Louis Althusser's Song 'All About That Bass'

In modern day society, popular culture has gained equal status to world issues and politics. Music, movies, and literature have started cultural revolutions and challenged the straight-forward thinking many individuals have accepted in the past. But while popular culture can advance new ideas and create movements, it also has the ability to challenge advancements society has made. Imani Perry’s essay, The Venus Hip Hop and the Pink Ghetto, focuses on hip hop and its negative impact on women and body image.

In today’s society, music controls the way we live our lives. The influence that music has on society has broadened throughout the years and with social media being one of the world’s top priority, the fan base and spectrum for music in general has expanded significantly. Music is used to express feelings, moods, circumstances, experiences, knowledge, and so much more. With this being the case, the lyrics of any song can be interpreted differently by each and every listener. Many song lyrics give positive messages, promoting well-being, whiles others give negative messages, promoting violence, criminal behaviors, sexual contents, and disrespect towards others. With this being said, music reflects what the public demands, and in many cases the negative messages are often times what sells more than those music giving positive messages.

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.

Joan Morgan, a self proclaimed feminist, loves the power that rap and hip hop offers. Joan, also a music writer, is exceptionally troubled by the disrespect of women in not only in the musical lyrics but also the music videos. In the June 1990 edition of Ebony Magazine, Charles Whitaker wrote an editorial addressing the problems American culture brought on by the hip hop industry. Even though, his editorial was published in the 1990’s, it is extremely clear Charles Whitaker saw the negativity brought along with “The Hip Hop and Rap Revolution.” Both authors loved the powerful energy the new hip hop movement brought along with its beginnings, dating back to the mid to late 1970’s. With that being said, the two authors, both had one recurring theme within their respective works, the evolution of hip hop and rap. In other words, both Joan Morgan and Charles Whitaker addressed the issues brought on by the change in the rap and hip hop industry over its short exists. Change is the absolute most constant thing in our world, whether it is positive or negative change that is uncertain, in both of the articles that change in hip hop and rap is demonstrated

When people think of popular music they think of party beats created for pure entertainment and nothing more. People do not see this genre of music as capable of anything else. The stigma of popular music only being a form of amusement for the mass consumer is challenged when artists use music to attract attention to social issues. This paper intends to show how music like Raï challenge the thought that popular music is only for entertainment.

The purpose of the essay, “From Fly-Girls to Bitches and Hos,” by Joan Morgan, is to not just address the issue of sexism in hip-hop, but to understand and dissect it. Jean Kilbourne’s major claim in “Two Ways a Woman Can Get Hurt” is that advertising has gained a spot where bodies are depicted as objects thereby normalizing attitudes that contribute to sexual aggression. Both these authors use rhetorical strategies effectively such as ethos, pathos, and logos as well as using key language and tone to target their specific audiences.

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.

An issue many have with Hip Hop music is it over-sexualisation of black women. Within hip hop music videos and the lyrics used to define women, are often portrayed in ways that calls for them to sexually satisfy men. Hunter and Soto (2009), highlighted that women in hip hop music are often characterised as sex workers. Their study coincides with Miller-young (2008), who argued Hip-Hop music has an obsession with portraying women as strippers in their song. She pointed out that Hip-Hop music is extremely misogynistic with males being shown as pimps whilst females are shown involved in sexual acts. This shows that within Hip-Hop music males are shown to be the dominating sex. This can impact on women negatively due to the fact hip-hop has become

This reading looks at the negative connotations and attitudes that are connected to the Black Females butt and how it defines their sexuality. Janell Hobson comments on the fact that society generally perceives black bodies as “grotesque” and connects this assumption to the ‘othering’ factor. The white body is what is deemed to be ideal and the pinnacle of beauty, the black female body is the opposite and something that is not to be desired. She goes on to talk about the focus on the black women’s backside in rap music. What it believed to be a celebration and acceptance for a black women’s butt in comparison to a white women’s, is in fact not the case. While white women are mocked for not having as large a butt, black women are still being

Looking back at when I was assigned to write this Rhetorical Analysis, I was excited. I was given the option of picking two articles or two songs to write about. Being a big lover of music, I took the opportunity to analyze and put into conversation two songs of my choosing. After contemplating over which songs I would be analyzing, I finally chose two and began to brainstorm. However, as I was brainstorming, I realized that one of the songs I chose, did not seem to be very fitting for the message I wanted to talk about. So, after a little more contemplating I chose a different one. The two songs that my Rhetorical Analysis introduce are “Roar” by Katy Perry and “Brave” by Sara Bareilles. I chose these songs because they do a fantastic job at sending out a strong message of self-empowerment. This is a topic that I feel strongly about.

On March 15th 2018, a famous artist named (Lil Dicky) presented the world with a song. This song would be a comical reference to the famous 2003 movie “Freaky Friday”. In the movie, two women magically switch bodies, until they figure out the key to switching back. Lil Dicky wanted to do this with another, more famous artist. He chose the rapper/singer/dancer Chris Brown. Chris Brown is widely known for his music, but also his not-so-easily-approved lifestyle behind the scenes. He has been rumored to have been physically abusing his partner at the time, being a bad father, and being criticized for his success. In this video, we have two very different people switching bodies, after both wishing they could have a “different life”. For this paper, I am going to focus on the Chris Brown aspect,

So if you’re happy with the way you look then you don’t need to worry about anything and you can flaunt yourself however you want to whoever you want. Also she shows the how much power a women has over a man when she mentions “spin him like a top”, Big hips are a sign of admiration for all the men. The poet explains to us here how men love her body size and she can spin any man like a top meaning that any man can be a lover to this pleasure-loving woman. Big bodies are considered by many people to be very attractive, sensuous, and even appealing. If a woman has confidence in her body then a man has more confidence in flaunting

Using “All About That Bass” as an entry point, I will analyze how “body positive” media perpetuates a “white feminist” ideology of who is included and targeted in their messages. For this analysis, I will look at three key themes embedded within the song’s lyrics and music video. First, I will discuss the song’s (cis)heteronormative basis for its “body positivity,” as well as how sexuality and fat politics are often paired. Next, I will analyze the function of the racialized body and what it means for Trainor, a white woman, to appropriate racial tropes for

. During the 1980s, the way Americans perceived homosexuality, race, and violence was challenged. In response, Prince’s eccentric and extravagant music style and attire dismantled conventional gender barriers of what it meant to be masculine and feminine in American society. Therefore, his musical creations set an example by pushing the limits of authenticity and self-expression. Prince’s fearless dedication to breaking down conventional expectations of style, music, gender norms, and conformity can be seen in his vocals, instrument choice, and lyrics. In the late 1980s, Prince was a music icon who blended funk, soul, pop, and hip-hop and presented his work in an androgyny atmosphere to advocate for racial and gender equality. His musical creations and appearance had disrupted the societal confines that fenced in the minority groups and pushed the limits of what it meant to be a black man. Prince’s distinct attire, extravagant performances, and persona helped contribute to a new music era of funk-rock and challenged the taboo concepts of the 1980’s. Prince’s musical work impacted society by encouraging wildly free and creative behavior during a time where it was not acceptable to be who you were. In this paper, I will analyze the auditory significance of two of Prince’s songs: “If I was your girlfriend” (1987) and “I Would Die 4 U” (1984). Analysis for both songs were based on music videos and a scene from Prince’s film, Purple Rain. In addition to these songs, Prince’s

Day 2: Mark and I got into a debate about Nicki Minaj’s infamous, “Anaconda.” I argued that her objectification of men and women is irresponsible, especially for young listeners. Mark countered by revealing that Anaconda is actually a feminist song, empowering women’s sense of autonomy, and that Nicki is not responsible for misinterpretations of her theme. He was right of course.