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Gender equality
Sexism in the music industry essay
Gender equality in our current society
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Female artists in today’s music industry are often depicted in a sexualizing manner, because their managers know that sex sells. However, in the video for her song, “Hard Out Here”, it would seem that Lilly Allen is free to sing about whatever she wants, and dress however she pleases (Allen 2013). This song, allegedly a “feminist anthem” (O’Hagan 2013: 1), was meant to ridicule, and fight against, the blatant sexism against women in the music industry, a sexism that is made obvious through the sexualization of women. Allen had the opportunity to truly take a stance against the portrayal of women as sexual objects in this male-dominated industry. Instead, the music video shows degrading images of women dancing half-naked, which are …show more content…
Her witty lyrics are not very effective when paired with the video, which results in a mere imitation of the very videos that she is mocking. Ironically, the back-up dancers are actually being objectified as sexual props, which is what Allen was disparaging in the first place. Thus, it fails in challenging the patriarchal conditions that women are forced to contend with in the music industry. Moreover, Allen never attempts to actually attack the entertainment industry in any consequential way. It is true that she skillfully calls out Robin Thicke for his dubious and controversial song, “Blurred Lines”. y walking in front of silver balloons that spell out "Lily Allen has a baggy p--sy”. She also ridicules the A&R man who tries to teach her and the dancers how to twerk. Other than that, she does try make a pointed difference in the music world. Allen could have had a group of A&R men strip down to their underwear and twerk during the entire video if she really wanted to ridicule them. To disparage the reality of the glass ceiling, she could also have set up a reversal of roles in which all of the women wear business suits and order the A&R men around. Instead, the video’s countless close-ups of breasts and buttocks prevent the video to separate itself from the rest of the music videos that show the very same images. Lastly, Allen’s argument falls short as it appears that she does not believe in her own activist message. Allen sings, “Inequality promises that it's here to stay / Always trust the injustice 'cause it's not goin' away”. Though she could be writing this to prompt women to make a change themselves, it comes across as rather pessimistic. It is as though she does not believe that women’s submissive and objectified position in the
I. Introduction Gender plays a big role in music, I became aware of gender role in music when noticing how most songs talks about women and how they are being either exploited or empowered. Most music videos even in the 80s either objectified women or respect sexuality. Women are usually sexually alluring in music videos, stage performances and even in the song lyrics. Most music video uses video vixens or video girls that are usually dressed or performing sexually. For example, “Siouxsie Sioux frequently performed wearing black leather and rubber bondage attire, as well as heavy eye make-up, making overt statements about her sexuality.
Lauren Rosewarne is a senior educator in the School of Social and Political Sciences who composes, investigates and takes observations on eroticism, gender, and women 's rights within the entertainment business. In addition, she focuses her work on public policy and politics within a government. Written in 2007, Rosewarne, a persuasive writer, published an article entitled Pin-Ups in public space. Sexist outdoor advertising as sexual harassment. This piece of literature concentrates on public advertisements being distinguished and experienced as sexual harassment through women, based on the similarity between the illustrations and the pin-up posters. Rosewarne communicates about how she understands through her personal observation, a year long
Wendy McElroy in “A Feminist Defense of Pornography” argues that degrading is subjective to each women and it’s up to them to define it. As much as that is true, does it mean that there shouldn’t be a standard to the word “degrading”? Take for example, pain is subjective, the same papercut can feel painful to me yet not to another person. There are even people who suffer from congenital analgesia (the inability to feel physical pain), But does this mean that it is right to inflict physical pain on those people? The law is the standard for defining physical pain and so the term “degrading” should also has its standard as it will cause harm to others.
In society today, media such as movies and music share huge roles in the dynamics of culture especially concerning communication. In Dream Worlds 3: Desire, Sex, and Power in Music Video we see how famous singers and producers in the making of their music videos have the power of illustrating our language and beliefs. From the music we listen to and things we watch, we are constantly gaining new knowledge by the message that is being presented to us. The main focus of this specific documentary was how women in the music or media industry all together are treated. From this documentary and lectures in class we see that media objectifies, stereotypes, and degrades women and their bodies as advertisements and money makers. Themes in the film discussed
This exhibit takes a feminist approach to digital technologies in its engagement with women singers’ covers of blues, jazz, and popular songs, beginning in the 1920s and spanning through recent covers in the 2000s. Building from Angela Davis’ Blues Legacies and Black Feminism, the exhibit presents a genealogy that traces the legacies of the blues women’s black working-class feminist consciousness over time and space, and across genres. It looks to explore how this feminist consciousness set forth by the blues women might have been engaged by subsequent women blues and jazz singers of different races and ethnicities through their interpretations of recorded cover songs. This article considers how digital technologies can be utilized to create useful platforms that can highlight feminist methodologies and epistemologies, particularly through engagement with sound studies and studies of the voice. In tracing the conceptualization of the Women Sing the Blues project, I aim to show that by listening closely to women’s voices on a digital platform, listeners have the ability to understand and interact with different interpretations of cover songs, which then has the potential for audiences to track singers’ engagement with feminist consciousness and social critique through a gendered lens. This article also discusses the benefits and limitations of particular platforms and approaches in the digital humanities, and advocates for the continued development of alternative platforms and technologies grounded in feminist methodologies and epistemologies. I focus on covers of the song “Black Coffee” as present on the exhibit in order to demonstrate these
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
Since young girls today spend more time surfing the web, they are exposed to more mainstream advertisements that boast sexual content, and as a result, many girls want to do the things they are seeing young girls just like Winifred do. In addition to exposure to sexual content on the internet, the music of popular culture leaves very little to the imagination. Women in these music videos are more often shown as provocative and wearing revealing clothing. Many girls look up to these women and want to emulate them because they are their favorite artist. For instance, Beyoncé’s album “Beyoncé” features the song “Partition”, where Beyoncé says “He Monica Lewinski all on my gown”. The sexual reference to Monica Lewinski is hypersexu...
On the night of December 13, 2013 Beyoncé, released her fifth self-titled album on ITunes. The album caught many people by surprise because Beyoncé did not set a date for the album, nor did she use any promotion; she did release a video on her Instagram asking her followers if they “were ready”. The buzz spread through social media like a wild fire. With no promotion or no warning, Beyoncé album took the world by storm and made it for her audience and critics to take in the album and it contents. Many people loved the album for not only its catchy songs, but also the growth and “looser” conservative Beyoncé. On the other hand many people did not feel that her album was growth, but a way to catch up to the overly sexual generation. Beyoncé has always been aware of her sexual side, pop side, and feminist side; this has been documented through her four previous albums. Yet, a lot of people have questioned if Beyoncé a feminist because of the content of her newest album. In order to answer that a person must ask him or her self; what is a feminist, why some people believe she is feminist, why others do not believe she feminist, and whether or not Beyoncé think she is a feminist.
Despite its increasing popularity, hip-hop music often implements misogynistic ideals by portraying women as sexual objects or as helpless beings in need of savior.
This study works to examine the use of sexual objectification of women in music videos today. The primary purpose was to examine the differences between genres, specifically hip-hop and country. I tested the following; Women are more likely to be sexualized in hip-hop music videos than in country music videos.
Most of the current social work clients and workers are women. This gender is also over-represented among women, which implies that women continue to face considerable issues in the modern society despite the changes in the traditional role of men and women in the society. Social welfare policy are usually developed and implemented to confront various issues in the society including the plight of women. However, recent statistics demonstrate that social welfare policy does not always meet women’s needs effectively. This is regardless of the fact that sexism and heterosexism play a crucial role is shaping social welfare policy. Therefore, it is important to develop effective social welfare policy
Hip-hop and rap music are commonly criticized for its anti-feminist lyrics and degrading exploitation of women in music and music videos. (Sharpley-Whiting ) Many feminists have taken action against the music industry, which produces these messages in the music they release. However, in the hip-hop genre there are plenty of successful female rappers promoting feminist views, artist such as Queen Latifah and Mary J. Blige have made the choice to condemn the derogatory culture towards women. (Oliver, 382–384) However others female hip-hop artist, such as Lil Kim or Rihanna, have decided to provide no resistance towards the deleterious depictions of women in their music and in turn sometimes exploit themselves. Due to her extreme fame, success, and controversial image, at the front of this discussion is female rapper Nicki Minaj. Nicki Minaj is challenging the common view of women in hip-hop by proclaiming feminist ideologies through the art of reclaiming the genres negative undertones towards women and by providing an opportunity for women to be seen as equals rather than objects.
The sexualization of women in the 21st century has led many to wonder whether or not the feminist movement actually resulted in more harm than good. Although the progress and reform that came out of the feminist movement is indisputable, things such as equal rights under the law, equal status and equal pay, the reality is that the subjugation of female roles in society still exist, and the most surprising part about this is that now women are just as much as at fault for this as men are. Ariel Levy defines female chauvinist pigs as “women who make sex objects of other women and of ourselves” (Levy 11). This raunch culture is mistakenly assumed to be empowering and even liberating to women when it is in fact degrading and corrupting to the modern feminist movement and makes it more difficult for women to be taken seriously in society. The shift in the nature of the feminist movement is in Levy’s opinion attributed to by the massive industry now profiting off of the sexualization of women, the reverse mindset now adopted by post-feminists and women in power roles in our society, and ultimately the women who further their own objectification as sex objects and thus, so by association, deem themselves lesser than man.
Context Beyoncé Giselle Knowles-Carter, pop culture icon and best-selling singer, has described herself as a “modern-day feminist” (Vena, 2013). Throughout her career Beyoncé has embraced a public image as a feminist, her songs and music videos promote feministic ideals of gender equality and female empowerment. Beyoncé is the most awarded music video artist ever, her music videos are well polished productions full of complexity and various rhetorical devices (Pearce, 2016). It is captivating to analyze the powerful feministic messages portrayed by her art and the potential influence on an extremely broad audience. Beyoncé’s music video, If I Were a Boy, presents a powerful narrative enhanced with characterization, chiasmus, tone variation, and imagery to promote
In today’s society, dancehall music is one of the most popular forms of music, however, the themes and lyrics of many songs that fall in this genre tend to be vulgar, offensive, violent and sexist. Sexism in dancehall music is one of the main topics of this paper and is apparent through the negative portrayal of women found in both the lyrics and music videos of such songs. This is an important issue because since dancehall music is so popularized today these negative representation of women, are being popularized to a huge majority of people, potentially giving them the idea that it is acceptable to treat women in such demeaning ways.