#com 344

[vaniaemyers-blog]

Accidental Racist

Of course I have to post about Brad Paisley's and LL Cool J's "Accidental Racist" song. There are so many aspects of the song that are not communicated well and, in result, people ostracize the hell out of it. However, they do bring in light some issues that people can really look into.

Paisley and Cool J collaborated together with this song to talk about a subject that they claim is ignored in the music industry: the relationship between blacks and whites (specifically white southerners). They wanted to write a song that creates conversation, and wow, they really nailed that in the head. Much of the criticism on Paisley's part is his explanation of why he wore a shirt that has a Confederate State flag on it. The flag is a representation of defying the freedom of black slaves. To defend yourself and say that you're wearing it because you're a Skynyrd fan...I really don't know about that. And don't even get me started with the whole "if you don't judge my gold chains; forget the iron chains" bomb. LL Cool J...really? No, just no.

But they did what they wanted to do: start a conversation. LL Cool J admits that the song isn't perfect, and yeah, because of its uncomfortable comparisons and terrible wording, people are extremely quick to criticize. Yes, I was one of them. As someone who doesn't like country music, when I heard about how a southern man wrote a country song about racism, I rolled my eyes and thought, "oh God, another reason why I hate country music."

As explained in Eastman's and Shrock's article on "Southern Rock Musician's Construction of White Trash," the stereotype of poor white racist southerners still exist to this day, and as southern country rockers, those musicians often defend their views and ideals and thus, they seemingly defend their stereotypical white trash culture. I admit, whenever someone mentions or plays country music, I automatically think of a lower class, banjo-playing, white hillbilly/redneck/drunkard. Paisley understands this stereotype and tries to address it in his song, and yeah, it's not done perfectly, but what he writes about is true. Someone who immediately assumes someone is racist because he/she wears a t-shirt with a Confederate flag isn't any different than someone who avoids somebody wearing saggy pants and a do-rag because that person thinks he/she is dangerous. In both cases, one is making assumptions of other based on what they wear. In no way am I saying that we should start wearing Confederate flags and do rags, but there is definitely something wrong when you judge someone by the color of their skin or what they wear.

Article:

“Southern Rock Muscians’ Construction of White Trash.” Eastman, Jason. Schrock, Douglas. 2008. Blackboard.

<https://blackboard.syr.edu/webapps/portal/frameset.jsp?tab_group=courses&url=%2Fwebapps%2Fblackboard%2Fexecute%2Fcontent%2Ffile%3Fcmd%3Dview%26content_id%3D_2801131_1%26course_id%3D_256826_1%26framesetWrapped%3Dtrue>

[vaniaemyers-blog]

Introduction

Hello! I'm Vania Myers, a junior graphic design major and IT minor. I'm taking this class because it doesn't mean I have to take the 3-credit race, gender and the media class. And plus, I love love LOVE music. I really do.

I'm an "I'll-like-anything-that's-catchy-and-good" kinda gal. Except for country music, I really like oldies, 90s, indie rock, contemporary, Billboard..whatever that I'm in the mood for! Feel like dancing? Whip out my Vampire Weekend and Cut Copy cds. Feeling badass? DEV is my girl. Feeling sad and lonely? Backstreet Boys where you at? I'm not exactly sure why I'm always so turned off whenever country music is played in the background, but hopefully I'll be more open-minded to it when the opportunity pops up.

I've grown up in middle school and high school meeting friends through our taste in music. I used always love going to music festivals to meet and connect with other people who love listening to the same music as I do. Just hearing the music live and dancing and being silly in front of a group of complete strangers is so liberating, and the experience is always unique to different concerts and festivals. When I entered college, I guess I've gotten so busy with school work and "discovering myself" that I haven't made as much of an effort to go to concerts in the Syracuse area. However, I've atended concerts that University Union hosts, like Block Party and Juice Jam, and it definitely reminds me of the times when a bunch of strangers (now specifically college students) who just want to listen to music and have fun. Music brings people together, and that's definitely something that I love about it.

[gonnaeatmealotofpeaches]

Conclusion: A great class, My take away

This has been an incredible class. I really have learned a lot and it’s all resonating, clearly evident by my newfound abilities to recognize symbolic annihilation, gender roles and other class topics of discussion in my everyday, for-enjoyment consumption of media. I also have a few new favorite songs.

I think it’s been nice to expose myself to new music with such an obvious and positive message. There’s something exciting about listening to a song like Lupe Fiasco’s “Bitch Bad” which has such an obviously strong message compared to the normal love songs/songs about life I would normally be nodding my head to. Lupe’s feels like music with a purpose.

This class helped me find this new purpose that music can take. The purpose of spreading a message and actually erasing the bad other music and music culture has done. Maybe Mars couldn't do it then, but I think every artist, journalist or critic could do it now.

[gonnaeatmealotofpeaches]

AC/DShe: the All Girl coverband

While Elvis impersonators never caught my eye, I've said in class how much I do love covers. This goes for cover bands as well, as I can respect a group of individuals that loves another group so much they can resort to only playing that groups music. Very commendable. Especially if it's done well and uniquely.

AC/DShe does exactly that: they cover the almighty rock legends AC/DC with an all girl outfit. Similar to the Elvis impersonators in Brittan's artice, the group takes on the persona of the original members of AC/DC, but these girls modify them slightly. Bon Scoot becomes Bonnie Scott, and the like. The girls, to use Brittan's lingo, "rebecome" AC/DC, while simultaneously taking on gender constructs and challenging them outright.

Like Elvis, certain AC/DC lyrical themes were very sexual and sometimes somewhat degrading toward women. "You Shook Me All Night Long" is a very sexual song in which the vocalist compares his female sexual partner to a car, obviously objectifying her.

It is commendable that not only do AC/DShe take on the role of playing AC/DC, they can also reclaim their sexual identities by performing and "rebecoming" the artists who wrote the songs that took away those liberties in the first place.

Articles: “Women Who 'Do' Elvis: Authenticity, masculinity, and Masquerade.” Francesca Brittan.

[gonnaeatmealotofpeaches]

Protest Songs: Music representing the people's voice

The protest song is an old tool, it's been used in America for more than 50 years. In Kaufman's article there is quote which says some songs must be written and then performed immediately  as it is the duty of those songs to help the people they represent.

One very meta example of a protest song is "White People for Peace," a song by hard rock band Against Me! Written during the war in Iraq, the song's chorus goes "Protest songs in response to military aggression/protest songs to stop the soldiers guns/but the battle raged on/"

The song laments the capitalist greed that affects many wars (though perhaps not the Iraq War.) Even still, it is a protest song that allows opponents of the war to rally together and sing, just like the song says, to try to stop the soldiers guns. 

Kaufman's article questions the role of music in the Occupy Wall Street movement, which, unlike protests of the 60s and 70s, had no single music anthem or leader to spread their war cry. Instead, some Occupy groups wrote their own music, with success on a local level. Kaufman says Woody Guthrie, master of the protest song, would have approved. But who knows what would have happened had they had a real musical leader rise from the pack.

Articles: “Woody Guthrie and the Occupy Movement” Will Kaufman. Institute for studies in American Music. Spring 2012.

[gonnaeatmealotofpeaches]

The Ying Yang Twins still are the champs at degrading women

Of course, I can't take credit away from the best, the kings. In my mind, the Ying Yang Twins' "Wait (The Whisper Song)" has always been the greatest single example of degrading women through song and video. The hook honestly goes "Wait till you see my dick/I'ma beat that pussy up/" and it gets worse from there.

What I'd actually like to discuss right now is the video, which is just as degrading and uses the male gaze almost sickeningly. The video features shots of girls seductively dancing in few clothes in between shots of dozens of girls lying down together gyrating and squirming like animals. Epitomizing the male gaze, there is a section of the video that features the two MCs that make up the Ying Yang Twins taking photographs of the girls in salacious poses using a polaroid camera, and then promptly showing the prints as they pile up.

Mulvey would say this is a clear example of the male gaze showcasing what is perceived to be what men derive pleasure from. In the video, the Ying Yang Twins certainly appear to be enjoying their encounter with the women (read: "bad bitches.")

One of the many problems here is that yet again the stars of this music video are degrading women in a sexual (and to an extent, violent) way. Lupe would be upset, because he knows that the youth is impressionable, and the last thing he wants is for kids to grow up thinking it's acceptable to take polaroid pictures of "bad bitches."

I guess I agree with Lupe.

Articles: “Visual Pleasure and Narrative Cinema.” Laura Mulvey. Film Theory and Criticism: Introductory Readings. 1999.

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[gonnaeatmealotofpeaches]

Cassie puts herself in the male gaze

Pop singer Cassie exploded to stardom in 2006 with her hit "Me & U." Arguably, the young star's real true talent lies in her dancing, which really is incredible. In the video for "Me & U" she shows off this talent, but in an overly sexualized way. With the help from some camera techniques, the video exemplifies the male gaze just perfectly.

To be clear, "Me & U" is hardly an innocuous song. With lyrics like "Get you all the way down/I promise you'll like it/" this is a song with adult themes. Even still, Cassie's dancing is so sexual, from the first few lines of the song her zip up hoodie is opened up to reveal a bikini top (is that even dance attire?) There is even a point during a cutaway where the singer is just pouring water down her face and the camera pans to show it running down her body.

Mulvey would say these shots in particular are a part of the male gaze, a concept which is evident in the way music videos are often shot as though the camera is the eyes of a man. Like she says in her article, "Visual Pleasure and Narrative Cinema," the camera work almost takes the role of a (male) protagonist. By focusing on certain parts of a woman, the camera work of a video like this can do plenty to sexualize a star like Cassie that even provocative dancing can't do by itself. 

The thing is, it's all overkill. Every part of this video and song is screaming to appeal to men. Why do popstars do this to their own songs? I don't know. It's disheartening because I know this isn't the only example.

Articles: "Visual Pleasure and Narrative Cinema." Laura Mulvey. Film Theory and Criticism: Introductory Readings. 1999.

[gonnaeatmealotofpeaches]

Lupe Fiasco stands with Tupac: "Bitch bad, woman good."

Lupe Fiasco has always been one of my favorite rappers. He has a real ability to say unique things in a unique way. He never sounds corny, but instead, catchy. His song "Bitch Bad" from his newest album is no exception.

The song takes an authoritative view on the usage of the word "bitch" in hip-hop and pop music and the concept of a "bad bitch." To Lupe, the glamorization of being a bad bitch is detrimental to young listeners' role model concepts. Throughout his song and video, he paints several stories where a kid who hears women being referred to as bitches grows up with a skewed idea of women's role in society.

The first image is of a young child listening to the radio with his mother, who is singing along to a song about being a "bad bitch." Lupe goes on saying, "He (the child) may skew respect for dishonor."

As Iwamoto points out, Tupac tried to spread a similar message in some of his songs. Iwamoto explains how Tupac's words in "Keep Ya Head Up" were directed at men in poorer communities to respect and care for women, addressing the problems with women's position in those cultures.

I've said before that Mars couldn't change hip-hop: he didn't have enough reach and he wasn't smooth enough. Tupac tried, but of course he is no longer with us (aside from the odd stage performance at Coachella.) Lupe is still kicking though, and "Bitch Bad has almost 3 million views on Youtube. Perhaps he can make a dent in the "bad bitch" culture of pop music after all.

Articles: “Tupac Shakur: Understanding the Identity Formation of Hyper-Masculinity of a Popular Hip-hop Artist.”Derek Iwamoto. The Black Scholar. 2003.