The Song Released By R & B Singer

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.

You would think that girls would condemn this song, but most of the girls I know have this song on their spotify playlist. This song degrades women and explicitly promotes rape culture. This song does not say anything about Miley’s looks or personality, it reduced Miley to a piece of “ass” that Stitches is welcome to penetrate whenever he pleases. Stitches literally says “Ima put my d*** up in your ass and it ain’t coming out”. So how could so many people like a song that is literally about raping a celebrity? Normalizing this disgusting behavior contributes to violence against women.

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.

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

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.

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.

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.

During the documentary a scene was shot at BET’s Spring Bling and a young male pointed out that women are determined to be b****** or women by the way they dress. Sexism is an issue that to society is not seen as important compared to the large number of black males incarcerated. The issue should be just as important if not more because one in four African American women is raped after the age eighteen. Most women who are called a b**** or another demeaning name think that it wasn’t referred to them, and either way is still unacceptable. Hip Hop is not being represented by men, which is why the decision of their lyrics is said the way that they

The women are shown as satisfied just by dancing next to touchy and feely men. The lyrics send out the message that all women appear to be easy and lured by wealth/a good time, even though this does not represent all women. The lyrics also standardize men and make it okay for them to play around. It makes me consider how society emphasizes the fact that men are not powerful enough unless they are getting girls and making money. In a way, the lyrics open up the discussion on how the media normalizes unhealthy perceptions about gender roles and relationships.

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

Girls and women are taught that cat calls on the street are normal and to just brush it off. Women have to deal with rape culture every day. Women can’t be out and about at three in the morning in fear of being raped. When I went to Sear’s Driving School, the instructor told every single girl in the class to lock the doors as soon as we get in their car in case anyone tries to attack us or rapes us. Women are told to be mindful of what they’re wearing because if they are raped, someone is going to blame their outfit for being raped. Society has taught women that it’s normal to be seen as sex objects and nothing else. In the summer of 2013, “Blurred Lines” by Robin Thicke was playing in nearly every radio station. I have to admit that it’s a catchy tune and made me want to sing along. It’s when I started singing along that I felt disgusted. The song goes on to say “I know you want it” referring to sex. The song “Blurred Lines” focuses on the so called “blurred lines” that men face when being entitled to having sex with a girl. If rape culture didn’t exist, a song like this wouldn’t be so popular much less have ever been written.

For twelve weeks Blurred Lines was at the top of the Billboard 100 charts and could be heard thumping from speakers everywhere. Sung by Robin Thicke and featuring prominent rappers T.I. Harris and Pharrell, this track was proclaimed the anthem for summer 2013 . At the surface the song is seemingly harmless with a cheery rhythmic beat and catchy lyrics, but when examining the song and accompanying music video, Blurred Lines is anything but harmless. Dubbed “that rape song” by many discerning listeners, Blurred Lines is a song about the blurred lines of consent. With gems such as “You’re an animal, just let me liberate you” and “I’ll give you somethin’ big enough to tear yo ass in two” featured throughout the song it is astonishing how

A rapper couldn’t use a line describing what she did in the movie, let alone film it in a video, without getting heat for it” (Keyes 256). While some may choose to side with this argument, rap truly takes sexual portrayal of women in both music videos and songs to the next level.

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

Aguilera’s song is a prime example of third-wave feminism because it focuses on the inequalities of women as well as addresses issues about gender and sexuality. Not only does this song include third-wave feminism, it also includes the radical feminist perspective because it reveals the double standards we have in society today regarding what males and females can and cannot do. In “Can’t hold us down’s” hook, third-wave feminism is seen with Aguilera’s lyrics “This is for my girls all around the world. Who've come across a man who don't respect your worth. Thinkin' all woman should be seen not heard. So, what do we do girls? Shout louder. Lettin' 'em know we're gonna stand our ground,” (Genius, 2003). This hook demonstrates third-wave feminism because it encourages all women who have been disrespected by men in all forms to speak up for themselves. Moreover, Aguilera asserts that when men expect women “should be seen not heard” they must refuse to be silenced in order to make a difference. The radical perspective element of this song addresses double standards in society and encourages reciprocity. This element is portrayed in Lil’ Kim’s verse “Here's something I just can't understand. If a guy have three girls than he's the man. He can even give her some head, then sex her raw. If a girl do the same than she's a whore. But the tables 'bout to turn, I bet my fame on it. Cats take my ideas and put they name on it. It's aiight though, you can't hold me down. I got to keep on