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A video vixen (also referred to as a hip hop honey or video girl [1] ) is a woman who models and appears in hip-hop-oriented music videos. [2] [3] The concept peaked in popularity from the 1990s to the early 2010s. [4] Video vixens are often aspiring actors, singers, dancers, or professional models. [5] Critics argue that the portrayal of women in these videos can contribute to negative stereotyping of women of color. [6] [2]
The video vixen is believed to have arrived around the late 80s when hip-hop was becoming popular as its own genre in the music industry. [7] During this time, women frequently appeared in background roles in music videos to enhance visual appeal and generate popularity. It wasn't until the late 1990s, when the women came to the center of many videos. [7] Scholars such as Amanda Rodriguez have suggested that the video vixen perpetuated the historical "Jezebel" stereotype, which depicts women as inherently sexually promiscuous. [8] Some of the most notable video vixens of the 2000s are Melyssa Ford, Karrine Steffans, and Vida Guerra. Melyssa Ford appeared in many music videos such as Jay-Z’s song ‘Big Pimpin’ , Sisqó’s ‘Thong Song’, and Usher’s song ‘Yeah!’ and later down her career appeared in films and tv shows. [9] Karrine Steffans also known by her birth name Elisabeth Ovesen or nickname Superhead, appeared in multiple music videos for artists such as Jay-Z, LL Cool J, Ja Rule and many more in the early 2000's. [10] Her first appearance was "Hey Papi" by JAY-Z, before she started appearing in films such as A Man Apart. While she’s also been featured in magazine spreads for King and Smooth Magazine as well as became a best selling author. [11] Vida Guerra earned her fame from her lingerie spread in FHM in 2002. She also named model of the year she also starred in many different music videos such as Shake Ya Tailfeather’ ‘The New Workout Plan’ Obsession. [12]
The role of video vixens in culture has been seen as controversial in recent years. [6] Critics argue that male rap artist's uses of derogatory-language toward women in hip-hop culture can reinforce gender inequality.
In 2004, Nelly's video for his song "Tip Drill" came under particular criticism for its depiction and sexual objectification of women. [13] [14] While some pointed out that the women who appeared in Nelly's video voluntarily chose to participate, others insisted that male rappers continue to sexually objectify hip hop models. [15] [16] [17]
In 2005, former video vixen Karrine Steffans released her best-selling memoir Confessions of a Video Vixen , in which she depicts the degradation of women in the world of hip hop. Steffans shared her personal experience as a self-acclaimed vixen, highlighting its intense culture. Other video girls have disputed Steffan's account, describing their experience as rewarding and professional. Another video vixen, Candace Smith, said in an XXL interview, "What I've seen on [hip hop music video] sets is complete degradation." [18]
Scholars such as T. Denean Sharpley-Whiting have criticized female rappers like Lil' Kim and Trina for occupying what she terms a "peculiar place of cultural antipathy". [19]
Female rappers who have shown themselves off as "video vixens" include Nicki Minaj, Trina, Eve, Rasheeda, Foxy Brown, Remy Ma, Da Brat, Jacki-O, Shawnna, Gangsta Boo, LoLa Monroe, Diamond from the hip-hop group Crime Mob, and many others. [20]
Others argue that these artists deliberately use sexual imagery as a means to reclaim power and self-expression as women in a male-dominated space. For instance, Nicki Minaj is outspoken when it comes to empowering herself and other women, and uses her body with the intent of overcoming male expression of female sexuality, using the term "Barbie" to assert herself. [21] [22] Nicki Minaj's Anaconda music video has been interpreted by scholars as an example of women in hip-hop reclaiming their sexual agency. In the songs, she samples Sir Mix-A-Lot's "Baby Got Back", rapping over it with more self- empowering language on femininity than can be heard in the original. [22]
Video vixens often depict Black women in roles of exaggerated sexuality, submissiveness, or aggression, aligning with historical stereotypes deeply rooted in societal prejudices. [23] Critics have suggested that these portrayals restrict the spectrum of Black feminist representation in pop culture and media. Furthermore, scholars have noted that music videos featuring video girls often promote beauty ideals that influence unrealistic expectations of women's bodies. [24] The influence of video vixens on the Black community extends beyond the entertainment industry, impacting how women are perceived in society. [25] By consistently showcasing black women in these narrowly defined roles, music videos often perpetuate the objectification of black women, impacting societal perceptions and perpetuating misconceptions about their character, worth, and agency. [26]
This aligns with Nicole Heller's explanation of objectification and "one-dimensional womanhood" which examines how media separates women's bodies from their unique identities. These theories define the portrayal of black women in hip-hop as it aims to separate the female body from her personality in order to focus on her body. [22] Prominent examples of this include Nelly swiping a card through the rear end of a vixen in his Tip Drill music video. [22] [6] [8] Critics contend that the video vixen image leads to a negative perception of Black women by reinforcing narrow beauty standards. [8]
[...] girls of color have a whole aspect of hip-hop with those horrible videos and the rise of the hip-hop honey or video girl.
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Media related to Hip hop models at Wikimedia Commons