Unfortunately there are a great deal of troublesome images that are being shown about women in the African American community that has absorbed into their psychological mind. When you turn on the television or go to the movies, pay attention to the roles that African-American women play. Think about how often you see an African-American woman being portrayed on the screen as brave, intelligent, and strong or playing a leadership role? As an African American woman I am dissatisfied with the media’s portrayal of us. I feel that this trend must be stopped and the only way is for us to boycott the media, stop buying music that depicts us as anything less than what we are.
That's exactly what Madonna attempts to do when she appropriates and commodifies aspects of black culture. Needless to say this kind of fascination is a threat. It endangers. Perhaps that is why so many of the grown black women I spoke with about Madonna had no interest in her as a cultural icon and said things like, "The bitch can't even sing." It was only among young black females that I could find die-hard Madonna fans.
Ever since Madame C.J. Walker became a millionaire selling hair and beauty products it became clear that black women felt the need to tweak themselves to feel attractive. Hair had to be straighter and skin lighter, blacks have been brainwashed by the images of Europeans and what they considered to be beautiful. After hundreds of years of being told they were inferior and being raped and beaten it’s hard not to believe it. The film, “The Soul of Black Girls”, candidly showed how these thoughts are still embedded in the minds of African-American women today.
They are often the subjects of the material presented in the song. Although rap is usually viewed as an urban male culture it wouldn’t be what it is without the influence of women. These women show mastery in rap and combine their lyrical skills with displays of physical and sexual expression that disrupt dominant notions of feminism. The women in rap are fighting for more dignified images of black women and their struggle with race as well as patriarchy. Feminism was founded under the belief that all women were treated as second-class citizens and according to the male dominated world their existence was configured as less important and thus under appreciated.
For over a century, women have been speaking about the double enslavement of black women and how not only are they handicapped on account of their sex, but they are mocked almost everywhere because of their race as well. In “Multiple Jeopardy, Multiple Consciousness: The Context of a Black Feminist Ideology,” Deborah King illustrates how the dual discriminations of racism and sexism remain pervasive, and how class inequality compounds those oppressions. In the case of Pecola Breedlove, the protagonist of Toni Morrison’s The Bluest Eye, this triple jeopardy of race, gender, and class ultimately leave her feeling socially powerless in society. Pecola must suffer all the burdens of prejudice of having dark skin, as well as bear the additional burden of having to cope with white and black men because of her sex. The beauty standards of white Western culture, the sexual abuse of Pecola by her father, and Pecola’s low economic status have multiplicative effects on Pecola and all aid in her progressive alienation from society as well as her fall towards insanity.
Controversy: Black Woman Are Less Attractive By Satoshi Kanazawa Racism is one of today’s biggest issues. Many are not conscious of how much racism still exists in our societies. Blogger Satoshi Kanazawa of Psychology Today also known as an evolutionary psychologist at the London School of Economics published findings on the relative attractiveness of women from different races. The topic is stirring a massive controversy around the world. Satoshi states, “Black women are on average much heavier than nonblack women .
Let me be clear -- I'm on the front lines of any effort to get the men in hip-hop to rethink their pornographic uses of women's bodies and performance of lyrics that more often than not express, at best, a deep ambivalence about and fear of women (perfectly captured 14 years ago with the Bell Biv Devoe quip "never trust a big butt and a smile") and, at worst, outright hatred. But as we make demands of these artists, it's important that we understand the demands of the peculiar space they occupy within pop culture. Without doubt, the performance of black masculinity continues to be hip-hop's dominant creative force. Yet over the last decade or so sales figures have consistently shown that young white men are the primary consumers of the various performances of black masculinity and the pornographic images
More than half the time the rapper speaks on what the female should do sexually. For example, a rapper by the name of Meek Mill stated in his song “Flexing On Em”, “ All I know is just flex, shittin on my ex, bad hoes on my team, and I dick em down like next”. The statement from those lyrics justifies that most rappers view women as just accessory to their sexual desires, fame and power, not a person who deserves respect. Through the rappers music videos and lyrics they don’t only express misogyny but discrimination. In a lot of their verses they talk about women who are only “red bones”.
And, in most cases they are seen as property and mere objects to men. The article “Where My Girls At? : Negotiating Black Womanhood in Music Videos” by Rana Emerson focuses on the present-day issue that many black woman are facing in the music industry. Her center of attention was to prove and “identify how music videos exhibit and reproduce the stereotypical notions of black womanhood faced by you black females,” and in addition she “discusses the ways that black woman performers use music videos” for sexist philosophy. Emerson proves her argument by composing her own study with the use of theoretical sampling.