Biological Features Of The Booty

From wearing cupcake bra outfits to performing in a lavish swimsuit, Katy Perry has demonstrated how women in the music industry use sex appeal to captivate their audience. In today’s society, it isn’t uncommon to see female artists in revealing, flashy outfits surrounded by flashing lights and steam. Artists such as Miley Cyrus and Nicki Minaj have certainly made news headlines for their audacious performances. In many cases, artists are presenting false images to their fans as an investment for future sales. Female artists continue to be sexually objectified by their audience, which increase their viewership, which leads to record labels pressuring artists to keep a sexy image.

This proves that half the demographics do not see the importance of sexual attraction or making themselves centre of attention while with the opposite sex. The girls that I surveyed were older teenagers between the ages of seventeen and eighteen, and these people were all for Lily Allen’s campaign for slamming the sexualised music videos. This shows that the older girls realise, the ideology of being ‘perfect’ does not exist, and these women shown in these videos are not ‘realistic”.

Within popular culture today, objectified female bodies can be represented everywhere from advertising images to magazine covers, television, music and many more. Through these media institutions, we allow them to construct social identities in ways that allow us to understand what it means to be black, white, Asian, male or female etc. Within many popular culture mediums such as music, stereotypical representations of racially marked female bodies are often formed. Thus, these representations also have the ability to create stories about a certain culture. In music videos, it does not go unnoticed that women are portrayed as objects whose objectives are to pleasure men. In this paper, I will argue how racially marked female bodies are represented. This paper will mainly focus on how these racially marked women are depicted in the hip hop culture. To demonstrate this, I will draw examples by using award winning music videos by Nicki Minaj, R.Kelly, 50 cent to exemplify representations of the female body and how they are objectified as sex objects. In conclusion, we will be able to see how the female bodies are used in mainstream hip hop videos to convey seductively.

“I Enjoy Being a Girl” (music videos and women’s capitalist role as primary consumers and sexualized objects)-

Although music videos contain a variety of musical styles, they have many common visual themes that inaccurately portray famous artists. These themes are the degradation of women, and the promiscuity of men. Many of videos display women as sexual objects to be looked at while they rhythmically dance to the beat of the song. Women are not the only dancers though; men can often be seen grinding against many different women throughout the same song. This implies that

The development of visual media has introduced the concept of The Male Gaze Theory. The Male Gaze Theory is defined as how women are depicted in the media from a male perspective, such as presenting women as sexual objects for men’s pleasure (Loreck). The article, inexplicitly, talks about the male gaze: “Up to 81% of music videos contain sexual imagery, the majority of which sexually objectifies women by presenting them in revealing clothing, as decorative sexual objects, dancing sexually, or in ways that emphasize body parts or sexual readiness.” The article talks about how women are sexually presented in the media which is what the male gaze encompasses the “male gaze” is a harmful contribution to the sexualization of girls and is also seen throughout the music video. The beginning of the music video shows 50 Cent walking into a brothel-type mansion where the camera pans to focusing on the writhing, half-naked women in the foyer of the mansion. This scene is viewed from a male’s perspective because the camera focuses on their sensual movements and physical assets instead of their normal facial expressions or more appropriate places on their body. Also, since 50 Cent is the only male in the mansion, the camera is only coming from a male perspective because brothels are only truly for a male’s pleasure. The other women in the video are objectified from their revealing clothing

In today’s society, contemporary music videos are a measure of myth about sexuality and gender whereby sexual objectification is accompanied by media culture. Music videos depict images that captures minds, shapes a person’s attitude and tells a story. Throughout the 21st century, music videos have shaped perceptions of women and their role as sexual objects. In this case, the music video Man Down provides a potent example of black masculinity and sexual overtone. This blog entry will speak about how this music video bounds editions of knowledge that women are sexually available and men are sexually desirable.

Theresa White writes Missy “Misdemeanor” Elliott and Nicki Minaj: Fashionistin’ Black Female Sexuality in Hip-Hop Culture—Girl Power or Overpowered? This article talks about power of black women in music industry, but also how they are p In this article White examines how both Nicki Minaj and Missy Elliott Hip Hop culture and how it has shaped their image in the media. She explains how there is a connotation on sexuality in black women in the music industry. There are women like Missy and Nicki Minaj that show empowerment, fashion aesthetic, redefining their sexuality, and writing their own script. White talks about how sexuality is power in today’s society for women. White states “Power over our sexuality that incited our search for self knowledge”

In the summer of 2014, American pop artist Meghan Trainor released her debut single, “All About That Bass.” The song, which aims to empower women of all body types and promote “body positivity,” became an instant hit on Top 40 radio and music charts. While positive aspects of the song include calling out the media’s usage of Photoshop on women and attempting to reject the standards of a thin-centric society, the song and its music video have received criticism from feminists, specifically on their heteronormative and “skinny-shaming” elements. In this paper, I deconstruct the song and video by using intersectional feminist and queer approaches. I am particularly interested in how Trainor’s song “idealizes” and prioritizes certain bodies over others, and my analysis will focus on how the song’s themes represent common (cis)heteronormative, Eurocentric, and fat oppressive tropes that construct the “idealized” fat woman.

The aim of this study is examine the portrayal of women in contemporary rap videos, and to see if it could be potentially harmful. Unfortunately within the music industry like many industries sex sells, and the media has brought to light this fixation.

Another effect of popular music is violent acts towards women. Often in music videos, women are portrayed as objects. They appear to find rappers so irresistible that they are willing to do whatever it takes to be with them. However, it is not always the male rappers objectifying the female dancers. Sometimes the women rappers themselves are to blame. Ayana Byrd’s article Claiming Jezebel states, “…Bringing it back to the female rappers is Lil’ Kim’s video ‘How Many Licks,’ in which she turns herself into a doll with replaceable parts, a move so infused with self-objectification that it seems almost laughable in its own obviousness.” Women rappers allow themselves to be viewed as sexual objects and rap almost solely about sexuality. They talk about their ready and willingness to have sex in their songs and dress scantily. They call themselves “bitches” and “hoes” (Byrd, 2004). However, it is important to keep in mind that these women work in a male controlled industry with their male bosses telling them what to dress like and how to present themselves (Byrd, 2004). Regardless, the rap

In only the spam of 24hours, 19.6 million people around the country watched the music video to her single ‘Anaconda’, while generating debates of sexuality and empowerment. It shouldn’t come as a surprise when Nicki is seen parading her body around in a music video, the way in which celebrities are still relevant is through the ability to produce revenue and have people talking. Nicki doesn’t shy away from criticism and stereotypes, in the very first shot of the video she appears from the jungle, calling on the idea of how society places judgement and ideals of a black women being of an “exotic and animalistic” beast. Her body alone is a statement within itself, not only is she reclaiming the idealistic images of a curvy women but she is also reclaiming it to fit the realism of how females come in different shapes and sizes.

“No matter how much people may talk about its artistic merit, it nonetheless objectifies and therefore demeans women by casting them in the mould of whore.” (Cox) The present statement is what Laura Cox, journalist at the Daily Mail, summarizes of “Pour it up”, the music video released in 2013 by Rihanna to launch her new song (https://www.youtube.com/watch?v=ehcVomMexkY). The video is constructed on an extreme usage of female’s bodies and it poorly represents the image of women expressed today by mainstream media channels. Moreover, the singer fluctuates her body; she portrays pole dancers, strippers and some dance moves including ‘twerking’, a particular alluring hip-style of dancing. (Cox)

An example of women’s sexual pleasure in the media gets no bigger than with these two artist, Rihanna and Beyoncé. Back in 2010, Rihanna released a song titled, “S&M” meaning sadism and masochism which is performing or receiving abuse during intercourse. As states, “Sticks and stones may break my bones, but chains and whips excite me. “The advancement of media has become since then a bit more socially acceptable. The increase of being socially has paved the path for recent media such as 50 shades of Grey to rise into popularity, as this song came before the movie or even the book was ever released.

However, the visualization of music changes its nature. On the other side, women’s body has become a resource that is offered by music in making pop music culture. Gill (2007) points out the relations between feminism and media culture, which femininity is a ‘bodily property’. For example, women’s body becomes a means of promotion, which to meet the favor of male gaze. The commodified music combines with MTV that gives rise to the sexualization of music. That is to say, pop music culture objectifies women’ body, which ‘selling her sex’ makes women’s body the objective (Gill, R. 2007). Being too sexual and eager to perform for the male gaze is the manner that women are included in pop music culture. Accordingly, music has become an emotional