Was it the provocation of too much? It was barely announced that Man’s best friendSabrina Carpenter’s new album released this Friday, August 29, reached the headlines. Just a year after the resounding success of Short n ‘sweet – That the singer – Composition continues to defend on the tour – The surprise of this sudden exit very quickly gave way to misunderstandings or even outrage.
The cover, presented last June on social networks, shows the young 26 -year -old woman: wrist, nozzle and open blue eyes, on all fours. With his tight black dress and needle heels, he puts his hand on the leg of a standing man, whose silhouette is seen with disguise. The latter grabs his hair while holding a dog with a strap. In another photograph, there is a bichon with an icy blue necklace, in which it is written: “The best friend of man”, the best friend of man. The title of the album, therefore.
Woman object or satire?
Photography, ambiguous in its intention, constitutes a true coup d’etat. From its publication, the debates about the representation of Sabrina Carpenter and women in the music industry have flourished: the album cover aligned social networks for ten days.
Some have seen the glorification of misogyny and “traditional wife”, wife dedicated to her family and her husband. The installation of Sabrina Carpenter and its appearance correspond to the male gauzeeither to the expectations that man looks sexualization and objective for the singer’s body. Some even went so far as to talk about Soft porn – Soft pornography.
Others underline, on the contrary, the irony of the artist, who would make fun of what is criticized by him, that is, the sexualization codes present in the patriarchal images. For his followers, Sabrina Carpenter does not care of heterosexual relationships, she talks about her sad love and denounces the defects of masculinity. While holding these speeches, you can use your body accurately as it considers it convenient, even adopting a position worthy of the 1950 ads, and that is also what disturbs.
Should it be seen as a real subversion of patriarchy codes or a frank adoption of the latter? The day after the announcement of the album, more provocation if necessary, Sabrina Carpenter made the journal cover Reddish stones. Photography, taken by David Lachapelle, simply dressed in white socks and his long platinum hair. A publication that was also strongly criticized here.
Corsets and gifts
Sabrina Carpenter is not in her attempt. Former “Disney Girl”, which occupies one of the main papers of the series Riley’s WorldThe composer has moved away from this wise and childish image since he advocated an ultra female aesthetic, not to say hypersexualized, in his songs as in his appearance, according to the trail of Britney Spears and Miley Cyrus. For this gesture, she affirms a feminist point: an emancipation and a free word about sexuality in the Madonna line, Christina Aguilera, Beyoncé and Rihanna.
“I have always accepted my femininity. And yes, today, that means wearing corsets, leagues, fluffy dresses or other, while so,” he explains in a portrait published in the magazine Time.
During your tour Short n ‘sweetPrecisely their outfit attuets made react. Sabrina Carpenter knows and plays, brilliantly, this provocation. When she interprets Bed chem, She mimics sex with a dancer, behind a curtain, in a heart -shaped bed. Or, in Juno, She sings “Do you want to try strange positions? Have you ever tried this?” And adopts a sexual position, different in each concert, accompanied by its dancers.
These moments, which have become viral, arouse many criticisms, in particular the parents who wonder if they should take their children to the concert, as reported. Reddish stones. Above all, the rest of their show are masked, in which the “walks and more introspective pieces” are of great importance. Crversies that the young artist seems to deplore.
“It always seems fun when people complain (…). These are the songs you made popular. Clearly, you love sex. You are obsessed with that. It is in my program, yes, but there are many more moments than the positions of Juno. And yet, these are the ones you publish and comment every night. “
Hypersexualized Pop icon
What would happen if Sabrina Carpenter was only a pretext? Does discomfort lies in the elections and attitude of the singer or in the reading that each one projects on it? This is what Katrina Muller-Towsend, professor of Psychology at Edith Cowan, The conversation. For the researcher, the entire satire requires an interpretation, “especially when they emanate from women who approach sex or power.”
“More than a simple provocation, the cover of Sabrina Carpenter reflects our difficulty in accepting women who defy simple satire or submission labels.”
“Photography represents broader social ideals and tensions projected in public personalities. Therefore, what we see more says about our own assumptions than in their intentions to it,” the academic analyzes.
It is true that Sabrina Carpenter dominates her final image -to -End -Trabajando in her appearance of Picardias. But the categorization and the ultra -exhibition with which it faces remains out of any control.
Therefore, the media and social networks are, for her, involved in this stigma. They are the ones that freeze it and reduce it to a hypersexualized Pop icon, interpreting all their actions: “I do not want to be pessimistic, but I had never lived a time when we analyzed so many women,” analyzes Sabrina Carpenter in Rolling Stone. I’m not just talking about myself. I am talking about all female artists. “
Source: BFM TV
