DRAFT NUMBER 1

As the music scene grows, it seems the objectification of women within music videos has become glorified and exacerbated. This is deemed as problematic as inclusive genres to this topic such as Hip-hop and Afrobeats are regarded as  highly complicated and multifaceted genre which are rooted and heavily revolve around complex social and political commentary, dating as far back to the 1960s and 1990s. Therefore the  lack of empowerment and the emancipation of women in the music industry is substandard. This is symbolised and particularly evident in NSG's music video 'Yo darling' featuring Geko. The music industry fundamentally provides a platform, not only for the young black youth to self-identify but to also raise awareness to wider discussions and issues of universal themes that have been pre-discussed and established by revolutionary music rock n roll and afrobeats artists such as Fela Kuti and the Little Richard.

The lack of balance between black males and females’ representation within music and the formation of the semi-permanent and harmful stereotypes of women within the industry seems to be a repetition of the divide that existed between black and white music in early times. This makes it harder for one race to perform a certain action that is generally categorised for another eg white male rappers today who are significantly less successful than their black counterparts within the hip-hop/rap industry. The contemporary entertainment industry was one that succeeded off uplifting  white presence and dominance therefore numerous individuals have been quickly been controlled, praised and recognition for what began as sheer talent.

This legitimately made that white individuals take what were once authentic and org black cultures and use them through misappropriation, acquiring it for themselves. This began back in the day, particularly in jazz and rock-n-roll. Elvis Presley took the black form of blues and turned it into a white musical culture. However although this had mainly a negative effect on the many black performers and presence in music at the time. It did also have it benefits as Elvis also signifies the foul way so many black writers and performers, such as Little Richard, were treated by the music industry. The image of Elvis is a constant reflection of society's then refusal to accept anything other than the non-threatening and subservient negro,Sammy Davies Jnr and Nat King Cole.  the true picture of rock'n'roll and leaves its many originators without due recognition.  "But the reality is, black music never stays underground. White people always seek it out, dilute it and eventually claim it as their own. [1]"Sadly, this era of interracial musical creation and consumption has been largely erased by popular memory.it buried simplistic parables of white appropriation and exploration of black culture in which Elvis is a symbol of this problemaof uncompensated and unrecognised white dominance of black cultural creation and labour. Nonetheless, it still makes for unpersuasive history and fails to help us to understand the significance of Elvis and the whole biracial rock-and-roll phenomenon that intersected with the dawn of the modern civil rights movement. [2]

This links to modern day criticism of music industry as women often face high levels of sexualisation and objectification within music video. Sometimes in music videos, the woman’s face is not shown. Instead, her body becomes a showpiece and is put on display. It depicts her as not having an identity or a sense of individualism thus, reinforcing her role as a sex symbol. “Women’s bodies are often dismembered and treated as separate parts, perpetuating the concept that a woman’s body is not connected to her mind and emotions,” [4] These are useful for establishing the artist, but they also establish the ‘power’ or  importance of the artist. At the start, the camera goes between shots of lower angle shots to emphasises the females lower haft and medium close up shots of the male singers for facial identification. This allows the audience to understand what the objectives of the videos are. Through this we understand that the male singers are clearly the protagonist of the music video which emphasises that the males are in control, however, in the video the main focus are the females. the general audience for hip hop is male, so applying the Male Gaze theory to videos ensures they keep viewers and attract new people into their audience.So in these hip hop and rap music videos, women are always seen in supporting roles beside, behind and below male counterparts. This is done in a subtle way of course, but with close scrutiny you see how these women are never portrayed as strong, independent, and career-driven instead, their focus is completely on the man similar to how the rock n roll became whitewashed and left little to no room for black presence.

Although sexual objectification is commonplace in media culture, music videos provide the most potent examples of it. Our analysis compared sexual objectification across artists' gender and musical genres (R&B/hip-hop, pop, and country). Compared to male artists, female artists were more sexually objectified, held to stricter appearance standards, and more likely to demonstrate sexually alluring behaviour. The results are discussed in light of objectification theory and sexual agency. "Misogyny and degradation of women is present in almost every genre of music, yet the one genre that completely revolves around demeaning women is rap.” [6] Over the years rap and rap music videos have continually become more sexual and degrading towards women. “Rap has been criticized numerous times for this reason, and that is because rap is one of the most popular genres of music for the younger generations" [7] In addition, this links perfectly to the Male Gaze theory  it states  the consumers of hip hop music is heavily male populated and targeted. The theory describes the tendency of works to assume a (straight) male viewpoint and in particular the tendency of works to present female characters as subjects of implicitly male visual pleasure and appreciation.

Another example is The clothes used within the video are very eye catching, revealing and minimalistic which signifies that they are doing this only for male approval and appreciation as men are looking and admiring the women as seen in many of the shots. It is also noteworthy to mention that the men are dressed quite modestly and comfortably, emphasises on the one sided sexualisation of the genders. Messages that tell young girls that being highly sexualised is the norm, and that tell young boys that woman are always available and ‘up for it’. Sure, it’s fine to have a large sexual appetite, but if these women were really all about being empowered, wouldn’t they be showing themselves say, lording over loads of gyrating, oiled, half-naked male bodies rather than showing off their own? Despite this, it cannot be argued that the negative effects of this are heavier on women e.g the worth of a women within many music videos are presented through their ability to sexualise themselves. The music industry is known for pushing the stereotype that women are sexual objects. However, both how men and women are portrayed as sex-starved maniacs within the music scene and this can be argued that it is a overall underlying cultural problem.

Crenshaw introduced the term intersectionality in 1989, it was widely adopted because it managed to encompass in a single word the simultaneous experience of the multiple oppression's faced by Black women. But the concept was not a new one. Since the times of slavery, Black women have eloquently described the multiple oppressions such as  race, class, and gender. One may ask what the difference between these two similar concepts is; the answer is simply racial privilege. “Racial privilege allows white women to have an increased ability to challenge gender-based oppression, while still maintaining access and freedoms that woman of colour is routinely denied.” [8] Institutionalised racism, misogyny and oppression within our societies are placing Black women at the bottom of the social hierarchy. Black feminism is more than simply empowering women, its roots lie in the struggle and oppression Black feminism as a political and social movement is ultimately symbolising their right to be liberated from the harsh standards that have been implemented on them.  A central issue in the movie “Dreamgirls” is based around the stigmat’s that black women face in music industry. It also focuses the existence of two music hit charts: the R&B, which is socially known as black people’s music and the pop chart, which listed the mainstream hits sold to largely white audiences. This movie conveys how the music industry felt it necessary to keep its eye on the recordings popular among black listeners, but the separate charts and inability of black people being unable to cross over to ‘pop’ whilst modern day singers such as taylor swift and adele is easily able to are clearly signs of racism and revoked privileges from the black singers. The existence of two “separate and unequal”[9] charts actually began to break down in the 1950s for several reasons" In its attitude toward the history of the period of the civil rights movement, Dreamgirls gravitates toward the reactionary view of identity politics. Implicit throughout the film is the idea that there is an unbridgeable chasm between black and white cultures.

The term “afrobeat” was first coined by Fela Kuti.  Afro beat is a combination of traditional Yoruba music, jazz, highlife, funk, and chanted vocals, fused together with percussion and voice styles, which started in Africa in the 1960’s. Afro beat features chants, call response voices, and complex interacting rhythms. Afro beat originated from the southern part of Nigeria in the 1960s. Where kuti had experimented with many different forms of contemporary music,  at the time. The main creator of afro beat is, Nigerian multi – instrumentalist and band leader, Fela Kula. He is the one who gave it it’s name who used it to revolutionize musical structure as well as the political context in his native Nigeria This music is fairly new, beginning in the 1960s. Although it is relevantly new, afrobeat has expanded it's horizons significantly during the past 50 years to point where we even have artists like NSG (orginal text) which are heavily influenced by this new wave of sound coming from africa.Hip-hop is well known for providing new perspectives to old classics. We often acknowledge the presence of funk and soul in hip-hop.  Examples are tracks where Fela Kuti’s presence is felt in this inspirational song by Alicia keys that use some rhythms from his 1972 track titled "Na Poi." In addition, West Africa is experiencing something of a musical golden age, with artists such as WizKid and Davido attaining global stardom, almost entirely outside the mainstream, disseminating their music through social media. “By 2012, Ghana had the fastest internet speed in Africa, and Nigeria the eighth fastest, and this vast improvement in internet connection, along with the viral power of Facebook and Twitter”[10] . The success of Fuse ODG and NSG (Text)  are creating a home-grown variant of the sound, introducing elements that mixes in with British audiences.

In conclusion, currently Afro-beats has the attention of the room, and with that the potential to provide the necessary platform for an artist to emerge with the power to inspire both a local and global audience with an infectious sound as well as a conscious message. Whether this is an idealistic and how afro-beats is portrayed in the modern day is quite questionable.