Gaga Gender Roles

The content examined in this paper will be the lyricism and music videos involving women, and how it relates to the differences in the portrayal between men and women in Hip hop. Several male artist will be used to analyze how the genders of men and women are portrayed in the hip hop music industry.

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.

Intro: Like various art forms such as film, television, and literature allows artists to express their own sense of identity, that being nationality, race, class, ethnicity, gender or sexuality. In this case, Queen uses music to illustrate the themes of gender and sexuality through their music video I Want to Break Free (1983). This essay will attempt to discuss how Queen’s music video, I Want to Break Free, explores queerness in relation to queer theory. Firstly, I will introduce the ideas and arguments of queer theory through Gilbert Herdt article Same Sex Different Cultures (1997). I will then discuss Queen’s portrayal of drag within the music video and how it can be seen as queer rather than heterosexual. Lastly, I will argue that

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

Rock ‘n’ roll presented us with the emergence of a cultural phenomenon, which the book lays out for us. Altschuler sees rock as a “metaphor for integration, as the focal point for anxiety that cultural life in the U.S. had become “sexualized”, a catalyst

Women have decided to consume hip hop regardless of the sexism and machismo of their rap artist spouses. Historically, black women who have sex with other women haven’t been recognized in the Black community. Also, the expectations are the same in hip hop culture because men reject lesbians. An example is the murder in 2003 of Sakia Gunn after she declared her lesbian identity to a group of males. We all know that in hip hop culture men predominate and precisely masculine. Women can achieve a higher professional success than men regarding no matter their sexual orientation. In other hand, women represent different controlling images like the whore, the mammy and temptress. Homophobia in hip hop is translated into forms of oppression, discrimination and violence for gays, lesbians and transgender. “Black women rappers interpret and articulate the fears, pleasures, and promises of young black women whose voices have been relegated to the margins of public discourse.” Their voices are in constant dialogue with the public and men rappers about sexual promiscuity, emotional commitment, infidelity, the drug trade, racial politics and black cultural history. If we pay close attention to female rappers, we will notice that they address questions of sexual power, economic opportunities and the pain of racism and sexism. Women rappers has been promoted as sexually progressive, antisexist voices because of “an understanding of male rappers as uniformly sexist.” Discussions of women

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.

Even though it deviates from traditional patriarchal culture, women like men have sexual needs. The traditional sex script shows men as aggressive and women as passive. Yet, although viewed as negative, the Jezebel image shows women expressing their sexual needs and desires. The music group TLC and poet Maya Angelou popular culture expressions positively express women’s sexual needs. In one of their early songs “Ain't Too Proud to Beg”, TLC positively tells the story for African American women who are comfortable with expressing their sexual needs. They see it as natural and a given right to be participants in their sexual experience. In a more subtle tone, Maya Angelou poem, “Phenomenal Woman,” speaks about a women’s ability to attract men. The woman in Angelou’s poem is not hypersexual like the standard depiction of Jezebel; instead, she is confident with herself and her sexual needs. The notion of women’s sexuality is not negative or unholy. TLC and Maya Angelou both manage to express a positive reality of a long-standing negative impression of women’s sexuality in their popular culture

Nowadays, certain style of music are becoming more involve in our society than others. For instance, the R&B and Rap/hip pop are now getting the top on the Medias. We will try to explore those music’s gender. We will try to understand why and how they are what they are now?

Everyone loves music, don’t they? Or at least grow up listening to it? I Sold My Soul to Rock and Roll by Kristina Grey, the text I read, made Rock and Roll seem controversial to the general knowledge I already had on this "loud" and "raucous" music. In my head, rock stars had crazy fun nights and partied on every tour they adjourned. However, Grey expressed how the lives of males in Rock and Roll were, because of this I agree that women are not portrayed accurately in the category of “white music," and I say this because I am studying women's feminism.

The late 60s and 70s was still a time period of a male dominated, sexist culture, and in the music industry, women relied heavily on male producers. Although the youth were proclaiming sexual freedom, and forming a counterculture against their middle class parents, rock music was still written and performed almost entirely by men, with lyrics that heavily labeled women as objects. There was also the inference that many of the existing female singers were fairly interchangeable. Feeling a need for transformation, artists like Janis Joplin created their own musical identity. Popular songs had told women that they were sexual objects, but Joplin delved deeper than that in her lyrics. Joplin spoke of the pain of being a woman and how to live with and compensate for that pain. Most female musicians weren’t accustomed to the independent formation of identity portrayed by Joplin’s lyrics, and that identity as a

Music has described and impacted our culture as far back as we can record. From ballads to hip hop, music has not only told stories about the singer, but also, and perhaps more importantly, about the time as well. The 1960 's was a time known for it 's anti-war movement and it 's drive for sex, while the 1990 's became an era of nostalgia (especially for the current adult generation) and melancholy ballads only subdued by birth of "bubblegum pop." In our current century, music has become a forefront for young adult 's emotions. In this essay, I will contrast how young adult views on politics, sexuality, and the future impacted the music of the 1960 's and the 1990 's.

Music is known to be one of the most universal forms of self expression. Artists from different genres provide different models for expressing gender identity through their music.

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.

Sally MacArthur’s’, ‘Towards a Twenty-First-Century Feminist Politics of Music’ develops a new way of thinking about the ever-revolving subject of women’s music. It doesn’t exactly aim to find a solution in a feminist sense – as if to say there remains a problem, but continues to discover new potentialities and new possible outcomes for thought and possibly action. Sally Macarthur encourages us, with the assistance of Deleuze’s thoughts, to begin the important work of imagining and discovering what else might be possible, although no in the order to provide linear answers but to open up the great unknown. Macarthur begins her argument in the context of the current dominant neoliberal practice. She goes on to argue that women have commonly