Underneath the Breakup Anthem
Heartbreak and relationship struggles are universally shared experiences but there are heteronormative expectations for how men and women cope with these unsettling emotions. Hidden behind the catchy beats and captivating videos of breakup anthems are messages of misogyny and conversely, notions of powerful feminism. Set in a mansion, 21 Savage’s music video “X” is a rap performance about moving on from his ex-girlfriend. Released amongst rumors of her husband’s affair, Beyonce’s music video “Formation” showcases all black female dancers and lyrics about self-confidence. As a heteronormative breakup anthem for men, 21 Savage’s video “X” displays messages of male supremacy and the objectification of women while Beyonce's 'Formation' offers an alternative, feminist vision of a breakup anthem that centers on the female gaze.
Feminist Andi Ziesler classifies the male gaze as the way pop culture positions women from the man’s ideal perspective so that his unconsciousness is reminded that there is nothing to fear from women (2008). The opening scene of 21 Savage’s music video “X” follows the rear of a woman entering a room as she criticizes two men for playing video games. The men ignore her and then, the beat drops and the song begins. By only showing the backside of a woman, this scene portrays the way men see women as sexual beings with body parts that are meant to be stared at. By ignoring the woman’s complaints, 21 Savage demonstrates that he fears nothing about this woman and she is no threat to him. This opening scene summarizes the video’s message: women exist to be looked at and they are no threat to male supremacy. Throughout “X”, 21 Savage flaunts cash and expensive jewelry while singing about his lost relationship. Thus, he positions women as mere values that can be replaced by flashy items. There is no difference between the role of women dancing around 21 Savage and the piles of cash surrounding him; both are a sight to be gazed at, not to engage with. This imagery promotes the heteronormative ways that men cope with relationship issues, objectifying the value of women as something that wealth can replace.
While misogyny is visible throughout “X”, the sexism in the music industry extends far behind the scenes. Hopper writes about the longstanding inequalities stating, “Music’s cruelest lie has always been the assertion that it’s a meritocracy” (2019). The industry is not composed of talented people who obtained success simply because they earned it. Instead, it is an incredibly gendered landscape that has eased the path to success for male artists. The perpetuation of this faulty assumption blinds people to the misogyny in heteronormative breakup anthems like “X”. Hopper discusses the “Sad ache” she felt in response to the neverending recognition of men whose path to success is dependent upon the sexism within the industry (2019). 21 Savage’s video has almost 200 million views and is flooded with positive comments. Hopper’s achy feeling applies to the massive response “X” has obtained despite its horrific objectification of females and promotion of male supremacy.
While 21 Savage’s “X” exemplifies the male gaze, the positioning of women in “Formation” offers a female gaze. Beyonce’s “Formation” uses old filming techniques, vintage costumes, and antique sets to create a feminist masterpiece. As Ziesler discusses, the female gaze refers to positioning women in ways women desire to be perceived (2008). “Formation” is shot in film, many of the costumes wear lace gowns or 70s-style exercise outfits, and the sets feature antiques. These vintage elements of “Formation” display the women as timeless, showing Beyonce’s desire for females to be perceived as elegant, respected, and confident. While “X” positions women as objects for the man to look at, Beyonce’s female gaze positions women as sophisticated and independent. Zeisler also argues that feminist pop culture involves female representation behind the scenes of media (2008). From production to video content, Beyonce’s “Formation” is an exemplary piece of feminist pop culture. The music video was directed by Melina Matsoukas, a female filmmaker who strives to include women in spaces designed for males (2022). Matsoukas's agency over the production of the film shows a critical step in improving pop culture and tearing down sexism within the music industry. Like Ziesler, Hopper expresses a wishful attitude toward the direction of the music industry and encourages the production of more videos like “Formation”.
Hopper discusses the music industry as a boy’s game that makes it difficult for female artists to succeed by their own rules (2008). So long as female artists assume they need to play by the boys' rules, the gendered music landscape will never change. Beyonce portrays messages of confidence and unity to inspire female artists to take chances that are out of the norm. Formation’s chorus sings, “I dream it, I work hard, I grind till I own it”. Here, Beyonce is encouraging her listener to work hard instead of conforming to the expectations of females. Additionally, Beyonce’s dance team is all black females. There are powerful scenes of the women dancing together showcasing solidarity as opposed to their objectification. By originating as a female break-up anthem, “Formation” naturally promotes itself against the industry's typical rules, while offering inspiring messages of female unity.
Music is written to get lost in, but we must remove ourselves from music’s trance and identify the messages behind the lyrics. Breakup anthems are written to inspire the heartbroken, but what if the anthem is flooded with sexism? 21 Savage’s video objectifies women through the male gaze to reassure the heartbroken man he has only lost a value and has nothing to fear. The misogynistic imagery acts as a mirror to the systemic issues of sexism in the music industry. In contrast, Beyonce’s video offers the female gaze which portrays the elegance and independence of women. “Formation” also opens our eyes to a vision of feminist pop culture which has the power to combat the consequences of male supremacy in the music industry. The heartbroken are a vulnerable group of people, but their vulnerability should not be used to promote messages of sexism.
References
Hopper, J. (2019). “Pazz & Jop: So, Are Women Here Yet?
Melina Matsoukas. Ghetto Film School. (n.d.). Retrieved December 5, 2022, from
https://www.ghettofilm.org/melina-matsoukas
Zeisler, A. (2008). Feminism and pop culture. New York, NY: Seal Press. Pp. 1-21
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