All About That Bass Summary

In the essay from “ From Fly Girls to Bitches and Ho's" by Joan Morgan. Morgan writes of the qualities of hip-hop music and rap artists she appreciates such as its impactable , mesmerizing , powerful , strong and beautiful if used the correct way. She often says how it makes women feel degraded , it's not a great feeling to have when you think of it this way. In the essay “ From Fly Girls to Bitches and Ho's" that “Its music that that repeatedly reduces me to tits and ass” . Joan Morgan is after all a feminist but a female rapper . This makes her question what she's even supporting in a way.

In her article “The Venus Hip Hop and the Pink Ghetto: Negotiating Spaces for Women,” Imani Perry argues that the objectification of women in the music industry is normalized in our society. Her purpose is to persuade us that most feminists who fight against the objectification and exploitation of women are ultimately colonized by the sexual fantasies of men. As a law professor at Rutgers Law School, Perry structures her text in a very effective manner. Using a general-to-specific organization scheme, she begins by outlining the recurring image of sexualized women in music videos, then presenting various cases of prominent feminist figures in the music industry.

Her clothes accentuate her cleavage or have a sexual shock factor, such as wearing “sequined pasties…[that] coordinate with the rest of her attire”. The vulgar, sexual nature of her raps makes it impossible for her to not receive attention from the media. Another artist, Eve, dresses sexually to accentuate her body and appears in videos with music video models but raps about social issues like domestic violence. By comparing the nature of these artists and their music, Perry tries to show that young girls have very few role models in hip hop that promote positive feminists values and body images. But, she neglects to discuss other feminist artists she mentions in the essay such as Destiny’s Child and Mary J. Blige and how their lyrics and actions in the media allow young black girls to have positive role models that show a woman can be independent, strong, and beautiful in their own way. Perry’s focus on the more sexualized female artists in hip hop and how their shocking appearance and lyrics allow them to be as successful as their male counterparts took away from the development of her argument about conservative artists and their success. By leading the reader to believe that artists are either overly-sexual or conservative, Perry limits how the reader forms an opinion on why or why not young girls’ body image may be threatened by the media and the hip hop

Misogyny exists not only in Hip-Hop but also in American society as a whole. Objectified female bodies are everywhere: in advertising, on magazine covers, and television and movie screens. In Hip-Hop women are exploited and viewed as objects. In raps they are often called “bitches” and “hoes”, and place them in music videos half-naked furthering the

It is no secret that today’s society defines beauty as thin, long-legged women with statuesque bodies. Examples are found everywhere just by glancing at the closest magazine ads or by scrolling down the latest fashion article online. Normal, everyday women are being forgotten and tossed aside to make room for the “Top-Model”-like women currently crowding up Hollywood. Media depicts women as an unattainable image. They pressure ladies to buy the products they’re advertising; luring them with false advertisements promising that with it, they too could be perfect. While the media portrays women in a certain way for advertising and marketing benefits, it has caused numerous negatives effects to women’s self-esteems nationwide, it contradicts

This song displays the traditional messages sent by male artists. What about female artists? What do their songs portray? Andsager and Roe’s findings give a good description. According to them, there are two kinds of female artists. The strong, more established female artists portray women as “fully equal.” These women are in their thirties at least, they are more established, and they dress in casual suits. They sang romance, female emancipation, and heartbreak like the rest, but they did not compromise their image in their videos. They use Trisha Yearwood as an example in her song Everybody Knows. The other type, were women who “fell into the lowest level on the consciousness scale.” They used Deana Carter’s song We Danced Anyway as an example. In this song she rolled on the beach in a wet t-shirt. Another one is Faith Hill’s song Breathe. In this song, Hill is seen rolling around in her bed sheets with no clothes on.

Taylor Swift, a pop icon and polarizing figure, is often known for her empowering music, feminist attitude, and meaningful lyrics. Many of her fans praise the feminist messages some of her songs deliver, however others say she comes from a position of privilege and only advocates for white women. Still, a common perception of Swift is that she has evolved from an innocent country singer into a more controversial and sometimes provocative pop singer. What is ignored though, is that despite this perception, themes depicted in “old” Taylor’s music still displayed highly problematic concepts about gender, just in less obvious ways. Particularly in her music video for “You Belong With Me,” the audience if presented with a fulfilling love story involving a nerdy girl getting the popular. On its surface, this concept may seem normal, but the narrative of this video unintentionally conveys significant gender issues in today’s society. Thus, through her 2008 music video for “You Belong With Me,” Taylor Swift ironically presents herself as the ideal nerdy girl next door who gets the guy when she suddenly turns beautiful while demonizing a cheerleader, revealing problematic notions of how women are supposed to look and behave in society, as well as reinforcing negative female stereotypes.

It seems that the media’s portrayal of women has negatively affected the body image of The Wykeham Collegiate senior school girls. The media has a negative effect on the youth of today, primarily amongst the female population when it comes to how young girls and women regard

There’s a powerful source brainwashing young minority women today, specifically the language expressed in Rap lyrics which is often embraced by the Hip Hop Culture recently. These young gems are being conditioned to value their worth centered around hollow, vain, and degrading measures. The lead directors of these measures are strong, empowered, talented men who come across as if they detest woman. They disclose and describe detail stories of lifestyles involving “model chicks” who degrade themselves for acceptance, money, and opportunity. Consequently, this behavior leaves impressions for young ladies to follow after; because most young ladies of minority tap into the hip hop culture as a guide for social behavior. Although, the Hip Hop culture allows a window into the challenges faced by the black community it has also been the lead contributor to the desensitization of exploitation towards women due to the negative messages and images portrayed in music lyrics and music videos today.

No treble." "All About that Bass" was one of 2015's most catchy songs, due to its fast pace beat and its relatable lyrics. My parents sing this song, my friends sing this song, and my five-year-old cousin sings this song. Everyone carelessly sings this song because it is the catchy song everyone else continues to sing. If people stopped to analyze the song for its true meaning, then maybe the song would now be as popular as it was. "Bass" is just an innuendo for the butt, whom Meghan Trainor slyly incorporated into her song and it sold millions. Now, songs about butts are common to write about, common to listen to, and common to sing. Because of songs such as "Baby Got Back", "Low", "Thong Song", "Booty", "Bootylicious", etc., Meghan Trainor knew she could write a song about a butt and make millions off it. Butt songs have silently crept into our lives through the form of car radios, iPhones, and the televisions, seamlessly settling in our brains. A song about a butt, which was once thought to be unheard of, is now an unspoken norm all across the world. The first butt songs must have been some superlative thought, but now they have become

Throughout most of the song, Trainor claims she is “all about that bass, no treble,” effectively creating a binary the listener must use to categorize themselves. In order to choose a side, one must first learn what Trainor defines as “bass” and “treble.” She answers this question with in the first chorus, stating that she is not a size two and has “that boom boom that all the boys chase.” One can conclude that the “bass” Trainor is all about is being a woman who is a bit more curvaceous than women who are more petite, who Trainor believes to be “treble.” The repeated efforts of “all about that bass” is lead to hail the listeners, particularly large women of all backgrounds, that they are more beautiful than those who are skinner. In fact, by stating this, Trainor is drawing attention to the interpellation

Since the explosion of music videos in 1981, a large portion of their popularity has been due to the objectification of women and their sexuality. “Early content analyses showed that anywhere from 40% to 75% of music videos contained sexual imagery”(Arnett, 2002). Hip-hop music videos especially have a reputation of degrading women. In these videos “women are often depicted in positions

This paper will argue that although contemporary R&B perpetuates socially constructed gender norms, namely the group Next, many artists, such as Brandy and Monica, Erykah Badu, and Musiq Soulchild successfully challenge these hegemonic stereotypes through their music. How a woman should look and behave is an issue that is widely looked at. Should women behave like “women” in terms of dressing conservatively and being soft-spoken or are women supposed to maintain a degree of attractiveness by submitting to what men find attractive (e.g., dressing provocatively)? In a content analysis by Aubrey and Frisby (2011), they found that “female artists were more sexually objectified, held to stricter appearance standards, and more likely to demonstrate sexually alluring behavior” (p. 2). The researchers continued stating that the objectification of women is found mostly in R&B, hip-hop, and pop videos.

Images of female bodies are everywhere. Women, and their bodies, sell everything from food to cars. Women's magazines are full of articles urging women to fit a certain mold. While standing in a grocery store line you can see all different magazines promoting fashion, weight loss, and the latest diet. Although the magazines differ, they all seemingly convey the same idea: if you have the perfect body image you can have it all…the perfect marriage, loving children, great sex, and a rewarding career. The media, whether TV, print, or Internet advertising, seems to play a huge role in influencing women of all ages; from adolescence and teens, to women in their twenties and thirties, as well as

In the words of pop singer and ardent feminist P!nk, “Women have fought so long and hard for our rights and equality, and now all our attention is put on being a size 0.” P!nk’s hit song “Stupid Girls”, released with her 2006 album I’m Not Dead, provides a commentary on society’s perception of a woman’s role and how women respond to that perception. She rejects the foundations of the stereotype that women exist as subordinate to men, while challenging the behavior of women who conform to these societal expectations in order to please men. Although she composed the piece to encourage women to take pride in intelligence, the song has come under critique for “slut-shaming” by stereotyping women who focus on external appearance, labeling them as “stupid”. The piece simultaneously demeans and empowers women, demonstrating just one of the many flaws in the feminist movement that exist today.