Fifteen of the videos depict artists ggirls an independent girl, and 13 are streetwise and tough. The Body The first way that patterns of social constraint emerge is in the emphasis on the body. Full and accurate LYRICS for "Where My Girls At" from "": Chorus (x2), Where my girls at, From the front to back, Well is you feelin'that?, Put one hand. Instead, this study demonstrates that in the cultural productions of Black women, music vid- eos in this case, hegemonic and counterhegemonic themes often occur simulta- neously and are interconnected, resulting in a complex, often contradictory and multifaceted representation of Black womanhood.
Because their role is primarily sexual, they are not taken seriously. Journal of Youth and Adolescence Hill Collins, Patricia. Lyrics to 'Where My Girls At' by See he's my property and any girl that touch I might just call your bluff 'cause I don't give a, whoo Are you to call my cell, oh.
The song and video imply that Queen Pen is not the author of her rhymes and she is not the creator of her own success. Cutting Whitney up into visual pieces undercuts her power.
Where my girls lyrics - dai burger
Therefore, it is not surprising that within the cultural productions of young Black women, themes of contradiction and ambivalence would emerge. Aaliyah,will be sorely missed. Race and gender in music videos: The same beat but a different drummer. Fourteen of the videos portray Black men as fellow group members or platonic friends.
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This construction of a sphere of erotic agency does not sim- ply symbolize the subjectivity of the individual Black woman but also in the construction of agency at the ae and cultural level. Delano Brown, Jane, and Kenneth Campbell. This theme occurs nearly as often as when men appear as romantic interests 18 videos.
Music videos: The look of the sound. McRobbie, Angela, and Mica Nava. Instead, a sexualized image often occurs simultaneously with themes of independence, ar, a streetwise nature, toughness, and agency. Elliott initially wrote the song for TLC.
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And any girl - thats us I might call your bluff Cuz I don't give a oohhh Why'd you call my cell Oh I'ma wish you well Cuz any girl that tried has fell Hook: From the front to back Well is you feelin' that Well put one hand up Can you repeat that Tryin' to take my man See I don't need that So don't play yourself From the front to back Well is you feelin' that Well put one hand up Can you repeat that Tryin' to take my man See I don't need that Hey, hey, hey, hey Cuz I'ma make ya hate me If you decide to mess with mine Shrunk you down to size Make ya realized You done messed up this time Hook You must learn the rules Anything that belongs to me He is my.
What also occurs in these videos is a reversing of traditional gender roles in which men are objectified. Sexual diversity is another element of Black womanhood that is conspicuously absent and also reflects the desirability of perceived sexual availability for men. Qualitative analysis for social scientists.
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This is not a mere role reversal but an example of an articulation of mutual pleasure and enjoyment. Collaborations between women artists are a constant and recurring theme throughout the videos and suggest a sense of community and collectivity.
"Where My Girls At?": See, he's my property, And any girl that touches, I might just call your bluff, 'Cuz I don't give a. In response to these contra- dictory notions of Black womanhood, Black women performers frequently reappropriate often explicit images of Black female sexuality.
Despite the fact that strides have been made in recent years, it remains difficult for young women to enter the music industry on their own. In this article, I will first identify how music videos exhibit and reproduce the stereotypical notions of Black womanhood faced by young African American women. Goodall, Myy. This emphasis on appearance and physical attraction confirms the notion of the excessive sexuality of the Black woman.
EMERSON University of Texas at Austin The literature on Black youth culture, especially hip-hop culture, has focused primarily on the experi- ences of young men, with the experiences of Black girls being all but ignored. Journal of Popular Culture Multidimensional Sexuality: Reappropriating the Black Female Body Most of the artists portray themselves with a highly stylized and glamorous image.
By conducting a close analysis of a much larger sample of music videos, my study provides an empirical basis for identifying the ways in which Black women use the realm of culture and ard for social commentary and to respond to the controlling images of Black womanhood that were identified and discussed by Hill Collins, Carby, Davis, Rose, and other Black feminist theorists and critics.
Music video and the construction of gendered subjectivity or how being a music video ~**~*~where turned me into a feminist. Through the songs and videos, Black women are able to achieve voice and a space for spoken expression of social and interpersonal commentary.
Of course, the conclusions drawn as a result of a textual content analysis of music videos are necessarily limited by the absence of inquiry into the production and reception of music videos and by the lack of a more comprehensive survey of the cultural landscape in which they exist. Perkins, William Eric.
~*~*where Indeterminate Gaze The address and gaze in these videos were frequently indeterminate. This article is an exploration of the representations of Black womanhood as expressed in the music videos of Black women performers. One would need to investigate the creative production decision-making process. Black picket fences: Privilege and peril among the Black middle class.
Davis, Angela Yvonne.
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Oh, I'ma wish you well 'Cause any girl that tried has fell Where my girls at? Instead, it is the basis for strength, power, and a positive self-identity. I show how Black women also are able to articu- late other key themes of self-valuation, self-determination, and a critique of the interlocking nature of oppression. Nevertheless, despite the misogynistic representations of Black womanhood that pervade music videos, the s witnessed the emergence of Black women performers, producers, writers, and musicians who have also made the music video into a site for promotion, creativity, and self-expression.
Although women were usually visu- ally constructed as the source of male pleasure, when issues of sexual pleasure were articulated either in the lyrical or visual text, or both, the importance of female sex- ual desire became key.