How Global Capitalism Twisted and Diluted Third-Wave Feminism's Radical Reclamation of Female Sexuality to Hypersexualize and Profit off of Teenage Popstars
Britney Spears
It's Rolling Stone's Greatest Debut Single of All Time... It's Billboard's Best Music Video of the 90s... It's Jam!'s Third Most Influential Video in Pop Music, it's "...Baby One More Time."
"...Baby One More Time" has a legacy I do not need to explain (though if you do need one, Wikipedia is a good place to start). The song jump-started the career of Queen Britney Spears; however, it also began an unfortunate trend for child stars and female pop singers. Britney Spears's legendary debut did so well that many performers attempted to copy its marketing tactic: using the hypersexualized bodies of young female artists to create noise marketing. Britney Spears's burgeoning sexuality, as presented in this and ones after it video, created a controversy that, ironically, led to its success.
While discussing the recording of "...Baby One More Time," led by Swedish producer Max Martin, Britney says she tried to imitate the vocals of Soft Cell's "Tainted Love," which she calls a "sexy song" (Rolling Stone). Britney was only sixteen at the time, with little industry experience, so it is fair to assume much of the song's artistic direction came from her team and music producers, though she did famously have input in the wardrobe aspect. While Britney never claims to have been forced into performing any of these songs (that we know of), it is certainly disturbing that Britney's team had no qualms, and certainly, seemed to encourage a "sexy" voice, and therefore image, for a teenager.
The director of "...Baby One More Time" claims, "I never went in with the intention to sexualize her" (Bustle), which may be true; however, the disturbing reality is that a group of men, including her producer, choreography and video director, allowed 16 year old's body to be at the forefront of a generational battle between the echo of third wave feminism, which valued a woman's choice, and parent advocacy groups, which sought to protect women from objectification. It is the fault of the adults around her for allowing the career of a child to become politicized.
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| According to legend, her debut album was meant to be self titled, before the success of "...Baby One More Time," which prompted the team to re-work the title and aesthetic into something Rolling Stone compared to "Lolita" |
The hypersexualization of Britney as a child did not stop there. Her later songs, including, but not limited to "Oops! I Did it Again" and "I'm a Slave 4 U," released at ages 19 and 20 respectively, caused controversy among the public. While promoting these songs to her audience of children (and being one herself - nineteen is a TEEN), Britney Spears was solidified as a sex icon. While barely two decades old.
From laypeople to academics, Britney was receiving back lash for her image. In a critique of late 90s pop stars and girl culture, Rebecca Boone compares Britney Spears to icons of the 80s, such as Madonna, who according to Boone, used their revolutionary sexuality to empower, rather than submit. Boone asks, "Is third-wave feminism having any real effect on many of today's girls, or is happiness a good glitter eyeshadow?" ("Britney and the Back-lash" 202). Whether Boone's comparisons are valid or not, she places the blame again on the girls themselves for not being critical, rather than the adults and society that is failing to protect and educate them.
How much of a pop star's image is falsely attributed to the artist when it goes sour, but the producers when it goes well? Is Britney Spears an example of smart marketing, or did she and her team only take advantage of a generation that was unfamiliar with the feminist battles of yore? Let's take a look at surprisingly similar cases throughout the world that seemingly stemmed from the success of one "Lolita" to the next.
Alizée
It was 2000, and Alizee was sixteen when "Moi... Lolita" ("Me, Lolita") was released. In the video, a play on the well-known novel Lolita, an older man is enamored with the young Alizee. But, this "Lolita" is not trying to seduce him, she is empowered by living without shame. However, similar to the way the novel is often misrepresented in media, instead of painting the old man's fascination as disturbed, the audience is given wildly inappropriate clips of Alizee dancing a nightclub with her even younger sister. At one point even her bra is purposely on display, and this is, according to some comments on YouTube a censored version of an even more risque original.
Although I am not from France, from what I can gather on forum and video comments, the song was an ubiquitous hit at the time, even now stands firm as the 33th best selling single in France (only two spots away from eclipsing the international hit "Crazy Frog"). There is a Wikipedia page for Alizee's legacy, which includes being the most imported French artist of the 21st Century. The full album Gourmandises ("Goodies" or "Sweets/Candies") was a success internationally, in both Europe and South Asia, giving way to a strikingly aesthetically similar sophomore album Mes Courants Electriques ("My Electric Currents") in 2003.
Alizee's second album was also full of sexual innuendo, most notably for me being the single "J'en Ai Marre!" ("I'm Frustrated"), which is told from the point of view of a girl in a bubble bath, taking her titular frustration out on the "red fish underneath her" (forum discussing song meaning). I have no problem with a song about m*sterbation, in fact, Britney's "Touch of My Hand" is possibly her greatest track, except when it is at the expense of a teenaged girl. Not to mention, you may recognize her from a viral video or gif on her dancing and the focus is not on the song (source).
Alizee's image was crafted by Mylène Farmer and Laurent Boutonnat, a songwriting duo that shot Farmer herself to fame. Now, it appeared, they had an idea for a younger star; but, were extremely deliberate to machinate a certain image for her. Despite her fame, Alizee "was allowed a few interviews of no more than 20 minutes and a limited number of promotional appearances" (source). While Alizee has never spoken ill of her team (that I know of, the fact hat she left after only two albums with them speaks volumes. (If anyone here knows more/has English sources on this aspect of Alizee's career, please share!)
Alizee's later style is much more experimental and thematically diverse. In "Mademoiselle Juliette" Alizee sings, "Shakespeare plays with [Juliette] / the heroine thinks it is abuse [...] to avoid the tragedy, William will have to die" (eng source). Was this a metaphor for her relationship with Farmer/Boutonnat? Meanwhile, "Fifty Sixty" seems to tell the story of model Edie Sedgwick, who was groomed and betrayed by Andy Warhol, leading to a decline in mental health at a young age. Now, as a veteran in the industry, Alizee comes forward with stories of young women being taken advantage of.
Despite her later albums giving her a resurgence of autonomy, they have yet to gain the reception of her first successes. She went from highly conceptual and dark with "Les Collines" to mainstream pop-rock with the anthem "Blonde," but never recaptured the same success. Nonetheless, her legacy remains, both in our hearts and in her bank account.
Kim Hyuna
The Kpop industry is notorious for debuting idols at a young age, including, but far from limited to: f(x)'s Krystal and Sulli at 14, AOA's Chanmi and Red Velvet's Yeri at 16, Nine Muses' Hyemi at 19, and these are just a few of many. Yes, some of these groups' unique concepts allow for a certain protection of minors from the claws of hypersexuzation; however, absolutely none of them escaped the pressures of the industry and the heat of critic's keyboards.
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In my opinion, however, the most tragic story was that of Kim Hyuna...
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Hyuna was 15 when she debuted as a Wonder Girl with their single "Irony," but she left after the initial round of promotions due to health issues. Disturbingly enough, rumors circulated that she was pregnant, that she had two overseas abortions, that she was dating this or that idol, etc. These rumors followed her into her re-debut at 17 with 4minute, despite constantly being proven false by time (not that they had to be; abortions, pregnancy and/or dating do not define a person's girlhood, womanhood or humanity).
These rumors sprung from the scandalous image JYP Entertainment had cultivated for her. Of this concept, she says "I felt a tremendous amount of pressure." And, as her career continued, her image became set in stone: "I tried my best to put forth what the public likes best. I can’t all of a sudden turn cute or innocent. I think it’s important to do performances that enhance your talents." (Soompi). In their attempt to make Hyuna stand out, the Wonder Girls' team seemed to always have Hyuna is the shortest, most revealing outfits, especially when compared to the other girls. Wonder Woman could have easily worn leggings, sorry.
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| The real "irony" is that Wonder Woman's uniform is meant to be empowering, but not when worn by a middle schooler against her older, fully clothed peers (source) |
A comment that follows Hyuna is that she was "born to be sexy"a comment that, scarily enough, suggests that Hyuna was even sexy as a child. It is this perception, perhaps, that had her solo debut deemed inappropriate by Korean broadcasting standards. Hyuna's solo debut, "Change" released while she was 18, was was deemed "too sexual" and given a 19+ rating. ersonally, I never found "Change" overtly sexual, especially compared to the skimpier outfits and much more objectifying camera shots in "Bubble Pop" or the not-so-subtle sexual innuendo of "Ice Cream." However, I do lack cultural context and admittedly, a d*** (read: toxic masculine mindset)
The next irony of what surrounds Hyuna is her industry-defining "scandal" becomes, not pregnancy, not overtly sexual performance, but a long-lasting relationship with label-mate, E'dawn. Due to the relationship, CUBE Entertainment attempted to deface Hyuna, leading to Hyuna and CUBE Entertainment dissolving their contract. It seems the public can accept hypersexuality when it amuses or entertains us, but, of course, not when it is no longer in the form of an available, single woman. Recently, Hyuna opened up about her mental and physical health during this time, and the depression and anxiety she has faced as a result of being in the entertainment industry so young.
Maybe because I’ve thought that I’ve especially had so many opportunities ever since I was young, I’ve always felt grateful and, to be honest, excited. At those times, I also felt sorry. Time went on and after my debut I became an adult, and I thought I needed to take responsibility for everything I do, I thought I shouldn’t make any mistakes, and I wanted be someone that was everyone’s choice. Because of that ambition, I just looked straight ahead and kept running. I didn’t know I was sick. (HYPEBAE)
Despite still being in recovery, Hyuna's solo career continues today, and while it has yet to reach the peak of "Bubble Pop," it is stable and genre-defining for the industry. Her most recent song, "Flower Shower" is about her taking the high road and "blooming again [...] just like the seasons." We love to see it!
Noa Kirel
Noa Kirel is a Generation Z Isreali singer, who caused controversy with the video for her sophomoric single "Killer." Clad in "...Baby One More Time"-style school girl uniforms, Noa and a group of girls get caught trespassing in shipping container heaven. Eventually, the pursuers become the pursued when Noa catches the men that that were chasing her, and proceeds to circle him in something echoing, but not quite being, a lap dance. She was 14 when this video was released, and it went viral at the time; "after this song, everyone will talk about me" she rightfully sings (eng trans source).
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| Promotional picture for "Killer" |
Just like the women above, Noa had an image that was being carefully curated by a team of adult men. Her agent, Roberto Ben Shushan, knowingly created a scandal with the release of "Killer." During filming, he is reported to have advised the crew, "She has to come out sexy here, so the news will do a report on how they let a 14-year-old girl become a sex symbol" ("This Teen Is Israel's New Britney Spears"). He was extremely self-aware of the situation. And, was he wrong? Did her career not take off because of this very reason?
In her article, Shany Littman was also able to get something rare: a take on the situation from a parental figure of the idol. On the video for "Killer," her father says, "Roberto didn’t tell me about it because he was afraid I would say no, and then it would be just another video that didn’t lead to anything. He was right because I would have wrecked it for him, and my wife would have beat him up" (source). He continues on to call the man who objectified his daughter for profit a "genius." Despite the hate Noa received, she also got her deepest wish: stardom.
When asked if the scandal is a price worth paying, Noa's father replies, "It's not a price; it's a trick." It is true that Noa lost little and gained much; unlike a lot of stars, Noa a team that seems to have her best interests at heart, perhaps stemming from the fact that her family travels everywhere with her. Shushan claims he has Noa's best interests at heart. "I don’t see anything sexual about it. I see a cool girl with style. [...] We all watch out for her," he says.
Shushan's reason for pushing Noa into this image came from a critique of a quickly globalizing nation: “I knew that the young audience doesn’t like its parents’ conservatism. You have to do things like they’re done abroad, and people here aren’t used to these things. [...] We have to do what’s current. Rihanna, Beyoncé – that’s what she wants to be" (source). Certainly, if we look at Noa's Instagram, her images mirror the aesthetic of many western celebrities.
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| A very glamorous and western makeup look via Noa's insta |
Rather than happiness, is "good glitter eye shadow" the "trick" to stardom?
After the success of her first single, "...Baby One More Time" replaced Britney Spear's name on her debut album. Alizee identified herself as "Lolita" before we even knew her name. "Killer" is simply a pun on Kirel's last name. And Hyuna is red. Why were these pop idols' teams determined to confabulate their identity with their image? Is it the suggestion that their sexuality, like their names, has been around since the birth of their female-bodies and, therefore, entitles the audience to view them as sex objects? Or is it simply smart marketing?
Rather than happiness, perhaps the "trick" to stardom is simply a "good glitter eye shadow." Whatever makes the former generation tried to oppress will make the next generation excited, so what will the next generation of idols do to push societal boundaries? Hopefully something with less real-world consequences.
Does this all mean the hypersexualization of teenaged girls is empowering? No, it does not. Capitalism diluted and twisted third-wave Feminism's reclamation of female sexuality. But the truth is, as a marketing tactic, it worked for a variety of singers. But, history is written by the victors and it is impossible to say how many women were abused due to the structure of the music industry.
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