Get Erotic Revolutionaries: Black Women, Sexuality, and Popular PDF

By Shayne Lee

Why is there no "pro-sex" contingency in black feminist scholarship? Why accomplish that few African-American students expound on concerns celebrating lady sexual excitement? maybe the solutions to those questions live inside of a discursive matrix of sexual repression in most cases known as the politics of respectability, and its rein on black sexual politics. In Erotic Revolutionaries: Black girls, Sexuality, and pop culture, sociologist Shayne Lee steers black sexual politics towards a extra sex-positive trajectory. Introducing feminist research to a conceptual ménage à trois of scripting thought, media illustration, and black sexual politics, Lee considers the ways that the feminist quest for social and sexual equality can delve into pop culture to work out the construction of subversive scripts for woman sexuality and erotic company. while so much feminist scholarship underscores how sexual representations of black ladies in media are exploitative and tricky, Lee portrays black lady celebrities like Janet Jackson, Beyoncé, Karrine Steffans, Zane, Tyra Banks, Juanita Bynum, Sheryl Underwood and plenty of extra as feminists of types who manage to pay for girls entry to cultural instruments to renegotiate sexual identification and rejoice sexual business enterprise and empowerment. Erotic Revolutionaries navigates the uncharted areas the place social constructionism, third-wave feminism, and black pop culture collide to find a brand new website for sexuality reports that's theoretically leading edge, politically subversive, and stylistically stylish.

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Extra info for Erotic Revolutionaries: Black Women, Sexuality, and Popular Culture

Sample text

Tanenbaum refers back to her own teenage experience with peers stigmatizing her as a slut for sensual behavior with a popular boy: In fooling around with Andy, I had made a statement that being sexual was okay, that I felt comfortable with guys. Hesitantly discovering sex themselves, the girls were probably jealous that I felt free to act on my desires. Along with the boys, they felt entitled to comment on my sexuality, to maliciously mock me and try to make me feel subhuman. And the intimidation worked: I felt utterly humiliated.

At first glance, Jill’s socially conscious lyrics and intellectualism also eclipse what many carelessly construe as Janet’s erotic simplicity. It is easy, then, for music critics to trap Jill Scott inside a neo-soul box that emphasizes spirituality, self-actualization, and romantic purity. The obvious benefit of such an imprint ensures that Jill has fewer obstacles gaining acceptance as a serious songwriter and intellectual force. So from the moment Jill Scott releases her first CD in 2000, critics hail her as a neo-soul woman of substance, and do not even entertain the possibility of dismissing her as a sex symbol.

For example, “Epiphany” documents an entire sexual experience that begins with lusty, sweaty foreplay and ends with energetic intercourse. As her stomach meets the sheets, he plows inside her as if he’s making beats, and he rides “Mount Saint Scott” until creamy lava lands on her skin and neck. ” But “Epiphany” takes an existential twist as the song’s anticlimax has her wondering why she feels so empty? Thus, within the nexus of a single song, Jill exposes the power of sex to produce feelings of both ultimate delight and utter desolation.

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