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Editorial Reviews
From Library Journal
The debate still rages regarding the role of women in music videos. Some say this largely promotional medium exploits women; others argue that it manipulates the viewing public in general. This book operates from yet another premise by examining the ways in which music videos send strong feminist messages and portray the complex challenges women face in modern society. Roberts (English, Louisiana State Univ.) has done her research. Citing sources from Angela Davis to Herbert Marcuse, she examines numerous genres and types of presentations by and about women?country, rap, and alternative, humorous and Afrocentric. Specific analyses of musical styles, lyrics, setting, and plot are offered for a fairly eclectic range?from Julie Brown to Queen Latifah to the MTV fare of Beavis and Butt-Head. Along the way Roberts scrutinizes gender issues, messages, and aesthetics. Unfortunately, the book's scholarly tone and serious approach make it more appropriate for students of feminist issues and contemporary media than for casual readers. For large circulating libraries with extensive collections on modern culture.?Carol J. Binkowski, Bloomfield,
Copyright 1996 Reed Business Information, Inc.
From Booklist
Roberts' painstakingly researched effort makes some serious points about the portrayal of women in, and women's creative involvement with, music videos. Alas, seeking some kind of ultimate truth in pop music is like nailing liver to the wall. Up to the challenge nevertheless, Roberts documents major milestones in music video's development--things like Jill Sobule's "I Kissed a Girl," which brought explicit lesbian sex to MTV--and expatiates on them in terms that, though lost on Beavis and Butthead, speak to the academically inclined aficionado. Roberts' language occasionally gets a little heavy, but her comprehensiveness as she covers vids ranging from rap to rock to country is unassailable. The ultimate point of the book is to show the rising presence and prominence of feminism in music videos, and the last three chapters examine feminist videos in detail. This is vital reading for understanding where pop music is going now that it is no longer just a boy's game, and a video of germane excerpts comes with every copy of the book. Mike Tribby --This text refers to the Hardcover edition.
The debate still rages regarding the role of women in music videos. Some say this largely promotional medium exploits women; others argue that it manipulates the viewing public in general. This book operates from yet another premise by examining the ways in which music videos send strong feminist messages and portray the complex challenges women face in modern society. Roberts (English, Louisiana State Univ.) has done her research. Citing sources from Angela Davis to Herbert Marcuse, she examines numerous genres and types of presentations by and about women?country, rap, and alternative, humorous and Afrocentric. Specific analyses of musical styles, lyrics, setting, and plot are offered for a fairly eclectic range?from Julie Brown to Queen Latifah to the MTV fare of Beavis and Butt-Head. Along the way Roberts scrutinizes gender issues, messages, and aesthetics. Unfortunately, the book's scholarly tone and serious approach make it more appropriate for students of feminist issues and contemporary media than for casual readers. For large circulating libraries with extensive collections on modern culture.?Carol J. Binkowski, Bloomfield,
Copyright 1996 Reed Business Information, Inc.
From Booklist
Roberts' painstakingly researched effort makes some serious points about the portrayal of women in, and women's creative involvement with, music videos. Alas, seeking some kind of ultimate truth in pop music is like nailing liver to the wall. Up to the challenge nevertheless, Roberts documents major milestones in music video's development--things like Jill Sobule's "I Kissed a Girl," which brought explicit lesbian sex to MTV--and expatiates on them in terms that, though lost on Beavis and Butthead, speak to the academically inclined aficionado. Roberts' language occasionally gets a little heavy, but her comprehensiveness as she covers vids ranging from rap to rock to country is unassailable. The ultimate point of the book is to show the rising presence and prominence of feminism in music videos, and the last three chapters examine feminist videos in detail. This is vital reading for understanding where pop music is going now that it is no longer just a boy's game, and a video of germane excerpts comes with every copy of the book. Mike Tribby --This text refers to the Hardcover edition.
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books
cite this book:
- Gender on Campus: Issues for College Women by Sharon Gmelch on page 231
- Understanding Popular Music by Roy Shuker in Back Matter
- Understanding Popular Music by Roy Shuker in Back Matter
- Disruptive Divas: Feminism, Identity and Popular Music (Studies in Contemporary Music and Culture) by Lori Burns in Back Matter
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