Video vixen

Last updated

Rapper Nicki Minaj in concert. In her early career, Minaj was often described as a video vixen. NickiMinaj7109.jpg
Rapper Nicki Minaj in concert. In her early career, Minaj was often described as a video vixen.

A video vixen (also referred to as a hip hop honey or video girl [2] ) is a woman who models and appears in hip hop-oriented music videos. [3] [4] From the 1990s to the early 2010s, the video vixen image was a staple in popular music, particularly within the genre of hip hop. [5] First appearing in the late 1980s, when hip-hop culture began to gain popularity. It was most popular in American pop culture during the 1990s and 2000s. [6] Video vixens are aspiring actors, singers, dancers, or professional models. [7] Artists and vixens have been criticized for allegedly contributing to the social degradation of black women and Latinas. [8] [3] [9] [10]

Contents

Origin of the video vixen

The video vixen is believed to have arrived around the late 80s when hip-hop was starting to take over as its own genre in the music industry. [6]  At this time, women were used to create appeal in music videos while in the background. It wasn't until the late 1990s, when the women came to the center of many videos. [6] The concept of the video vixen is seen to derive from the historical Jezebel stereotype that is typically placed upon black women. The term jezebel is used in reference to a hyper-sexual woman; someone who is depicted as sexually promiscuous. [11] [3] The video vixen is believed to be the modernization of the Jezebel stereotype. [8] According to Meagan Ford it is an opportunity for women to use their features in order to create wealth. [8]  The vixens were there to enhance the male artist's persona of having a lot of money and women available to them at any time. [6] This concept sold because "the males wanted to see that and the girls wanted to be that." [12] according to music video director Dr. Teeth. [12]

Social aspect

The work of video vixens and their portrayal in music videos have drawn criticism. Meagan Ford, Stephanie Stevenson, Kate Conrad, Travis Dixon, and Yuanyuan Zhang express concern on how video vixens are placed in subordinate and submissive roles while often depicted as sexual objects. [8] [3] [9] [13] These authors believe that these depictions place male artists in positions of power which they say contribute to the representation of males as the dominant gender. Models are depicted as sexual objects. Signs of male power and the use of derogatory language towards women such as "bitch" and "slut" by artists contributes to the narrative that women are the inferior sex. [14] [15] [16]

In 2004, Nelly's video for his song "Tip Drill" came under particular criticism for its depiction and sexual objectification of women. [17] [18] While some pointed out that the women who appeared in Nelly's video voluntarily chose to participate, [19] others insisted that male rappers continue to sexually objectify hip hop models [13] while denying that the hip hop artists' career is based on the exploitation of other people. [20]

In 2005, former hip hop music video model Karrine Steffans authored the book Confessions of a Video Vixen , in which she depicts the degradation of women in the world of hip hop. The book's publisher describes it as "part tell-all, part cautionary tale". [21] The book went on to be a best seller in the US. [22] Karrine Steffans decided to share her personal experience as a vixen with the world. Her book was set as the standard vixen experience by society because it was believed to confirm people's speculations about the industry. [23] Steffans is just one example of a vixen, however, and because of this, vixens such as Gloria Velez and Melyssa Ford had a problem with her book. They explained how their experience was not the same as hers and how she was essentially a nobody until the book was released. Her referencing other vixens was seen as an act of forcing her narrative onto their experience. [12] Another hip hop model, Candace Smith, said in an XXL interview, "What I've seen on [hip hop music video] sets is complete degradation." [24]

The video vixens' effect on Black women

In a world of music videos, the representation of black women as video vixens has been a complex and evolving narrative, deeply intertwined with societal perceptions and historical contexts. Historically, black women have faced distinct challenges within the industry, where their portrayal often reinforced negative stereotypes or hypersexualized images. These portrayals frequently depict black women in roles that emphasize exaggerated sexuality, submissiveness, or aggression, aligning with historical stereotypes deeply rooted in societal prejudices. [25] These misrepresentations create a narrow and limited view of black femininity, painting black women as objects of desire or as individuals solely defined by their physical attributes. [26] These portrayals set unrealistic beauty ideals and narrow standards, often emphasizing physical attributes over other qualities, leading to the marginalization and erasure of the multifaceted identities of black women. [27] Such portrayals not only diminish the diverse identities and experiences of black women but also contribute to the normalization of these damaging stereotypes within broader popular culture. [28] This influence extends beyond the entertainment industry, affecting how black women are perceived and valued in society. [29]  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. [30] Consequently, these representations can negatively impact the self-perception and self-worth of black women, as they navigate societal expectations and confront the pressure to conform to narrowly defined beauty and behavioral norms perpetuated by these portrayals in music videos. [31] [32]

The topic of video vixens has created a lot of debate on the representation of Black women, such as author Fatimah Soloman's argument that it has contributed to the hyper-sexualization of black women. She explains in her article "The Exploitation Of Women Of Color In Music Videos Needs To End". Video vixens are believed to be the reinforcement of these negative stereotypes placed upon black women. They are often referred to as stereotypical tropes because of their glamorization of embodying the stereotypes typically placed on women of color. [33] She expands her argument by mentioning how these stereotypes lead to exclusion of Black women in relation to their "social and intellectual contributions", often because they are only praised for their bodies. [33]

This idea also correlates with Nicole Heller's explanation of Objectification theory and one- dimensional womanhood. 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 just her body. [34] Heller mentions how Nelly swiping a card through the rear end of a vixen in his Tip Drill music video visually represents the ideology of the Black woman's body being a commodity. [34] [8] The subculture of the video vixen represents black women and women of color as objects that can literally be bought with a credit card instead of human beings. Author Amanda Rodriguez however does mention how these women were considered to be a "luxury commodity". [11] This means that the artists and labels gave them a glamorized experience in return for their work. It was temporary for most but for the vixens who became famous they truly were able to get paid like the artist. [12]

The video vixen is criticized for having a negative effect on women, as they are believed to set unrealistic beauty standards, and could have created the need to change themselves in order to fit said standards. [11]

Black women in hip hop music videos are often portrayed as the "jezebel" stereotype but presenting them as light skinned and thinner. [35]

Female rappers as video vixens

Women or female rappers such as Lil' Kim and Trina have been criticized by T. Denean Sharpley-Whiting who called them a "peculiar place of cultural antipathy". [1] [36]

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. [37]

On the other hand, these artists use their bodies and sexuality to reclaim their own individuality and self. For instance, Minaj talks about how she is aware of her position as a black female rapper, and she is outspoken when it comes to empowering herself and other women. She also uses her body with the intent of dominating over the male expression of female sexuality, and she talks about how "it's Barbie, bitch!" has become her catchphrase to assert herself and her existence. [1] [34] Author Nicole Heller uses Nicki Minaj's Anaconda music video (2014) as an example of how female artists are reclaiming their sexualities and power. Anaconda is a song that seeks to embrace curvy bodies. [34] Minaj samples Sir Mix-A-Lot's "Baby Got Back" with the intent of transforming the objectification of the female body and how curvy women specifically are objectified in the hip-hop industry. She uses her body in order to establish her dominance and portray how she is in full control of her body and sexuality. [34]

Other artists like Cardi B are analyzed to be using this hyper-sexual image as a way to assert their own existence and self-representation as Afro-Caribbean women who are sexy yet worthy of freedom, and it counters what could be oppressive norms that fit the respectability politics. [38]

In parallel to that, the role of women in the hip-hop world wasn't limited to only being video vixens. Two artists in the early era of hip hop, rapper Roxanne Shante and rap group Salt-N-Pepa, were well-known for rapping about defending the image of women. [37] They were responding to male hip hop artists who habitually degraded women. Other artists such as Missy Elliott, Lauryn Hill, Erykah Badu and Queen Latifah advocated being strong independent black women. [39] Moreover, according to Heller, they asserted their sexuality without being in a position of hyper-sexuality themselves. [34]

See also

Related Research Articles

In social philosophy, objectification is the act of treating a person as an object or a thing. It is part of dehumanization, the act of disavowing the humanity of others. Sexual objectification, the act of treating a person as a mere object of sexual desire, is a subset of objectification, as is self-objectification, the objectification of one's self. In Marxism, the objectification of social relationships is discussed as "reification".

Karrine Steffans, also known as Elisabeth Ovesen, is an American author, most notably of the Vixen series of books. She has worked as an actress and as a video vixen, having appeared in more than 20 music videos. In 2007 and 2008, Steffans visited a number of college campuses to speak about her involvement in the hip hop industry and its expectations of women.

Sexualization is the emphasis of the sexual nature of a behavior or person. Sexualization is linked to sexual objectification, treating a person solely as an object of sexual desire. According to the American Psychological Association, sexualization occurs when "individuals are regarded as sex objects and evaluated in terms of their physical characteristics and sexiness." "In study after study, findings have indicated that women more often than men are portrayed in a sexual manner and are objectified. In addition, a narrow standard of physical beauty is heavily emphasized. These are the models of femininity presented for young girls to study and emulate."

<span class="mw-page-title-main">How Many Licks?</span> 2000 single by Lil Kim featuring Sisqó

"How Many Licks?" is a song by American rapper Lil' Kim featuring vocals by American musician Sisqó from Lil' Kim's second studio album, The Notorious K.I.M. (2000). Mario Winans and Sean Combs produced the song, and wrote it with Lil' Kim and Sisqó. The hip hop song samples the Knight Rider theme song, with lyrics expressing a woman's desire for oral sex and her sexual relationships with a variety of men. The chorus is a reference to the advertising slogan for Tootsie Pops. A remix by the Neptunes has additional vocals from American artists Kelis, Lil' Cease, and Snoop Dogg. "How Many Licks?" was released as the second and final single from The Notorious K.I.M. on November 21, 2000, by Queen Bee Entertainment and Atlantic Records.

<span class="mw-page-title-main">Stereotypes of African Americans</span> Generalizations and stereotypes linked to racism against African Americans

Stereotypes of African Americans are misleading beliefs about the culture of people with partial or total ancestry from any black racial groups of Africa whose ancestors resided in the United States since before 1865, largely connected to the racism and the discrimination to which African Americans are subjected. These beliefs date back to the slavery of black people during the colonial era and they have evolved within American society.

<span class="mw-page-title-main">Wouldn't Get Far</span> 2007 single by The Game featuring Kanye West

"Wouldn't Get Far" is a song by American rapper the Game, released by Geffen Records on January 23, 2007 as the third single from his second studio album, Doctor's Advocate. The song, produced by and featuring Kanye West, finds the Game criticizing, by both name and alias, up-and-coming and established video vixens. "Wouldn't Get Far" peaked at number 64 on the Billboard Hot 100 chart and reached numbers 11 and 26 on the Billboard Hot Rap Songs and Hot R&B/Hip-Hop Songs charts, respectively.

<i>Confessions of a Video Vixen</i> Memoir by Karrine Steffans

Confessions of a Video Vixen is a memoir written by Karrine Steffans which details the first 25 years of her life. Part tell-all covering her sexual liaisons with music industry personalities and professional athletes, and part cautionary tale about the dangers of the otherwise romanticized hip-hop music industry, it caused considerable controversy in some circles.

<span class="mw-page-title-main">Sexuality in music videos</span>

Sexuality in music videos has been evident since the 1980s.

Misogyny in rap music is defined as lyrics, videos, or other components of rap music that encourage, glorify, justify, or legitimize the objectification, exploitation, or victimization of women. It is an ideology that depicts women as objects for men to own, use, and abuse. It reduces women to expendable beings. It might include everything from innuendos to stereotypical characterizations and defamations.

The representation of African Americans in speech, writing, still or moving pictures has been a major concern in mainstream American culture and a component of media bias in the United States.

The exploitation of women in mass media is the use or portrayal of women in mass media such as television, film, music, and advertising as objects or sexual beings, in order to increase the appeal of media or a product to the detriment of the women being portrayed, and women in society. This process includes the presentation of women as sexual objects and the setting of feminine beauty ideals that women are expected to reflect. Sexual exploitation of women in the media dates back to 19th century Paris, in which ballerinas were exposed to harassment and objectification. The most often criticized aspect of the use of women in mass media is sexual objectification, but dismemberment can be a part of the objectification as well. The exploitation of women in mass media has been criticized by feminists and other advocates of women's rights, and is a topic of discussion in feminist studies and other fields of scholarship.

The angry black woman stereotype is a racial stereotype of Black American women as pugnacious, poorly mannered, and aggressive.

Hip hop feminism is a sub-set of black feminism that centers on intersectional subject positions involving race and gender in a way that acknowledges the contradictions in being a black feminist, such as black women's enjoyment in hip hop music and culture, rather than simply focusing on the victimization of black women in hip hop culture due to interlocking systems of oppressions involving race, class, and gender.

Misogynoir is a term referring to the combined force of anti-Black racism and misogyny directed towards black women. The term was coined by black feminist writer Moya Bailey in 2008 to address misogyny directed toward black transgender and cisgender women in American visual and popular culture. The concept of misogynoir is grounded in the theory of intersectionality, which analyzes how various social identities such as race, gender, class, age, ability, and sexual orientation interrelate in systems of oppression.

In hip hop music, the term mami refers to an attractive Latina woman, typically of Puerto Rican or Dominican descent. There is also the emergence of the mami video vixen, who is the glamorized, hyper-sexualized version of an attractive Latina woman that is seen in rap videos. The image of mami that is the most popular in rap culture is the butta pecan mami, a term coined by Raquel Z. Rivera, which refers to a Latina woman who has light golden colored skin and "good" (European-type) hair.

<span class="mw-page-title-main">Wanda Ewing</span> American artist (1970–2013)

Wanda Ewing (1970–2013) was an artist born in Omaha, Nebraska. She considered her art to be "provocative with a political edge." A common message of her art was “I’m a proud black woman, and I’m going to be hard to ignore.” Ewing studied printmaking at San Francisco Art Institute where she received her BFA in 1997. She received her MA and MFA in printmaking at the University of Iowa in 2001 and 2002, respectively. She was a tenured professor at the University of Nebraska at Omaha, where she taught visual arts classes from 2004 to 2013. Ewing exhibited nationally and won several awards for her work.

Feminist activism in hip hop is a feminist movement based by hip hop artists. The activism movement involves doing work in graffiti, break dancing, and hip hop music. Hip hop has a history of being a genre that sexually objectifies and disrespects women ranging from the usage of video vixens to explicit rap lyrics. Within the subcultures of graffiti and breakdancing, sexism is more evident through the lack of representation of women participants. In a genre notorious for its sexualization of women, feminist groups and individual artists who identify as feminists have sought to change the perception and commodification of women in hip hop. This is also rooted in cultural implications of misogyny in rap music.

Raunch aesthetics is a term in feminist theory which describes the ways in which women in hip hop express their sexuality through the performance of lyrics, choreography, and staging. These aesthetics are performed by artists such as Rihanna, Beyoncé, Ciara, Nicki Minaj, Megan Thee Stallion and Miley Cyrus with the intention to embrace and take control over their own bodies and sexual identities through verbal and physical expression.

The lack of respect that black women received in the music industry gave rise to hip hop feminism, as singers such as Monie Love brought attention to the differences in acknowledgment that existed even for equal talent. The movement tackles problems arising from deindustrialization, racial wealth disparities, and conservative backlash. It was molded by the social environment of the 1980s and 1990s. Meshell Ndegeocello, an American rapper, singer and bassist and Angie Stone, a singer, are two artists that have shaped the conversation. Hip-hop feminism goes beyond gender issues to support the rights of women, African Americans, and LGBTQ+ people. Queen Latifah, a prominent figure in the genre, used "the politics of respectability" to promote women's rights and racial empowerment. Ndegeocello is one of the rising queer feminists of color who brings a nuanced viewpoint to problems like abortion and unjust beauty standards. Changes in perspectives are reflected in the transition from male-dominated hip hop music to women-centered hip hop soul, which allows for a diversity of narratives within black communities. The Grammy-winning song "U.N.I.T.Y." by Queen Latifah was a historic moment that validated the powerful voice of black women in a male-dominated field and sparked discussions about domestic abuse and the commodification of black women's sexuality. In the United States, the introduction of new styles of music came during the Transatlantic Slave Trade era. The genres of music include, but are not limited to, blues, rock, gospel music, jazz, bluegrass, and Hip-hop. African American women in the music industry have made significant contributions over the years.

The strong black woman schema, as defined by scholars, is an archetype of how the ideal Black woman should act. This has been characterized by three components: emotional restraint, independence, and caretaking. Strong black women must hold back their emotions to avoid appearing weak, portray themselves as strong and independent while being responsible for the problems of others, and take care of those problems as if they were their own. Stemming from stereotypes of enslaved Black women, the schema grew from the intersectional oppression Black women face from society's expectations. The notion that as women, they must uphold feminine standards, but as Black women, they must balance that with the responsibility of being emotionally and physically strong; this is also known as intersectionality.

References

  1. 1 2 3 Aun Qi Koh (September 1, 2012). "'It's Barbie, bitch!': In Defense of Nicki Minaj, Black Female Rappers and Hip-hop Feminism". Political Beanie. Archived from the original on November 25, 2018.[ self-published source? ]
  2. ↑ Shalit, Wendy (2007). Girls Gone Mild: Young Women Reclaim Self-Respect and Find It's Not Bad to Be Good . New York: Random House. p.  72. ISBN   978-1-4000-6473-1. [...] 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.
  3. 1 2 3 4 Stevenson, Stephanie (2010). "Scholarship and Empowerment in the Age of the Video Vixen: Promoting Black Adolescent Females' Academic Success". The University of Maryland McNair Scholars Undergraduate Research Journal. 2: 269–286. hdl: 1903/10728 .
  4. ↑ Fitts, Mako (2008). ""Drop It like It's Hot": Culture Industry Laborers and Their Perspectives on Rap Music Video Production". Meridians. 8 (1): 211–235. doi:10.2979/MER.2008.8.1.211. JSTOR   40338918. S2CID   197654934.
  5. ↑ Story, Kaila A. "Performing Venus-From Hottentot to Video Vixen." Home Girls Make Some Noise: Hip-hop Feminism Anthology. By Gwendolyn D. Pough, Mark Anthony. Neal, and Joan Morgan. Mira Loma, CA: Parker Pub., 2007. N. pag. Print.
  6. 1 2 3 4 White, Brooklyn (August 28, 2019). "The Evolution of Hip-Hop's Video Vixen". Okayplayer.
  7. ↑ Sharpley-Whiting, T. Denean. Pimps up, Ho's down: Hip Hop's Hold on Young Black Women. New York: New York University Press, 2007, p. 26, ISBN   978-0-8147-4014-9.
  8. 1 2 3 4 5 Ford, Meagan Dawnavette (2009). Modern-day Jezebel: A social critique on 'Confessions of a Video Vixen', by Karrine Steffans, using Patricia Hill Collins' Black feminist theory (Thesis). ProQuest   304896050.
  9. 1 2 Conrad, Kate; Dixon, Travis; Zhang, Yuanyuan (2009). "Controversial Rap Themes, Gender Portrayals and Skin Tone Distortion: A Content Analysis of Rap Music Videos". Journal of Broadcasting & Electronic Media. 53 (1): 134–156. doi:10.1080/08838150802643795. S2CID   51858666.
  10. ↑ Rivera, R. (February 7, 2003). New York Ricans from the Hip Hop Zone. Springer. p. 121. ISBN   978-1-4039-8167-7.
  11. 1 2 3 Rodriguez, Amanda (March 19, 2015). "Implications: Negative and Positive". Video Vixens.
  12. 1 2 3 4 Full Length: How Video Models Changed The Music Industry | VIXEN., July 13, 2018, retrieved October 31, 2022
  13. 1 2 Stange, Mary Zeiss; Carol K. Oyster; Jane Sloan. Encyclopedia of Women in Today's World. Thousand Oaks, Calif.: Sage Reference, 2011, p. 695, ISBN   978-1-4129-7685-5.
  14. ↑ Hall, Ann C.; Mardia J. Bishop. Pop-Porn: Pornography in American Culture. Westport, Conn.: Praeger, 2007, p. 8, ISBN   978-0-275-99920-9.
  15. ↑ Jeffries, Michael P. Thug Life: Race, Gender, and the Meaning of Hip-Hop. Chicago: University of Chicago Press, 2011, p. 155, ISBN   978-0-226-39584-5.
  16. ↑ Keyes, Cheryl Lynette. Rap Music and Street Consciousness. Urbana: University of Illinois Press, 2002, p. 220, ISBN   978-0-252-02761-1.
  17. ↑ "Nelly feels the heat". The Chicago Tribune (April 2, 2005), accessed October 1, 2011.
  18. ↑ Arce, Rose (March 3, 2005). "Hip-hop portrayal of women protested". CNN.
  19. ↑ "Black college women take aim at rappers". USA Today . AP. April 23, 2004. Archived from the original on July 14, 2004. Retrieved September 25, 2023.
  20. ↑ Rose, Tricia. The Hip Hop Wars: What We Talk About When We Talk About Hip Hop - And Why It Matters. New York: BasicCivitas, 2008, p. 177, ISBN   978-0-465-00897-1.
  21. ↑ Steffans, Karrine (2005). Confessions of a Video Vixen. HarperCollins. Archived from the original on December 12, 2005. Retrieved September 25, 2023.
  22. ↑ "Best Sellers: Hardcover Nonfiction". The New York Times . July 24, 2005. Archived from the original on January 30, 2013.
  23. ↑ Ladel, Lewis. "The Portrayal of African American Women in Hip-Hop Videos". ScholarWorks at WMU.
  24. ↑ Salaam, Khalid (2006). "Eye Candy: Tastes Like Candace". XXL Magazine. Harris Publications. Archived from the original on January 17, 2006. Retrieved September 25, 2023.
  25. ↑ Matthews, Annalycia D., "Hyper-Sexualization of Black Women in the Media" (2018). Gender & Sexuality Studies Student Work Collection. 22. https://digitalcommons.tacoma.uw.edu/gender_studies/22
  26. ↑ Broadnax, Jamie O. "Objectification of women in rap music videos." (Winter 2019).
  27. ↑ Rodriguez, Amanda. "Introduction." Video Vixens, March 19, 2015, Video Vixens | How the Hip Hop Music Video Industry Created a Means for Female Empowerment (wordpress.com)
  28. ↑ Balaji, M. "Vixen Resistin': Redefining Black Womanhood in Hip-Hop Music Videos." Journal of Black Studies, vol. 41, no. 1, 2010, p. 20. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=swh&AN=62648&site=ehost-live.
  29. ↑ Overstreet, N. M., Rosenthal, L., Godfrey, C.-J., Brown, B. E., Khukhlovich, A., & Albritton, T. (2023). Navigating sexual stereotypes across time, space, and place: Exploring Black women's practices of resistance, refusal, and reclamation. Stigma and Health, 8(3), 289–298. doi : 10.1037/sah0000438
  30. ↑ Ward, L.Monique, et al. "Media Use and Black Emerging Adults' Acceptance of Jezebel and Sapphire Stereotypes." Journal of Media Psychology: Theories, Methods, and Applications, vol. 35, no. 5, 2023, pp. 256–67. EBSCOhost, doi : 10.1027/1864-1105/a000390.
  31. ↑ Neal-Barnett, Angela. "To Be Female, Anxious and Black." Anxiety and Depression Association of America, ADAA, ADAA, April 23, 2018, To Be Female, Anxious and Black | Anxiety and Depression Association of America, ADAA
  32. ↑ Jerald, M. C., Cole, E. R., Ward, L. M., & Avery, L. R. (2017). Controlling images: How awareness of group stereotypes affects Black women's well-being. Journal of Counseling Psychology, 64(5), 487–499. doi : 10.1037/cou0000233
  33. 1 2 December 11; Arts, 2016 | Faatimah Solomon |; culture; Feminism; Media; Race/Ethnicity. "The Exploitation Of Women Of Color In Music Videos Needs To End - Women's Media Center". womensmediacenter.com. Retrieved October 31, 2022.{{cite web}}: CS1 maint: numeric names: authors list (link)
  34. 1 2 3 4 5 6 Heller, Nicole (2020). "Black Female Artists Reclaiming Their Sexual Power". Student Publications.
  35. ↑ Oliver, Mary Beth; Raney, Arthur A.; Bryant, Jennings (June 26, 2019). Media Effects: Advances in Theory and Research. Routledge. ISBN   978-0-429-95701-7.
  36. ↑ Norris, Mary (May 30, 2019). "Female Trouble: The Debate Over "Woman" as an Adjective". The New Yorker. ISSN   0028-792X . Retrieved February 29, 2024.
  37. 1 2 Pough, Gwendolyn D. (2007). "What It Do, Shorty?: Women, Hip-Hop, and a Feminist Agenda". Black Women, Gender + Families. 1 (2): 78–99. JSTOR   10.5406/blacwomegendfami.1.2.0078.
  38. ↑ Macarena Martin Martinez (November 2020), AFRO-CARIBBEAN WOMEN RECLAIMING THEIR BODIES AND SEXUALITY: NICKI MINAJ AND CARDI B'S AMBIVALENT SELF-PORTRAYALS.
  39. ↑ Emerson, Rana A. (2002). "'Where My Girls At?': Negotiating Black Womanhood in Music Videos". Gender and Society. 16 (1): 115–135. doi:10.1177/0891243202016001007. JSTOR   3081879. S2CID   35432829.

Further reading

This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.