The Evolution of Black Women in Music: Sexualization, Image and Power

The Evolution of Black Women in Music: Sexualization, Image and Power

Introduction

Black culture has made many contributions to the music industry with the creation of various genres and several contributions to existing musical genres. Some would even say that music is one of the greatest contributions that Black Americans have given to the world thus far. Music in African American culture started back during slavery with old negro spirituals and chants. Singing was a way to make it through the pain and pray for better days. There have been many famous black male artists that have made significant contributions in the past and present, but none can compare to the soulful artistry of a Black woman. Known for her beauty, strength, and tenacity; the Black woman is like no other. Black women sing with grit and carry the pain of the treacherous world with each note sung. Black women are trendsetters, from their style to their hair. Black women have contributed to almost every musical genre, from blues to pop.

Over time, the images of Black women in music have shifted. From Ella Fitzgerald, to Aretha Franklin, to Beyoncé. Each artist that I named have vastly different musical styles, and seemingly wear less and less clothing. Overtime Black female artists have embraced their sensuality through their craft. So much so, that it has become a requirement to be seen as a sex figure to be successful within the music industry. The raunchier the lyrics become and the more clothes that are stripped off further adds to the objectification and sexism that Black women face.

Black women have to fight for respect in every aspect of their lives. Black women are considered to be the least respected and protected humans on this planet earth. Not only do Black women have to experience sexism, but racism is often the first thing that they face. Black women even experience division within their own race with the daunting reality of colorism. These realities tie intersectionality with the Black female identity. I want to explore how that notion translates to Black women in the music industry. While the portrayal of open sexuality from Black female musical artists is often seen as female empowerment, artists should not have to have an overly sexual appearance and persona to sell records. This ideology stems from the enslavement of African people in America and how female slaves were objectified and disrespected. I am studying sexism, classism, racism, and body image in relation to the experiences of Black female artists within the American music industry over time.

I have a personal connection with this topic. I have been singing all of my life, and just recently I started performing at local venues. If I wasn’t in school, I would be pursuing a career in music. Being a dark-skinned overweight Black woman has limited the number of opportunities that come my way. I have been told that because I don’t look a certain way, nobody will listen to me. This is the sad reality of the society we are living in today. I started to reflect and research the way things were in the past. Talent used to be the only thing that mattered. Somewhere around the 1990’s things shifted into being about who could make the most money, and not who was the most talented. The sexier the image of the artist meant more records would be sold. Those reflections led me to my research questions. I wanted to explore how the images of Black female artists have changed over time, what factors have affected how Black female artists are viewed, and why Black female artists are seen as sexual objects. To answer these questions I used history, gender studies and music history to conduct research. I also used my knowledge as an English major to conduct proper research in finding appropriate sources.

This essay will cover various sub-topics that are directly related to the main topic. I will start in chronological order and explain the shift of the Black woman’s image and sexuality through a historical lens. I will also be examining the images of Black female artists dating all the way back to the 1920’s, until now 100 years later in 2020.

The History of Black Female Sexuality: From Slavery to Music Videos



The history of Blacks in America started with the experience of chattel slavery. Families were separated, lives were lost, and abuse was endured. When slavery was abolished in 1865, Blacks began to do domestic work. The truth is that slavery never really ended, it just transformed into oppression and systemic racism. At the center of these tragedies were Black women. Not only did Black women endure sexism from their own race, but they endured blatant disrespect and abuse from their slave masters. “The hypersexualized Black female body in contemporary hip hop can be understood as a chronological extension of the commodification of Black women during slavery” (Goldman 180).

They were told they were ugly and worthless, but why were they still seen as sexual objects? The Black female body was different than anything the white man had ever seen before. Large buttocks, bountiful hips, and plump lips were exotic features. Enslaved women were raped repeatedly and even bore many biracial children. “During the era slavery in the United States, the idea that Black women had insatiable appetites for sex was used to justify the rape of enslaved women by their owners. For owners, this practice had the added effect of producing additional enslaved people” (The Historical Roots of the Sexualization). Black female sexuality is rooted in trauma. It is rooted in disrespect and disregard. It is rooted in objectification.

Those realities have caused confusion and delusion within Black culture. It’s almost like Black women have internalized that sex is the only thing they are good at. Black women were not able to be free sexually because they have a long history of being controlled and disrespected. We can use history to decode the sexuality of Black women. The images of Black women in music videos directly relates to slavery. Black women were property and have a history of not being in control of their own bodies. “For both free and slave women in the United States, the legal definition of women’s bodies were seen as men’s property” (Weitz 5).

Black women in music videos portray the images of being enslaved. Being under the control of the man and doing anything to please “him”. Black women are called bitches and hoes and even refer to themselves as that. Black women are used to being viewed as sexual beings. Black women often endure disrespect because they have never been able to properly heal from past traumas.

Black Female Artists from the 1920’s & the 1930s

Black women began to emerge and rise to fame in the music industry in the 1920s. The success of an artist mainly depended on talent and not looks. Sexual images were not portrayed because Black people at that time had limited rights, especially Black women. During that time Black artists could not even enter the front of a club or venue that they were performing at. The beauty of Black women was often downplayed. “Originally, when represented in media, Black women were objectified and limited to stereotypical roles such as the domestic Mammy” (Goldman 7). They were solely an instrument, there to entertain the whites. Black people did not have many opportunities to see their favorite artists perform. They often worked as doormen and servers in the popular white clubs.

Artists like Ella Fitzgerald, Billie Holiday, and Bessie Smith paved the way for Black female artists. They used their music as a form of self-expression and also as a way to convey social issues like racism, poverty, and even sexuality. “African-American singers and musicians challenged the sexual politics of their day in various ways” (Lee 19). Sexuality during that time looked different, as the sting of slavery was still fresh. The song “Strange Fruit” by Billie Holiday shed light on the lynching of Black Americans in the south. She used her voice to try and make a difference. She expressed her pain and deep sorrow through her music. In that day and time Black artists were not seen as hypersexualized beings. They attempted to be voices and advocates for their people.

The Black Sheep: Josephine Baker

Unlike her conservative counterparts, Josephine Baker entered the entertainment industry in the 1920’s with a different type of image. She was the first Black female artist to challenge the norm. Josephine Baker owned her sexuality and it was even rumored that she identified as bisexual. She fully embraced her body and walked in her authority through self-expression. Because she was so different and provocative, she was not always accepted. “Few women in the 1920s and ’30s push the limits of Black female sexuality like sultry singer and dancer Josephine Baker. Realizing her seductive performances are too risqué for American sensibilities, she leaves her homeland to become a world-famous entertainer in France” (Lee 20).

America was not ready to accept Josephine Baker and her sexually free nature. In fact, she didn’t get her big break until she left the country. She became a citizen of France and became very successful in Europe. She was best known for her famous “Banana Dance” and she would often perform in the nude or with different body parts exposed. There was no one like Josephine Baker during her time. Josephine Baker paved the way for Black female artists to be able to express themselves freely.

Images of Black Female Artists from the late 20th Century

Some of the most successful artists of the late 20th century were Black women. “Bessie Smith, the Empress of Blues; Billie Holiday, Lady Day; Mahalia Jackson, the Queen of Gospel; Aretha Franklin, the Queen of Soul. As these artists’ titles suggest, Black women singers have dominated the major forms of twentieth-century American Music” (Lordi 1). They were still not known for owning their sexuality, nor did they adopt a Black feminist persona. Their success was solely based on their larger than life voices and diva attitudes. Aretha Franklin, the Queen of Soul was arguably the most popular Black female artist of her time. Her roots were in the Black church, and she had the image to match. Much like Aretha, Whitney Houston had a similar image. In fact, most Black female singers got their start in church. This was the main reason behind their good girl images.

Black female artists' songs in the late 20th century was often devotion towards men. The desire to be loved and cared for is an ideology adopted from slavery as well. Black women and women, in general, get more respect when they have a man. Having a man means they are protected and taken care of. Messages that were portrayed in their music were not ones that reflected female empowerment and sexuality. Instead, it reflected sexism and the privileges of men. There is a connection between men having power and privilege based on how women continued to freely give them power. Mainstream Black media played into those notions. In the song “Until You Come Back to Me”, Franklin is basically singing about stalking a man and begging for his love and attention. “Saving All My Love for You” is one of Whitney Houston’s biggest hits, but few realize what the song they sing along to is actually about. The song is openly speaking about an affair between a woman and a man that is in another relationship.

Although these artists paved the way for many Black female artists to follow, there were many flaws within their images. Despite these flaws, there were a lot of good things that came from artists like Aretha Franklin and Whitney Houston being in mainstream media. "Black popular artists helped transform stage life and helped lead the way to acceptance of public amusements in middle-class life" (Sotiropoulos 181). They reached high levels of success but hardly ever sang lyrics that they wrote themselves. During the 1980’s is when the music industry began to set a standard for the images and personas of artists. Labels began to sign artists and dictate how they looked and what music they could put out. Many artists fell victim to these practices. Because Black women had limited power and resources, they suffered the most. This was the beginning of the shift within the music industry.

The Shift of R&B and Black Female Sexuality: Janet Jackson

Before Janet Jackson, Black female artists sang ballads. Janet came in and changed the game with her explicit lyrics and sexual image. She used her sexuality to sell records and it worked. She was not known for having a powerful voice, but much like Madonna she had the full package. Janet Jackson set a new standard for Black female artists. It became about what could sell and the answer to that was: Sex. Janet Jackson was one of the first artists to successfully express her sexuality through her music. People actually accepted it and embraced it.

Janet Jackson has gone on to have a long and lucrative career. However, there was an incident that occurred that almost ended her career. In 2004 Jackson had a wardrobe malfunction while performing at the Superbowl halftime show with Justin Timberlake. Her breast was exposed on national television and everyone lost their minds. Although Jackson was known for being sensual, most people felt like the incident was too much. Jackson was criminalized for an accident that wasn’t even her fault, while Justin Timberlake walked away with no criticism or hate. “Whether the infamous incident is an intentional act of defiance or an actual clothing malfunction, it exposes the gendered double standard concerning how the American public responds to male and female bodies” (Lee 23).

Factors like sexism and racism played a large role in the backlash that Janet Jackson received. Jackson was eventually able to bounce back from the incident, but it plagued her career for many years. Janet Jackson is proof that Black women were beginning to evolve and embrace their femininity. If there was no Janet Jackson, there would be no Beyoncé.

Beyoncé: Sexuality, Feminism, and Power

Beyoncé is one of the most successful female artists in history, and she happens to be a Black woman. “Few contemporary entertainers in the pop music world have had an impact equal to Beyonce’s. Her talents as a songwriter and entertainer, coupled with her powerhouse vocals and desire to challenge gender norms, has catapulted Beyonce to a level of stardom and influence few performers will ever see” (“The Beyoncé Effect: Essays on Sexuality”). Beyoncé is an important person to highlight because she represents another great shift within the music industry for Black women. She is the first Black female artist to adopt feminist principles in her image. She is often criticized for being overly sexual, but she claps back with the notion that she can do and say whatever she wants.

Beyoncé has introduced the idea of feminism to her broad audience. “Yet what is perhaps most interesting about her cultural impact is the ways she has embraced feminism. Her songs can be read as mini-lectures in feminist theory and methodology, she has introduced feminism to new generations of young women and given feminist the world over an opportunity to rally behind a woman who is perhaps the world’s biggest pop star” (“The Beyoncé Effect: Essays on Sexuality”).

Beyoncé used a part of Chimamanda Ngozi Adichie’s speech on feminism in her highly successful song “Flawless”, which gained a lot of attention and praise. She has used her influence, to spread body positivity and female empowerment. Her provocative lyrics and carefree persona have inspired many. Beyoncé has reached a level of success that few will ever reach. She has used her privilege as a fair-skinned Black woman to empower her own people. She is the first Black female artist that can call the shots and make her own decisions about her career.

The Objectification of Black Women in the Media

The objectification of Black women stems from slavery and how black women were viewed and treated. Black Women and Popular Culture: The Conversation Continues explains how the objectification of Black women as a form of entertainment started centuries ago:

The objectification of Black women for the sake of entertainment dates back to the eighteenth century. This can even be seen in the experience of Saartjie (Sarah) Baartman, also known as the Hottentot Venus, who was a member of the Khoikhoi tribe in South Africa. Against her will, she was taken from her birthplace, caged and treated as a freak show on exhibit across the world by White European men. Featured unclothed, her large breasts and buttocks were fully exposed to masses that paid money to view her body because of her uncommon physical traits. Although in a different form, Black women were continuously objectified throughout history— which includes their media representations. (Goldman 7).

Black women were seen as sexual creatures and not as human beings. That ideology has been adopted within every aspect of Black culture including the music industry. This continues to plague the Black woman, especially since the notion that sex sales have been adopted. “They present themselves as sensual subjects who moan and groan and ooooh and ahhh about sex and physical pleasure and also as sexual objects who men sometimes exploit” (Lee 28).

Unfortunately, Black women play into the various stereotypes to be successful within the music industry. There is a need to feel beautiful. Black women have almost embraced being objectified, because it is how they take care of themselves. This is a man’s world, and women often try to appease men to get by. “Before women's liberation all females young and old were socialized by sexist thinking to believe that our value rested solely on appearance and whether or not we were perceived to be good looking, especially by men” (hooks 31).

Get Naked or Don’t Sale: A New Form of Racism and Oppression

The music industry is undoubtedly predominantly controlled by white men, like every other industry. Black people are oppressed in all aspects of life. Just like white men were slave masters, the music industry can almost be viewed as a form of slavery. A contract is usually involved and most of the time artists don’t even own the rights to their music. They may not even own the trademark to their name. Black female artists are expected to do what they are told and portray a certain image. The goal is to make money. There have been several Black female artists over time who refused to portray an overly sexual image and they were blacklisted and muted. When Black women try to speak-out they are often shunned and told they are ungrateful. The quality of performers in this day and age has gone down. Talent is seen as who has the largest buttocks and who can attract the most men. “Black women’s battle with inclusion in popular culture artifacts is a common research topic. Because of their sex and race, Black women have dealt with a long battle of limited quality media representation” (Goldman 7).

Beyoncé is a powerhouse, but she would not have reached the level of success that she has if she did not use her sexuality and good looks to get ahead. Women want to be her, and men want to sleep with her. Artists like Janelle Monae, Ledisi, and Erykah Badu will never see that level of success because they refuse to use their sexuality to advance their careers. Most artists who don’t conform to the new standards that have been set are almost invisible. “African Americans have always suffered high levels of dehumanization, generality, invisibility, and anonymity within white, middle-class, and mainstream America” (Rabaka 4).

Colorism in the Industry

Colorism has affected the successes of many Black female artists. New artists like Ari Lennox and Chika who are of a darker complexion have spoken out about how they are treated based on how they look. Once again, this practice stems from slavery as well. “Colorism has a long history in the United States. During our country’s period of enslaving people, those enslaved people with lighter skin or more European features were given favorable treatment” (Jeffries).

Black Americans have adopted the idea that the closer that someone looks to being white, the better. Colorism has caused division within the Black community. Lighter skinned artists are known to sell better, mainly because they are preferred by men. Mariah Carey and Beyoncé are examples of that reality. There is an overwhelming presence of fair-skinned Black women within the music industry. "The vast majority of the young women in these videos are either fairer-skinned, ethnically mixed, or of indeterminate ethnic/ racial origins, with long, straight, or curly hair that would suggest that along with the stereotype of hypersexuality and sexual accessibility, a particular type of beauty is offered up as ideal" (Sharpley-Whiting 27). Before the turn of the century colorism existed, but it did not affect talented person chances of being successful within the music industry.

Black Female Artists Vs. White Female Artists

The experiences of Black female artists and white female artists are vastly different. Black artists are judged and expected to behave in a certain way. Black females have to work 10 times harder just to be noticed because there are limited opportunities. “It is often evident that Black women entertainers have to put forth much more effort than their counterparts in order to be respected” (Nanton).

Not only is there a limited amount of opportunities for Black women, but they are often pitted against each other. Vicious fights and catty internet arguments happen more often between Black females than their white counterparts. This is directly tied to systemic racism. There are certain systems that are in place in this society, that stifle the level of success that a Black female artist can reach. “Black women who do succeed in the music industry, either as DJs with turntables, record producers or singers, face a host of challenges that their white counterparts just aren’t experiencing. For one thing, unlike white artists, black women are forced into very narrow roles that they’re allowed to exist in” (King).

The Images of Black Female Rappers in the 1990s and 2010s

The images of Black female rappers from the 1990s and 2010s exude sex. Artist Lil Kim rapped raunchy lyrics and barely wore clothes when she first came out. In order for her to gain attention, she felt like she had to be seen as a sex figure because hip-hop is such a male-dominated genre. She was even in an open sexual affair with her labelmate. Every Black female rapper that has reached a high level of success has adopted those same principles. “The simultaneously sexist and racist commodification of Black women in hip hop commonly manifests in alignment with sex work situating Black women as strippers, dancers, and prostitutes for the pleasure of men” (Goldman 180).

Sexism within the hip-hop community is a huge problem. Female rappers are rarely respected by their male counterparts and are consistently disrespected by being called out of their names. New artists like Doja Cat and Megan Thee Stallion embrace that treatment, and their lyrics are so sexual that they could be compared to strippers and sex workers. Their lyrics are extremely explicit, and they are almost always half-naked while twerking their large assets. Artist, Cardi B actually used to be a former stripper, and her music often reflects the days she spent on the pole. Black female rappers introduce the idea that there is a thin line between over-sexualization and simply embracing your sexuality.

The Examination of Size and Sexuality: Lizzo & Jill Scott




Sizeism is often something that people don’t talk about within the Black community. Obesity is something that plagues African American’s, with heart disease and diabetes running rampant throughout the Black community. Yet, the idea of a fat and Black popstar repulses many. They are seen as less desirable and are consistently criticized. This relates back to the idea that Black female artists don’t sell if men are not sexually attracted to them “For years, it has been a running joke that fat women in the music industry are only supposed to be the background singers to thinner women. They are never supposed to be in front taking the lead, they are never supposed to take attention away from someone thinner; never supposed to bring attention to themselves” (Honoring The Fat Black Women).

Artists like Lizzo and Jill Scott have challenged the standards of main-stream beauty. Both artists own their sexuality and aim to spread the message of body positivity to their audiences. Both embrace their sexuality within their songs and music videos, but people refuse to view them as sensual beings or sex figures like their smaller colleagues. “So from the moment Jill Scott releases her first CD in 2000, critics hail her as a neo-soul woman of substance and do not even entertain the possibility of her as a sex symbol” (Lee 27). Not only do artists like Lizzo and Jill Scott have to deal with sexism and racism within the industry, but they also have to consistently defend the way that they look.

Challenging the Norm: H.E.R.

To reach a certain level of success in the music industry it is almost required to have a certain image. Singer H.E.R. has challenged that norm and became successful on her own terms. She broke into the industry in 2016 and gained success solely based on her musical abilities because she made the decision to hide her identity and come out anonymously. She has stated that she didn’t want her looks to determine her successes, but she wanted respect based on her abilities. Her identity has since been revealed, but how she looks doesn’t matter at this point in her career. At 22 years old, she has won multiple Grammy’s and is just getting started.

She received some criticism for hiding her identity, and many people simply did not understand her reasoning behind hiding her face behind huge sunglasses and dim lighting. "Women who choose not to indulge in beauty practices are often disadvantaged and made to feel guilty for their lack of conformity in a culture that overemphasizes physical appearance" (Sharpley-Whiting 32). Despite the criticism, H.E.R.’s success continues to rise within the industry.

Conclusion

Black female artists throughout the years have experienced many disadvantages. Artists like Beyoncé and H.E.R. have challenged many systems that have been put in place to hinder the successes of Black women in the industry. The open sexuality of artists like Beyoncé and Jill Scott could be portrayed as overly sexual but can also be viewed as a form of female empowerment. “Some critics project sexy pop divas like Beyoncé as sex objects rather than proactive subjects constructing their own sexual representation” (Lee 25). Black female artists still should not have to have an overly sexual appearance and persona to sell records. How they present themselves should be up to them. These ideologies and practices stem from the enslavement of African female slaves who were objectified and disrespected time and time again. Throughout this essay I examined sexism, classism, racism, and body image in relation to the experiences of Black female artists within the American music industry over time.

I believe that a feminist mentality should be adopted within the Black community as a whole to battle how we are viewed in mainstream media platforms like the music industry. “We must push black feminist thought and criticism toward its promise. Articulation of class and sexuality at the intersection of race and gender provides a lens of interpretation that does not simply celebrate a discourse as resistant but also seeks out the manner in which it disciplines and controls” (Reid-Brinkley 256). Black women must stand tall and take their power back.

                                                                Bibliography

“Honoring The Fat Black Women Who Shaped Music For Generations.” Wear Your Voice, 14 Feb. 2020, wearyourvoicemag.com/honoring-the-fat-black-women-who-shaped-music/.

“The Historical Roots of the Sexualization of Black Women and Girls.” Blackburn Center, www.blackburncenter.org/post/2019/02/20/the-historical-roots-of-the-sexualization-of-black-women-and-girls.

Goldman, Adria Y, et al., editors. Black Women and Popular Culture: The Conversation Continues. Lexington Books, 2014.  

hooks, bell. Feminism Is for Everybody: Passionate Politics. South End Press, 2000.

Jeffries, Anna Yoni. “Mental Health Effects of Colorism in the Black Community.” Mind Path Care Centers, 24 Mar. 2020, www.mindpathcare.com/blog/mental-health-effects-of-colorism-in-the-black-community/.

King, Bailey. “'An Easily Consumable Package': What It's Like Being A Black Woman In The Music Business - Blavity.” Blavity News & Politics, blavity.com/what-its-like-being-a-black-woman-in-the-music-business?category1=community-submitted.

Lee, Shayne. Erotic Revolutionaries: Black Women, Sexuality, and Popular Culture. Hamilton Books, 2010

Lordi, Emily J. Black Resonance: Iconic Women Singers and African American Literature. Rutgers University Press, 2013.

Nanton, Brittney. “It's 2020. Why Is The Music Industry Still Harmful To Black Women?” Forbes, Forbes Magazine, 25 Jan. 2020, www.forbes.com/sites/brittneynanton/2020/01/25/its-2020-why-is-the-music-industry-still-harmful-to-black-women/.

Rabaka, Reiland. The Hip Hop Movement: From R&B and the Civil Rights Movement to Rap and the Hip Hop Generation. Lexington Books, 2013.

Reid-Brinkley, Shanara. "The Essence of Res(Ex)Pectability: Black Women's Negotiation of Black Femininity in Rap Music and Music Video: Feminism, Race, Transnationalism Feminism, Race, Transnationalism." Meridians, vol. 8, no. 1, 2008, pp. 236-260. ProQuest, https://hnu.idm.oclc.org/login?url=https://search-proquest-com.hnu.idm.oclc.org/docview/196904857?accountid=25285.

Sharpley-Whiting, T. Denean Denean. Pimps Up, Ho's Down: Hip Hop's Hold on Young Black Women. NYU Press, 2007. public.ebookcentral.proquest.com/choice/publicfullrecord.aspx?p=866003. Accessed 3 May 2020.         

Sotiropoulos, Karen. Staging Race: Black Performers in Turn of the Century America. 1st Harvard Univ. Press pbk. ed., 1st Harvard Univ. Press pbk. ed., Harvard University Press, 2008.

Trier-Bieniek, Adrienne M, editor. “The Beyoncé Effect: Essays on Sexuality, Race and Feminism.” Protoview, vol. 3, no. 38, 2016.

Weitz, Rose, and Samantha Kwan. The Politics Of Women's Bodies: Sexuality, Appearance, and Behavior. Oxford University Press, 2014.