Feminist Identity

Beyoncé is a singer known for her fantastic voice, rejuvenating dance moves, and most importantly her empowering throughout her songs. These skills are no different in her song “Pretty Hurts.” Released on June 10, 2014, from her self-titled album Beyoncé, the song written by Sia, Joshua “Ammo” Coleman, and Beyoncé herself resonates its empowering message with people of all different genders, body types, and races. This song, in particular, is targeted towards women, especially young women who are still developing. Beyoncé gained popularity when she started off in an all-female group named Destiny’s Child back in 1997, and once she broke off from the group, she only continued to grow as an artist and person. In all six of Beyoncé’s solo studio albums, there are songs with galvanizing messages of female power and all of them reached number 1 on the charts. In Beyoncé’s song “Pretty Hurts,” she uses social issues, rhetorical appeals such as pathos, literary devices, metaphors, and vivid imagery to further the theme of female empowerment.

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

When Alvin Ailey’s Cry premiered in 1971, Judith Jamison was praised for her tour-de- force 16-minute solo. An original New York Times review expressed that “She looks like an African goddess”. Cry - originally a gift for Ailey’s mother - was dedicated to “all black women everywhere, especially our mothers”. This work, one of Ailey’s greatest successes, evokes an emotional journey, as the performance depicts the struggles of African American women suffering the extraordinary hardships of slavery. Through self- determination, these women overcome their tribulations to attain justice and emancipation. [insert argument here]

In 1997, Shania Twain released the song “Man I feel like a woman!”. The catchy melody immediately made this song a huge hit, but it’s the meaning of the lyrics that made it the feminist anthem that is still loved after so many years. The music video itself is empowering as it shows a confident Shania in the spotlight surrounded by her male musicians. However, the lyrics are what this analysis is more focused on. Twain sings about being her true self and letting loose. The song is an example of feminism, because it challenges gender stereotypes, the pressure put on girls to look a certain way and gender norms. The argument will be structured in three paragraphs, each developing on one of the ideas found in the thesis.

Beyoncé Knowles, a well-known singer, songwriter uses two of her songs: “Freedom” and “Formation” to tell the story of herself. “Freedom” is the beginning of her story where she is searching for freedom and equality showing that there is still much inequality and injustice for African Americans in America today. The song slowly transitions to a more positive tone when she seems to have made something beneficial out of her difficult situation. “Formation,” however, has a completely different tone. While she does address negative situations from the past at the beginning of the song, she quickly transitions to a more positive tone full of pride in where she came from, who she has become, and what she has overcome. Together, the two songs

Women’s music came from radical, grassroots origins in the 1970s thanks to contributions by brave women, mostly lesbians (Mosbacher, 2002). These women used non-violent, peaceful force to forge their own way into the music industry. It was a peaceful yet political revolution of togetherness and liberation. It brought together women of different backgrounds who produced easy-listening, mellow harmonies played with lyrics filled with tumultuous

In the 1920’s, blues was a very popular and dominating genre in the music industry. Generally, the blues was sung by African American women because according to the book entitled, “Blues Legacies and Black Feminism” by Angela Davis, “…The most widely heard individual purveyors of the blues—were women.” (Davis 4) The blues delivers certain emotions such as sadness, loneliness, love, sex, and feelings about the certain circumstances the artist may be going through at the time. Two women who dominate this style of music are Gertrude “Ma” Rainey and Bessie Smith. As stated by “Gay & Lesbian Biography”, “The careers of Rainey and Smith are closely interwoven.” Ma Rainey is a woman who is admired for both her amazing vocals and her ability to entertain. Bessie Smith is a woman who started off as a background dancer for her peer Ma Rainey, but then went on to emulate her by outdoing her success. Both women are very talented musicians who can not only sing and entertain, but they also create an impact as two of the most influential feminists during the 1920’s who helped shape the blues into what it is today.

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.

For nearly twenty years, Beyoncé has lived her life in the public eye yet she has always kept her cool, been submissive, and rather quiet when it came to her personal endeavors however after releasing the film “Lemonade”, we are able to see her in a vulnerable light. In Jeremy Helliger’s article: “Dear Beyhive: Stop Whining. Beyoncé Still Hasn’t Earned Her Album Of The Year Grammy” he addresses the idea that although Beyoncé was able to encourage black women to be proud and free, she also she missed the mark by adding raunchy, over the top content to her vulnerability.

Alicia Keys is reiterating an identity that is universally accepted by most African-American women (Harris-Perry 184). This is the cultural identity of the Strong Black Woman (SBW): self-reliant, tough, and hardworking. Stuart Hall defines cultural identities as, “[A] sort of collective ‘one true self’, hiding inside the many other, more superficial or artificially imposed ‘selves’, which many people shared history and ancestry hold in common” (Hall 223). SBW is a self-construction manifested by black women in the Americas. It is used a coping mechanism in response to pervasive sexism and racism. The SBW construct dates back to slavery because the image projects traits of all three stereotypes established during the era of slavery: She looks like the Mammy but is loyal to the black community; She does not require physical and emotional security from men, thus, she resembles the Jezebel; She is angry, just like the Sapphire (Harris-Perry 187). This paper unveils the unfavorable impact of the Strong Black Woman (SBW) cultural identity in the Americas. The argument is centered on the effect of this cultural image on the private sphere, public sphere, and the health of black women. The paper also proposes

Charlotte Bunch once said “Sexual, racial, gender, violence, and other forms of discrimination and violence in a culture cannot be eliminated without changing culture.” Our society experiences all of these problems and I would like to focus on the gender perspective in the 21st century and how women have had more of an influence in music than people actually realize. Men have dominated the music industry and business but women have been the underlying reason as for why men and other females have been so successful in the music scene.

In her rhetorical essay “From Fly-Girls to Bitches and Hos” (1999), Wesleyan University graduate, music enthusiast, and feminist Joan Morgan claims that if a man cannot love himself, then he is incapable of loving women in a healthy matter, and it is up to women of color, the African American community and music to change these threads and heal the black community. As a feminist and black women herself, Morgan supports her claim by using ethos when questioning artists such as B.I.G and their aggressive lyrics, with logos by providing statistics from the U.S Census Bureau in regards to the decrease of the number of black two parent households, and also with pathos by providing a personal example of her family

In this essay I will attempt to underscore and celebrate Simone’s activist efforts through song and demonstrate the messages in the music about race, gender, and class.

The topic of femininity in pop culture is important today because women are still far from achieving equality with men socially, economically, and politically. Music is a huge part of everyday life and affects millions of people. The music industry is intertwined throughout many outlets of the media. From commercials, to television, to the radio, music is a part of everybody’s daily life. What is noteworthy about trendy music today is that the messages that the artists are singing about can influence the listener's behavior, even though they may not consciously know this. With many popular anthems being so influential in every aspect of today’s world, we have to closely look at the correlation between music and how this alters how people act in today’s culture. Those who’ve been closely following the trends in country music over the last few years have had a sense that songs that objectify and degrade women (“bro-country”) have been on the rise, but it was only anecdotal evidence that we could

When one hears the word “feminist”, many different things may come to mind. One may think of the “bra burning” feminists of the 1960s or the “riot grrrl” feminists of the 1990s. It can bring to mind issues such as abortion, birth control, and unfair wages. There are many different aspects of feminism, some of which are understood only by those involved in the movement. But like most things people are passionate about, feminism has held a strong place in music since its very beginning, and can be seen in its festivals, its politics, and in the average American’s everyday life.