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How women are portrayed in dancehall music
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“A woman has to use what she’s got to get just what she want.” -- James Brown
Actress Audrey Reid does just that as the character Marcia in the Jamaican film “Dancehall Queen.” Reid plays a street vendor and single mother of two daughters struggling to give her family a better life. Poverty stricken, Marcia is forced to rely on her sugar daddy “Larry,” to feed her family and put her daughters through school. Unfortunately the price to pay is her fifteen-year-old daughter’s virginity. Appalled at how low they must stoop just to get by, Marcia decides to transform herself into a seductive dancehall girl in hopes of finding an alternative way to provide for her family. The new Marcia makes quite an impression on the men of the Kingston nightclub. When she is disguised in her dancehall costume Larry falls in love with her and showers her with expensive gifts. She is also invited to compete in a profitable dance-off against the reigning Dancehall Queen. The film ends with Marcia’s triumph, and she is awarded a large sum of money.
Although this film is a highly romanticized story of a single mother rising to the title of “Dancehall Queen,” it gives an accurate portrait of the atmosphere of a Jamaican dancehall, as well as capturing the independent, strong spirit of Jamaican women. “Too many young girls in Jamaica feel trapped by dirty old men who convince them that life offers no alternatives but a future in bed with them,” explains the film’s writer and editor Suzanne Fenn. “The sub-plot in “Dancehall Queen” might be unpalatable but it’s based on a prevalent reality.”
Although the film has endured some criticism, the film’s after-after party at Kingston’s Club Mirage proved that Dancehall Queen isn’t “the invention of a perverted production team in search of celluloid satisfaction. Real-life dancehall queens stroked their crotches, winded their hips and rubbed their well-oiled buttocks” (St. Hill).
“Although the dancehall scene is a male dominated one, it is the female, like a queen, who reigns supreme” (www.ppreggae.com) Covering reggae history, respectively, “Reggae Songbirds” and “Dancehall Queens” offer a fairly comprehensive overview of the contributions of women in reggae. The dancehall has become a form of a message center for Jamaican people, no matter where they are within the social structure of the island.
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.
Cherly James and Sandy Denton better known as Salt 'N Pepa are one of the most known female groups ever. These two women were able to create music that spoke about sex, men, and other issues that most women were not. One of their hit songs "Push It" changed the game for females in the music industry. "Push It" was nominated for a Grammy in 1985, but Salt 'N Pepa boycotted the show when the rap categoru wasn't televised (Rollingstone)." This was something that was not suprising back then and even today because of the way that female artist are acknowleged. Many of the female artists back then were overlooked because of the way females were seen in the rap industry. In this essay I will go into detail about Salt 'N Pepa's music career, the
In today's global economy, energy is one of the most crucial and sought after commodities. Who supplies it and how much they supply determines how much influence they have over other countries as well as the global economy. This is why hydraulic fracturing is currently such an important and controversial topic in the United States. Hydraulic fracturing, more commonly known as "fracking" or hydrofracturing, is the process of using pressurized liquids to fracture rocks and release hydrocarbons such as shale gas, which burns more efficiently than coal. This booming process of energy production provides a much needed economic boost, creating jobs and providing gas energy for Americans. The efficiently burning shale gas reduces carbon emission from electricity production plants, reducing carbon footprints on the environment. However, the process of hydraulic fracturing uses millions of gallons of pressurized liquid, which contains toxic chemicals, and some of this water is left over undealt with. The air near fracking sites is often also polluted and unsafe for nearby community residents. Injecting millions of gallons of water laced with toxic chemicals into the rock thousands of feet deep can cause earthquakes, causing a safety hazards for all nearby areas. Hydraulic Fracturing makes rare natural gases easily attainable, boosting the economy and reducing carbon emissions. However, the negative side effects such as contaminated water and air, make hydraulic fracturing a process that may not be worth the benefits.
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
Marcus Garvey once said, “The Black skin is not a badge of shame, but rather a glorious symbol of national greatness,” exemplifying not only that the African blood that flows through our veins is indeed wonderful, but is more a national treasure than a national tragedy. Countries across the world, in some form have been altered by the touch of the African influence whether that is socially and/or culturally. The same fate lies with the islands of the Caribbean, especially the island of Puerto Rico located in the Greater Antilles. Of all the African influential branches, Puerto Rican music would be one social phenomenon to be ultimately shaped and modified by African influence directly. Beginning with the African slaves, this paper covers the musically genres created over time containing West African elements, as well as covering the ways in which the Puerto Rican society influenced the music as well as how the music effected the society. This paper will also include the ways in which African descendants in Puerto Rico [musicians] would rise to fame despite existing in an era of open racism. Ultimately, explaining how the music and the people go hand in hand.
If one were to look back into the world’s history, one would find that an important and consistent element is the world of music. Music has presented itself in various forms throughout its spread and through our identification of its magical realm, people have been fortunate enough to come across a means of relation. Whether it is blues and reggae or rap and pop rock, there is music out there for everyone. Music can serve as a stabilizer for some, a relaxant to others, and to many a form of inspiration.
In the words of rapper Busta Rhymes, “hip-hop reflects the truth, and the problem is that hip-hop exposes a lot of the negative truth that society tries to conceal. It’s a platform where we could offer information, but it’s also an escape” Hip-hop is a culture that emerged from the Bronx, New York, during the early 1970s. Hip-Hop was a result of African American and Latino youth redirecting their hardships brought by marginalization from society to creativity in the forms of MCing, DJing, aerosol art, and breakdancing. Hip-hop serves as a vehicle for empowerment while transcending borders, skin color, and age. However, the paper will focus on hip-hop from the Chican@-Latin@ population in the United States. In the face of oppression, the Chican@-Latin@ population utilized hip hop music as a means to voice the community’s various issues, desires, and in the process empower its people.
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...
Stanley-Niaah, Sonjah Nadine. "Dancehall: From Slave Ship to Ghetto." 1-17. Canada: University of Ottawa Press, 2010.
The book's opening chapters describe the founding of the PLO. In 1964, a meeting held in East Jerusalem was attended by 400 delegates. This meeting was ...
Fracking has become a highly controversial and publicized topic due to rising concerns and growing analysis into the mutual benefits of hydraulic fracturing to retrieve natural gas and oil reserves. With concerns of water pollution, mismanagement of toxic waste and irreversible
When a couple with a child chooses to get a divorce this can have major impact on a child at any age. There are many causes of stress throughout the divorce process that can negatively affect children. First, negative reactions and behaviors are dependent upon the situation before the divorce. Some studies show that how much parents fight, how it is done, how it is resolved, and what precautions are taken to protect the children from it's effects are the most important predictors of child adjustment (Kelly, 2000). Meaning that if children are exposed to fights about custody, money, or the failing marriage they could feel the repercussions of their parents conflict. Next, divorce can cause children to have heightened fear...
“Year after year, twenty-something women come to New York City in search of the two L's: labels and love” is the very catchy line that opens the film with Fergie’s ‘Labels or Love’ as the soundtrack and The Big Apple as its introductory shot. The scaling deduced from the bird’s eye-view-point of New York City, showing its Metropolitan atmosphere with skyscrapers and the famous Brooklyn Bridge; to the urbanites of the City; then to the lead actors of the film. A fifteen year-old girl watches the film, mesmerizing the ecstatic city while admiring the skinny white bodies of the ladies. And last but never forgotten, she gets carried away with the funky upbeat rhythm of the song emphasizing “Gucci, Fendi, [and] Prada . . .” That is the introduction of Sex and the City and the focus of its cinematography. With its elements, the movie can honestly influence teenage girls. Yet as much as critics such as Maya Gordon of Psychology of Women Quarterly say how media contributes to the sexual objectification and values women “based on their appearance,” this film should be an exemption.
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 absence of a complete identity and the inability be whole is what creates a line between The Love song of J Alfred Prufrock with Eliot’s other poems The Hollow Men and Portrait of a Lady. These poems work together using imagery and characters to highlight the darkness that was weighting down most people after the First World War was finished.