Dark Light Streams From The Ceiling

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

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.

This example is an appropriate for the critical analysis because it displays a situation where attractiveness is related directly to the job. The Hooters example is relevant because the uniforms female employees are required to wear proves to the requirement of an attractive appearance in the workplace. We can easily imagine that the uniforms are intentionally sexualized, which in fact they

(BBC network, 2014). It can also force people to change in character, which is a growing concern. Sexualisation in our society has become extremely prevalent within the younger female gender. Some may dismiss this issue as no more than yet another moral panic situation between sexuality and young girls, but some see this as a serious subject and some of these people are in fact the girls being targeted (Church, 2014). The music industry with their music

In strip clubs women must act like women by expressing the traditional female behavior and roles as well as dressing and performing femininely. The article’s data illustrates that strip clubs have distinctive organizational cultures that is established on different social class and customers. Club owners believe that sexuality has to be depended on client class norms by how the clubs and dancers consider working class or middle class must be demonstrated. The clubs that provide to a middle class crowd present one form of sexuality, at the same time, a peaceful form of display demonstrates a working class clubs. Having said that, women at strip clubs perform not only as sexualized women but also as classed women.

It all started with a comic book. Reuben Sturman was the one who started the business of exploiting women to give men pleasure. He began his quest at a large warehouse in Detroit, where his business would bloom not only nationwide but internationally as well. This might be a dirty subject to get into but, Pornography is just as important as Marijuana and Underground labor because it too created much revue as “$15,000 to $20,000 a week to dance at strip clubs, doing four twenty-minute shows each night.” (181). It’s staggering to see that a young businessman

The music is good. The girls look great. And, it's a Saturday night. Someone must be in concert. Now, The Spot is (italics) a strip club. But, this is where everyone comes to party. It just happens (italics) to be a Strip club. Giggles, or Vanessa, is leaning over the bar while talking to her cousin and the Bar Manager. Not quite the type you would expect, or at least I would to be a dancer. A good 5 feet 9 inches, more modelesque that video vixen. Only problem: her glasses are extremely thick. Vanessa and Vincent met by chance at book signing last year. Since then, these two have been on a serious roller coaster. One minute he says it's over. The next minute, she's leaving town; another minute, she's chasing him down the block with a frying pan, then before you know it, they are butt naked on ur fire escape singing Soul 2 Soul, and doing the wop! Vincent has ALWAYS been crazy.if you had a problem in school, he waited after school with the bat ... or brass knuckles... or garbage can.. I can see what Vincent likes about her: She knows how to convince people, with or without words. Twenty minutes later, a waitress came over to our table with the two bottles of vodka along with two extra bottles on the house. Vincent looks over to us with a smile that only Felix the Cat can can imitate. As much as I love a good time, one can only have so many cigars and Coco losos in one night. It's bad enough Vincent, or as he wanted

By the year 2015, it has been long since brothels have lined the streets of well-known cities to the extent in which they did during the early 1900’s. While there are still a few legal brothels in Nevada and in some foreign countries, we usually find similar sorts in the forms of gentleman clubs or strip clubs nowadays. When examining the early 1900’s and our current modernity, there are, of course, both extreme and subtle similarities and differences. In Karen Abbott’s novel, Sin in the Second City: Madams, Ministers, Playboys and the Battle for America’s Soul, there is no pronounced comparison of our modern world with the one of the past, but we can insightfully see that we are not so different. Prostitution, sex trafficking, drugs,

Our social world is becoming increasingly sexualised as pornographic references and imagery are progressively more intertwined with mainstream media, social media, advertising, and pop culture. According to Tyler (2011), this intertwinement of pornography and pop culture consists of five fragments; the beginning of the pornographic boom, the

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.

These visuals may reconstruct and confirm racist pigeon-holes that dub black buttocks with terms such as “junk,” “bubble,” or “cake,” linking its physicality and location to ideas of black ghettos, and dictating “its value and the spatial location for women who possess this body type” (Durham 41). However, within these stereotypes, along with Beyoncé’s self-representations, exists “classed femininity,” where “shared racial history is less useful when attempting to delineate within-group distinctions, such as class” (Durham 40-41). “Black ghetto” stereotypical depictions, such as hypersexuality, are often performed to maintain southern black authenticity in hypermasculine demeanors in order to gain respect from their black and white counterparts. This is done when Beyoncé’s lower half is utilized in her musical performances “to mark authentic blackness rooted in the American South” (Durham 43). These “hood” roots assist in creating respect and visibility for these otherwise demeaned, diminished, and silenced bodies, although, this practice can merely be a facade as “both the street and the strip club are hypermasculine spaces where Black girls and women are economically and sexually vulnerable” (Durham

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

4) “I strip for the women that hate their bodies. I strip for the women who think their thighs are too big, their asses too small, or their bellies too jiggly.” I this is a super powerful line in the article because it discusses most of the reasons why women think they are not attractive enough to stripe. I think society has built this image of what type of body a stripper should have, and it is inspiring to hear a female who disregards

Khalid Tokhi Professor Kenneth Lindleaf Sociology A180 22 October 2015 Gender Roles Present in “A Girl in a Country Song” by Maddie and Tae Strong, manly men doing hard labor, whistling at pretty southern belles in short jean shorts and cowgirl boots. That is the basis of most of the music videos and songs in the country world. Country music is seen by Maddie and Tae as injurious to women as it depicts them as obedient and submissive to men’s wishes. The complexity of gender and sexual roles are blurred by country music in order to replicate a social system in which women are expected to live up to expectations that

A solitary light bulb hangs over the kitchen table, its filament blinking out every few seconds. It buzzes for a few seconds, growing brighter for just a moment, before blinking out completely. The room is engulfed by darkness; the only light comes from the microwave 's clock. It reads: 8:32, in a neon green light. Everything is still, except for the sound of rushing water from the sink and the constant chattering of nature from outside the window. There, crickets conduct a symphony. Toads ribbit and bounce around in the tall, thick grass. The sound of rushing cars is audible in the distance. Chirps sound, then fade, as birds sing their chicklings good night.