In her work entitled “Race/Gender/Media Considering Diversity across Audiences, Content, and Producers” Rebecca Lind guides a discussion regarding how influential media communications can be, fostering both positive images and powerfully damaging ones as well. While it is true that music videos may represent a harmless form of entertainment for people, an analysis examining the ways in which gender and sexuality issues impact upon perceptions is forthcoming in this paper. How are gender and sexuality representations depicted in various types of television programming, particularly in music videos? The research herein places the exploration to range from expressing how body images are covered in music videos, the messages delivered, and extending the analysis to include commentary on identity and power. According to Lind (2012) a great deal of what we deem as important emanates from the screen, and that in this “global” village and therefore media matters because “what we see, read, and hear does have some type of effect on us” (p. 2). This paper looks at several areas pertaining to the messages and effects of music videos including: (a) sexual objectification, (b) conceptual gender performance, (c) intersectionality of race and sexuality, (d) hip-hop videos in cultural art forms, (e) a classroom exercise in race and hip-hop, (f) seeing white as ‘race’ through a study of a hip-hop video, and (g) sexual influences and attitudes’ impact of music videos.
While perusing the material herein it is important to keep in mind that one brief, yet potent statement: Media matters. Some social scientists may argue and assign that it is possible to objectively evaluate media images, but although researchers maintain a neutral position, Lind (2012) posits that we are all affected by media content which ultimately helps to “maintain a status quo in which certain groups in our society routinely have access to power and privilege while others do not” (p. 2). Therefore, having established a basis for continuing towards a cogent analysis, first examined centers around how sexual objectification is reflected in music videos. Turn on MTV, or VH-1 and when you view many music videos the major themes communicated seem to be focused upon sex, violence, drugs, and money in terms of material gain – by any means necessary. Notice however, the roles depicted by women and men in these various musical venues. How are men portrayed? What do the images of women seem to convey? In a study recorded in a journal article giving an analysis of music videos in media, Cynthia M. Frisby and Jennifer Aubrey (2011) noted that “Compared to male artists, female artists were more sexually objectified, held to stricter appearance standards, and more likely to demonstrate sexually alluring behavior” (p. 475). The researchers referred to these themes as pervasive, and not as sidebar depictions. In other words, women are expected to look supremely and sexually attractive while engaging in alluring behaviors, and fail to be portrayed as having any value other than that of sexual objects. Aubrey and Frisby (2011) insist that music videos provide “fertile grounds” for an examination how gender and the sexualized objectification places women in media overall (p. 476). Although other studies have noted this reality, the researchers tried to fill literature gaps by also discussing how the objectification is employed.
The framework of how music video media accomplish this outcome demands a basic definition of what objectification is, in the first place. According to Aubrey et al. (2011) objectification is when a person, having little agency (control over a situation) is driven through various action in having their body – or body parts – treated in a manner for consumptive viewing, whereas the music videos’ filming invokes “camera shots” that “linger on bodies” rather than upon the individual’s face. Thus, the message drives home the point that someone’s personhood in terms of a whole human being, with spiritual and mental nuances, in unimportant. The gaze rests upon the buttocks, breasts, or a collection of body parts thereby regulating “him or her to the status of objects” (Aubrey et al., 2011, p. 480). The scenario categorizes all that is biological. The researchers determined that this situation is especially prevalent in rap music videos wherein females’ main role is to ‘flank’ males while dresses in as sexually suggestive clothing as possible. The representation, serves as the primary function and is prevalent among younger people. The context in music videos to this end, or within this framework, mostly shows women as models or dancers via the channels of excessive skin exposure and body gyrations.
The performance in music videos renders a specified aspect. Obviously, this conceptual gender performance promotes sexual stereotypes: All women are easy sexual targets, or all men are good for is sexualized skill and domination. In a study and content analysis exploring gender performances in music videos, after a perusal of some 34 music video clips, Wallis (2011) states that men are stereotyped as aggressive, when women are primarily depicted as subordinate sexual objects – thereby, reinforcing the implications “of music videos’ portrayal of stereotypical gender displays and their role in the construction and maintenance of the gender status quo” (p. 160). In terms of maintenance of the ‘status quo’ the study found that American culture in particular persisted in “gender and racial stereotypes in music videos” which basically tend to send certain messages about minorities and women (Wallis, 2011, p. 161). What is the big deal, some may ask? The problem here (and keep in mind that media is doing work) is that these images are being projected all over the world, rampantly available through YouTube and shared among smartphones delivering hyper-sexualized images of young black women in particular.
In terms of the video performance, Wallis admits that music recording production companies desire to fulfill a successful marketing campaign in order to sell more, and promote their artists – but at what expense to society? The Wallis article also emphasizes the importance of encoding and the non-verbal behavior and silent gestures occurring in music video performances, because they are such powerful subconscious indicators informing viewers’ awareness. Wallis thinks that when the verbal message in the videos conflicts – or directly contradicts – that the nonverbal message will reign as the most potent, or powerful. For example, in music video media women were found to smile more often than men, suggesting that any objectification occurring is acceptable.
So far, the discussion has taken a path of looking at underlying assumptions in sexualized gender roles, objectification, and performance situations. But what stereotypical roles concern race? In other words, where do the crossroads of intersectionality flow in how race and sexuality meet? As Lind might suggest, racialize stereotypes predict expectations in behavior of those of a certain ethnicity or gender. In one erudite article Turner (2008) discusses how mostly African-American women are graphically depicted in music videos, in terms of sexualized objectification, as strippers, eye candy, and dancers all within a rubric of roles relegated to those of “background performer and sexual objects” (p. 14). In reference to a particular show airing on the BET television channel, Turner had correlated such explicit content to ‘BET: Uncut’ which due to ensuing controversy and complaint was removed from its programming in 2006.
However, despite the cancellation of certain shows as aforementioned, the damage had been done. Turner pointed out and suggested that the ‘Uncut’ programming, in a sampling of a comparison to traditional music videos, pushed the envelope in racializing sexual stereotypes depicting “significantly more sexual content” than videos current at the time (in 2005) and asked if the characters in the specified ‘Uncut’ videos were “more likely to dress in provocative clothing than characters from the five major video channels” (Turner, 2008, p. 14). Utilizing the show as a basis for methodology only the hip-hop (or rap) style of music videos were considered. Some of the elements of scale included touch behaviors like kissing or hugging, sexual innuendo, non-sexually aggressive body contact, masturbation, and prostitution. The study’s concluding results showed that sexual content comprised over 90 percent of the material in the rap music videos as compared to approximately 73 percent of mainstream ones, according to Turner (2011). The study clarified that the rap videos were made up of “almost entirely African-American (90.9%) males” with a 55 percentage of mixed-ethnic females, in which the women basically functioned as ‘wallpaper’ (Turner, 2008, p. 17). Nevertheless, in a statistical analysis it was revealed that the female wallpaper characters were significantly appearing in sexually provocative dress – twice as much – as their mainstream music video counterparts. What one can possibly conclude is that hip-hop music videos routinely both sexualize and racialize stereotyped depictions of young men and women. What does this mean, in terms of all the elements represented in rap music videos?
Other aspects of rap music videos involve aspects that further correlate to different areas in the realm of communication. Sheng Chung (2007) looks at hip-hop music videos as “powerful aesthetic agents that inspire teenagers,” having “a tremendous influence on young people’s identity formation, lifestyle choices, and knowledge construction which are manifested” in the ways kids act out (p. 33). At this point it is imperative to highlight the fact that younger and younger viewing audiences are exposed to all types of music videos, given the digitalized media stance that worldwide society has emerged into. Once again, at this juncture remember these two admonitions: (1) Audiences are younger and younger being exposed to increasing rates of age inappropriate, sexually suggestive (and racist?) music videos, and (2) Media is doing work. In recognition that homophobia, race, and sex touch upon controversial waters Chung (2007) posits that rap-music videos perpetuate messages of “gender stereotypes and discrimination” that attempts to “normalize unequal social behavior under the label of art” (p. 33). Strikingly interesting, this notion bears the need for a bit more digging into.
What is Chung’s point, you may be asking to yourself? Since art educators frequently emphasize the relevancy and importance of contemporary cultural aesthetics, in visual media learning, there needs to be a critical discussion of how hip-hop music video images foster the shaping of “future citizens’” engagement in deconstructing their meaning – in highly sexualized content (Chung, 2007, p. 33). In other words Chung is concerned about the over-glorification of sexualized behaviors portrayed, in art education and its influence on social behavior among children/youth. The sheer popularity of hip-hop musical culture has invaded visual media everywhere, not just in the music videos – and has sustained a sort of ‘spider-web’ effect, if you will, spreading all across the Internet, billboards, and magazines. Chung (2007) explains that there is no denying “Hip-hop culture offers youngsters everyday aesthetic sites that propel them to seek excitement,” fulfillment, and “a sense of identity and belonging” (p. 34). Mind you, since this discourse does not hold a purpose to announcing the ‘evils’ of televised media, the reader must be reminded that a great deal of good has driven media content. Lind (2012) has expressed the fact that “American Idol,” for example, heralded a give-back campaign contributing to a number of charities, as well as the AMBER Alert System saved many children’s recovery from kidnapping.
However, Chung’s point is well taken. Chung (2007) is worried about young girls’ being constantly berated with sexually-driven content in hip-hop videos and their messaged themes of women willing to do anything for their men, and the prevalently negative depictions of American blacks having a detrimental effect (p. 34). Beyond the early sexualized influenced upon a young class of citizens, Chung wonders about the racialized ideals of beauty being portrayed in rap videos of longer hair, and lighter skin tones setting (or representing) the standards – and what it means for young girls of color. As Chung ponders the influence of hip-hop music video culture on the young in education and beyond, Robert Stein holds thoughts of his own regarding the usage of a hip-hop music video to make a socio-political point in the classroom, as an exercise. Stein analyzed the notion of ‘white-privilege’ and the idea of ‘whiteness’ as a racial identity by examining the music video by a group called Dead Prez, in “Hell Yeah.” And what was Stein’s point in creation of the exercise? He wanted to teach that most white students do not think of themselves as a ‘race’ – therefore, are removed from the idea that they do indeed represent an element of racialization. For example, Stein (2011) states “When one does not think of oneself in racial terms, one cannot see privileges associated with one’s race. As claims that we are entering a postracial era multiply, the privileges that accrue to whiteness are likely to recede still further from the consciousness of many white students (and white people in general)” (p. 312). In any case, Stein uses the video “Hell Yeah,” wherein a white, clean-cut family takes a wrong turn in an intention of heading (presumably) out of town to the Miami airport.
Consequently, the white family steers their car into a broken-down ghetto-type neighborhood where they are accosted and have their vehicle stolen. What looks like a gang of black males, the music video continues with looting kinds of behavior by the black males, using fake or stolen IDs, robbing and stealing to get lots of money, and so on. The places where they live is depicted as dirty, and very poor – and throughout the video, the rapper’s chanting theme is “hell yeah!” Although Stein’s intention is to have used the music video as an instruction to white students that indeed ‘white’ is a racialization, too, just as much as ‘black’ is the video makes a stunning revelation at the end. The scene suddenly switched, in the last few minutes of the video, as if it were a dream, more like a nightmare. A young black man, in what appears to be traditional African dress lays on the beach with a harem, albeit presumably of a royal clan with a turquoise ocean in the background – speaking another language. The socio-political implications are that the negative images were a product of negative social engineering over time.
In conclusion, the sexual influences and impact on attitudes that music videos inspire cannot be ignored. Kistler and Lee (2010) conducted a study on communications using hip-hop music videos to gauge how its impact would affect the sexual behavior of college students. Their findings indicate that males exposed to hip-hop music videos were more prone to objectify women in their behavior in sexualized ways. The researchers Kistler et al. (2010) concluded that “Media can be powerful agents of socialization in the lives of young people, particularly on sensitive topics such as sex and sexual attitudes” (p. 84). However, they did not believe that all young people would follow the dictates of what he or she viewed in the music video media. Lastly, Dr. Diane Levin appeared in an interview on the psychological, family, and societal effects of increasingly younger viewers becoming sexualized via media, in commenting on her book authored with Jean Kilbourne entitled ‘So Sexy So Soon: The New Sexualized Childhood and What Parents Can Do to Protect Their Kids. Stein says that when boys dress-up as an aggressive male character (like Batman) and confront a two-year-old girl child dressed up what looks like a whore – that children are receiving and acting upon messages they receive in media. Stein says children are “especially vulnerable” to these images (“So Sexy So Soon”). One recommendation made, in the conversation, is that families turn off their televisions while eating dinner even though the reality flies in the face of this innocuous suggestion.
Nevertheless, music videos in the digitalized society will continue to condone what they condone. The task to question balance in accepted music video portrayals must be embraced by anyone concerned about the pervasiveness in messages, remaining cognizant of what we are learning when we view them. Intersectionality, racism, sexism, and hip-hop music culture must be collectively examined in terms of the gender roles they display in media communications.
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