In the captivating realm of music videos, where artistic expression is paramount, a concerning trend consistently appears across various genres: the objectification of women. Whether in pop, hip-hop, R&B or rock, the portrayal of women in music videos frequently reduces them to “objects of desire,” perpetuating harmful stereotypes and reinforcing gendered power imbalances.
Numerous music videos over the past decade exemplify how the female body is used as a visual commodity. For example, Blurred Lines by Robin Thicke (2012) portrays women as accessories for male desire, showcasing topless women dancing around fully clothed men while the camera lingers on their bodies, rarely focusing on their faces. Even music videos unrelated to themes of sex, power, or gender feature women in ways that perpetuate their objectification. Women are portrayed in revealing clothing, performing suggestive dance moves, or designated as backup dancers to enhance male artists. This objectification conveys a harmful message to a broad audience, ranging from young teenage boys and girls to adult men and women: that a woman’s value is primarily defined by her sexual appeal and that women are nothing more than accessories.
This issue, however, is not limited to pop music as it is especially prevalent in rap. In fact, the objectification of women is one of the most dominant themes in the genre. A 2006 study found that rap music videos frequently contain negative and hypersexualized content, promoting violence, sex, and materialism. In Eminem’s A** Like that (2005), the music video alternates between human actors and puppets. The women, both real and puppet, are dressed provocatively and are frequently shown from behind, with an emphasis on their buttocks. Their faces are often hidden, stripping them of individuality and portraying them purely as sexual objects. Similarly, in 50 Cent’s Candy Shop (2009), the rapper is shown walking through a mansion filled with women in lingerie, posed to appear sexually available to him. This overly sexist and degrading portrayal cultivates the idea of women as sexual objects, especially Black women who are already hypersexualized.
This trend persists even in more recent works. In Go Crazy by Chris Brown (2020), the video centers around a pool party filled with women in swimwear dancing suggestively around the artist. Their bodies are used to create a desirable atmosphere and amplify the artist’s image. These portrayals support a longstanding pattern where women’s physical appearances are not only objectified, but explicitly used to sell music and elevate male status. This recurring imagery contributes to a culture in which women are viewed less as individuals and more as products, ultimately normalizing the commodification of women’s bodies for male gratification.
The sexualization of women is a widespread and growing issue, with harmful effects on girls. Virtually every form of media provides significant evidence of the sexualization of women, including television, music videos, music lyrics, and movies. The sexualization of girls has detrimental consequences on their ability to develop a healthy understanding of sexuality, influencing how they perceive femininity and sexual identity. Whether or not the portrayals in these music videos are explicit, the message being communicated to society is clear: women are sexual objects and thus “less-than” human beings. The societal damage the music video industry has caused and continues to perpetrate is irreparable.
In fact, the objectification and sexualization of girls in the media is linked to violence against women and girls worldwide. For women, this objectification can lead to reduced confidence and self-worth, whereas men tend to show greater acceptance to rape myths and adversarial sexual beliefs. Themes point to the exploitation and degradation of women as they are seldom portrayed as being independent or superior toward men. In rap and hip-hop, in particular, one of the main themes of the videos depict women as simply objects of male desire and pleasure. The effects of watching women objectified in music videos across all genres is deeply intertwined with sexual exploitation. These videos not only impact individual psychological well-being but also contribute to broader societal issues by normalizing objectification and potentially increasing the risk of sexual violence.
It is important to hold the music industry accountable—not just for how it portrays women, but for the messages it sends to the millions who consume its content. A study of music videos between 2004 and 2014 revealed that misogynistic portrayals of women, particularly in rap, have not decreased over time—it has either remained stagnant or, in some cases, has increased. Many of these videos depict women as sexual objects to be controlled by men, reinforcing the idea that sex is a top priority for men and that women’s value lies in their sexual availability. This portrayal reinforces the belief that women are objects for male pleasure—objects that can be bought, sold, or used—contributing to a culture that normalizes the commodification of women’s bodies from the music industry to the commercial sex trade. These “artistic expressions” go far beyond the music industry by legitimizing men’s rights to women’s bodies for sexual gratification and endorsing the purchase of sex.
In this way, music videos don’t just reflect societal attitudes—they help shape them. As consumers, we must be mindful of how these portrayals influence cultural norms, and we must call out skewed power dynamics wherever we see them. Music, as a dynamic and evolving force, must be used to empower rather than degrade, and we all have a role to play in holding the industry accountable.
This piece is part of our first-year law student blog series. Congratulations to author Amisha Mirchandani on being chosen!
All views expressed herein are personal to the author and do not necessarily reflect the views of the Villanova University Charles Widger School of Law or of Villanova University.