Is There Pressure On Music Artists Be Successful?

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

She battled death and fame at the same time and is dealing with the repercussions 20

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.

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 study works to examine the use of sexual objectification of women in music videos today. The primary purpose was to examine the differences between genres, specifically hip-hop and country. I tested the following; Women are more likely to be sexualized in hip-hop music videos than in country music videos.

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.

(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

According to Mary Eberstadt, "contemporary adolescent popular music, especially the subgenres of heavy metal and hip-hop/rap, is uniquely degraded – and degrading – by the standards of previous generations." When compering music in the past and today, it is important to compere musical lyric too. Modern music is more aggressive and coarser than old music. Contemporary lyrics describe misogyny, violence, suicide, sexual exploitation, children abuse and other bad things. Mary Eberstadt explains the changes in musical lyric as a result of changes in society. Nowadays, music is not censored. In her essay "Eminem is Right," Eberstadt wrote about how Eminem is right in his songs because he understands the current family crisis that millions children

Popular music is often one of the best lenses we have through which to view our own cultural orientation. Many of the artistic and experimental shifts in popular music have mirrored changes in our own society. For instance, the emergence of Elvis Presley as a public figure would signal the start of a sexual revolution and the growth in visibility of a rebellious youth culture. Similarly, the folk and psychedelic music of the 1960s was closely entangled with the Civil Rights, anti-war and social protest movements. In this regard, we can view popular music as an artifact through which to better understand the time and place in which it is produced. In light of this, the state of popular music today may suggest troubling things about our society.

It is suggested that one of the reasons why artists use misogynistic lyrics in their music is that they have internalized the negative stereotypes about women that are prevalent in American society. African women were historically portrayed as animalistic sexual beasts and African males in a submissive role, giving in to wild instinct or bodily impulses. The internalization of such stereotypes may be a possible explanation of the hyper sexuality within certain hip hop music. Various authors have argued that misogyny is merely an outgrowth of the cultural acceptance of misogyny at large.

The media chooses to portray and sell sex, violence, drama and role models because it appeals to teenagers’ biological and evolutionary instincts. The excessive amounts of sex hormones being produced in teenagers boosts libido causing displays of eroticism to be very alluring. Scenes of action or violence release adrenaline and endorphins for emotional stimulation and teen idols like NSYNC and Edward Cullen portray the ideal mate for many girls. The music presented is mostly homogenous and simple to promote familiarity and emotional response. Had these businesses tried to sell celibacy, indifference and pariahs, their profits would have declined.

Most popular music today is driven by violence and sex. These musicians put out albums that glorify violence and promote causal sex. When the albums are being produced, the artist does not think of how it will affect the perspective merchant. When

The 1980’s consisted of several historical events and societal changes that have been relived though the lyrics of many young hip-hop artists. Of the numerous genres of songs, hip-hop has been labeled as of the most relatable genres. During this 1980’s, many of the songs that were written by male hip-hop artist tend to focus on the relationship aspect of male and female interactions. This finding is similar to what was stated in Frith’s article (1986) that most successful pop songs were about being “happy in love” and “frustrated in love” as well as having a sex interest (p. 78). Instead of using derogatory terms to describe women, men felt the need to use more delicate and gentle terms. Through their music, artists portrayed women as individuals who provide love, support, happiness and fulfillment to a man’s life. Furthermore, male artists portrayed themselves as men who weren’t afraid to express their emotions, admit their dependency on women, and their willingness to do what it takes to keep a woman. There were no signs of hypermasculinity or dominance in the first few songs

Women have consistently been perceived as second-class citizens. Even now, in times when a social conscience is present in most individuals, in an era where an atmosphere of gender equality 'supposedly' exists, it is blatantly apparent that the objectification and marginalization of women is still a major social issue. In reality, progression in terms of reducing female exploitation has been stagnant at best. Not only is the degradation of women a major problem that to date has not been eradicated, but it is actually being endorsed by some music celebrities. There are a growing number of people who purchase rap albums that support the fallacy that women are mere objects and should be treated as such. As the popularity of rap continues to

The popular culture of music has changed dramatically over the course of sixty five years. Since this time, new genres of music have been introduced, existing genres have changed, and fixed stereotypes have been associated with certain genres of music. Music has become a major part of popular culture, and is portrayed almost everywhere in first world societies, including on television, radio, at shopping centers, sporting events and in every area of popular culture. Music has become a major part of popular culture, and continues to strive and develop into more and diverse areas of culture.