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The impact of media on body image
Sexism in songs overtime
The impact of media on body image
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How Do We Respect? An Anaconda Analysis At first glance, it is easy to disapprove of Nicki Minaj. The black female rap artist from Queens, New York, has gone out of her way to provoke criticism from fans and “haters” of the genre alike. This follows a decades-long rap tradition of speaking out in such a way as to attract the attention of those who would bowdlerize, money being another significant motivator (her production label, after all, is named “Young Money Productions.”) In her music video featuring Nicki’s latest smash single Anaconda, viewers witness Nicki and several of her voluptuous backup dancers – mostly Black women – brandishing their behinds at the camera and posing in ways that may very well be considered “suggestive.” This With that being said, American culture has in many ways maintained Christian values of decency, self-respect, and self-efficacy regarding women’s bodies that are at odds with what Nicki raps about and presents through the imagery of her music video. To understand why Nicki may be such a big fuss, one need only to compare these traditional American ideas of women’s bodies as portrayed in popular media and consumer culture, and the body image that Nicki is soliciting. As a psychological study conducted by Brit Harper and Marika Tiggeman in 2007 states, there is no doubt that Western women are subject to a great deal of pressure to conform to the thin ideal of feminine beauty (649). The women that Nicky casts in her music video do not fit the typical ideals of beauty that are found in popular fashion magazines that feature mainly white, skinny women with perfect skin. All the dancers, if subjected to a BMI test, might test overweight. One dancer has a shaved head, while another has a noticeably large birthmark on her left thigh that seems to suggest that Nicky was purposely considering something other than In the Journal of Human Behavior in the Social Environment, sociologists Ruby Gourdine and Brianna Lemmons conducted a study of college students, predominantly African-American students, to find out how they felt about misogynistic lyrics. They found that female rappers are seen as being empowered when they use strong lyrics such as the ‘‘B-word’’ by making the word their own (61). Although Gourdine and Lemmons feel that this kind of language may allow women to be portrayed as being abused and symbolizing persons who can be mistreated by males, giving a troublesome message to the youths (70), Minaj understands that if she is to be seen as empowered, she must fight fire with fire. Particularly, when Minaj raps, “Come through and f*** ‘em in my automobile,” it’s easy to see how misogynistic language has been turned against the man, and it is the female who is dominating the
In his most recent album, Kanye West raps, “Now if I fuck this model/ And she just bleached her asshole/ And I get bleach on my T-shirt/ I 'mma feel like an asshole.” He suggests that it is the girl’s fault for getting bleach on his tee shirt, which she only did to make herself more sexually appealing. This misogyny in hip-hop culture is recognized to bring about problems. For instance, the women around these rappers believe they can only do well in life if they submit themselves to the men and allow themselves to be cared for in exchange for physical pleasure. In her essay, “From Fly-Girls to Bitches and Hoes”, Joan Morgan argues that the same rap music that dehumanizes women can be a powerful platform for gender equality if implemented correctly.
In the article “ From Fly to Bitches and Hoes” by Joan Morgan, she often speaks about the positive and negative ideas associated with hip-hop music. Black men display their manhood with full on violence, crime, hidden guilt, and secret escapes through drugs and alcohol. Joan Morgan’s article views the root causes of the advantage of misogyny in rap music lyrics. In the beginning of the incitement her desires shift to focus on from rap culture condemnation to a deeper analysis of the root causes. She shows the hidden causes of unpleasant sexism in rap music and argues that we need to look deeper into understanding misogyny. I agree with Joan Morgan with the stance that black men show their emotions in a different way that is seen a different perspective.
In The Venus Hip Hop and the Pink Ghetto, Imani Perry argues that the over-sexualized, unattainable bodies of black women in popular culture will lead to the breakdown of feminism and the positive body image of the everyday black women. As hip hop music continues to become more popular, the sexist messages presented in lyrics and music videos are becoming more common to the everyday public, including young black girls developing a self-image. Instead of these girls being exposed to healthy, positive role models who encourage individuality and that there is more to a woman than her body they are given hip hop video models whose only purpose is to look sensual on screen. The strong women that do exist in the hip hop genre are pushed to sexualize themselves or their lyrics to sell records or stay relatively unknown. Although Perry’s arguments are logical, I believe that she is creating a slippery slope of logic. A genre of music cannot destroy the self-image of black women that has existed for generations.
When looking at the landscape of Hip-Hop among African Americans, from the spawn of gangsta rap in the mid 1980s to current day, masculinity and an idea of hardness is central to their image and performance. Stereotypical to Black masculinity, the idea of a strong Black male - one who keeps it real, and is defiant to the point of violence - is prevalent in the genre. This resistant, or even compensatory masculinity, encompasses: the hyper masculinity rife in the Western world, misogyny, and homophobia, all noticeable in their lyrics, which is in part a result of their containment within the Black community. The link of masculinity and rap music was established due to this containment, early innovators remaking public spaces in their segregated neighbourhoods. A notion of authentic masculinity arose from the resistant nature of the genre, but the move to the mainstream in the 90s created a contradiction to their very image - resistance. Ultimately, this in part led to the construction of the masculinity defined earlier, one that prides itself on its authenticity. I’ll be exploring how gender is constructed and performed in Hip Hop, beginning with a historical framework, with the caveat of showing that differing masculine identities in the genre, including artists
Oswald, Janelle. “Is Rap Turning Girls into Ho’s?” The Black Book: A Custom Publication. 3rd ed. Ed. Sam Pierstorff. Modesto: Quercus Review Press, 2012. 171-175.
Taylor Swift’s Shake it off video contains elements of cultural appropriation that exhibit stereotypical tropes which have been used to define African American women and, in particular, their sexuality for years. The video perpetuates the negative stereotypes that have placed Black women on the opposite side of respect for centuries. The video involves White women twerking in a way that conforms to the male gaze, for profitable success. Twerking involves thrusting hip movements, low squatting stance, and shaking of the derriere. White women are able to perform the twerk without being socialized as hyper-sexual, whereas Black women are. Hence, the different conceptions of White and Black womanhood. The inability for Black women to escape their skin color is the one of the many reasons they are ridiculed. Their skin color assigned them to the category that defines them as unholy, dirty, and promiscuous White women have the ability to hide behind their skin color, which classifies them as pure, and innocent in society eyes. The cultural appropriation of twerking is an exercise of White women’s privilege. Black women are judged harshly for
...atching MTV music shows or any music channel on television. As we continue to watch these programs, we will then notice that almost all the rap and hip-hop artists being shown are African-Americans. It is the particular lifestyle, and behaviour that is connected to what particular artists chose to vocalize about. This usually can harm the image of African-Americans due to the fact that many artists aid in the misconceptions of their particular race such as the example provided with 50 Cent’s song entitled P.I.M.P. These lyrics and song titles simply reinforce the negative image some individuals may have of both Caucasian’s and people of colour. Rap and hip-hop is one of the most intimate, personal, legitimate and important art form. Instead of perpetuating injustice, and prejudice artists should be addressing these different issues in a different matter.
These pressures from the media ads can lead to eating disorders. For many women and girls the “ideal image portrayed becomes an obsession and results in an eating disorder like anorexia or bulimia” (Karyn p.1). With the constant nagging to be thin, the dancers feel that if they are to be in music videos on television, they have to measure up to this false image of a woman.
Women have consistently been perceived as second-class citizens. Even now, in times when a social conscience is present in most individuals, in an era where an atmosphere of gender equality 'supposedly' exists, it is blatantly apparent that the objectification and marginalization of women is still a major social issue. In reality, progression in terms of reducing female exploitation has been stagnant at best. Not only is the degradation of women a major problem that to date has not been eradicated, but it is actually being endorsed by some music celebrities. There are a growing number of people who purchase rap albums that support the fallacy that women are mere objects and should be treated as such. As the popularity of rap continues to climb at unprecedented rates, so too does its influence on the perception of women. In the vast majority of hip-hop songs, the depiction of women as sexual objects, the extreme violence directed towards them and the overall negative influence these lyrics have on the average adolescent's perception of women make rap the absolute epitome of female exploitation.
Misogyny and degradation of women is present in almost every genre of music, yet the one genre that completely revolves around demeaning women is rap. Over the years rap and rap music videos have continually become more sexual and degrading towards women. Rap has been criticized numerous times for this reason, and that is because rap is one of the most popular genres of music for the younger generations. It is more than a genre of music, it is a complete industry filled with clothing and other merchandise. The reason this constant demeaning of women exists is because rap as a genre that rewards the objectification of women. The excuses used to justify the misogyny in rap are incomplete and lack accurate support. The most effective way for this continuous cycle ends, is if the fight and protest comes from the women themselves. Men are the problem in the objectification of women but in order for it to stop, women need to step up and take control of the situation.
Nicki’s apparent feminist agenda through her music and identity is being distributed to her wide audience, which covers a massive array of hip-hop and pop music fans. Her wide reach and continual influence has the potential to lastingly correct the anti-feminist, misogynistic tone of the male-dominated genre and culture. Despite her hyper sexualized image and defamatory lyrics, she is arguably a positive, albeit controversial, feminist role model, which is evident in her motivation for success, lyrical discourse, and use of and meanings behind her alter egos.
The most common theme in hip-hop music videos is the objectification of females. Women are portrayed as sexual objects throughout the videos. In some videos they are seen as a type of reward or trophy for the male. Other times they are seen holding money to gain the attention of men or are even portrayed as slaves willing to do anything to please the men in the videos. According to Catherine MacKinnon, “Objectification involves treating a person, someone with humanity, as an object of merely instrumental worth, and consequently reducing this person to the status of an object for use” (1989). Her point relates to the hip-hop music videos because the idea that they transmit is that women are only objects available at anytime for men’s use. When women are objectified men feel more “powerful” or “successful” by showing the have control over women.
Similarly to other industries, females are unequally represented within Hip Hop culture across the board. From the start, emcees were traditionally males, proving the struggle for a woman to pursue a career in Hip Hop difficult. In modern society, it seems the culture is obsessed more with how a woman is portrayed rather than if she is a talented artist. For advertising and recognition, it is almost imperative that a female artist wears tight, skimpy clothes and “give the audience a show” with provocative dancing and lyrics. For women, beauty is basically expected by society. Keyes might refer to most of today’s female artists as “fly girls” (2016). Salt N Pepa and TLC are prime examples of prominent female figures within Hip Hop culture that dressed in a way to attract attention. For these women, the outfits merely grab the attention of the audience so they can then focus on the message behind their lyrics. While women are already underrepresented in the field, they also have to work harder for the same success that male counterparts
As one moves past the initial onslaught of rhythmic beats that calypso has to offer, it is difficult to miss the way in which it reverberates with negative and demoralizing images of women to their male counterparts. Whether it is within the lyrics of Sparrow’s “Drunk and Disorderly” or Square One’s “My Ding-a Ling”, an ample number of verses are often dedicated to making lewd comments about the female body and the suggestive body language described through thinly veiled rhymes and puns, can be offensive depending on the listener. The half naked models being displayed on the various album covers of calypso, soca and rap mix tapes further reinforces these negative connotations. This bandwagon has been jumped upon by many, including the rap genre in the last two decades, wanting to capitalize on a marketing strategy that generally purports to flag consumer attention, playing on their sense of eroticism. The sections titled “Music, Sex, Sexism” and “Woman Rising” within Peter Manuel’s text: Caribbean Currents, dive into the many issues surrounding gender within music as well as female portrayal specifically in calypso. Observations can be made simply by reading through the textual comparisons. Many aspects of this subject area allude to the fact that the issue of gender portrayal in music can be construed differently depending on who the critical listener happens to be. With the increased awareness and heightened sensitivity to the way in which females are portrayed in popular media, it is important to reflect on the impact these lyrics have on male-female relationships within the communities who most often enjoy this music genre.
The negative perception of women throughout popular culture in the form of music has greatly impacted the portrayal of women on today’s society. This study involves on examination of sexist ideologies in dancehall lyrics that portray women in stereotypical and negative manner. This particular king of music explored in the study is dancehall music, a popular genre in Jamaican culture today. The primarily focus is on the effect of popular songs have on women in society, as well as how song lyrics can cause objectification of women and how are the roles of men and women reflected.