Spill The Tea Sis\u27: Misogynoir\u27s Problem And Black Women\u27s Support, Narratives And Identities Found In Love & Hip-Hop\u27s Reality Tv Franchise

Love & Hip-Hop (LHH) is known to be the highest rated reality TV show, producing more than 400,000 viewers on the season premiere of Love & Hip-Hop: Miami and continues to be one of the most talked about cable series across Facebook and Twitter (Etkin, 2018). Considering the demographic that LHH speaks to, 74% of women between the ages of 18-49 tune into LHH weekly and 81% of viewers are Black with an average media age viewership of 36 (Etkin, 2018). Additionally, this study explores the ways in which misogynoir is fluid in the performances of the characters on VH1’s Love & Hip-Hop (LHH) and how the characters and viewers claim agency and space through their involvement in the Hip-Hop industry and social media. This study will investigate the new phenomena of emerging hip-hop reality tv culture and its nuance in Black women’s involvement in Hip-Hop that defies respectability politics

Don\u27t Judge a Book by its Cover: An Ethnography about Achievement, Rap Music, Sexuality & Race

The purpose of this ethnographic study was to explore how youth consumption of rap music informed their ideas of gender, race, sexuality, and education at a local community center in Atlanta, Georgia. The participants in the study were comprised of three male and six female Black students from working class families, ranging in age from 13–17 years old. The data collection process included 60 formal interviews, 55 informal interviews, 27 focus group interviews, 103 participant observations, and document analyses of media materials. Atlas.ti: The Knowledge Workbench (2003) assisted with the organizing, coding, categorizing, and interpreting of the vast amount of data. Findings from the study revealed four major themes: (a) youth’s engagement with rap music fostered essentialized notions of Blackness, (b) teens believed that Blacks were intellectually inferior, (c) youth perceived their classroom teachers as racist and (d) youth responded to their teacher’s perceived racism by disassociating themselves from youth they believed to be academically inferior. The findings of this study addressed the need for candid dialogues about race in the classroom and educational policy that incorporates critical media literacy

Objectification of women in the new shaa\u27by song

The Music industry has been a prominent cultural and a communication method throughout the past two decades, with a lot of genres emerging every day. In Egypt, the cradle of civilization has always been innovative with its musical ideas, which helped in the birth of a music genre, Techno-Shaa\u27by -“also known as Mahraganat - which is a mix between old Folk/Shaa\u27by music and modern instruments, such as rapping and auto-tuning. However, not all creative ideas are positive. Most of the lyrical content of Techno-Shaa\u27by Music is about women, women sexualization and objectification. Therefore, this study aimed to understand how the lyrical content affects youth on and how the music is branched within the genre. The study suggested two hypotheses, one was; the more youth listen to this genre of music, the more they tend to objectify women, and two; there is a difference between males and females in perceiving objectification in this genre. Hence, the study conducted a survey on 150 university students and a content analysis on 25 tracks. Nonetheless, the hypothesis was rejected due to the correlation tested which resulted in (r= .043) and (P= .608), meaning that the correlation between both variables is statistically insignificant, as well as rejecting the second hypothesis as there was no difference between males and females in perceiving objectification in Techno Shaa\u27by songs. On the other hand, the content analysis showed that over 80% of the Mahraganat music under the women theme talk about women and their sexuality

Pop Music Lyrics Are Related to the Proportion of Female Recording Artists: Analysis of the United Kingdom Weekly Top Five Song Lyrics, 1960-2015

Previous content analyses of pop music have considered the prevalence of misogynistic portrayals of interpersonal relationships but have used relatively small samples of music, and often neglected musician gender. Because cultural depictions create individuals' musical identity, we expect the musical norms identified by previous content analyses to be reflected by lyrics produced by males and females. The lyrics of all 4,534 songs that have reached the United Kingdom's top five singles sales chart between March 1960 and December 2015 were computer-analyzed to consider the association between 40 aspects of each and both the proportion of females who recorded each song and the gender of the vocalist. There were few associations between the lyrical content and vocalist gender. However, the proportion of all musicians who recorded each song who were female was associated positively with the lyrics containing words indicative of inspiration and variety and negatively with the lyrics containing different words, and words indicative of aggression, passivity, cooperation, diversity, insistence, embellishment, and activity. Songs recorded by a high proportion of female musicians described a wide range of subject matters in the context of abstract virtues, whereas songs recorded by a high proportion of male musicians were more likely to address stereotyped concepts of adolescent masculinity that were positively and negatively valanced

From Dreamers to Dangerous Women: A Shift from Abstinence and Hypersexuality to Sexuality with Shame in Pop Music Listened to by Tween Girls in 2006 and 2016

This thesis contains a comparative study of the most popular female artists or femalefronted groups among tween girls in the years 2006 and 2016. During the tween years girls construct their identities, develop sexual beliefs, and interact with potentially influential media texts.1, 2, 3 Based on survey data of fifty-seven female students ages twenty to twenty-four in a mid-Atlantic university, Hannah Montana/Miley Cyrus, Hilary Duff, and The Black Eyed Peas were remembered as the musical artists they most often listened to in and around the year 2006. An analysis of the music videos, lyrics, and public personas of these artists showed a dichotomy in representations of sexuality with no middle ground; while The Black Eyed Peas displayed a hypersexualized version of female sexuality that objectified women and commodified female sexuality, Montana/Cyrus and Duff expressed little to no sexuality in their music and spoke publicly about wearing purity rings and/or virginity. The 2016 survey, which asked sixty-two female students ages ten to fourteen in a mid-Atlantic suburban middle school to name their favorite musical artists right now, found that Ariana Grande, Selena Gomez, and Taylor Swift were the top three choices. Ariana Grande presents her sexuality as something that makes her a “dangerous woman” and a “bad girl.” Selena Gomez’s sexuality gets her into trouble. The sexuality displayed by Grande and Gomez often caters to the male gaze. They also claim to be unable to control their sexual desires. Despite their public statements about feminism and female empowerment and the neoliberal, third wave feminist discourse that often deems any sexual choice a woman makes an inherently feminist choice, the sexuality presented by Grande and Gomez does not fully challenge patriarchal views. Although their music is more sexualized than that of Montana/Cyrus and Duff, and less objectifying than that of The Black Eyed Peas, Grande and Gomez associate their sexuality with shame, which may be an enduring effect of the media focus on virginity and purity discussed by the 2006 acts. Contrastively, Taylor Swift presents her sexuality as something she controls, without shame, and with a prioritization of her own sexual desires. Swift’s empowered sexuality does not exist without backlash, though; I argue that the public slut-shaming that Swift experiences is a response to her more feminist sexuality, despite her music videos and lyrics being less overtly sexual than that of Grande and Gomez