The Song ' Die A Happy Man ' By Thomas Rhett

To live deliberately is to study one’s self, and live with purpose and intention. Living deliberately means living consciously, we should attempt to learn everything possible from our environment and the people around us. Living deliberately is the opposite of living passively. One must realize they have the choice to do as they please at any given moment and must not live out of habit. Making active decisions is a key defining point of living deliberately. Into the Wild’s Chris McCandless lived deliberately by living on the edge of society, gaining new knowledge from nature and the people around him, and fulfilling his overall purpose with a simple life.

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.

Robin Thicke’s music video to his song “Blurred Lines” avidly contributes to the patriarchy, while portraying sexism, gender standards, and beauty standards. His music video can be analyzed from a feminist theory approach, as it’s evident that his song and video contribute to a patriarchal society and its inherently sexist and sexualized ideologies. The ideology behind the song and music video is purely sexual and about male dominance. The lyrics to the song and actions in the video exhibit extreme over sexualization and objectification of the women. Analyzing this piece of popular culture through a feminist approach opens up a provoking conversation about how popular culture functions in a patriarchal culture. Analyzing pop culture though a feminist theory can allow for a larger variety and more in-depth analysis about the social aspects and political agenda within popular culture.

The lyrics of a song often have no substance and a clear example would be any Britney Spears song. The lyrics of “All Falls Down” are very deep. They talk about the ideal situation in life; We should go to school, get a good job and make money to buy what we want. The lyrics then ask, what if this doesn’t happen? This is prevalent in the first verse. “She has no idea what she doing in college. That major that she majoring, it don’t make no money.” The song questions these everyday values because we focus so much on these things, we don’t realize there are more important things in life such as life itself. Even Kanye admits that he spent money at Jacob’s Jewellery store before he thought about a house. “I went to Jacob with

Since its inception, country music has proven to be? as a powerful outlet to express the view of the contemporary culture. As a result, the lyrical value of such songs provides listeners an insight to the changing climate of social and political ideologies. During the 60’s defined gender roles dominated social lifestyle and was were? mimicked in music. In recent years, a resurgence of idealistic, stereotypical gender-specific roles have cropped up in country songs, creating a subgenre labelled “bro-country.” Jody Rosen of the New York Times first coined the term “bro-country” in order to describe songs that use lyrical tools idealizing dominant, hegemonic gender roles present in culture. Songs such as Tim McGraw’s “How I’ll Always Be,” Luke Bryan’s “Huntin’, Fishin’, Lovin’, Every Day,” Sam Hunt’s “Make you Miss Me,” and Dierks Bently’s “Different for Girls” use the lyrical discourse, under the lens of “bro-country”, to highlight dominant, male gender-specific roles, while simultaneously reinforcing prominent, often negative, views of women.

Death Be Not Proud by John Gunther was an astounding book. Granted, it was a bit depressing, but it was a great book because I could relate so closely to the author. The trial of a loved one going through cancer is something I can relate to. Fortunately, my story turns out a little bit better than Johnny’s did.

Country music has proven as a powerful medium to express the views of the contemporary culture. As a result, the lyrical value of such songs provides listeners an insight to the changing climate of social and political ideologies. During the 1960’s defined gender roles dictated social lifestyles and were mimicked in music. In recent years, a resurgence of idealistic, stereotypical gender-specific roles have cropped up in country songs, creating a subgenre labelled “bro-country.” Jody Rosen of the New York Times first coined the term “bro-country” in order to describe songs that use lyrical tools glorifying prevailing, hegemonic gender roles present in culture. Songs such as Tim McGraw’s “How I’ll Always Be,” Luke Bryan’s “Huntin’, Fishin’, Lovin’, Every Day,” Sam Hunt’s “Make you Miss Me,” and Dierks Bently’s “Different for Girls” use the lyrical discourse, under the lens of “bro-country”, to highlight dominant, male gender-specific roles, while simultaneously reinforcing prominent, often negative, views of women.

Songs like Blurred Lines are a reminder to those who have had the traumatizing experiences that are described in the lyrics, and that are taken for granted within them. Artists are throwing abusive lyrics around without realizing effects of it and gaining popularity while listeners are blindly taking it in, especially in the case of Blurred Lines when it was one of the biggest hits in 2013. If audience had been more aware of what was said in the song, then it might not have been as popular. The next case of negative sexualization in lyrics is in the song What Do You Mean? by Justin Bieber. This song is about Bieber trying to decipher a woman’s emotions towards him, wanting a straight answer.

Making someone cry is the easiest job but someone get an uproarious laughter is a tough job. Only some are successful in doing this and Rickey Smiley undoubtedly makes up to this list. But so much to do and all by a single person. While for his salary is definitely for all the multiple roles he plays doing total justice to all his hard

There many famous songs that are about accepting your body, moving on from your mistakes, and believing in yourself, which do not exploit women in a negative way. Yes, there are songs that objectify women in sexual ways, but there are so many more songs that have positive

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

My next song for analysis is, “ Sex, Yeah” by Marina Diamandis. The song begins immediately by mocking modern day pop culture. Just about every song you hear on pop radio is about sex. Marina repeats the word “sex” to lead the listener into thinking it’s another overly sexualized, shallow pop song. This first line, however, is pure satire and takes a direct jab at the shallow tendencies of today’s music.

Life is full of loss and you cannot avoid experiencing it and well as sorrow. As people grow up they come to realize that the world is not as it seemed to be when they were younger. They get more independent and their perspective of life changes. They will have to realize that they are not going to live forever. In the short story The Hurt Man, written by Wendell Berry and published in 2003, we meet Mat who learns all of this.

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