Identity and Women Issues in Pour it up by Rihanna

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

Director Sut Jhally, in his documentary film, “Dreamworlds 3: Desire, sex, and power in music videos”, analyzes the issue of how women are portrayed in the music world. Jhally, in his film argues how music and media has become a proud industry when it comes to advertising women, all for the benefit of popularity and record sales. Jhally believes these videos both inform and misinform our culture about our dominant attitudes regarding femininity masculinity, sexuality and race. He uses an empathetic tone in order to appeal to pathos, the feelings and experiences in women when he presents video clips that are somewhat offensive to watch as proof that women have become a common necessity shown in music videos. Often presented as being sexually aggressive and submissive, being objectified by men. He also intentionally wants to try to stir up emotions as he introduces song lyrics of women being called inappropriate names and images of women being fondled by men throughout the film. Sometimes, aggressively without consent.

Feminists that approach analyzing popular culture proceed from a variety of theoretical positions that carry with them a deeper social analysis and political agenda. Popular culture has been a critical part of feminist analysis. “Cultural politics are crucially important to feminism because they involve struggles over meaning” (Storey, Intro 136). Analyzing a piece of pop culture through a feminist viewpoint, whether it be a music video or any sort of media, opens up a broader discussion about the structure of our patriarchal society and the ways in which politics are constantly portrayed and

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

As she grew up into a superstar, a massive amount of ordinary people started to take interest in her lifestyle. In the sociocultural perspective, the state of gender impacts the way a person acts (Rathus, 2010). As a female celebrity, the media exploits her body image for other viewers. According to the American Sociological Association, media outlets “report on celebrities’ bodies and fashion styles, sometimes offering a price and purchasing information to assist imitative consumption” (Kurzman, 2007). For Britney, the paparazzi feeds on her lifestyle for the demand of people interested in the life she lives. Due to the capitalist mindset of the media, Britney felt that she had no escape from the bombardment of other people. The environment of a popstar evidently shows factors of stress that caused her outrages.

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 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”.

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.

In the music videos, I saw women being mistreated. I can’t knock someone’s hustle but I don’t think artists need to take their videos to the extreme. I didn’t feel like Biggie, Tupac, and Cash Money [popular artists in the early 90s] were as fixated on the women. They were more about showing off their money and cars, and clothes. (Roberts-Douglass & Curtis-Boles, 2012, p. 10)

In the text Adorno and Horkheimer primarily focuses on the issue of art such movies, radio program and etc becoming a commodity and the fusing of the market and art areas. The criticism of the culture industry stems from the fact that for Adorno and Horkheimer culture held the answer for liberation, however the mass produced culture that they found in America was instead enslaving people. Adorno and Horkheimer’s argument regarding mass culture produced products and its effects and commoditization of art remain important to contemporary society because these issues have continued to have a negative effect on contemporary society this can be observed by analyzing contemporary mass culture products such as television, movies and the internet.

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

Throughout history, music has been seen as a medium in which different people all over the world can relate. Adorno criticizes, however, that songs that have the most “hits” on the top music charts or are most listened to, otherwise known as popular music, are being produced for and consumed by the masses as a commodity. He identifies popular music as being a part of a culture used for capitalism, and that we as listeners, are falling into a trap in which we believe songs have individuality and that we have the freedom to choose what we listen to. He argues that in reality these popular songs are all standardized and made to seem different through various elements that are added. In this paper, I will display how Adorno’s critique of popular music being used for capitalism applies to the song,1-800-273-8255, by hip-hop and rap artist Logic, through its standardized elements in both its content and marketing; however, I will argue that although it contains these elements, the audience is actively listening and responding to the song as it brings awareness to mental health and suicide prevention that is changing and saving lives all around us.

This essay will evaluate Adorno’s critical attack on popular music. The essay will briefly provide some context on Adorno. Adorno claims that “listeners are made not born”, thus listening is a cultural practice, in which modernity has transformed into a profit (Adorno, 2002:248). By this, the essay will begin by focusing on the broader idea of the culture industry, in terms of commodities and popular music as not being critical. Following on, particular focus will be given to three main areas which convey Adorno’s criticism of popular music. These being, the musical form under standardisation, pseudo-individualisation and regressive listening in terms of escapism. Standardisation will be evaluated in structural terms, and critiqued by Middleton (1990) and Witkin (2003). Adorno’s critique of popular music can only be understood in relation to his analysis of serious music, therefore, the essay will focus on both types of music. Adorno’s criticisms of popular music and critics of this criticism, will enable for a conclusion to be drawn on whether or not I agree with Adorno’s claims on popular music.