The Cult of Curves
Jenny Freedman
SO316: Women in Modern Society
March 11, 2022
CONCEPTUAL FRAMEWORK
The modern-day media representation of women has taken the cult of thinness and expanded its definition of what an “ideal” woman should look like. In Jean Kilbourne's Killing Us Softly 4, representations of women as thin as possible was seen as the cultural goal. Nowadays, curves are more valued as attractive assets, while flat chests and butts are ridiculed; however, prioritizing a small waist has remained. The rise in this phenomenon coincides with an increase in seeing hip hop and rap culture in the mainstream. Considering these two cultural facts, the adaptation and exploitation of Black culture in the media has rapidly increased within the past 20 years.
Considering how gender and race intersect is key to understanding the social outcomes of the media, especially when considering music videos. Both concepts are entirely constructed by humans, as they are not based in biology or neurology. The media, however, is completely absorbed with recreating and exploiting traditional gender norms, which revolves around training individuals, especially children, to categorize and uphold white, male supremacy. Those in power control the messages that the world hears, and “gender, like culture, is a human production that depends on everyone constantly ‘doing gender’” (West and Zimmerman 54).
It is important to hold media sources accountable for their representations of women, especially minority women, as they are actively influencing individuals’ perceptions of reality. For example, in the sports world, “forty percent of all athletes are women, but only 4% are represented in the media – and too often how they look is more important than their skills” (Media Coverage and Female Athletes). Since the primary mode for the usage of women’s bodies is objectification and sexualization, that becomes the norm for the treatment of women. This, however, does not mean that messages of empowerment for women are not out there. French music artist Stromae features commentaries on gender and familial structure in many of his music videos, specifically in Tous Le Mêmes, or [They Are] All the Same in reference to the gender binary. I considered the themes from this video when unpacking the two American music videos I analyze in this paper.
METHODS
First, I looked at the music video for Juicy by Doja Cat and Tyga. This video was released on August 15, 2019. Throughout the video, fruit is utilized to represent the curves on womens’ bodies. The direct comparison of female body parts to fruits aligns with the cultural comparisons of body types, like a “pear-shaped” figure. At points in the video, her waist is completely gone, which resembles the hourglass body type. Additionally, the lyrics state that she has no cellulite, which often is a physical feature that accompanies larger thighs. This further enforces the theme of picking and choosing features of larger bodies and adapting them to fit a shifting cult of thinness. Looking at the comment section of the video, some viewers appear to interpret the music video as a message of empowerment and body positivity.
The next music video I examined was Good Morning Gorgeous by Mary J Blige. The song itself was released on February 11, 2022, but the music video premiered on December 3, 2021. Good Morning Gorgeous features more elements of self care, which is a key method of survival, specifically for Black women. The video opens a deeper layer to the song than taking the lyrics at face value; Mary J Blige emphasizes her feelings of emptiness while also dressed in lingerie, a sparkling dress, and a big fur coat throughout the video, all while wearing a full face of glam make up. The premise of the song is that she wakes up every morning and tells herself “good morning gorgeous”, as it is what keeps her going in her journey of learning to love herself first and not needing that validation from others. Her body, which is revealed at different angles throughout the video in lingerie, does fit within our cultural ideals; this factor does not invalidate her message, but it is important to assess that it could add to her ability to be heard and her message to be spread. Larger bodies sharing the same message are not given the same warm comments and audience reactions, as it is controversial to love oneself when the cult of curves states that you require a very specific body type first.
CONCLUSIONS
The music videos beg the question: does our society require messages of female empowerment and body positivity to be tied to showing skin and expressing sexuality in order to be heard? If these are the only messages that young women are hearing, we are still placing women’s bodies on a stage to be analyzed and objectified. Much of the modern culture, spread heavily by messages in the media, still exploits a cult of thinness; however, it has certainly evolved from the early 2000s. Messages in current music videos glorify having a small waist, but also emphasize having a big butt and breasts. Lyrics often suggest that maintaining this very specific body type will allow one to be more attractive in the eyes of partners, idolized by friends, and gain more career-based and monetary success. The primary issue with how the cultural ideal for bodies has evolved is that it is anatomically impossible for many.
Furthermore, this body type takes the frame and curves that is found in the bodies of many Black bodies and omits any form of a stomach. Like much of modern popular culture, features of Blackness that are deemed desirable are exploited and sold to all audiences, while actual support and resources for Black communities are pushed to the side. All in all, the reformed cult of thinness reinforces racist and sexist precedents that exploit Black bodies for monetary value.
SO316: Women in Modern Society
March 11, 2022
CONCEPTUAL FRAMEWORK
The modern-day media representation of women has taken the cult of thinness and expanded its definition of what an “ideal” woman should look like. In Jean Kilbourne's Killing Us Softly 4, representations of women as thin as possible was seen as the cultural goal. Nowadays, curves are more valued as attractive assets, while flat chests and butts are ridiculed; however, prioritizing a small waist has remained. The rise in this phenomenon coincides with an increase in seeing hip hop and rap culture in the mainstream. Considering these two cultural facts, the adaptation and exploitation of Black culture in the media has rapidly increased within the past 20 years.
Considering how gender and race intersect is key to understanding the social outcomes of the media, especially when considering music videos. Both concepts are entirely constructed by humans, as they are not based in biology or neurology. The media, however, is completely absorbed with recreating and exploiting traditional gender norms, which revolves around training individuals, especially children, to categorize and uphold white, male supremacy. Those in power control the messages that the world hears, and “gender, like culture, is a human production that depends on everyone constantly ‘doing gender’” (West and Zimmerman 54).
It is important to hold media sources accountable for their representations of women, especially minority women, as they are actively influencing individuals’ perceptions of reality. For example, in the sports world, “forty percent of all athletes are women, but only 4% are represented in the media – and too often how they look is more important than their skills” (Media Coverage and Female Athletes). Since the primary mode for the usage of women’s bodies is objectification and sexualization, that becomes the norm for the treatment of women. This, however, does not mean that messages of empowerment for women are not out there. French music artist Stromae features commentaries on gender and familial structure in many of his music videos, specifically in Tous Le Mêmes, or [They Are] All the Same in reference to the gender binary. I considered the themes from this video when unpacking the two American music videos I analyze in this paper.
METHODS
First, I looked at the music video for Juicy by Doja Cat and Tyga. This video was released on August 15, 2019. Throughout the video, fruit is utilized to represent the curves on womens’ bodies. The direct comparison of female body parts to fruits aligns with the cultural comparisons of body types, like a “pear-shaped” figure. At points in the video, her waist is completely gone, which resembles the hourglass body type. Additionally, the lyrics state that she has no cellulite, which often is a physical feature that accompanies larger thighs. This further enforces the theme of picking and choosing features of larger bodies and adapting them to fit a shifting cult of thinness. Looking at the comment section of the video, some viewers appear to interpret the music video as a message of empowerment and body positivity.
The next music video I examined was Good Morning Gorgeous by Mary J Blige. The song itself was released on February 11, 2022, but the music video premiered on December 3, 2021. Good Morning Gorgeous features more elements of self care, which is a key method of survival, specifically for Black women. The video opens a deeper layer to the song than taking the lyrics at face value; Mary J Blige emphasizes her feelings of emptiness while also dressed in lingerie, a sparkling dress, and a big fur coat throughout the video, all while wearing a full face of glam make up. The premise of the song is that she wakes up every morning and tells herself “good morning gorgeous”, as it is what keeps her going in her journey of learning to love herself first and not needing that validation from others. Her body, which is revealed at different angles throughout the video in lingerie, does fit within our cultural ideals; this factor does not invalidate her message, but it is important to assess that it could add to her ability to be heard and her message to be spread. Larger bodies sharing the same message are not given the same warm comments and audience reactions, as it is controversial to love oneself when the cult of curves states that you require a very specific body type first.
CONCLUSIONS
The music videos beg the question: does our society require messages of female empowerment and body positivity to be tied to showing skin and expressing sexuality in order to be heard? If these are the only messages that young women are hearing, we are still placing women’s bodies on a stage to be analyzed and objectified. Much of the modern culture, spread heavily by messages in the media, still exploits a cult of thinness; however, it has certainly evolved from the early 2000s. Messages in current music videos glorify having a small waist, but also emphasize having a big butt and breasts. Lyrics often suggest that maintaining this very specific body type will allow one to be more attractive in the eyes of partners, idolized by friends, and gain more career-based and monetary success. The primary issue with how the cultural ideal for bodies has evolved is that it is anatomically impossible for many.
Furthermore, this body type takes the frame and curves that is found in the bodies of many Black bodies and omits any form of a stomach. Like much of modern popular culture, features of Blackness that are deemed desirable are exploited and sold to all audiences, while actual support and resources for Black communities are pushed to the side. All in all, the reformed cult of thinness reinforces racist and sexist precedents that exploit Black bodies for monetary value.
Works Cited
Blige, M. J. 2021. Mary J. Blige - Good Morning gorgeous [official video]. YouTube. Retrieved March 26, 2022, from https://www.youtube.com/watch?v=jr1CRMkBVs8
Doja Cat, & Tyga. 2019. Doja Cat, Tyga - Juicy (official video). YouTube. Retrieved March 26, 2022, from https://www.youtube.com/watch?v=YIALlhlyqO4
Kilbourne, Jean. 2010. Killing Us Softly 4: Advertising's Image of Women. Northampton, MA: Media Education Foundation. Retrieved from https://www.killingussoftly4.org/.
Lamke, S., & Kennedy, K. 2013. Media Coverage & Female Athletes. Twin Cities. PBS. Retrieved March 5, 2022, from https://video.tpt.org/video/tpt-co-productions-media-coverage-female-athletes/.
West, Candace, and Don H. Zimmerman. 1987. “Doing Gender.” Gender & Society 1(2):125-151.
Doja Cat, & Tyga. 2019. Doja Cat, Tyga - Juicy (official video). YouTube. Retrieved March 26, 2022, from https://www.youtube.com/watch?v=YIALlhlyqO4
Kilbourne, Jean. 2010. Killing Us Softly 4: Advertising's Image of Women. Northampton, MA: Media Education Foundation. Retrieved from https://www.killingussoftly4.org/.
Lamke, S., & Kennedy, K. 2013. Media Coverage & Female Athletes. Twin Cities. PBS. Retrieved March 5, 2022, from https://video.tpt.org/video/tpt-co-productions-media-coverage-female-athletes/.
West, Candace, and Don H. Zimmerman. 1987. “Doing Gender.” Gender & Society 1(2):125-151.