Gender representations in R&B music videos interests me, because some contemporary R&B videos challenge gender stereotypesand this provides new messages to contemporary audiences. Feminism is an equal rights movement for women and we are thought to be in a post-feminist era where women have gained equality. However statistics show that ‘a man is still likely to earn more money than a woman, even one doing the same job’ [1] and ‘30,000 women in the UK lose their jobs each year due to pregnancy, but there are virtually no consequences for a man when he becomes a parent’ [2].The R&B music videos I am looking at will explore the changes in traditional gender roles starting with Aretha Franklin’s ‘Respect’, then using Neyo's ‘Miss Independent’ and Rihanna's ‘Hard’ to demonstrate that men and women don’t have to conform to their traditional stereotypes. Stereotypically in the media ‘Men were much more likely to adventurous, active, and victorious, whereas women were more frequently shown as weak, ineffectual, victimised, supportive, or laughable or merely ‘token females.’[3] Some media texts challenge these stereotypical gender representations. I think my research will prove that it’s more acceptable for a woman to be represented as masculinethan a man to be feminised becausethere is more social stigma. This is supported by Roland Barthes who says ‘there is social prohibition against the feminization of men, there is almost none against the masculinisation of women.’[4]
R&B emerged from soul music originally which was similar in the lyrical content: love, lust, and lack of respect from men. Men were defined as protectors and women nurturing. Aretha Franklin soul singer of the 70’s had a hit with 'respect' as it was a song most women could identify themselves with due to the lyrics. From a Marxist perspective women are thought to absorb the anger that working class males face when they're alienated at work by the elite. This is demonstrated in the lyrics ‘All I'm askin' is for a little respect when you come home’. However there has been progress since laws like the sex discrimination act in 1975 women now have more rights. The song contrasts with Neyo's ‘Miss Independent’ as the man respects and desires a powerful independent woman. However with Rihanna's ‘Hard’ it could be argued that respect is only gained by becoming more masculine, for example when she’s gambling, she walks away from the all the men. The act of walking away is stereotypical male behaviour which we wouldn’t expect women to do if they are thought to be‘takers of shit’ as feminist Fran Ansley said. Even in the lyrics we see that she’s concerned with the material items that men are usually concerned about. This is portrayed through the lyrics: 'I need it all, the money, the fame, the cars, the clothes' as men stereotypically like toshow off. This can be an example of ‘gender trouble’ as Judith Butler highlighted. Rihanna’s gender is consciously being constructed as masculine rather than feminine to suggest she has power.
‘Hard’ differs from Aretha Franklin’s respect where she says ‘I ain'tgonna do you wrong while you're gone.’ This may be down to the gender roles being restricted to women as there would have been more stigma attached to promiscuous women in the past than there is today. Traditional gender ideologies are challenged in ‘Miss Independent’ as thewomen are located in the workplaceso could pose a threat to men which could lead to masculinity crisis for men. Therefore it can be regarded as postfeminist.Although ‘the majority of women still see themselves as housewives and a high proportion of products are aimed at women in their traditional role rather than in their business role.’ [5]The female gaze is on Neyo even though he’s not sexually objectified but at the start when he comes into work, you hear a chorus of ‘good morning Neyo’ which could suggest he’s a ladies man.Women are made to look at him in an admiring way as he’s supposed to represent the guy who’s happy to take a backseat with women as the end of the video he says to the girl ‘you are the boss.’ This emphasizes female dominance suggesting a post-feminist representation.He desires a strong women which is anchored by the lyrics ‘she got her own thing, that’s why I love her, miss independent,ooh the way we shine...’. When he says the way ‘we’ shine it suggests men want equality with their partners. Although women are still fetishized through the close-ups of breasts, legs and lips suggesting an ‘oral fixation’ as we see the pen in the girl’s mouth which is a phallic symbol, this draws the spectators and male gazeuponwomen, as the slow pan gives an element of ‘to-be-looked-at-ness.’ Therefore even though there is evidence we are now in a post-feminist society women are still objectified.Although Tessa Perkins argues that, ‘stereotypes survive by undergoingchangeand by convincing us that they’re not entirely false.’[6] This suggests there is some truth in stereotypes which could be down to other factors like socialisation and cultural upbringing. It socialises women from a young age to primarily look after their men and put their needs second.
Gaye Tuchman who argues there is a ‘symbolic annihilation’[7] of women in the media. This is challenged by ‘Miss Independent’ as Neyo is surrounded by women and at one point he shakes hands with one of them suggesting equality. Although in his other video ‘because of you’ women are still sexually objectified as he strokes the womans’ leg whilst there is a close-up. The women are scantily clad in the mise en scene as background accessories when they’re dancing. Brian McNair calls this the sexualisation of culture ‘strip tease culture’.[8] This is due to women being presented erotically which could link to ‘because of you’ as Neyo sings on behalf of men about resisting temptation being a red blooded male. This is supported by the narrative of the video.
‘Hard’ can be considered post feminist, as Richard Dyer’s structure of ‘binary oppositions’ presents black women as 'loose, violent’, lacking control and they project their exotic dangerous nature. E.g. when Rihanna’s stomping around with explosions in the background and her makeup and costume anchor her daredevil nature as it’s black and prominent. Rihanna also considers Madonna as one of her idols and biggest influences, saying ‘‘Madonna has reinvented herself throughout her career and moved into different areas. I want to be the black Madonna.’’ [9]Furthermore ‘Madonna’s erotica album blurred gender confusions, fluidity of sexuality, and transgression of masculine and feminine stereotypes.’[10] Similarly artists may have been inspired by her representation of women being dominant.
Goffman talks about superiority and how domination is shown through body language.When Rihanna holds the phallic gun, it connotes power and in other shots there are high angle shots of her wearing bullet made topdraped around neck. The binary opposition is her childlike Mickey Mouse hat to show her innocent side. As a result the rowdy black girl stereotype is challenged. Women are ‘either idealised as Goddesses or dreaded as man devouring monsters’[11] although this isn’t always the case as she tries to strike a balance in the video when she’s wearing her Mickey Mouse hat which connotes innocence. In contrast she presents herself as a modernised femme fatale who wears amilitary hat and red lipstick when she’s playing poker with men who are surrounded by alcohol.Rihanna’s in control and walks off flashing the cash,leaving the men behind as if she’s teasing them. The hypodermic needle theory would suggest that the media injects the message into the audiences mind that women don’t need men.
Rihanna’s image also draws the male gaze which Laura Mulvey identified and also said ‘it is always possible that the female spectator may find herself so out of key with pleasure on offer with its ‘masculinization’ that the spell is broken’[12] . This can also be seen when she tries emulating men by holding her crotch. She fires the gun into the air and when she walks off the camera fetishizes her bum through a close-up. ‘‘The fascination with black 'butts' continues. In the sexual iconography of the traditional black pornographic imagination the protruding butt is seen as an indication of heightened sexuality’’[13]. Alvarado Et Al states the four themes in racial representations are exotic, humorous, dangerous and pitied. Rihanna fits into the exotic and dangerous. Rihanna dresses in an army outfit with the hat and plasters on her face, but the black tape conceals her breasts so she’s in control of what the audience see therefore being a post-feminist view. In addition ‘A woman attired as a man may be seen as ‘power dressing’ or as adapting the mannerism of lesbianism’[14] as dressing like a man could be an attempt to get rid of the restrictions over expected gender roles.
In today's media ‘many black women singers, irrespective of the quality of their voices, have cultivated an image which suggests they are available and licentious’.[15] 'It is possession of a 'sexy body' that is presented as women's key (if not sole) source of identity.'[16] This can be seen in my texts as the women sexually objectify themselves to manipulate men .For instance in ‘Hard’ Rihanna uses her beauty and the fact she’s a women to make men underestimate her ability to win but she still does when playing poker.Nancy Friday made a career out of compiling and examining women’s sexual fantasies. She aimed to deconstruct the angel/whore dichotomy by celebrating women’s erotic pleasure in its various representations .[17] We see this in the shot Rihanna rubs the mud on herself sexually which is targeted at the male audiences to entice themas she sexually objectifying herself.‘Women are not straightforwardly objectified but are presented as active, desiring sexual subjects who choose to present themselves in a seemingly objectified manner because it suits their liberated interests to do so’[18] (Goldman, 1992) Furthermore women have certain roles are ‘responsible for producing themselves as desirable heterosexual subjects, as well as for pleasing men sexually... defending their own sexual reputations, and taking care of men's self-esteem.’[19] However this is challenged in the poker scene as Rihanna beats the men at their own game which would be a blow to men’s self-esteem. Therefore this suggests that women are living in a post feminism society as women are striping away their ‘traditional’ gender roles and femininity.
This binary opposition of this are the passive men which are used as background accessories holding their guns almost like they’re protecting her, which reinforces traditional gender roles as well as promoting chivalry.The poker scene portrays that Rihannais one of the lads gambling and enjoying risks. Arguably Rihanna is represented as a threat to men orlike a ‘she devil ’[20] . Also she’s the only woman playing with guys. This could be seen as a man’s fantasy of having one women shared with many men.
In Rihanna’s ‘TeAmo’ the audience become voyeurs as the women self-objectify themselves in their explicit acts of lesbianism. This representation is sexually charged as today’s generation has become desensitized to the sexual exposure. Women who imitate men can provide a masculinity crisis for men in this era of post feminism. ‘Women can also interpret laddism as a sign that men would prefer them to go back to being more traditionally ‘feminine’ since men feel they are being more ‘masculine’.[21]
Uses and gratifications these texts provide are escapism, entertainment and personal identification through the protagonists, such as in Rihanna’s ‘hard’, she has the status to be respected and still be sexually alluring which teenagers could particularly identify themselves with. Neyo’s ‘Miss Independent’ is aimed at mainstreamers and succeeders as they’d be goal orientated after seeing that women can be successful and in fact are more desirable to men.
To conclude Fay Weldon states that 'Young girls seem to be getting prettier all the time. There is a return to femininity, but it seems to me that most girls don't give two hoots about men. It is about being fit and healthy for themselves not for men.’ [22]This suggests women have become ruthless as they put their needs are primarily and men secondary, if not at all.The main differences in terms of gender roles is that Neyo’s is presented as the new man to some extent as he’s working below the woman, which suggests a post-feminist era and that working women have that power to hold their own. This makes them a more desirable eliminating the passive pretty housewife figure. However competition between sexes is still present in Rihanna’s hard. Judith Stacey (1987) states that, feminist ideas are simultaneously 'incorporated, revised and depoliticised’'[23] This is put in action as Rihanna appears to develop a more masculine sense of style and attitude this could suggest that men are still seen as the dominant top dogs as women have become more masculine in order to be more successful, and have that determination like men to succeed and be taken seriously. Rihanna provides aneffective role model figure to younger girls encouraging independence. Overall because of factors like hegemony we only see certain types of constructions towards gender but society is becoming more diverse and accepting. Therefore traditional representations are becoming challenged for instance women are becoming more masculine as they want power whilst men are becoming emasculated as they sing about love. Although there are changes women will arguably always be objectified. Furthermore there will always be more stigma attached to the feminization of men than women with masculine characteristics. For example in Jessie J’s ‘do it like a dude’ she strips away her femininity in order to become like a man. This is demonstrated in the lyrical content ‘Grab my crotch, wear my hat low like you’ which is a criticism of the ‘rudeboys’ who wear their clothing like that to be cool.In contrast if men tried emulating women in their songs in acts like ‘bootyshaking’ they’d be classed as gay. Women’s needs have become primary and the needs of men have become secondary, or insignificant.
Bibliography
R&B emerged from soul music originally which was similar in the lyrical content: love, lust, and lack of respect from men. Men were defined as protectors and women nurturing. Aretha Franklin soul singer of the 70’s had a hit with 'respect' as it was a song most women could identify themselves with due to the lyrics. From a Marxist perspective women are thought to absorb the anger that working class males face when they're alienated at work by the elite. This is demonstrated in the lyrics ‘All I'm askin' is for a little respect when you come home’. However there has been progress since laws like the sex discrimination act in 1975 women now have more rights. The song contrasts with Neyo's ‘Miss Independent’ as the man respects and desires a powerful independent woman. However with Rihanna's ‘Hard’ it could be argued that respect is only gained by becoming more masculine, for example when she’s gambling, she walks away from the all the men. The act of walking away is stereotypical male behaviour which we wouldn’t expect women to do if they are thought to be‘takers of shit’ as feminist Fran Ansley said. Even in the lyrics we see that she’s concerned with the material items that men are usually concerned about. This is portrayed through the lyrics: 'I need it all, the money, the fame, the cars, the clothes' as men stereotypically like toshow off. This can be an example of ‘gender trouble’ as Judith Butler highlighted. Rihanna’s gender is consciously being constructed as masculine rather than feminine to suggest she has power.
‘Hard’ differs from Aretha Franklin’s respect where she says ‘I ain'tgonna do you wrong while you're gone.’ This may be down to the gender roles being restricted to women as there would have been more stigma attached to promiscuous women in the past than there is today. Traditional gender ideologies are challenged in ‘Miss Independent’ as thewomen are located in the workplaceso could pose a threat to men which could lead to masculinity crisis for men. Therefore it can be regarded as postfeminist.Although ‘the majority of women still see themselves as housewives and a high proportion of products are aimed at women in their traditional role rather than in their business role.’ [5]The female gaze is on Neyo even though he’s not sexually objectified but at the start when he comes into work, you hear a chorus of ‘good morning Neyo’ which could suggest he’s a ladies man.Women are made to look at him in an admiring way as he’s supposed to represent the guy who’s happy to take a backseat with women as the end of the video he says to the girl ‘you are the boss.’ This emphasizes female dominance suggesting a post-feminist representation.He desires a strong women which is anchored by the lyrics ‘she got her own thing, that’s why I love her, miss independent,ooh the way we shine...’. When he says the way ‘we’ shine it suggests men want equality with their partners. Although women are still fetishized through the close-ups of breasts, legs and lips suggesting an ‘oral fixation’ as we see the pen in the girl’s mouth which is a phallic symbol, this draws the spectators and male gazeuponwomen, as the slow pan gives an element of ‘to-be-looked-at-ness.’ Therefore even though there is evidence we are now in a post-feminist society women are still objectified.Although Tessa Perkins argues that, ‘stereotypes survive by undergoingchangeand by convincing us that they’re not entirely false.’[6] This suggests there is some truth in stereotypes which could be down to other factors like socialisation and cultural upbringing. It socialises women from a young age to primarily look after their men and put their needs second.
Gaye Tuchman who argues there is a ‘symbolic annihilation’[7] of women in the media. This is challenged by ‘Miss Independent’ as Neyo is surrounded by women and at one point he shakes hands with one of them suggesting equality. Although in his other video ‘because of you’ women are still sexually objectified as he strokes the womans’ leg whilst there is a close-up. The women are scantily clad in the mise en scene as background accessories when they’re dancing. Brian McNair calls this the sexualisation of culture ‘strip tease culture’.[8] This is due to women being presented erotically which could link to ‘because of you’ as Neyo sings on behalf of men about resisting temptation being a red blooded male. This is supported by the narrative of the video.
‘Hard’ can be considered post feminist, as Richard Dyer’s structure of ‘binary oppositions’ presents black women as 'loose, violent’, lacking control and they project their exotic dangerous nature. E.g. when Rihanna’s stomping around with explosions in the background and her makeup and costume anchor her daredevil nature as it’s black and prominent. Rihanna also considers Madonna as one of her idols and biggest influences, saying ‘‘Madonna has reinvented herself throughout her career and moved into different areas. I want to be the black Madonna.’’ [9]Furthermore ‘Madonna’s erotica album blurred gender confusions, fluidity of sexuality, and transgression of masculine and feminine stereotypes.’[10] Similarly artists may have been inspired by her representation of women being dominant.
Goffman talks about superiority and how domination is shown through body language.When Rihanna holds the phallic gun, it connotes power and in other shots there are high angle shots of her wearing bullet made topdraped around neck. The binary opposition is her childlike Mickey Mouse hat to show her innocent side. As a result the rowdy black girl stereotype is challenged. Women are ‘either idealised as Goddesses or dreaded as man devouring monsters’[11] although this isn’t always the case as she tries to strike a balance in the video when she’s wearing her Mickey Mouse hat which connotes innocence. In contrast she presents herself as a modernised femme fatale who wears amilitary hat and red lipstick when she’s playing poker with men who are surrounded by alcohol.Rihanna’s in control and walks off flashing the cash,leaving the men behind as if she’s teasing them. The hypodermic needle theory would suggest that the media injects the message into the audiences mind that women don’t need men.
Rihanna’s image also draws the male gaze which Laura Mulvey identified and also said ‘it is always possible that the female spectator may find herself so out of key with pleasure on offer with its ‘masculinization’ that the spell is broken’[12] . This can also be seen when she tries emulating men by holding her crotch. She fires the gun into the air and when she walks off the camera fetishizes her bum through a close-up. ‘‘The fascination with black 'butts' continues. In the sexual iconography of the traditional black pornographic imagination the protruding butt is seen as an indication of heightened sexuality’’[13]. Alvarado Et Al states the four themes in racial representations are exotic, humorous, dangerous and pitied. Rihanna fits into the exotic and dangerous. Rihanna dresses in an army outfit with the hat and plasters on her face, but the black tape conceals her breasts so she’s in control of what the audience see therefore being a post-feminist view. In addition ‘A woman attired as a man may be seen as ‘power dressing’ or as adapting the mannerism of lesbianism’[14] as dressing like a man could be an attempt to get rid of the restrictions over expected gender roles.
In today's media ‘many black women singers, irrespective of the quality of their voices, have cultivated an image which suggests they are available and licentious’.[15] 'It is possession of a 'sexy body' that is presented as women's key (if not sole) source of identity.'[16] This can be seen in my texts as the women sexually objectify themselves to manipulate men .For instance in ‘Hard’ Rihanna uses her beauty and the fact she’s a women to make men underestimate her ability to win but she still does when playing poker.Nancy Friday made a career out of compiling and examining women’s sexual fantasies. She aimed to deconstruct the angel/whore dichotomy by celebrating women’s erotic pleasure in its various representations .[17] We see this in the shot Rihanna rubs the mud on herself sexually which is targeted at the male audiences to entice themas she sexually objectifying herself.‘Women are not straightforwardly objectified but are presented as active, desiring sexual subjects who choose to present themselves in a seemingly objectified manner because it suits their liberated interests to do so’[18] (Goldman, 1992) Furthermore women have certain roles are ‘responsible for producing themselves as desirable heterosexual subjects, as well as for pleasing men sexually... defending their own sexual reputations, and taking care of men's self-esteem.’[19] However this is challenged in the poker scene as Rihanna beats the men at their own game which would be a blow to men’s self-esteem. Therefore this suggests that women are living in a post feminism society as women are striping away their ‘traditional’ gender roles and femininity.
This binary opposition of this are the passive men which are used as background accessories holding their guns almost like they’re protecting her, which reinforces traditional gender roles as well as promoting chivalry.The poker scene portrays that Rihannais one of the lads gambling and enjoying risks. Arguably Rihanna is represented as a threat to men orlike a ‘she devil ’[20] . Also she’s the only woman playing with guys. This could be seen as a man’s fantasy of having one women shared with many men.
In Rihanna’s ‘TeAmo’ the audience become voyeurs as the women self-objectify themselves in their explicit acts of lesbianism. This representation is sexually charged as today’s generation has become desensitized to the sexual exposure. Women who imitate men can provide a masculinity crisis for men in this era of post feminism. ‘Women can also interpret laddism as a sign that men would prefer them to go back to being more traditionally ‘feminine’ since men feel they are being more ‘masculine’.[21]
Uses and gratifications these texts provide are escapism, entertainment and personal identification through the protagonists, such as in Rihanna’s ‘hard’, she has the status to be respected and still be sexually alluring which teenagers could particularly identify themselves with. Neyo’s ‘Miss Independent’ is aimed at mainstreamers and succeeders as they’d be goal orientated after seeing that women can be successful and in fact are more desirable to men.
To conclude Fay Weldon states that 'Young girls seem to be getting prettier all the time. There is a return to femininity, but it seems to me that most girls don't give two hoots about men. It is about being fit and healthy for themselves not for men.’ [22]This suggests women have become ruthless as they put their needs are primarily and men secondary, if not at all.The main differences in terms of gender roles is that Neyo’s is presented as the new man to some extent as he’s working below the woman, which suggests a post-feminist era and that working women have that power to hold their own. This makes them a more desirable eliminating the passive pretty housewife figure. However competition between sexes is still present in Rihanna’s hard. Judith Stacey (1987) states that, feminist ideas are simultaneously 'incorporated, revised and depoliticised’'[23] This is put in action as Rihanna appears to develop a more masculine sense of style and attitude this could suggest that men are still seen as the dominant top dogs as women have become more masculine in order to be more successful, and have that determination like men to succeed and be taken seriously. Rihanna provides aneffective role model figure to younger girls encouraging independence. Overall because of factors like hegemony we only see certain types of constructions towards gender but society is becoming more diverse and accepting. Therefore traditional representations are becoming challenged for instance women are becoming more masculine as they want power whilst men are becoming emasculated as they sing about love. Although there are changes women will arguably always be objectified. Furthermore there will always be more stigma attached to the feminization of men than women with masculine characteristics. For example in Jessie J’s ‘do it like a dude’ she strips away her femininity in order to become like a man. This is demonstrated in the lyrical content ‘Grab my crotch, wear my hat low like you’ which is a criticism of the ‘rudeboys’ who wear their clothing like that to be cool.In contrast if men tried emulating women in their songs in acts like ‘bootyshaking’ they’d be classed as gay. Women’s needs have become primary and the needs of men have become secondary, or insignificant.
Bibliography
[1]http://shine.yahoo.com/channel/life/daniel-craig-in-drag-to-support-international-womens-day-video-2462821
[2] ibid[3] Gauntlett, D. (2007). Media, gender and identity: an introduction (Reprinted. ed.). London [u.a.: Routledge.
[4]Macdonald, M. (1995).Representing women: myths of femininity in the popular media. London: E. Arnold ;. P215
[5] ASA Spokesperson in the Guardian, 26 June, 1978
[6]Macdonald, M. (1995).Representing women: myths of femininity in the popular media. London: E. Arnold ; p13
[7]http://en.wikipedia.org/wiki/Symbolic_annihilation
[8]http://eprints.lse.ac.uk/2449/1/Postfeminist_media_culture_(LSERO).pdf
[9]http://en.wikipedia.org/wiki/Rihanna#Influences
[10]Gauntlett, D. (2007). Media, gender and identity: an introduction (Reprinted. ed.). London [u.a.: Routledge.
[11]Macdonald, M. (1995).Representing women: myths of femininity in the popular media. London: E. Arnold ;.p105
[12] ibid pg28
[13]http://www.ssc.wisc.edu/~abarian/class%20pdfs/Selling_Ho-Pussy.pdf
[14]Macdonald, M. (1995).Representing women: myths of femininity in the popular media. London: E. Arnold ;. P215
[15]http://www.ssc.wisc.edu/~abarian/class%20pdfs/Selling_Ho-Pussy.pdf
[16]http://eprints.lse.ac.uk/2449/1/Postfeminist_media_culture_(LSERO).pdf
[17]Jenainati, C., & Groves, J. (2007).Introducing feminism .Thriplow: Icon.
[18]http://eprints.lse.ac.uk/2449/1/Postfeminist_media_culture_(LSERO).pdf
[19] ibid
[20]Weldon, F. (1990).Fay Weldon's The life and loves of a she-devil (8th printing. ed.). New York: Ballantine Books.
[21]Waghorn,J (1999). A message for the media:young women talk.London: Livewire pg48
[22]http://eprints.lse.ac.uk/2449/1/Postfeminist_media_culture_(LSERO).pdf
[23] ibid.
