Are contemporary music scenes over-sexualised? Discuss with reference to key examples, both historical and current. The twenty first century is witnessing the rise of sexuality in the popular music scene. As the messages behind songs become more suggestive and subliminal, women in particular are being appreciated for their submissive roles and sexually voracious appetite. The presence of conflicting thoughts in westernised society often divides male and female ideologies, especially those of sexuality. Sex appeal has, in the past, been known as a personal act presented only to a sexual partner or sexual encounters. In contrast, today, sex appeal is seen as a tool to become commercially successful. This essay will discuss, with references to …show more content…
The women in the video are portrayed as young and eager to please the male protagonist, Pitbull. Many of the lyrics in the song are focused on the way these young women look and act rather than what their personalities are like, such as ‘I have 'em like Miley Cyrus, clothes off Twerkin' in their bras and thongs, timber. Face down, booty up, timber’. Lyrics such as these force the listener to imagine these young women in such ways, disregarding their personalities. Pitbulls lyrics also include the line ‘She say she won't, but I bet she will’ which may give off the impression that it is okay to force yourself on someone as they will eventually give in. Another example is Robin Thicke’s ‘Blurred Lines’ where two music videos were created, one featuring Thicke and a group of female models dancing around in minimal clothing. The other, which was deemed inappropriate for Youtube, showed the same models in the nude. The fact that only the women were naked implies that the men in the video have more authority and power as they do not need to be naked to be taken seriously or to be sexually appealing. Thicke’s lyrics such …show more content…
After getting frustrated with the unfair media attention, Grimes wrote a Tumblr post expressing her feelings on the media, ’I don’t want to have to compromise my morals in order to make a living…I don’t want to be infantised because I refuse to be sexualised’ (Grimes, 2013). Another female artist that does not like belonging to this sex obsessed culture is British musician Adele, ‘Exploiting yourself sexually is not a good look. I don't find it encouraging…I've seen people where it rules their lives, who want to be thinner or have bigger boobs, and how it wears them down’. Being portrayed as sexual objects or being over sexualised is a reality that female musicians will have to face for many years to come. Pop music seems to no longer focus on the talents of these artists but their image and sexual persona, which may lead to these females putting their morals aside in order to sell
Leonard, Marion. Gender in the Music Industry: Rock, Discourse and Girl Power. Hampshire: Ashgate Publishing Company, Aug. 2007.
Today many of the songs by male hip-hop artists use derogatory terms to objectify women by placing themselves in a hierarchal and controlling positions. In the song “Broccoli”, D.R.A.M. labels women as “lil mama”, “bitch”, and “baby mama”. “Lil mama” is mostly used by young men who are trying to get a young woman’s attention. On the other hand, the negative connotation that has been placed on the label, “baby mama”, is used to categorize women who happen to be the mother of a man’s child and nothing more.The label, “Baby mama”, is used in several modern R&B/Hip-Hop songs to refer to women who happen to be the mother of a man’s child and nothing more. A woman is then stripped away from potentially being seen as anything more than a mother. After having the child, a woman‘s individuality, character custom values is soon neglected by society. As a result, she is only commonly seen as the “baby mama” of a man, which further reinforces the stereotype of a woman’s societal role. ”, is used to categorize women who happen to be the mother of a man’s child and nothing more. “Bitch” is one of the many over-used derogatory terms that have been defined by Adam and Fuller (2006) as “a woman who thinks of no one but herself and is willing to do anything to obtain material
There are many instances of degrading and misogynistic lyrics in country music, both historically and contemporarily. There are differences in the lyrics of this genre based on the gender of the artist: gender roles, hypersexuality, and in the resistance or conformity to rigid gender-based stereotypes. The main points of my argument will include how country music lyrics have historically and contemporarily conformed to and defied gender roles and misogynistic stereotypes. This paper will then examine how men are portrayed as sexual oppressors and exploiters to women. As well, I will discuss the lyrical differences between men and women in this genre, including the limiting role of women as objects as opposed to subjects. Next, this essay will address in my paper the unhealthy environment country music lyrics creates for women. Country music lyrics currently and historically portray stereotypical gender roles, and women have limited roles within country music songs as subjects and objects.
Popular music in the United States throughout the decades have always consisted of different genres of music and during the late 70’s and early 80’s, many of the popular bands consisted of only male artists and members. In an era dominated by male artists, Fleetwood Mac featured their lead female singer Stevie Nicks, who went on to transcend the gender expectations of the time and pursue a solo career in the midst of heavy adversity. Fleetwood Mac’s lead singer, Stevie Nicks, is a prime example of the evolution female artists have endured as they struggled to gain equal footing in this male dominated industry. This essay will examine the different factors contributing to Stevie Nicks’s popularity, along with her breaking these normative masculine roles and the way she combined different genres and personal
... it brought in sultry rhythms and made some adults worried about over-sexualizing music. However, today it is very common to hear something sexual in a song or verse. In today’s music industry, many women are just as successful as the men.
Women celebrities often remark that the media negatively displays women and sexually objectifies them through many mediums such as film, TV, video games, and advertisements. However, there are many female stars that are willing to pose provocatively for a wide variety of men’s magazines such as Maxim, a European magazine targeted at men. Their hypocrisy in shooting the pictures invalidates the argument that men exploit female sexuality, as they are likewise eager to take those pictures. These women are so quick to jump at an opportunity to pose seductively for the camera, a...
The effects of objectifying women in music videos are entirely negative. Women grow up with the idea that they should always seek to attain a men’s attention. Hip-hop music videos do not represent females as the human beings that they really are. This creates an inequality o...
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.
Additionally, I will look at fan feedback of the band and see if even the people who are buying the albums and going to the concerts are even acknowledging the successes of the band as something of merit, or are viewing their music in terms of how the patriarchy tells them to (i.e as a guilty pleasure). This is where I will apply the idea of discourses (whole systems of thought, speech, and knowledge production that structure institutional and social practices, (O’Brien & Szeman, 2014), ISAs, and feminist ideas of patriarchy spurring off Gill’s challenges of postfeminist assumptions of power that “women have not overthrown but rather internalized the disciplinary regime that dictates particular and compulsory ways of looking and acting” (O’Brien & Szeman, 2014), the idea that not only is the band not given respect musically, but perhaps these young women themselves become convinced that their music is more of a “guilty pleasure” than it is “quality
Among the 10 songs that were analyzed in 2016, some of the most common terms that were used to refer to women were “baby”, “broads”, “bitches”, “side bitch”, “lil mama”, “baby mama”, “wifey”, “hoe”, “girl”, “lady”, “woman” and “PYT” (Pretty Young Thing). Each individual song used either two or three of the listed terms when referring women. Furthermore, each song analyzed during this period contains lyrics that were directed towards women in positive ways (labeling them as “Queens”) and negative ways (viewing them as sexual objects). In addition, there were also song lyrics that referred to the way the male character perceives himself. One contradictory example is when artists make character comparisons with men who are stronger or more successful than them, while other artists dictate that their character is original and cannot be mirrored. Specifically, in his song “Panda”, Desiigner makes a hypermasculine reference towards himself in the line: “Man I’m the macho like Randy”. Randy Mario Poffo, also known as “Macho Man”, is an American professional wrestler who has been labeled as one of the greatest pro wrestlers in history. In the song “Broccoli” by D.R.A.M., the male artist’s lexicon perpetuates hegemonic masculinity through his demonstration of competitiveness, dominance, assertion of power
The oppressive picture displaying the sexual objectification of women that most hip-hop artists paint while rapping can only be described as appalling. Many artists imply that a woman?s sole purpose is to gratify a man?s every sexual desire. For instance, ?Nelly?s ?Tip Drill? goes as far to portray scantily clad women as sexual appliances? (Weisstuch). Though Nelly is relatively mild when contrasted to other hip-hop artists, his actualization of women cannot be ignored. By calling women ?sexual appliances,? Nelly essentially promotes the idea that it is customary to view all women solely as sexual objects. Moreover, the generic ?sex appe...
There is a direct relationship between what is portrayed in music and the effect it has on its audience. Generally speaking, in modern music, woman have been placed in a certain mold. The molds portrayed in music have caused women to have negative self-perception. Through the lyrics presented in the songs and the images portrayed in the music videos, certain hip-hop songs may cause women to view themselves in the same light portrayed in the songs. The tone, lyrics, and images presented in the songs effect the intended audiences immensely. Hip hop music that objectifies black women negatively affects their self-perception because they view themselves as commodities.
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.
Many people associate sexist language with the music genre of rap and hip/hop, but the truth is that sexist language invades every style of music. While it is true that the lyrics to rap songs contain the most obvious derogatory terms towards women, research has found that popular pop music also includes language that can demoralize women or make women seem inferior to men. Women are often referred to as objects and even as possessions by artists, implying that even in this day and age females are still second-class compared to males. Some artists compare women to cars, others use their words to enforce their male dominance. Regardless of how popular an artist or song is promoting sexist lyrics shows that as a whole the public does not have a problem with demoralizing women. Numerous male musicians even use this sort of language as a marketing tactic, knowing that their lyrics will cause a controversy that could inevitably boost album sales.
...l pleasure that matters over the woman’s. “So mi fuck her out hard when she position from back, worse de gul skin clean, yes and de pum pum fat.” Yet again this supports that idea that a woman is supposed to attract a man with her looks but also goes further to state that the power available to women is determined by her sexual nature in order to gain the achievement of being the women he wants. “Gi mi straight up pussy cause she know say gangsta no saps, it’s a fucking affair gal siddung pon mi cocky like chair,” this brings out the motion of objectification of women. In the last lines, “Wan mek a run but mi cab inna de air, Fling her pon de ground and put she foot inna de air” the action of taking control mentined clearly above eliminates the notion of respect of men towards women in this dyadic relation, which highlights women subordinate and inferior position.