Anti-feminist implications of sex culture in the media


Along with the “traditional” college experience, comes the pressure to have the traditional college connection experience. While it may seem liberating and exciting to have experiences with different people and dates, it comes at a cost. Generally enough, an anti-feminist cost. Social media, as well as the modern music industry, insinuate that the hookup culture is ‘girlboss’ and liberating for young women, when in fact it is the opposite, leading these young women to advocate for their own. objectification.

Let’s break this down. The idea that women can choose their sexual partners and their ideals without being ashamed, seems inviting. Women, in theory, are able to control their own pleasure and satisfaction. However, then why do only 26% of women in college relationships actually report positive feelings after having one? If the feminist goal is to advocate for women to take control of their own sex life, positive experiences and / or satisfaction must be inferred. With 50% of men reporting a positive experience after a college relationship, it’s clear that this anti-monotonous connection culture is still aimed at men. While this is sadly the reality, social media and the music industry continue to distort this reality as something desirable for women.

For example, with the rise of female rappers and R&B artists, comes the current rise of “bad b—-” music. Think of Megan Thee Stallion, Cardi B, ppcocaine, Doja Cat, etc. While these women are clearly talented artists, their lyrics and the meaning of the songs they make tend to romanticize sex culture too much and, below the surface, objectify women and pit them against each other. Doja Cat’s songs, including “Freak Like Me,” “Juicy” and “Candy,” among others, repeatedly emphasize female physical attributes in a sexual context. The songs aren’t just about how sexy women are, but about how sexually beneficial they are for their partners. This implies that the main thing a woman has to offer in this world is her body which men can use for their own benefit, when in reality the emphasis on “bad b—-” music and “ girlboss ”should talk about things that go beyond the physical scope.

Male artists do too, especially male rappers. Rarely is a woman mentioned in their songs for anything other than their genitals which men can have sex with. More often than not, he is portrayed in an aggressive, almost non-consensual manner. Sadly, this is the type of music that the current college generation and the generations that follow consistently hear through general release and social media apps like TikTok.

Along with the anti-feminist “girlboss” music that circulates on TikTok, there are also dances and trends that promote this sexist dating culture. For example, recently there was a trend where women would point the camera to their waist and basically die in the camera and flaunt it. While obviously women have the autonomy to choose how they want to show their bodies to society, this tendency inevitably targets women by reducing them again to physical attributes. Young girls also seeing these influences on TikTok, it pushes them to objectify themselves and teaches them to show their sexual desirability. One of the main goals of TikToks for Women is to appear ‘hot’, without overstating the other aspects of the content that might be created. It can make it seem like women are taking control of their own sexual superiority over men, but in fact, it turns into a competition where women put themselves on a physical pedestal for men to choose.

The bottom line is that although women think they break free through excessive sexual activity, the opposite is the case. By making themselves more desirable to men and then engaging in sex that only benefits men, women are effectively losing control of their own liberation. Giving men the one thing they physically want without the other personality attachments continues and will continue to reduce women to single-use items that men can continue to choose.

Art by Nicholas Regli for UCSD Guardian.

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