (1973). This song remains relevant today, resonating amidst the global rise of conservative and far-right movements that centralize their agendas on these issues, igniting debates over women's agency and autonomy over their bodies. In the UK, these struggles against systemic control continue, whether driven by religious or political institutions that have historically criminalized abortion and pushed women toward dangerous, clandestine clinics.
Is this a season of the witch or society’s anxieties on display?
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