From Princess to Sex-Object: A Content Analysis of Portrayals of ...

From Princess to Sex-Object: A Content Analysis of Portrayals of Femininity in Popular

Media Directed Toward Girls and Young Women

A Thesis

Submitted to the Faculty of Graduate Studies and Research

In Partial Fulfilment of the Requirements

For the Degree of

Master of Arts

In Psychology

University of Regina

by

Tammy Lynn Kirichenko

Regina, Saskatchewan

March, 2007

Copyright © 2007

Tammy L. Kirichenko

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

From Princess to Sex-Object: A Content Analysis o f Portrayals o f Femininity in Popular

Media Directed Toward Girls and Young Women

A Thesis

Submitted to the Faculty o f Graduate Studies and Research

In Partial Fulfilment o f the Requirements

For the Degree o f

Master o f Arts

In Psychology

University o f Regina

by

Tammy Lynn Kirichenko

Regina, Saskatchewan

March, 2007

Copyright © 2007

Tammy L. Kirichenko


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Bibliotheque et Archives Canada

Published Heritage Branch

395 Wellington Street Ottawa ON K1A 0N4 Canada

Your file Votre reference ISBN: 978-0-494-29142-9 Our file Notre reference ISBN: 978-0-494-29142-9

Direction du Patrimoine de I'edition

395, rue Wellington Ottawa ON K1A 0N4 Canada

NOTICE:The author has granted a nonexclusive license allowing Library and Archives Canada to reproduce, publish, archive, preserve, conserve, communicate to the public by telecommunication or on the Internet, loan, distribute and sell theses worldwide, for commercial or noncommercial purposes, in microform, paper, electronic and/or any other formats.

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The author retains copyright ownership and moral rights in this thesis. Neither the thesis nor substantial extracts from it may be printed or otherwise reproduced without the author's permission.

L'auteur conserve la propriete du droit d'auteur et des droits moraux qui protege cette these.Ni la these ni des extraits substantiels de celle-ci ne doivent etre imprimes ou autrement reproduits sans son autorisation.

In compliance with the Canadian Privacy Act some supporting forms may have been removed from this thesis.

While these forms may be included in the document page count, their removal does not represent any loss of content from the thesis.

Conformement a la loi canadienne sur la protection de la vie privee, quelques formulaires secondaires ont ete enleves de cette these.

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CanadaReproduced with permission of the copyright owner. Further reproduction prohibited without permission.

UNIVERSITY OF REGINA

FACULTY OF GRADUATE STUDIES AND RESEARCH

SUPERVISORY AND EXAMINING COMMITTEE

Tammy Lynn Kirichenko, candidate for the degree of Master of Arts, has presented a thesis titled From Princess to Sex-Object: A Content Analysis of Portrayals of Femininity in Popular Media Directed Toward Girls and Young Women, in an oral examination held on January 25, 2007. The following committee members have found the thesis acceptable in form and content, and that the candidate demonstrated satisfactory knowledge of the subject material.

External Examiner: Dr. Alison Hayford

Department of Sociology and Social Studies

Supervisor: Dr. Cannie Stark, Department of Psychology

Committee Member: Dr. William Smythe, Department of Psychology

Committee Member: Dr. Mary Hampton

Department of Psychology, Luther College

Chair of Defense: Dr. Leona Anderson, Department of Religious Studies


UNIVERSITY OF REGINA

FACULTY OF GRADUATE STUDIES AND RESEARCH

SUPERVISORY AND EXAMINING COMMITTEE

Tammy Lynn Kirichenko, candidate for the degree of Master of Arts, has presented a thesis titled From Princess to Sex-Object: A Content Analysis of Portrayals of Femininity in Popular Media Directed Toward Girls and Young Women, in an oral examination held on January 25, 2007. The following committee members have found the thesis acceptable in form and content, and that the candidate demonstrated satisfactory knowledge of the subject material.

External Examiner: Dr. Alison Hayford

Department of Sociology and Social Studies

Supervisor: Dr. Cannie Stark, Department of Psychology

Committee Member: Dr. William Smythe, Department of Psychology

Committee Member: Dr. Mary HamptonDepartment of Psychology, Luther College

Chair of Defense: Dr. Leona Anderson, Department of Religious Studies


Abstract

The portrayal of the 'ideal woman' in the media has resulted in young girls aspiring to

reach impossible ideals. This may contribute to distorted body image, eating disorders, lower

self-esteem, a preoccupation with physical appearance and intimate relationships, a distorted

perception of sex and sexuality, and confusion about one's current and future roles as a

female. Combined with the 'princess phenomenon' in Western culture (e.g., the proliferation

of princess-themed merchandise on the market), one may conclude that the pressure to be

perfect has intensified. For instance, a woman 'should' not only be thin, beautiful, and sexy,

but she should be princess-like as well.

Although many researchers have focussed on various forms of media and the possible

implications of media imagery on both males and females, few have examined the

progression and cumulative impact of these messages on females from childhood through

adulthood. Because a longitudinal study is not practical for the current research, I have

instead examined popular media targeted at females of two overlapping development stages

(i.e., children and adolescents) in order to understand better the ways in which females are

represented in popular media in terms of (a) physical appearance, (b) gender-stereotypical

roles, and (c) sexuality and expectations about sex/sexuality. Second, my goal was to provide

a foundation for future studies in which researchers investigate (e.g., through qualitative

interviews and various quantitative measures) how females from early childhood through to

adulthood feel about themselves in relation to these portrayals (e.g., physical appearance;

their future roles as women in terms of occupation choice, relationship roles, sexuality and

expectations; disordered eating and the media's influence on females' self-esteem); and the

cumulative effects of media exposure.

ii


Abstract

The portrayal o f the ‘ideal woman’ in the media has resulted in young girls aspiring to

reach impossible ideals. This may contribute to distorted body image, eating disorders, lower

self-esteem, a preoccupation with physical appearance and intimate relationships, a distorted

perception o f sex and sexuality, and confusion about one’s current and future roles as a

female. Combined with the ‘princess phenomenon’ in Western culture (e.g., the proliferation

o f princess-themed merchandise on the market), one may conclude that the pressure to be

perfect has intensified. For instance, a woman ‘should’ not only be thin, beautiful, and sexy,

but she should be princess-like as well.

Although many researchers have focussed on various forms o f media and the possible

implications o f media imagery on both males and females, few have examined the

progression and cumulative impact o f these messages on females from childhood through

adulthood. Because a longitudinal study is not practical for the current research, I have

instead examined popular media targeted at females o f two overlapping development stages

(i.e., children and adolescents) in order to understand better the ways in which females are

represented in popular media in terms o f (a) physical appearance, (b) gender-stereotypical

roles, and (c) sexuality and expectations about sex/sexuality. Second, my goal was to provide

a foundation for future studies in which researchers investigate (e.g., through qualitative

interviews and various quantitative measures) how females from early childhood through to

adulthood feel about themselves in relation to these portrayals (e.g., physical appearance;

their future roles as women in terms o f occupation choice, relationship roles, sexuality and

expectations; disordered eating and the media’s influence on females’ self-esteem)', and (he

cumulative effects o f media exposure.

ii


Content analyses of selected media were conducted using a combination of qualitative

and quantitative methods, allowing for theory to emerge from the data rather than strictly

trying to 'force' the themes to fit into preconceived categories. Both inductive and deductive

processes were used (see Mayring, 2000) in the hopes of providing a more comprehensive

picture of the pervasive impact of the media on nearly every aspect of girls' and women's

lives. Armed with this information, programme development, education, and the

deconstruction of these harmful stereotypes, myths, and subtle influences can begin.

iii


Content analyses o f selected media were conducted using a combination o f qualitative

and quantitative methods, allowing for theory to emerge from the data rather than strictly

trying to ‘force’ the themes to fit into preconceived categories. Both inductive and deductive

processes were used (see Mayring, 2000) in the hopes o f providing a more comprehensive

picture o f the pervasive impact o f the media on nearly every aspect o f girls’ and women’s

lives. Armed with this information, programme development, education, and the

deconstruction o f these harmful stereotypes, myths, and subtle influences can begin.

iii


Acknowledgements

I would like to acknowledge the following individuals for their contributions to this research:

Most importantly, I would like to thank my wonderful mentor and thesis supervisor Dr.

Cannie Stark, without whom this research would not have been possible. As well, the

members of my thesis committee, Dr Mary Hampton and Dr. William Smythe, have been

supportive and encouraging about this research and have provided invaluable feedback.

I would also like to thank my family, especially my daughter Alexandra, for her support and

insights far beyond her years. Last, but not least, thank you to all of the members of the

Organisational and Social Psychology Research Unit at the University of Regina, particularly

my dear friend, Michelle McCarron, for all of her assistance and support throughout this

journey.

iv


Acknowledgements

I would like to acknowledge the following individuals for their contributions to this research:

Most importantly, I would like to thank my wonderful mentor and thesis supervisor Dr.

Cannie Stark, without whom this research would not have been possible. As well, the

members o f my thesis committee, Dr Mary Hampton and Dr. William Smythe, have been

supportive and encouraging about this research and have provided invaluable feedback.

I would also like to thank my family, especially my daughter Alexandra, for her support and

insights far beyond her years. Last, but not least, thank you to all o f the members o f the

Organisational and Social Psychology Research Unit at the University o f Regina, particularly

my dear friend, Michelle McCarron, for all o f her assistance and support throughout this

journey.

iv


Post-Defence Acknowledgement

I would like to express my gratitude to the External Examiner, Dr. Alison Hayford, for her

insightful comments and suggestions.

V


Post-Defence Acknowledgement

I would like to express my gratitude to the External Examiner, Dr. Alison Elayford, for her

insightful comments and suggestions.

v


Dedication

For Allie

In my daughter's eyes, I am a hero

I am strong and wise, and I know no fear

But the truth is plain to see

She was sent to rescue me

I see who I want be

In my daughter's eyes

-Martina McBride (2004)

vi


Dedication

For Allie

In my daughter's eyes, I am a hero

I am strong and wise, and I know no fear

But the truth is plain to see

She was sent to rescue me

I see who I want be

In my daughter's eyes

-Martina McBride (2004)

vi


Table of Contents

Abstract. Acknowledgements iv Post-Defence Acknowledgement. Dedication vi Table of Contents vii List of Figures xi List of Tables xii List of Appendices xiii Preface xiv 1. introduction 1

1.1 The Princess Phenomenon 1 1.2 Gender 4

1.2.1 Social Learning Theory 4 1.2.2 Cognitive Developmental Theory 5 1.2.3 Gender Schema/Enculturated Lens Theory 5

1.3 Media Exposure and Consumption 6 1.3.1 Childhood 6 1.3.2 Adolescence 8

1.4 Sexual Socialisation 9 2. The Current Study 11

2.1 Study Rationale 11 2.2 Purposes 13

3. Methods 14 3.1 Theoretical Foundations ... 14

3.1.1 Transformative Paradigm 14 3.1.2 Rationale for Choice of Methodology 15

3.2 Reliability and Validity in Qualitative Research 16 3.2.1 Coherence 16 3.2.2 Structural Corroboration 16 3.2.3 Consensus 16

4. Procedure 17 4.1 Grounded Theory 18 4.2 Coding 18

4.2.1 Open Coding 18 4.2.2 Axial Coding 18 4.2.3 Selective Coding 19

4.3 Constant Comparison Method 19 4.4 Quantitative Component 19

5. Data Collection and Analysis 24 5.1 Toys 24

5.1.1 Sampling 24 5.1.2 Data Analysis 24

5.2. Disney Movies 25 5.2.1 Sampling 25 5.2.2 Data Analysis 25

vii


Table o f Contents

A bstract...,.............................................................................................. iiAcknowledgements...................................................................................................................................... ivPost-Defence Acknowledgement................... vDedication...................................................................................................................................................... v-iTable o f Contents.......................................................................................................................................... viiList o f Figures................................................................................................................................................ xiList o f T ab les............................................................................................................................................... xiiList o f Appendices........................................................................................................................................ xiiiPreface.............................................................................................................................................................. xiv1. Introduction................................................................................................................................................ 1

1.1 The Princess Phenomenon..................................................................................................... 11.2 Gender........................................................................................................................................ 4

1.2.1 Social Learning Theory.......................................................................................... 41.2.2 Cognitive Developmental Theory....................................................................... 51.2.3 Gender Schema/Enculturated Lens Theory..................................................... 5

1.3 Media Exposure and Consumption...................................................................................... 61.3.1 Childhood.................................................................................................................. 61.3.2 Adolescence............................................................................................................. 8

1.4 Sexual Socialisation................................................................................................................. 92. The Current Study.................................................................................................................................... 11

2.1 Study Rationale......................................................................................................................... 112.2 Purposes..................................................................................................................................... 13

3. Methods.............................................................................................................. 143.1 Theoretical Foundations.......................................................................................................... 14

3.1.1 Transformative Paradigm...................................................................................... 143.1.2 Rationale for Choice o f Methodology............................................................... 15

3.2 Reliability and Validity in Qualitative Research.............................................................. 163.2.1 Coherence................................................................................................................. 163.2.2 Structural Corroboration....................................................................................... 163.2.3 Consensus................................................................................................................. 16

4. Procedure.................................................................................................................................................... 174.1 Grounded Theory...................................................................................................................... 184.2 Coding......................................................................................................................................... 18

4.2.1 Open Coding............................................................................................................ 184.2.2 Axial Coding............................................................................................................. 184.2.3 Selective Coding..................................................................................................... 19

4.3 Constant Comparison Method............................................................................................... 194.4 Quantitative Component......................................................................................................... 19

5. Data Collection and Analysis................................................................................................................. 245.1 Toys............................................................................................................................................ 24

5.1.1 Sampling.............................................................. 245.1.2 Data Analysis............................................................................................................ 24

5.2. Disney M ovies....................................................................................................................... 255.2.1 Sampling................................................................................................................... 255.2.2 Data Analysis............................................................................................................ 25

vii


5.3 Music Lyrics and Videos 26 5.3.1 Sampling 26 5.3.2 Data Analysis 26

5.4 Clothing and Accessories 27 5.4.1 Sampling 27 5.4.2 Data Analysis 27

6. Results and Discussion 28 6.1 Toys 28

6.1.1 Thematic Content 28 6.1.1.1 Princess-Themed Descriptions 28 6.1.1.2 Appearance and Fashion 28 6.1.1.3 Activities 29 6.1.1.4 Relationships and Dating 29 6.1.1.5 Other 30

6.1.2 Word Frequencies 30 6.2. Disney Animated Features 33

6.2.1 Common Components 33 6.2.1.1 Wanting 'More' 33 6.2.1.2 Obstacles 33 6.2.1.3 Love 35 6.2.1.4 Feminine Wiles 35 6.2.1.5 More Obstacles 35 6.2.1.6 Saved 36 6.2.1.7 Happily Ever After 36

6.2.2 Thematic Content 38 6.2.2.1 Love 38

6.2.2.1.1 Romantic Love and Marriage 38 6.2.2.1.2 Non-Romantic Love 38

6.2.2.2 Traditional Roles 41 6.2.2.2.1 The Damsel in Distress 41 6.2.2.2.2 Sacrifice 41 6.2.2.2.3 Feminine Qualities and Sex-Typed Roles 41

6.2.2.3 Non-Traditional Roles 42 6.2.2.3.1 The 'Dude' in Distress 42 6.2.2.3.2 Males as Loving, Affectionate, and Nurturing 42

6.2.2.4 Family Structure 42 6.2.2.5 Victimisation 44 6.2.2.6 Good Versus Evil 44 6.2.2.7 Aggression 44

6.2.2.7.1 Males toward Males 44

6.2.2.7.2 Females toward Males 44 6.2.2.7.3 Females toward Females 46 6.2.2.7.4 Males toward Females. 46 6.2.2.7.5 Indirect Aggression 47

6.2.2.8 Sexuality 48 6.2.2.9 Objectification 48 6.2.2.10 Music 49

viii


5.3 Music Lyrics and Videos....................................................................................................... 265.3.1 Sampling.................................................................................................................. 265.3.2 Data Analysis.......................................................................................................... 26

5.4 Clothing and Accessories....................................................................................................... 275.4.1 Sampling.................................................................................................................. 275.4.2 Data Analysis........................................................................................................... 27

6. Results and Discussion......................................................................................................................... 286.1 Toys........................................................................................................................................... 28

6.1.1 Thematic Content.................................................................................... 286.1.1.1 Princess-Themed Descriptions..................................................... 286.1.1.2 Appearance and Fashion...................................................................... 286.1.1.3 Activities................................................................................................. 296.1.1.4 Relationships and Dating.................................................................... 296.1.1.5 Other............................................................................................... 30

6.1.2 Word Frequencies................................................................................................... 306.2. Disney Animated Features.................................................................................................. 33

6.2.1 Common Components........................................................................................... 336.2.1.1 W anting‘More’ ..................................................................................... 336.2.1.2 Obstacles.................................................................................................. 336.2.1.3 Love.......................................................................................................... 356.2.1.4 Feminine W iles...................................................................................... 356.2.1.5 More Obstacles...................................................................................... 356.2.1.6 Saved......................................................................................................... 366.2.1.7 Happily Ever After................................................................................ 36

6.2.2 Thematic Content.................................................................................................... 386.2.2.1 Love.......................................................................................................... 38

6.2.2.1.1 Romantic Love and Marriage........................................... 386.2.2.1.2 Non-Romantic Love............................................................. 38

6.2.2.2 Traditional R oles.................................................................................... 416.2.2.2.1 The Damsel in Distress....................................................... 416.2.2.2.2 Sacrifice.................. 416.2.2.2.3 Feminine Qualities and Sex-Typed R oles...................... 41

6.2.2.3 Non-Traditional Roles......................................................................... 426.2.2.3.1 The ‘Dude’ in Distress........................................................ 426.2.2.3.2 Males as Loving, Affectionate, and Nurturing 42

6.2.2.4 Family Structure..................................................................................... 426.2.2.5 Victimisation........................................................................................... 446.2.2.6 Good Versus Evil................................................................................... 446.2.2.7 Aggression.............................................................................................. 44

6.2.2.7.1 Males toward Males............................................................. 446.2.2.7.2 Females toward M ales........................................................ 446.2.2.7.3 Females toward Females..................................................... 466.2.2.7.4 Males toward Females. ........ 466.2.2.7.5 Indirect Aggression.............................................................. 47

6.2.2.8 Sexuality.................................................................................................. 486.2.2.9 Objectification......................................................................................... 486.2.2.10 M usic....................................................................................................... 49

viii


6.2.3 Changes over Time 49 6.2.3.1 Drawings 49 6.2.3.2 Speech 50 6.2.3.3 Mannerisms and Body Language 50 6.2.3.4 Feminine Qualities and Sex-Typed Roles 50

6.3 Music Lyrics and Videos 54 6.3.1 Song Lyrics 54

6.3.1.1 True Self 54 6.3.1.2 Sexuality and Objectification 56 6.3.1.3 Relationships 57 6.3.1.4 Rumours 61 6.3.1.5 Memories 61 6.3.1.6 Social Issues 62

6.3.2 Music Videos 66 6.3.2.1 Performance Videos 66 6.3.2.2 Partying/Having Fun Videos 66 6.3.2.3 Dance, Sexual, and/or Objectifying Videos 66 6.3.2.4 Social Commentary Videos 68 6.3.2.5 Story Videos 68

6.3.3 Other Content 68 6.3.3.1 Violence in Music Videos 68 6.3.3.2 Relationships in Music Videos 73

6.3.4 Congruence 73 6.4 Clothing Text 78

6.4.1 Thematic Content 78 6.4.1.1 Innocence 78 6.4.1.2 Naughtiness 78 6.4.1.3 Objectification 78 6.4.1.4 Princessy 80 6.4.1.5 Spoiled 80 6.4.1.6 Superiority 80 6.4.1.7 Competitive 80

7. Conclusions 82 7.1 Summary and Discussion 82

7.1.1 Objectification Theory 82 7.1.2 The Princess Phenomenon (Revisited) 83 7.1.3 Contradictory Messages 84

7.2 Strengths and Limitations 86 7.3 Significance and Implications 87 7.4 Future Directions 89

7.5 Concluding Remarks 90

8. References 93 Appendices 100

ix


6.2.3 Changes over Time............................................................................................. 496.2.3.1 Drawings................................................................................................. 496 .23 .2 Speech.............................................. 506.2.3.3 Mannerisms and Body Language...................................................... 506.2.3.4 Feminine Qualities and Sex-Typed R oles...................................... 50

6.3 Music Lyrics and Videos....................................................................................................... 546.3.1 Song Lyrics.............................................................................................................. 54

6.3.1.1 True S elf.................................................................................................. 546.3.1.2 Sexuality and Objectification.............................................................. 566.3.1.3 Relationships.......................................................................................... 576.3.1.4 Rumours................................................................................................... 616.3.1.5 Memories................................................................................................ 616.3.1.6 Social Issues............................................................................................ 62

6.3.2 Music Videos........................................................................................................... 666.3.2.1 Performance V ideos.............................................................................. 666.3.2.2 Partying/Having Fun Videos............................................................... 666.3.2.3 Dance, Sexual, and/or Objectifying Videos.................................... 666.3.2.4 Social Commentary V ideos................................................................ 686.3.2.5 Story Videos............................................................................................ 68

6.3.3 Other Content........................................................................................................... 686.3.3.1 Violence in Music V ideos................................................................... 686.3.3.2 Relationships in Music Videos.......................................................... 73

6.3.4 Congruence.............................................................................................................. 736.4 Clothing Text............................................................................................................................ 78

6.4.1 Thematic Content................................................................................................... 786.4.1.1 Innocence................................................................................................ 786.4.1.2 Naughtiness............................................................................................. 786.4.1.3 Objectification........................................................................................ 786.4.1.4 Princessy.................................................................................................. 806.4.1.5 Spoiled..................................................................................................... 806.4.1.6 Superiority................................................................................................ 806.4.1.7 Com petitive............................................................................................ 80

7. Conclusions................................................................................................................................................ 827.1 Summary and Discussion........................................................................................................ 82

7.1.1 Objectification Theory........................................................................................... 827.1.2 The Princess Phenomenon (Revisited).............................................................. 837.1.3 Contradictory M essages......................................................................................... 84

7.2 Strengths and Limitations....................................................................................................... 867.3 Significance and Implications................................................................................................ 877.4 Future D irections.......................................................................................................................... 897.5 Concluding Remarks................................................................................................................ 90

8. References................................................................................................................................................... 93Appendices......................................................................................................................................................... 100

ix


List of Figures

Figure 4.1: Stages of Data Coding by Medium: Toys 20 Figure 4.2: Stages of Data Coding by Medium: Lyrics 21 Figure 4.3: Stages of Data Coding by Medium: Videos 22 Figure 4.4: Stages of Data Coding by Medium: Clothing 23 Figure 6.1: The Road to Happily Ever After 34 Figure 6.2: Results of Analyses of Disney Animated Features 39 Figure 6.3: Family Structure 43

x


List o f Figures

Figure 4.1: Stages o f Data Coding by Medium: Toys................................................................ 20Figure 4.2: Stages o f Data Coding by Medium: Lyrics............................................................. 21Figure 4.3: Stages o f Data Coding by Medium: Videos............................................................ 22Figure 4.4: Stages o f Data Coding by Medium: Clothing........................................................ 23Figure 6.1: The Road to Happily Ever After.................................................................................. 34Figure 6.2: Results o f Analyses o f Disney Animated Features................................................. 39Figure 6.3: Family Structure.............................................................................................................. 43

x


List of Tables

Table 1.1 Disney Princess Product Sales Figures_ 2 Table 6.1 Word Frequencies in Toy Product Descriptions 32 Table 6.2 Curses 37 Table 6.3 Thematic Content in Disney Animated Features 40 Table 6.4 Aggression in Disney Animated Features 45 Table 6.5 Changes Over Time in the Portrayals of Disney Princesses 51 Table 6.6 Traditionally Feminine Qualities and Sex-Typed Roles 53 Table 6.7 Song Lyrics and Music Video Categories: Verbal and Visual 55 Table 6.8 Songs by Category 65 Table 6.9 Objectifying and Sexual Images in Music Videos 67 Table 6.10 Story Videos 69 Table 6.11 Additional Content in Music Videos 74 Table 6.12 Congruence Between Song Lyrics and Music Videos 76 Table 6.13 Thematic Content in Textual Messages on Clothing 79 Table 6.14 Self-Objectifying Text on T-Shirts 81

xi


List o f Tables

Table 1.1 Disney Princess Product Sales Figures......................................................................... 2Table 6.1 Word Frequencies in Toy Product Descriptions......................................................... 32Table 6.2 Curses.................................................................................................................................... 37Table 6.3 Thematic Content in Disney Animated Features....................................................... 40Table 6.4 Aggression in Disney Animated Features.................................................................... 45Table 6.5 Changes Over Time in the Portrayals o f Disney Princesses.................................... 51Table 6.6 Traditionally Feminine Qualities and Sex-Typed Roles........................................... 53Table 6.7 Song Lyrics and Music Video Categories: Verbal and Visual............................... 55Table 6.8 Songs by Category................................................................................ 65Table 6.9 Objectifying and Sexual Images in Music V ideos..................................................... 67Table 6.10 Story V ideos...................................................................................................................... 69Table 6.11 Additional Content in Music V ideos.......................................................................... 74Table 6.12 Congruence Between Song Lyrics and Music Videos............................................ 76Table 6.13 Thematic Content in Textual Messages on Clothing............................................... 79Table 6.14 Self-Objectifying Text on T-Shirts.............................................................................. 81

xi


List of Appendices

Appendices Appendix Appendix Appendix Appendix Appendix Appendix Appendix Appendix Appendix Appendix Appendix Appendix

100 A: Club Libby Lu 100 B: Toys with a Princess Line 103 C: Categories Across Media 105 D: Comparisons Within and Across Disney Animated Features 107 E: Song Lyrics Chosen for Analyses 109 F: Music Videos Chosen for Analyses 111 G: Song Lyrics 113 H: Product Descriptions of Toys 182 I: Clothing Categories 184 J: Objectification in Beauty and the Beast 186 K: 'No' Means 'Yes' 189 L: Disney Princesses 191

xii


List o f Appendices

Appendices................................................................................................................................................. 100Appendix A: Club Libby Lu................................................................................................... 100Appendix B: Toys with a Princess Line................................ 103Appendix C: Categories Across Media................................................................................ 105Appendix D: Comparisons Within and Across Disney Animated Features................ 107Appendix E: Song Lyrics Chosen for Analyses................................................................ 109Appendix F: Music Videos Chosen for Analyses............................................................. I l lAppendix G: Song L yrics...................................................................................................... 113Appendix H: Product Descriptions o f Toys...................................................................... 182Appendix I: Clothing Categories.......................................................................................... 184Appendix J: Objectification in Beauty and the Beast...................................................... 186Appendix K :‘N o ’ M eans‘Y es’......................................................................................... 189Appendix L: Disney Princesses.............................................................................................. 191

xii


PREFACE

The Cinderella Complex

"The psychological need to avoid independence--the 'wish to be saved'-- seemed to me

an important issue, quite probably the most important issue facing women today. We were

brought up to depend on a man and to feel naked and frightened without one. We were

taught to believe that as women we cannot stand alone, that we are too fragile, too delicate,

needful of protection. So that now, in these enlightened days, when our intellects tell us to

stand on our own two feet, unresolved emotional issues drag us down. At the same time that

we yearn to be fetterless and free, we also yearn to be taken care of.

Women's leanings toward dependence are, for the most part, deeply buried.

Dependency is frightening. It makes us anxious because it has its roots in infancy, when we

were indeed helpless. We do what we can to hide these needs from ourselves. Especially now,

with the new, socially encouraged thrust toward independence, we find it tempting to keep

that other part of ourselves cut off, damped down.

That part, buried and denied, is the troublemaker. It crops up in fantasies and dreams.

It sometimes takes the form of phobias. It affects the way women think, and act, and speak.

Hidden dependency needs are causing problems for the protected housewife who has to ask

her husband for permission to buy a dress, and for the career woman with the six-figure

income who's unable to go to sleep at night when her lover is out of town".

Collette Dowling (1981, n.p.)


PREFACE

The Cinderella Complex

"The psychological need to avoid independence—the 'wish to be saved'— seemed to me

an important issue, quite probably the most important issue facing women today. VJe were

brought up to depend on a man and to feel naked and frightened without one. W e were

taught to believe that as women we cannot stand alone, that we are too fragile, too delicate,

needful o f protection. So that now, in these enlightened days, when our intellects tell us to

stand on our own two feet, unresolved emotional issues drag us down. A t the same time that

we yearn to be fetterless and free, we also yearn to be taken care of.

Women's leanings toward dependence are, for the most part, deeply buried.

Dependency is frightening. It makes us anxious because it has its roots in infancy, when we

were indeed helpless. We do what we can to hide these needs from ourselves. Especially now,

with the new, socially encouraged thrust toward independence, we fin d it tempting to keep

that other part o f ourselves cut off, damped down.

That part, buried and denied, is the troublemaker. It crops up in fantasies and dreams.

It sometimes takes the form o f phobias. It affects the way women think, and act, and speak.

Hidden dependency needs are causing problems for the protected housewife who has to ask

her husband for permission to buy a dress, and for the career woman with the six-figure

income who's unable to go to sleep at night when her lover is out o f town".

-Collette Dowling (1981, n.p.)

xm


1. INTRODUCTION

1.1 The Princess Phenomenon

The messages in fairy tales (e.g., Snow White, Cinderella), which seem embedded in

Western societal values, include the notion that in order to be happy, a woman needs a

`prince' to 'rescue' her from her circumstances and/or to ensure her future happiness. In

order to attract a prince, however, one must be perfect and beautiful (i.e., a 'real' princess).

Yet, even being beautiful does not seem to be sufficient—one needs to be sexy, as well.

The notion that 'sex sells' has become so engrained in Western cultures that, even as

preadolescents, it seems that females are more often (than in decades past) using their

sexuality to get noticed. This princess/sex-object dichotomy that many females struggle to

balance (likely without even realising it), can have serious physical and psychological

consequences. For instance, striving for beauty and 'perfection' can lead to disordered eating.

It is also probable that, as adults, women may have difficulties with their intimate

relationships because the men with whom they become intimately involved do not 'live up

to' their (unrealistic) expectations (i.e., acting like 'heroic princes'). In childhood, girls may

learn to expect, and to desire, a handsome prince and to live happily ever after. Furthermore,

they may believe that in order to find a 'prince', they must prove to be 'princesses' who are

`worthy' of such men's love and attention. Based on personal observations and experiences,

I believe that failure to find a 'prince' can lead to feelings of inadequacy and low self-esteem.

In turn, competition with other girls or women for the coveted 'princes' may increase one's

attempts to be 'sexy' in order to boost one's self-esteem, attract attention, and find a mate.

Many females' lives may be fraught with pressure to 'become' these impossibly

perfect 'princesses'. This pressure, whether real or imagined, seems to escalate throughout

adolescence and early adulthood, but may, in fact, begin very early in young girls' lives. For


1. INTRODUCTION

1.1 The Princess Phenomenon

The messages in fairy tales (e.g., Snow White, Cinderella), which seem embedded in

Western societal values, include the notion that in order to be happy, a woman needs a

‘prince’ to ‘rescue’ her from her circumstances and/or to ensure her future happiness. In

order to attract a prince, however, one must be perfect and beautiful (i.e., a ‘real’ princess).

Yet, even being beautiful does not seem to be sufficient— one needs to be sexy, as well.

The notion that ‘sex sells’ has become so engrained in Western cultures that, even as

preadolescents, it seems that females are more often (than in decades past) using thpir

sexuality to get noticed. This princess/sex-object dichotomy that many females struggle to

balance (likely without even realising it), can have serious physical and psychological

consequences. For instance, striving for beauty and ‘perfection’ can lead to disordered eating.

It is also probable that, as adults, women may have difficulties with their intimate

relationships because the men with whom they become intimately involved do not ‘live up

to’ their (unrealistic) expectations (i.e., acting like ‘heroic princes’). In childhood, girls may

learn to expect, and to desire, a handsome prince and to live happily ever after. Furthermore,

they may believe that in order to find a ‘prince’, they must prove to be ‘princesses’ who are

‘worthy’ o f such men’s love and attention. Based on personal observations and experiences,

I believe that failure to find a ‘prince’ can lead to feelings o f inadequacy and low self-esteem.

In turn, competition with other girls or women for the coveted ‘princes’ may increase one’s

attempts to be ‘sexy’ in order to boost one’s self-esteem, attract attention, and find a mate.

Many females’ lives may be fraught with pressure to ‘become’ these impossibly

perfect ‘princesses’. This pressure, whether real or imagined, seems to escalate throughout

adolescence and early adulthood, but may, in fact, begin very early in young girls’ lives. For


2

instance, some girls are referred to as 'Princess' or 'Daddy's little princess' from the time

that they are born. However, even girls who are not referred to as princesses will still likely

have experiences with, and exposure to, picture books (e.g., fairy tales), animated movies

(e.g., Disney), toys (e.g., Barbie), and other media (e.g., television) and the corresponding

ways in which females are portrayed via each medium. As girls grow up and leave dolls

behind, they may begin to focus on fashion, and may even want to emulate fashion models,

actresses, and musicians whom they admire.

Undeniably, in early childhood, many girls are exposed to glamorous heroines and

princesses through fairy tales, audio/visual media, and toys. They may identify with these

characters and may even want to grow up to be just like them. For example, Disney heroines

and princesses are extremely popular, and many young girls are first introduced to these

characters in the animated features.

The Disney princesses are so popular, in fact, that sales of the princess merchandise

account for a startling amount of The Walt Disney Company's revenue worldwide:

Table 1.1 Disney Princess Product Sales Figures

Year Disney Princess Products (retail sales worldwide)

2000

2002

2003

2004

300

1.30 +

million

million

billion

billion

2005 i 3 + billion

(Disney Online, n.d.)

From 2000 to 2002, sales of Disney Princess products increased by over 400 million dollars,

and from 2003 to 2005, sales of these products escalated into billions of dollars.


2

instance, some girls are referred to as ‘Princess’ or ‘Daddy’s little princess’ from the time

that they are bom. However, even girls who are not referred to as princesses will still likely

have experiences with, and exposure to, picture books (e.g., fairy tales), animated movies

(e.g., Disney), toys (e.g., Barbie), and other media (e.g., television) and the corresponding

ways in which females are portrayed via each medium. As girls grow up and leave dolls

behind, they may begin to focus on fashion, and may even want to emulate fashion models,

actresses, and musicians whom they admire.

Undeniably, in early childhood, many girls are exposed to glamorous heroines and

princesses through fairy tales, audio/visual media, and toys. They may identify with these

characters and may even want to grow up to be just like them. For example, Disney heroines

and princesses are extremely popular, and many young girls are first introduced to these

characters in the animated features.

The Disney princesses are so popular, in fact, that sales o f the princess merchandise

account for a startling amount o f The Walt Disney Company’s revenue worldwide:

Table 1.1 Disney Princess Product Sales Figures

Year i Disney Princess Products (retail sales worldwide)

2000 ] 300 + million

20022003

i 700 1.30 +

millionbillion

2004 ! 2 + billion2005 ! 3 + billion

(Disney Online, n.d.)

From 2000 to 2002, sales o f Disney Princess products increased by over 400 million dollars,

and from 2003 to 2005, sales o f these products escalated into billions o f dollars.


3

Even without these figures, however, as a consumer, or as even a casual observer, it is

apparent that there is a princess phenomenon occurring. Princess toys and accessories seem

to be flooding the market. Many popular fashion dolls (e.g., Bratz, Barbie) now include

princess lines, and tiaras and other dress-up accessories can be found at nearly every store

that has a toy section. In addition, there are numerous products available with the word

`Princess' emblazoned on them (e.g., housewares: towels, picture frames, bedding, bathroom

accents, lamps, toasters; clothing and accessories: t-shirts, underwear, slippers, jewellery,

handbags, luggage; electronics: DVD players, cell phones, televisions), the Disney princess

toys themselves, and, of course the animated features starring the popular princesses.

If the merchandise is not enough to satisfy a girl's `princessy' desires, there are

services available to help her to feel and act more like a princess as well. For instance, many

party-planning websites and companies (performing a simple interne search will result in

hundreds to thousands of hits) now offer princess-themed party packages for girls and young

women, some of which may even include special 'princess' services at salons. In the United

States, for example, Club Libby Lu (http://www.clublibbylu.com/) is gaining popularity with

young girls. There are currently 62 Club Libby Lu locations in the United States and the

description on the website reads:

The Club gives girls like you a fun funky place to hang out with your friends, shop,

have a party or create your own fancy potion in Libby's Lab. You can dress up like

princess, rock star or drama queen in our famous Style Studio. Or sing and dance to

the latest Club beat with our inspiring Club Counselors [sic]. At this special Club

every girl is treated like a V.I.P. -- Very Important Princess! It's totally a girl thing!

(Club Libby Lu, n.d.)


Even without these figures, however, as a consumer, or as even a casual observer, it is

apparent that there is a princess phenomenon occurring. Princess toys and accessories seem

to be flooding the market. Many popular fashion dolls (e.g., Bratz, Barbie) now include

princess lines, and tiaras and other dress-up accessories can be found at nearly every store

that has a toy section. In addition, there are numerous products available with the word

‘Princess’ emblazoned on them (e.g., housewares: towels, picture frames, bedding, bathroom

accents, lamps, toasters; clothing and accessories: t-shirts, underwear, slippers, jewellery,

handbags, luggage; electronics: DVD players, cell phones, televisions), the Disney princess

toys themselves, and, o f course the animated features starring the popular princesses.

If the merchandise is not enough to satisfy a girl’s ‘princessy’ desires, there are

services available to help her to feel and act more like a princess as well. For instance, many

party-planning websites and companies (performing a simple internet search will result in

hundreds to thousands o f hits) now offer princess-themed party packages for girls and young

women, some o f which may even include special ‘princess’ services at salons. In the United

States, for example, Club Libby Lu (http://www.clublibbylu.com/) is gaining popularity with

young girls. There are currently 62 Club Libby Lu locations in the United States and the

description on the website reads:

The Club gives girls like you a fun funky place to hang out with your friends, shop,

have a party or create your own fancy potion in Libby's Lab. You can dress up like

princess, rock star or drama queen in our famous Style Studio. Or sing and dance to

the latest Club beat with our inspiring Club Counselors [57c]. At this special Club

every girl is treated like a V.I.P. — Very Important Princess! It's totally a girl thing!

(Club Libby Lu, n.d.)


http://www.clublibbylu.com/

4

Girls can choose from a variety of makeover packages including 'The Royal Heiress', 'The

Priceless Princess', 'The Rocker', `Tween Idol', and 'Super Star', and can purchase a variety

of other products and services (Appendix A).

1.2 Gender: Stereotypes, Identity, and Role Development

Dolls, fashion, and make-up are stereotypically `girly things', which is not, by any

means, negative. However, the messages that are both explicit and implicit in the marketing

of the products and services available for girls and women may adversely affect females'

self-esteem and identity.

Gender stereotypes differ from many racial stereotypes in that people often want to

confirm them. Many men want to be "masculine" (assertive and dominant); many

women want to be "feminine" (gentle and self-less). Not only do people often

internalize, value, and agree with sex roles and gender stereotypes, but they also feel

societal pressure to conform. (Worchel, Cooper, Goethals, & Olson, 2000, p. 212)

Gender identity is the personal construction and acceptance of the self as male or

female (Bukatko & Daehler, 2003), which most children acquire by the age of three

(Santrock, 2004). Gender roles, however, are socially constructed sets of expectations that

influence how females and males think, feel, and behave (Santrock, 2004). Although gender-

role socialisation is a life-long process, it is particularly noticeable during children's

formative years (Marliene, 1999).

1.2.1 Social Learning Theory

From birth, children are treated in gender-specific ways, and parents and other adults

reinforce gender-specific attitudes and behaviours. Gender identity, therefore, is formed

through imitation, direct reinforcement for sex-typed activities, and vicarious learning from


4

Girls can choose from a variety o f makeover packages including ‘The Royal Heiress’, ‘The

Priceless Princess’, ‘The Rocker’, ‘Tween Idol’, and ‘Super Star’, and can purchase a variety

o f other products and services (Appendix A).

1.2 Gender: Stereotypes, Identity, and Role Development

Dolls, fashion, and make-up are stereotypically ‘girly things’, which is not, by any

means, negative. However, the messages that are both explicit and implicit in the marketing

o f the products and services available for girls and women may adversely affect females’

self-esteem and identity.

Gender stereotypes differ from many racial stereotypes in that people often want to

confirm them. Many men want to be “masculine” (assertive and dominant); many

women want to be “feminine” (gentle and self-less). Not only do people often

internalize, value, and agree with sex roles and gender stereotypes, but they also feel

societal pressure to conform. (Worchel, Cooper, Goethals, & Olson, 2000, p. 212)

Gender identity is the personal construction and acceptance o f the se lf as male or

female (Bukatko & Daehler, 2003), which most children acquire by the age o f three

(Santrock, 2004). Gender roles, however, are socially constructed sets o f expectations that

influence how females and males think, feel, and behave (Santrock, 2004). Although gender-

role socialisation is a life-long process, it is particularly noticeable during children’s

formative years (Marliene, 1999).

1.2.1 Social Learning Theory

From birth, children are treated in gender-specific ways, and parents and other adults

reinforce gender-specific attitudes and behaviours. Gender identity, therefore, is formed

through imitation, direct reinforcement for sex-typed activities, and vicarious learning from


5

peer or adult same-sex models (Burr, 1998). Bandura (1986) refers to these phenomena as

`differential reinforcement' and 'observational learning'.

1.2.2 Cognitive Developmental Theory

Children mature through interaction with their environment and take an active role in

organising their world; they create schemas (i.e., mental categories) that are fluid and that

emerge through interaction with their social environment (Marliene, 1999). Kohlberg (1966,

as cited in Levy & Carter, 1989) proposed several stages of gender development: gender

identity: children are capable of labelling themselves and others by gender (based on

physical features); gender stability: children understand that gender does not change over

time; and gender constancy: children understand that gender is constant across time and

situations, and that it is independent from what they wear or how they behave.

1.2.3 Gender Schema/Enculturated Lens Theory

The development of gender identity is embedded in the socio-historical context of

each culture, and culture operates as a lens through which gender identity and roles are

defined and passed on from one generation to the next (Bern, 1993). Gender schema theorists

consider both cognitive developmental and social learning theories (i.e., schemas are

socialised cognitive networks of sex and gender roles) as components of gender schema

theory. Gender schemacity refers to judgements about the social world as being organised

into female and male categories (Ruble & Stangor, 1986). Individuals with strong gender

schemas are more susceptible to stereotypic perceptions and behaviours, whereas gender

aschematic individuals tend to be less bound by stereotypical roles and perceptions (Bern,

1999; Ruble & Stangor, 1986).

Although children learn about their own sex and sex-/gender roles primarily through

interactions with others (e.g., caregivers, siblings), they also internalise gender-role


5

peer or adult same-sex models (Burr, 1998). Bandura (1986) refers to these phenomena as

‘differential reinforcement’ and ‘observational learning’.

1.2.2 Cognitive Developmental Theory

Children mature through interaction with their environment and take an active role in

organising their world; they create schemas (i.e., mental categories) that are fluid and that

emerge through interaction with their social environment (Marliene, 1999). Kohlberg (1966,

as cited in Levy & Carter, 1989) proposed several stages o f gender development: gender

identity, children are capable o f labelling themselves and others by gender (based on

physical features); gender stability: children understand that gender does not change over

time; and gender constancy: children understand that gender is constant across time and

situations, and that it is independent from what they wear or how they behave.

1.2.3 Gender Schema/Enculturated Lens Theory

The development o f gender identity is embedded in the socio-historical context o f

each culture, and culture operates as a lens through which gender identity and roles are

defined and passed on from one generation to the next (Bern, 1993). Gender schema theorists

consider both cognitive developmental and social learning theories (i.e., schemas are

socialised cognitive networks o f sex and gender roles) as components o f gender schema

theory. Gender schemacity refers to judgements about the social world as being organised

into female and male categories (Ruble & Stangor, 1986). Individuals with strong gencfer

schemas are more susceptible to stereotypic perceptions and behaviours, whereas gender

aschematic individuals tend to be less bound by stereotypical roles and perceptions (Bern,

1999; Ruble & Stangor, 1986).

Although children learn about their own sex and sex-/gender roles primarily through

interactions with others (e.g., caregivers, siblings), they also internalise gender-role


6

stereotypes from books, songs, television, and movies (Thome, 1993), and learn sex-typed

behaviour from these 'symbolic' models (Burr, 1998).

1.3 Media Exposure and Consumption

1.3.1 Childhood

Turner-Bowker (1996) reports that, in children's literature, females are usually

secondary characters, portrayed in domestic settings, and often need to be rescued by a male.

Further, the differential use of language descriptors in the media for females and males only

serves to maintain the inequalities between women and men (Turner-Bowker, 1996). For

example, men are often described in terms of their personalities (e.g., strong, brave, funny)

and women continue to be described primarily in terms of their physical characteristics (e.g.,

thin, fat, pretty, beautiful, ugly). As Turner-Bowker (1996) reports, not only are female and

male characters not equally represented in children's literature, but there is also a connection

between gender stereotypes and the adjectives used to describe both female and male

characters, (with no difference between female and male authors in their use of adjectives for

females and males; Turner-Bowker, 1996).

Although the central roles of females in children's books has increased somewhat

over time, females are still most often described as being beautiful, frightened, worthy,

sweet, weak, and scared, while males are frequently described as big, horrible, fierce, great,

terrible, furious, brave, and proud (Turner-Bowker, 1996). However, it is not only children's

literature through which these stereotypes are perpetuated. All media that children are

exposed to and learn from (e.g., music, television, and movies) include instances of sex-typed

behaviour that children model (Burr, 1998; Thorne, 1993). For example, children are

influenced by other media, such as toys. Klugman (1999) examined the characteristics of

Barbie dolls versus action figures (e.g., G. I. Joe and World Wrestling Federation figures).


stereotypes from books, songs, television, and movies (Thome, 1993), and learn sex-typed

behaviour from these ‘symbolic’ models (Burr, 1998).

1.3 Media Exposure and Consumption

1.3.1 Childhood

Tumer-Bowker (1996) reports that, in children’s literature, females are usually

secondary characters, portrayed in domestic settings, and often need to be rescued by a male.

Further, the differential use o f language descriptors in the media for females and males only

serves to maintain the inequalities between women and men (Tumer-Bowker, 1996). For

example, men are often described in terms o f their personalities (e.g., strong, brave, funny)

and women continue to be described primarily in terms o f their physical characteristics (e.g.,

thin, fat, pretty, beautiful, ugly). As Tumer-Bowker (1996) reports, not only are female and

male characters not equally represented in children’s literature, but there is also a connection

between gender stereotypes and the adjectives used to describe both female and male

characters, (with no difference between female and male authors in their use o f adjectives for

females and males; Tumer-Bowker, 1996).

Although the central roles o f females in children’s books has increased somewhat

over time, females are still most often described as being beautiful, frightened, worthy,

sweet, weak, and scared, while males are frequently described as big, horrible, fierce, great,

terrible, furious, brave, and proud (Tumer-Bowker, 1996). However, it is not only children’s

literature through which these stereotypes are perpetuated. All media that children are

exposed to and leam from (e.g., music, television, and movies) include instances o f sex-typed

behaviour that children model (Burr, 1998; Thome, 1993). For example, children are

influenced by other media, such as toys. Klugman (1999) examined the characteristics o f

Barbie dolls versus action figures (e.g., G. I. Joe and World Wrestling Federation figures).


7

Whereas action figures often come with weapons, Barbie and other fashion dolls typically

come with appearance-related accessories (e.g., brushes, jewellery) that are used to act on the

doll rather than for the doll to use. The packaging for these toys also differ, with coloured

illustrations for action figures and language such as 'kill' and 'destroy' on the boxes, and

pastel-coloured packaging for fashion dolls that shows real girls playing with, holding,

grooming, or gazing at the dolls (Klugman, 1999).

By the time girls are between three and 11 years of age, 90% will have at least one

Barbie, with most girls owning an average of 10 (Pendegrast, 2002). Barbie represents the

ideal body-type that millions of girls learn to desire at a young age. There are varying

estimates of Barbie's measurements (33-18-31 1/2 according to Holbert, 1989; 39-18-33

according to Pendegrast, 2002) and some researchers claim that if a woman had Barbie's

dimensions, she would be unable to menstruate (Pendegrast, 2002). In an article entitled

"Ken and Barbie at life size" (Norton, Olds, Olive, & Dank, 1996), the authors indicate that

the probability of attaining Barbie's proportions is less than 1 in 100,000, but that Ken's body

is more realistic at approximately 1 in 50.

For decades, Barbie has been an extremely popular and unrealistic icon of the ideal

female body (Shrage, 2002) and 'feminine' values (reflected in the sheer volume of clothing

and accessories that are available). Certainly, playing with Barbie encourages imagination,

which is a decidedly positive attribute. However, there are negatives, as well. For instance,

in 1965, Mattel marketed a Slumber Party Barbie accessory package that included both a

weigh scale and a book entitled: How to lose weight—don't eat (Esposito, 1999).

Although Barbie no longer encourages starvation (which, in effect, promotes eatipg

disorders), her figure is still unattainable for most women (i.e., those not willing to undergo a

series of expensive and extreme surgical procedures). Harrison (2003) investigated the 'real'


7

Whereas action figures often come with weapons, Barbie and other fashion dolls typically

come with appearance-related accessories (e.g., brushes, jewellery) that are used to act on the

doll rather than for the doll to use. The packaging for these toys also differ, with coloured

illustrations for action figures and language such as ‘kill’ and ‘destroy’ on the boxes, and

pastel-coloured packaging for fashion dolls that shows real girls playing with, holding,

grooming, or gazing at the dolls (Klugman, 1999).

By the time girls are between three and 11 years o f age, 90% will have at least one

Barbie, with most girls owning an average o f 10 (Pendegrast, 2002). Barbie represents the

ideal body-type that millions o f girls leam to desire at a young age. There are varying

estimates o f Barbie’s measurements (33-18-31 Vi according to Holbert, 1989; 39-18-33

according to Pendegrast, 2002) and some researchers claim that if a woman had Barbie’s

dimensions, she would be unable to menstruate (Pendegrast, 2002). In an article entitled

“Ken and Barbie at life size” (Norton, Olds, Olive, & Dank, 1996), the authors indicate that

the probability o f attaining Barbie’s proportions is less than 1 in 100,000, but that Ken’s body

is more realistic at approximately 1 in 50.

For decades, Barbie has been an extremely popular and unrealistic icon o f the ideal

female body (Shrage, 2002) and ‘feminine’ values (reflected in the sheer volume o f clothing

and accessories that are available). Certainly, playing with Barbie encourages imagination,

which is a decidedly positive attribute. However, there are negatives, as well. For instance,

in 1965, Mattel marketed a Slumber Party Barbie accessory package that included both a

weigh scale and a book entitled: How to lose weight—d o n ’t eat (Esposito, 1999).

Although Barbie no longer encourages starvation (which, in effect, promotes eating

disorders), her figure is still unattainable for most women (i.e., those not willing to undergo a

series o f expensive and extreme surgical procedures). Harrison (2003) investigated the ‘real’


8

ideal body type (with measurements of 36-24-36) and claims that this body shape would be

that of a female who simultaneously wears a size 4 (hips), a size 2 (waist) and a size 10

(bust). These measurements are somewhat more realistic than a Barbie doll, but unrealistic

nonetheless.

Exposure to this ideal—commonly in the form of Barbies or other fashion dolls, who

have impossibly 'perfect' bodies and are often 'princesses' as well—may not only cultivate

unrealistic body ideals, but also the notion that one needs a 'prince' in order to be happy. For

instance, the proliferation of princess products on the market, and toys with princess lines

including Bratz, Dora the Explorer, and Polly Pocket), as well as an entire line of Disney

Princess Barbies, Disney Princess Ballerinas and Dolls of the World Princess Barbies

(Appendix B), may influence girls' ideals about both relationships and appearance.

1.3.2 Adolescence

These unrealistic portrayals of girls and women do not end with Barbie dolls, nor are

they left behind in childhood. In fact, many adolescent girls claim that the media constitute

the number one cause of lack of female self-esteem (Matlin, 1996). Even a cursory

examination of the media, including television, commercials, movies, video games,

magazines, and music videos (to name a few) leads one to the conclusion that sexuality is

frequently emphasised. Surprisingly, however, few researchers have examined the 'sexuality'

aspect of the media (see Brown, 2002 for a review). The bombardment of messages via the

media can affect young women physically and psychologically, and may lead to unhealthy

behaviours (e.g., extreme dieting) as they strive to attain the 'perfect' body in order to

emulate their media idols and/or to attract a mate.

Societal standards of what constitutes the 'ideal' body (which seems to be a defining

feature of 'womanhood') change every decade. In the 1960s, Marilyn Monroe was


ideal body type (with measurements o f 36-24-36) and claims that this body shape would be

that o f a female who simultaneously wears a size 4 (hips), a size 2 (waist) and a size 10

(bust). These measurements are somewhat more realistic than a Barbie doll, but unrealistic

nonetheless.

Exposure to this ideal— commonly in the form o f Barbies or other fashion dolls, who

have impossibly ‘perfect’ bodies and are often ‘princesses’ as well— may not only cultivate

unrealistic body ideals, but also the notion that one needs a ‘prince’ in order to be happy. For

instance, the proliferation o f princess products on the market, and toys with princess lines

including Bratz, Dora the Explorer, and Polly Pocket), as well as an entire line o f Disney

Princess Barbies, Disney Princess Ballerinas and Dolls o f the World Princess Barbies

(Appendix B), may influence girls’ ideals about both relationships and appearance.

1.3.2 Adolescence

These unrealistic portrayals o f girls and women do not end with Barbie dolls, nor are

they left behind in childhood. In fact, many adolescent girls claim that the media constitute

the number one cause o f lack o f female self-esteem (Matlin, 1996). Even a cursory

examination o f the media, including television, commercials, movies, video games,

magazines, and music videos (to name a few) leads one to the conclusion that sexuality is

frequently emphasised. Surprisingly, however, few researchers have examined the ‘sexuality’

aspect o f the media (see Brown, 2002 for a review). The bombardment o f messages via the

media can affect young women physically and psychologically, and may lead to unhealthy

behaviours (e.g., extreme dieting) as they strive to attain the ‘perfect’ body in order to

emulate their media idols and/or to attract a mate.

Societal standards o f what constitutes the ‘ideal’ body (which seems to be a defining

feature o f ‘womanhood’) change every decade. In the 1960s, Marilyn Monroe was


9

considered (by many) to be the epitome of beauty. Marilyn Monroe was blonde, had a

voluptuous hourglass figure and her measurements are estimated as follows: Height: 5 feet,

5'/2 inches; Weight: 118-140 pounds; Bust: 35-37 inches; Waist: 22-23 inches; Hips: 35-36

inches; Bra size: 36D (Mikkelson, 2000).

In the 1970s, the fashion model Twiggy became popular in the media. Twiggy had a

very straight and extremely thin figure (31-22-32) and weighed approximately 90 pounds

(Strodder, 1998). Today, the ideal woman portrayed in the media is a combination of those

two earlier ideals: predominantly young, blonde, tall, fit, thin and shapely (i.e., big-

breasted)—an ideal that is practically impossible to attain in real life.

Although women's attempts to be recognised as equals to men in the paid labour

force, in pursuit of higher education, and in shared responsibilities with their partners in

family/domestic life have brought about many changes in the ways that women are

perceived, there is still a long way to go. Once viewed as 'the weaker sex', whose

responsibilities were in the domestic domain, women are now more often sharing those

responsibilities equally with their partners as they venture out into the professional and/or

academic world (Furstenburg & Kate, 1996). In many ways, women seem to have achieved

equality. However, what one observes in the media on a daily basis paints a very different

picture of females' status in Western society.

1.4 Sexual Socialisation

Portrayals of sex are present in all mass media and mediate an individual's behaviour

and understanding of her/his objective reality (Massey & Baran, 1992). More and more

frequently, it seems as though young women are choosing to expose their bodies in movies,

music videos, magazines, and advertising. It is discouraging that, in the year 2007, there is

seems to be little emphasis on female professionals in the media. For example, as Schlenker,


considered (by many) to be the epitome o f beauty. Marilyn Monroe was blonde, had a

voluptuous hourglass figure and her measurements are estimated as follows: Height: 5 feet,

5'/2 inches; Weight: 118-140 pounds; Bust: 35-37 inches; Waist: 22-23 inches; Hips: 35-36

inches; Bra size: 36D (Mikkelson, 2000).

In the 1970s, the fashion model Twiggy became popular in the media. Twiggy had a

very straight and extremely thin figure (31-22-32) and weighed approximately 90 pounds

(Strodder, 1998). Today, the ideal woman portrayed in the media is a combination o f those

two earlier ideals: predominantly young, blonde, tall, fit, thin and shapely (i.e., big

breasted)— an ideal that is practically impossible to attain in real life.

Although women’s attempts to be recognised as equals to men in the paid labour

force, in pursuit o f higher education, and in shared responsibilities with their partners in

family/domestic life have brought about many changes in the ways that women are

perceived, there is still a long way to go. Once viewed as ‘the weaker sex’, whose

responsibilities were in the domestic domain, women are now more often sharing those

responsibilities equally with their partners as they venture out into the professional and/or

academic world (Furstenburg & Kate, 1996). In many ways, women seem to have achieved

equality. However, what one observes in the media on a daily basis paints a very different

picture o f females’ status in Western society.

1.4 Sexual Socialisation

Portrayals o f sex are present in all mass media and mediate an individual’s behaviour

and understanding o f her/his objective reality (Massey & Baran, 1992). More and more

frequently, it seems as though young women are choosing to expose their bodies in movies,

music videos, magazines, and advertising. It is discouraging that, in the year 2007, there is

seems to be little emphasis on female professionals in the media. For example, as Schlenker,


10

Caron, and Halteman (1998) point out, although women have questioned for decades the

ways in which they are portrayed in magazines, there does not seem to be any indication that

the messages are changing. In fact, researchers who have examined both women's and

men's magazines report that while "men's magazines focus on providing entertainment and

expanding knowledge, hobbies and activities; women's magazines continue to focus on

improving one's life by changing one's appearance" (Malkin, Wornian, & Chrisler, 1999, p.

650).

In addition, advertisers often emphasise sexuality and the importance of physical

attractiveness in an attempt to sell products (Fox, 1996), and sexuality is a common element

across television programming (Kunkel et al., 1999). In media targeted toward adolescents

(such as music videos), sexually-oriented, suggestive behaviour is portrayed frequently

(Baxter, De Riemer, Landini, Leslie, & Singletary, 1985).

Larson and Kubey (1983) found that after viewing less than one hour of music

television, adolescents were more likely to approve of premarital sex than their peers who did

not view the music videos. The authors also suggest that television may be such a powerful

socialising agent that is on a level comparable with parents and teachers as a model of values,

beliefs, and concerns.

In addition, music videos that include stereotypical content about how females should

believe, act, and work (Seidman, 1992) may be seen by adolescents as 'guidelines' in their

sexual development—a way of understanding themselves and others as sexual entities. If this

is the case, then the relationship between portrayals of sexual behaviour and subsequent

sexual socialisation is even more important (Massey & Baran, 1992). If girls and young

women receive contradictory information via parents, peers, religion, personal experience,

experimentation, and mass media, they may develop inaccurate/inappropriate sexual


10

Caron, and Halteman (1998) point out, although women have questioned for decades the

ways in which they are portrayed in magazines, there does not seem to be any indication that

the messages are changing. In fact, researchers who have examined both women’s and

men’s magazines report that while “men’s magazines focus on providing entertainment and

expanding knowledge, hobbies and activities; women’s magazines continue to focus on

improving one’s life by changing one’s appearance” (Malkin, Womian, & Chrisler, 1999, p.

650).

In addition, advertisers often emphasise sexuality and the importance o f physical

attractiveness in an attempt to sell products (Fox, 1996), and sexuality is a common element

across television programming (Kunkel et al., 1999). In media targeted toward adolescents

(such as music videos), sexually-oriented, suggestive behaviour is portrayed frequently

(Baxter, De Riemer, Landini, Leslie, & Singletary, 1985).

Larson and Kubey (1983) found that after viewing less than one hour o f music

television, adolescents were more likely to approve o f premarital sex than their peers who did

not view the music videos. The authors also suggest that television may be such a powerful

socialising agent that is on a level comparable with parents and teachers as a model o f values,

beliefs, and concerns.

In addition, music videos that include stereotypical content about how females should

believe, act, and work (Seidman, 1992) may be seen by adolescents as ‘guidelines’ in their

sexual development— a way o f understanding themselves and others as sexual entities. If this

is the case, then the relationship between portrayals o f sexual behaviour and subsequent

sexual socialisation is even more important (Massey & Baran, 1992). If girls and youpg

women receive contradictory information via parents, peers, religion, personal experience,

experimentation, and mass media, they may develop inaccurate/inappropriate sexual


11

perceptions and attitudes (Massey & Baran, 1992). Although the influence of media on social

beliefs, attitudes, and behaviours occurs gradually and cumulatively over time and through

repeated exposure (Kunkel et al., 1999), media consumption is unavoidable in our society,

and therefore, many girls and young women are likely to be affected.

2. THE CURRENT STUDY

2.1 Study Rationale

There is growing evidence that exposure to media imagery contributes to body

dissatisfaction (Gardner, Sorter, & Friedman, 1997; Sands & Wardle, 2003; Williamson &

Delin, 2001), eating disorders (Barber, 1998; Field, Camargo, Taylor, Berkey, & Colditz,

1999; Harrison & Cantor, 1997; Vaughan & Fouts, 2003), lower self-esteem (Henderson-

King & Henderson-King, 1997; Wilcox & Laird, 2000), a preoccupation with physical

appearance (Malkin et al., 1999) and intimate relationships (Peirce, 1990), a distorted

perception of sex and sexuality (Brown, 2002; Ward, Gorvine, & Cytron, 2002), and

confusion about one's current and future roles as a female in Western society (e.g., choice of

occupation, Wilgosh, 2003; expectations about relationships, Van Roosmalen, 2000).

Four types of popular media (Disney animated features, princess-themed toys and

accessories, music lyrics and videos, text on clothing), representing two developmental ages

(childhood and adolescence) were chosen for analysis. Based on the pervasiveness of

princess products on the market, it seems appropriate to explore the phenomenon at two of

the most obvious sources, namely, the animated feature, and princess-themed toys and

accessories.

Young girls can easily internalise media messages, and there is some evidence that

girls are more influenced by the media than boys are (see Ward & Caruthers, 2001). In the

case of the selected Disney movies, no matter what their accomplishments, the 'reward' for


perceptions and attitudes (Massey & Baran, 1992). Although the influence o f media on social

beliefs, attitudes, and behaviours occurs gradually and cumulatively over time and through

repeated exposure (Kunkel et al., 1999), media consumption is unavoidable in our society,

and therefore, many girls and young women are likely to be affected.

2. THE CURRENT STUDY

2.1 Study Rationale

There is growing evidence that exposure to media imagery contributes to body

dissatisfaction (Gardner, Sorter, & Friedman, 1997; Sands & Wardle, 2003; Williamson &

Delin, 2001), eating disorders (Barber, 1998; Field, Camargo, Taylor, Berkey, & Colditz,

1999; Harrison & Cantor, 1997; Vaughan & Fouts, 2003), lower self-esteem (Henderson-

King & Henderson-King, 1997; W ilcox & Laird, 2000), a preoccupation with physical

appearance (Malkin et al., 1999) and intimate relationships (Peirce, 1990), a distorted

perception o f sex and sexuality (Brown, 2002; Ward, Gorvine, & Cytron, 2002), and

confusion about one’s current and future roles as a female in Western society (e.g., choice o f

occupation, Wilgosh, 2003; expectations about relationships, Van Roosmalen, 2000).

Four types o f popular media (Disney animated features, princess-themed toys and

accessories, music lyrics and videos, text on clothing), representing two developmental ages

(childhood and adolescence) were chosen for analysis. Based on the pervasiveness o f

princess products on the market, it seems appropriate to explore the phenomenon at two o f

the most obvious sources, namely, the animated feature, and princess-themed toys and

accessories.

Young girls can easily internalise media messages, and there is some evidence that

girls are more influenced by the media than boys are (see Ward & Caruthers, 2001). In the

case o f the selected Disney movies, no matter what their accomplishments, the ‘reward’ for


12

these young women is always a 'prince', and in the case of fashion dolls, appearance is

almost exclusively emphasised. If such messages are internalised in childhood, there may be

consequences for adolescent girls and women in terms of their future romantic relationships.

For instance, they may feel unhappy and dissatisfied with their lives if they do not find a

prince, have a 'fairytale wedding', and/or find someone who treats them like a 'princess'.

Music lyrics and videos were selected for analysis in the current study for several

reasons. First, although there are numerous published studies in which researchers examine

music videos, most have focussed on the possible link between music videos and violence

(including rape and rape myth acceptance), suicidal thoughts, and risk-taking behaviours (see

Villani, 2001 for a review) rather than the ways in which females are portrayed. Second, in

most published studies in which researchers have examined song lyrics, there is an emphasis

on the possible effects of music on mood (Ballard & Coates, 1995), attitudes (Wester,

Crown, Quatman, & Heesacker, 1997), and antisocial behaviours and aggression (Barongan

& Hall, 1995; Hansen & Hansen, 1988; Rubin, West, & Mitchell, 2001) rather than content

analyses of the actual lyrics. Finally, music and music videos are popular with adolescents,

and therefore, it seems appropriate to examine this medium in-depth.

The decision to include clothing in the current research was based on personal

observations about fashion trends. There is, undoubtedly, an emphasis on sexuality in our

culture. Tight and revealing clothing for young women has become the norm_ Since many

individuals cannot live up to these cultural ideals of beauty, thinness, and sexiness without

some sort of 'assistance', there are many form-altering garments on the market. For instance,

there are air bras (that can be pumped up), water bras, padded bras and push-up bras for those

who want to enhance (or create) cleavage. These innovations are now often 'built-in' to

swimwear, tank tops and dresses. Taken together with the other tight and revealing clothing


these young women is always a ‘prince’, and in the case o f fashion dolls, appearance is

almost exclusively emphasised. If such messages are internalised in childhood, there may be

consequences for adolescent girls and women in terms o f their future romantic relationships.

For instance, they may feel unhappy and dissatisfied with their lives if they do not find a

prince, have a ‘fairytale wedding’, and/or find someone who treats them like a ‘princess’.

Music lyrics and videos were selected for analysis in the current study for sevefal

reasons. First, although there are numerous published studies in which researchers examine

music videos, most have focussed on the possible link between music videos and violence

(including rape and rape myth acceptance), suicidal thoughts, and risk-taking behaviours (see

Villani, 2001 for a review) rather than the ways in which females are portrayed. Second, in

most published studies in which researchers have examined song lyrics, there is an emphasis

on the possible effects o f music on mood (Ballard & Coates, 1995), attitudes (Wester,

Crown, Quatman, & Heesacker, 1997), and antisocial behaviours and aggression (Barongan

& Hall, 1995; Hansen & Hansen, 1988; Rubin, West, & Mitchell, 2001) rather than content

analyses o f the actual lyrics. Finally, music and music videos are popular with adolescents,

and therefore, it seems appropriate to examine this medium in-depth.

The decision to include clothing in the current research was based on personal

observations about fashion trends. There is, undoubtedly, an emphasis on sexuality in qur

culture. Tight and revealing clothing for young women has become the norm. Since many

individuals cannot live up to these cultural ideals o f beauty, thinness, and sexiness without

some sort o f ‘assistance’, there are many form-altering garments on the market. For instance,

there are air bras (that can be pumped up), water bras, padded bras and push-up bras for those

who want to enhance (or create) cleavage. These innovations are now often ‘built-in’ to

swimwear, tank tops and dresses. Taken together with the other tight and revealing clothing


13

(e.g., 'baby-doll' tees, hip-hugger pants) that are fashionable today, and omnipresent

advertisements for make-up, hair removal products, perfumes, hair extensions, hair dye,

artificial eyelashes and fingernails (not to mention the media messages about clothing, weight

loss, and cosmetic surgery), it would not be surprising that many females would feel that they

need to alter nearly every aspect of their appearances in order to be attractive, happy, and

find mates. The message that 'your body needs assistance', transmitted via the emphasis on

form-revealing and form-altering clothing, increases young women's attention to their own

bodies and contributes to their unhappiness if they fail to achieve these ideals.

In particular, however, I became interested in the clothing (most often tee shirts) with

the various text messages on them, which I often felt were self-objectifying and pleas for

attention:

...seeing younger people wearing clothing that is revealing, showing off their bodies

and thinking they are `hotties', `cutie', sexy, 'babe', 'gorgeous', 'beautiful' ... stuff

like this makes people think of females as property ... (Alexandra Palmer, age 11,

personal communication, 2004)

The text on clothing, therefore, was chosen for analysis and discussion.

2.2 Purposes

The purposes of the current research were: (1) to examine popular media (i.e., fashion

dolls and related toys, Disney movies, music videos/lyrics and fashion 'messages' [e.g., text

on tee shirts]) and the ways in which young girls, adolescents, and young women are

portrayed in terms of (a) physical appearance, (b) gender-stereotypical roles, (c) sexuality, (d)

values and personality characteristics (e.g., materialistic/superficial Barbie values), (e)

expectations (e.g., that females have for themselves [e.g., to lose weight, to find a 'prince'

and live happily ever after] and/or those imposed via the media [e.g., females should diet,


(e.g., ‘baby-doir tees, hip-hugger pants) that are fashionable today, and omnipresent

advertisements for make-up, hair removal products, perfumes, hair extensions, hair dye,

artificial eyelashes and fingernails (not to mention the media messages about clothing, weight

loss, and cosmetic surgery), it would not be surprising that many females would feel that they

need to alter nearly every aspect o f their appearances in order to be attractive, happy, and

find mates. The message that ‘your body needs assistance’, transmitted via the emphasis on

form-revealing and form-altering clothing, increases young women’s attention to their own

bodies and contributes to their unhappiness if they fail to achieve these ideals.

In particular, however, I became interested in the clothing (most often tee shirts) with

the various text messages on them, which I often felt were self-objectifying and pleas for

attention:

...seeing younger people wearing clothing that is revealing, showing o ff their bodies

and thinking they are ‘hotties’, ‘cutie’, ‘sexy, ‘babe’, ‘gorgeous’, ‘beautiful’ ... stuff

like this makes people think o f females as property ... (Alexandra Palmer, age 11,

personal communi cation, 2004)

The text on clothing, therefore, was chosen for analysis and discussion.

2.2 Purposes

The purposes o f the current research were: (1) to examine popular media (i.e., fashion

dolls and related toys, Disney movies, music videos/lyrics and fashion ‘messages’ [e.g., text

on tee shirts]) and the ways in which young girls, adolescents, and young women are

portrayed in terms o f (a) physical appearance, (b) gender-stereotypical roles, (c) sexuality, (d)

values and personality characteristics (e.g., materialistic/superficial Barbie values), (e)

expectations (e.g., that females have for themselves [e.g., to lose weight, to find a ‘prince’

and live happily ever after] and/or those imposed via the media [e.g., females should diet,


14

learn how to please men]), and (2) to provide a foundation for future studies in which I, or

other researchers, will investigate (e.g., through qualitative interviews and various

quantitative measures) how females, from early childhood through to adulthood, feel about

themselves in relation to these portrayals (e.g., physical appearance, their future roles as

women in terms of occupation choice, relationship roles, sexuality and expectations,

disordered eating, self-esteem).

3. METHODS

3.1 Theoretical Foundations

3.1.1 Transformative Paradigm

My approach to this research can best be described within the Transformative

Paradigm (Mertens, 1999). The transformative researcher is characterised as placing central

importance on the lives and experiences of marginalised groups such as women, ethnic/racial

minorities, people with disabilities, and those who are poor (Mertens, 1999).

In particular, I am interested in the implications of media messages for women of all

ages, in finding ways to apply this knowledge, and in suggesting action and/or possible

solutions in order to offset the potentially harmful effects of these messages.

Transformative researchers engage in a conscious analysis of asymmetric power

relationships, seek ways in which to link the results of social inquiry to action, and

link the results of the inquiry to wider questions of social inequity and social justice.

(Mertens, 1999, p. 4)

From my point of view, it is difficult to understand the 'why' of the princess

phenomenon within the context of modern Western society. In a time when girls are being

told that they can do and be whatever they wish, the idea of princesses or sexually objectified

females as role models is cause for concern.


14

learn how to please men]), and (2) to provide a foundation for future studies in which I, or

other researchers, will investigate (e.g., through qualitative interviews and various

quantitative measures) how females, from early childhood through to adulthood, feel about

themselves in relation to these portrayals (e.g., physical appearance, their future roles as

women in terms o f occupation choice, relationship roles, sexuality and expectations,

disordered eating, self-esteem).

3. METHODS

3.1 Theoretical Foundations

3.1.1 Transformative Paradigm

My approach to this research can best be described within the Transformative

Paradigm (Mertens, 1999). The transformative researcher is characterised as placing central

importance on the lives and experiences o f marginalised groups such as women, ethnic/racial

minorities, people with disabilities, and those who are poor (Mertens, 1999).

In particular, I am interested in the implications o f media messages for women o f all

ages, in finding ways to apply this knowledge, and in suggesting action and/or possible

solutions in order to offset the potentially harmful effects o f these messages.

Transformative researchers engage in a conscious analysis o f asymmetric power

relationships, seek ways in which to link the results o f social inquiry to action, and

link the results o f the inquiry to wider questions o f social inequity and social justice.

(Mertens, 1999, p. 4)

From my point o f view, it is difficult to understand the ‘why’ o f the princess

phenomenon within the context o f modem Western society. In a time when girls are being

told that they can do and be whatever they wish, the idea o f princesses or sexually objectified

females as role models is cause for concern.


15

3.1.2 Rationale for Choice of Methodology

According to Strauss and Corbin (1990), the decision to engage in qualitative research

methods is appropriate when one seeks to understand better a phenomenon about which little

is known, as well as in situations where the goal of the researcher is to expand knowledge

and perspectives on much-researched topics. My decision to use qualitative methods was

based on several factors:

1. there is little or no previous research on this topic;

2. the descriptive and creative nature of qualitative research is a good fit with my

personality and work ethic;

3. the flexibility of qualitative research allowed me to explore the data in various

ways, and to report the results in a more narrative manner than would be possible

when discussing quantitative data; and

4. the intimacy of immersing oneself in the data and allowing the themes to emerge

(rather than predetermining results by restricting the data quantitatively) was

appealing and fit well with my research goals and personal style.

Although qualitative methods were deemed most appropriate for the current study, some

quantitative methods were employed late in the research (e.g., totals, word frequencies) in

order to examine the data from a different perspective. Specifically, I felt that the results from

the quantitative analyses (e.g., frequencies) would be useful for the purpose of triangulation

(i.e., checking information collected from different sources for consistency of evidence

across sources of data; Mertens, 1998), but I was also interested in noting how often certain

words occurred in comparison to others. For instance, many words that caught my attention

were recurring (e.g., the word 'fashion' occurred 46 times in the product descriptions of

toys), but perhaps more importantly, certain words that I anticipated would occur more


15

3.1.2 Rationale for Choice o f Methodology

According to Strauss and Corbin (1990), the decision to engage in qualitative research

methods is appropriate when one seeks to understand better a phenomenon about which little

is known, as well as in situations where the goal o f the researcher is to expand knowledge

and perspectives on much-researched topics. My decision to use qualitative methods was

based on several factors:

1. there is little or no previous research on this topic;

2. the descriptive and creative nature o f qualitative research is a good fit with my

personality and work ethic;

3. the flexibility o f qualitative research allowed me to explore the data in various

ways, and to report the results in a more narrative manner than would be possible

when discussing quantitative data; and

4. the intimacy o f immersing oneself in the data and allowing the themes to emerge

(rather than predetermining results by restricting the data quantitatively) was

appealing and fit well with my research goals and personal style.

Although qualitative methods were deemed most appropriate for the current study, some

quantitative methods were employed late in the research (e.g., totals, word frequencies) in

order to examine the data from a different perspective. Specifically, I felt that the results frpm

the quantitative analyses (e.g., frequencies) would be useful for the purpose o f triangulatipn

(i.e., checking information collected from different sources for consistency o f evidence

across sources o f data; Mertens, 1998), but I was also interested in noting how often certain

words occurred in comparison to others. For instance, many words that caught my attentipn

were recurring (e.g., the word ‘fashion’ occurred 46 times in the product descriptions o f

toys), but perhaps more importantly, certain words that I anticipated would occur more


16

frequently (e.g., the word 'kiss' occurred only twice in the 37 songs chosen for analysis)

were noticeably absent.

3.2 Reliability and Validity in Qualitative Research

Reliability and validity in qualitative research differs from reliability and validity in

quantitative research. Eisner (1991), for instance, suggests three features of qualitative 1,1

research that should be considered upon review of the study.

3.2.1 Coherence

`Coherence' refers to how much sense the story makes, how the conclusions have

been supported, and the use of multiple data sources in order to support the interpretations of

the researcher (Eisner, 1991). With coherence in mind, I used several media sources in order

to provide support for my research findings. Further, many examples are provided in order to

give the reader as much information as possible, and so that I can illustrate how/why I made

specific decisions and interpretations.

3.2.2 Structural Corroboration

Related to coherence is 'structural corroboration,' which is referred to as

`triangulation' by other researchers (Eisner, 1991). Data triangulation involves cross-

checking data from different sources and enhances the credibility of the research (Patton,

1990). In the current study, data triangulation was achieved by examining the different types

of media and making connections/drawing conclusions across the various media types. It was

also achieved by the inclusion, and descriptive analyses, of some quantitative data.

3.2.3 Consensus

`Consensus' refers to how consistent the findings/interpretations of the researcher are

with the readers' own experiences and/or with the evidence presented. Although I cannot


16

frequently (e.g., the word ‘kiss’ occurred only twice in the 37 songs chosen for analysis)

were noticeably absent.

3.2 Reliability and Validity in Qualitative Research

Reliability and validity in qualitative research differs from reliability and validity in

quantitative research. Eisner (1991), for instance, suggests three features of qualitative

research that should be considered upon review of the study.

3.2.1 Coherence

‘Coherence’ refers to how much sense the story makes, how the conclusions have

been supported, and the use of multiple data sources in order to support the interpretations of

the researcher (Eisner, 1991). With coherence in mind, I used several media sources in or4er

to provide support for my research findings. Further, many examples are provided in order to

give the reader as much information as possible, and so that I can illustrate how/why I made

specific decisions and interpretations.

3.2.2 Structural Corroboration

Related to coherence is ‘structural corroboration,’ which is referred to as

‘triangulation’ by other researchers (Eisner, 1991). Data triangulation involves cross

checking data from different sources and enhances the credibility of the research (Patton,

1990). In the current study, data triangulation was achieved by examining the different types

of media and making connections/drawing conclusions across the various media types. It \yas

also achieved by the inclusion, and descriptive analyses, of some quantitative data.

3.2.3 Consensus

‘Consensus’ refers to how consistent the findings/interpretations of the researcher pre

with the readers’ own experiences and/or with the evidence presented. Although I cannot


17

speak to the readers' experiences, my findings are consistent with my own experiences as a

woman, a consumer of media, and most notably, as the parent of a teenaged girl.

In addition to the three criteria discussed, Eisner (1991) suggests that a good

qualitative study `call[s] our attention to aspects of the situation or place we might otherwise

miss' (p. 59). As mentioned, the current topic has not been examined adequately, and I

believe that ignoring 'the writing on the wall', so to speak, could have serious repercussions

for girls and women.

Finally, for reliability purposes, each data set in the current research was divided in

half. Coding was done on one half of each data set, and the subsequent code was then applied

to the second half of each data set (similar to split-half reliability in quantitative studies).

4. PROCEDURE

A combination of qualitative and quantitative methods was used in analyses, with

emphasis on the qualitative components. Recurring or dominant themes were examined in-

depth, both across and within media, and specific word frequencies were recorded. Less

common themes and more subtle content were also examined and recorded in order to

explore possible reasons why certain themes, ideas/concepts, or words were notably absent

(e.g., in the 37 songs chosen for analyses, the word 'woman' occurred only twice, but the

word 'girl' occurred 95 times).

Themes across and within selected media were identified based on some of the

criteria used by Love (1992, as cited in Love, 1994). For instance, repetition, levels and

nature of affect (i.e., nonverbal cues such as facial expressions, body language), explicit and

implicit interpretations (connections between thoughts and activities and the meanings

ascribed to them—both the obvious and direct as well as those that are implied and/or

metaphoric), and serendipity (behaviours and expressions that are different than what was


17

speak to the readers’ experiences, my findings are consistent with my own experiences as a

woman, a consumer of media, and most notably, as the parent of a teenaged girl.

In addition to the three criteria discussed, Eisner (1991) suggests that a good

qualitative study ‘call[s] our attention to aspects of the situation or place we might otherwise

miss’ (p. 59). As mentioned, the current topic has not been examined adequately, and I

believe that ignoring ‘the writing on the wall’, so to speak, could have serious repercussions

for girls and women.

Finally, for reliability purposes, each data set in the current research was divided in

half. Coding was done on one half of each data set, and the subsequent code was then applied

to the second half of each data set (similar to split-half reliability in quantitative studies).

4. PROCEDURE

A combination of qualitative and quantitative methods was used in analyses, with

emphasis on the qualitative components. Recurring or dominant themes were examined in-

depth, both across and within media, and specific word frequencies were recorded. Less

common themes and more subtle content were also examined and recorded in order to

explore possible reasons why certain themes, ideas/concepts, or words were notably absent

(e.g., in the 37 songs chosen for analyses, the word ‘woman’ occurred only twice, but the

word ‘girl’ occurred 95 times).

Themes across and within selected media were identified based on some of the

criteria used by Love (1992, as cited in Love, 1994). For instance, repetition, levels and

nature of affect (i.e., nonverbal cues such as facial expressions, body language), explicit and

implicit interpretations (connections between thoughts and activities and the meanings

ascribed to them—both the obvious and direct as well as those that are implied and/or

metaphoric), and serendipity (behaviours and expressions that are different than what was


18

expected based on one's own life experiences) were examined. 'These unexpected surprises

are significant since they allow the research [sic] to recognize [sic] ideas which have not yet

been published' (Love, 1992, pp. 123-124 as cited in Love, 1994, para 7).

4.1 Grounded Theory

The grounded theory method, including both inductive and deductive processes, was

used throughout analyses of all selected media. Through inductive analyses, the researcher

allows the patterns, themes, and categories to emerge out of the data (Patton, 1990), rather

than pigeon-holing the data a priori. As a result, many of the categories were renamed,

restructured, or subsumed into other categories as the analyses progressed. All analyses, in

other words, were data-driven.

4.2 Coding

4.2.1 Open Coding

The initial phase of grounded theory methodology, referred to as 'open coding'

(Strauss & Corbin, 1994), involved identifying, naming, categorising, and describing each

individual unit of data (Strauss & Corbin, 1990). For example, when initially examining

passages of text, I asked myself what the passage was about (e.g., what was being referred to

explicitly or implied implicitly), and labelled each unit with a tentative category name.

Rather than trying to 'force' the data into categories by using the same labels for passages

that were similar (e.g., 'suggestive' and 'flirty'), I initially labelled each unit of data

according to my first impression of a word or phrase that seemed to capture what the data

were 'saying'. Similar categories were later combined.

4.2.2 Axial Coding

In the second phase of the grounded theory method, the axial coding phase, the data

were combined in different ways in order to examine the connections and make comparisons


expected based on one’s own life experiences) were examined. ‘These unexpected surprises

are significant since they allow the research [sic] to recognize [sic] ideas which have not yet

been published’ (Love, 1992, pp. 123-124 as cited in Love, 1994, para 7).

4.1 Grounded Theory

The grounded theory method, including both inductive and deductive processes, was

used throughout analyses of all selected media. Through inductive analyses, the researcher

allows the patterns, themes, and categories to emerge out of the data (Patton, 1990), rather

than pigeon-holing the data a priori. As a result, many of the categories were renamed,

restructured, or subsumed into other categories as the analyses progressed. All analyses, in

other words, were data-driven.

4.2 Coding

4.2.1 Open Coding

The initial phase of grounded theory methodology, referred to as ‘open coding’

(Strauss & Corbin, 1994), involved identifying, naming, categorising, and describing each

individual unit of data (Strauss & Corbin, 1990). For example, when initially examining

passages of text, I asked myself what the passage was about (e.g., what was being referred to

explicitly or implied implicitly), and labelled each unit with a tentative category name.

Rather than trying to ‘force’ the data into categories by using the same labels for passages

that were similar (e.g., ‘suggestive’ and ‘flirty’), I initially labelled each unit of data

according to my first impression of a word or phrase that seemed to capture what the data

were ‘saying’. Similar categories were later combined.

4.2.2 Axial Coding

In the second phase of the grounded theory method, the axial coding phase, the data

were combined in different ways in order to examine the connections and make comparisons


19

between the various categories and sub-categories (Strauss & Corbin, 1994). Individual data

units were categorised, recategorised, and/or subsumed into other categories.

4.2.3 Selective Coding

A third level of coding (i.e., selective coding) was also employed. Selective coding is

the process of systematically relating categories, validating the relationships between

categories, and further refining and developing those categories in order to identify the

central constructs in the data (Strauss & Corbin, 1994). As the central themes and categories

emerged from the data, explanations and theories about the connections between concepts

began to develop. Progressions from individual units of data (outermost circles) to the over-

arching themes (innermost circles), with the number of data units per category refinement

represented by the circles in between are illustrated in Figures 4.1-4.4: 'Stages of Data

Coding by Medium' (pp. 20-23).

4.3 Constant Comparison Method

Throughout the analysis process, a constant comparative method was utilised (see

Mertens, 1998). Constant comparison can be described in simple terms as "the systemic

exploration of differences and similarities between and within categories" (Henwood &

Pidgeon, 1995, p. 20). In the current study, this involved category coding, refinement of the

categories, and exploration and investigation into the relationships, patterns, and meanings

across categories.

4.4 Quantitative Component

Word frequencies/totals were tallied and recorded for toy product descriptions, song

lyrics, and text on clothing. The words that were recorded were those that were related to

one of the main themes for each particular medium (e.g., words related to appearance, such

as `beauty/beautiful', 'cute', `gorgeous'). In addition, words with frequencies that were


19

between the various categories and sub-categories (Strauss & Corbin, 1994). Individual data

, units were categorised, recategorised, and/or subsumed into other categories.

4.2.3 Selective Coding

A third level of coding (i.e., selective coding) was also employed. Selective coding is

the process of systematically relating categories, validating the relationships between

categories, and further refining and developing those categories in order to identify the

central constructs in the data (Strauss & Corbin, 1994). As the central themes and categories

emerged from the data, explanations and theories about the connections between concepts

began to develop. Progressions from individual units of data (outermost circles) to the over

arching themes (innermost circles), with the number of data units per category refinement

represented by the circles in between are illustrated in Figures 4.1-4.4: ‘Stages of Data

Coding by Medium’ (pp. 20-23).

4.3 Constant Comparison Method

Throughout the analysis process, a constant comparative method was utilised (see

Mertens, 1998). Constant comparison can be described in simple terms as “the systemic

exploration of differences and similarities between and within categories” (Henwood &

Pidgeon, 1995, p. 20). In the current study, this involved category coding, refinement of the

categories, and exploration and investigation into the relationships, patterns, and meanings

across categories.

4.4 Quantitative Component

Word frequencies/totals were tallied and recorded for toy product descriptions, song

lyrics, and text on clothing. The words that were recorded were those that were related to

one of the main themes for each particular medium (e.g., words related to appearance, such

as ‘beauty/beautiful’, ‘cute’, ‘gorgeous’). In addition, words with frequencies that were


20

Figure 4.1. Stages of Data Coding by Medium: Toys


405

Figure 4.1. Stages of Data Coding by Medium: Toys


21

Figure 4.2. Stages of Data Coding by Medium: Lyrics


21

454

580

1293

Figure 4.2. Stages of Data Coding by Medium: Lyrics


22

Figure 4.3. Stages of Data Coding by Medium: Videos


22

Figure 4.3. Stages of Data Coding by Medium: Videos


23

Figure 4.4. Stages of Data Coding by Medium: Clothing


23

111

Figure 4.4. Stages of Data Coding by Medium: Clothing


24

lower than expected (e.g., 'love), or absent altogether (e.g., 'hug') were noted.

5. DATA COLLECTION AND ANALYSIS

5.1 Toys

5.1.1 Sampling

Purposive sampling was used to collect information about fashion dolls, accessories,

and princess-themed toys. This sampling method involved collecting information via an

online catalogue search. The department store catalogues searched included Amazon, Kmart,

Toys R Us, Wal-Mart, and Zellers.

5.1.2 Data Analyses

Product descriptions, target age group, and special features (e.g., "Includes 20 pieces

of jewelry plus a crown!", Toys R Us, n.d.) were recorded in Microsoft Excel spreadsheets

and in Microsoft Word documents (see Appendix H for an example). In Microsoft Word, I

created a document with the product descriptions only (product names were removed). This

document was printed, cut into chunks, and analysed using the grounded theory method (as

for the Disney movies and music lyrics). The language used in the product descriptions was

categorised (e.g., princess-themed, fashion, dating), and categories were refined repeatedly

until one over-arching theme emerged.

Frequencies of words and phases were recorded and categorised. For instance, words

with a princess theme (e.g., castle, kingdom, royalty, tiara), those related to appearance and

fashion (e.g., pretty, beautiful, gorgeous, accessories, shoes, hair), and those related to dating

and relationships (e.g., romance, friends, care for) were dominant in the product descriptions.


24

lower than expected (e.g., ‘love’), or absent altogether (e.g., ‘hug’) were noted.

5. DATA COLLECTION AND ANALYSIS

5.1 Toys

5.1.1 Sampling

Purposive sampling was used to collect information about fashion dolls, accessories,

and princess-themed toys. This sampling method involved collecting information via an

online catalogue search. The department store catalogues searched included Amazon, Kmart,

Toys R Us, Wal-Mart, and Zellers.

5.1.2 Data Analyses

Product descriptions, target age group, and special features (e.g., “Includes 20 pieces

of jewelry plus a crown!”, Toys R Us, n.d.) were recorded in Microsoft Excel spreadsheets

and in Microsoft Word documents (see Appendix H for an example). In Microsoft Word, I

created a document with the product descriptions only (product names were removed). This

document was printed, cut into chunks, and analysed using the grounded theory method (as

for the Disney movies and music lyrics). The language used in the product descriptions was

categorised (e.g., princess-themed, fashion, dating), and categories were refined repeatecfly

until one over-arching theme emerged.

Frequencies of words and phases were recorded and categorised. For instance, words

with a princess theme (e.g., castle, kingdom, royalty, tiara), those related to appearance and

fashion (e.g., pretty, beautiful, gorgeous, accessories, shoes, hair), and those related to dating

and relationships (e.g., romance, friends, care for) were dominant in the product descriptions.


25

5.2 Disney Movies

5.2.1 Sampling

A purposive sampling approach was used to select Disney movies for analysps.

Specifically, Disney movies with a 'princess' character (as categorised on the Disney

Princesses website) were used. These included: Snow White and the Seven Dwarfs (1937),

Cinderella (1950), Sleeping Beauty (1955), The Little Mermaid (1987), Beauty and the Beast

(1991), and Aladdin (1992). The Disney animated feature Hercules (1997) was also included

in analyses even though it is not classified as a 'princess' movie. The movie Hercules does

not feature an obvious princess character, but it is of the same genre and the storyline is

remarkably similar to the other movies selected.

5.2.2 Data Analyses

Full transcriptions of all of the movies were made, including verbal and non-verbal

information. Transcripts were analysed for thematic content using the grounded theory

method described above. All movies were viewed numerous times (more than 20 times each)

and information such as specific events, behaviours, mannerisms, language, and body

language were recorded. Additionally, my personal interpretations of events/behaviours

were recorded. My notes were then compared with the movie transcripts to ensure that I had

not misinterpreted the wording and/or context of any phrases or events. Once my notes were

finalised, I typed and printed two copies of all observations from all seven movies. I cut up

the notes into manageable data chunks, ranging from one word to several lines of text.

First, I sorted the data chunks for each movie separately (i.e., seven data sets

representing the seven movies chosen for analysis). These chunks were sorted into piles

based on similarities; categories were refined numerous times, and the results of each

category refinement were recorded in Microsoft Excel and Microsoft Word documents for


5.2 Disney Movies

5.2.1 Sampling

A purposive sampling approach was used to select Disney movies for analyses.

Specifically, Disney movies with a ‘princess’ character (as categorised on the Disney

Princesses website) were used. These included: Snow White and the Seven Dwarfs (1937),

Cinderella (1950), Sleeping Beauty (1955), The Little Mermaid (1987), Beauty and the Beast

(1991), and Aladdin (1992). The Disney animated feature Hercules (1997) was also included

in analyses even though it is not classified as a ‘princess’ movie. The movie Hercules does

not feature an obvious princess character, but it is of the same genre and the storyline is

remarkably similar to the other movies selected.

5.2.2 Data Analyses

Full transcriptions of all of the movies were made, including verbal and non-verbal

information. Transcripts were analysed for thematic content using the grounded theory

method described above. All movies were viewed numerous times (more than 20 times each)

and information such as specific events, behaviours, mannerisms, language, and body

language were recorded. Additionally, my personal interpretations of events/behaviours

were recorded. My notes were then compared with the movie transcripts to ensure that I had

not misinterpreted the wording and/or context of any phrases or events. Once my notes were

finalised, I typed and printed two copies of all observations from all seven movies. I cut up

the notes into manageable data chunks, ranging from one word to several lines of text.

First, I sorted the data chunks for each movie separately (i.e., seven data sets

representing the seven movies chosen for analysis). These chunks were sorted into pifes

based on similarities; categories were refined numerous times, and the results of each

category refinement were recorded in Microsoft Excel and Microsoft Word documents for


26

ease of reference. Second, I examined all of the notes as one large data set (i.e., all seven sets

of transcript notes were combined, forming one large data set). Individual data units were

coded and sorted in the same way as described above (i.e., using grounded theory

methodology), and the results were recorded in Microsoft Excel and Microsoft Word (see

Appendix C for an example). Finally, comparisons were made both within and across all

animated features and summarised (Appendix D).

5.3 Music Lyrics and Videos

5.3.1 Sampling

The purposive random sampling method was used to select music videos and lyrics

for analyses. The Top 10/20/30 songs on the MuchMusic, MuchMoreMusic, and Music

Television (MTV) websites were compiled over a period of six months. Songs were then

randomly selected from the lists. The videos chosen for analyses were the same as the songs

that were selected (i.e., the lyrics and the video for each song were analysed). Thirty-seven

songs (Appendix E) and 31 corresponding music videos (Appendix F) were chosen for

analysis.

5.3.2 Data Analyses

Full transcripts of the song lyrics were used for the analyses (Appendix G). Lyrics

from all 37 songs were compiled into one Microsoft Word document and printed out. I cut

the lyrics into manageable data chunks (as in the method described for analysis of the Disney

movies), ranging from one word to several lines of text. The individual units of data were

sorted into tentative categories and coded. I then re-examined each data unit in each

`category' and made a decision about whether or not it belonged in that particular category or

if another category be more useful for an explanation of the word(s) or concept(s)

represented by the datum. At this level of coding (open coding), the categories were very


ease of reference. Second, I examined all of the notes as one large data set (i.e., all seven sets

, of transcript notes were combined, forming one large data set). Individual data units were

coded and sorted in the same way as described above (i.e., using grounded theory

methodology), and the results were recorded in Microsoft Excel and Microsoft Word (see

Appendix C for an example). Finally, comparisons were made both within and across all

animated features and summarised (Appendix D).


5.3.1 Sampling

The purposive random sampling method was used to select music videos and lyrics

for analyses. The Top 10/20/30 songs on the MuchMusic, MuchMoreMusic, and Music

Television (MTV) websites were compiled over a period of six months. Songs were then

randomly selected from the lists. The videos chosen for analyses were the same as the sopgs

that were selected (i.e., the lyrics and the video for each song were analysed). Thirty-seven

songs (Appendix E) and 31 corresponding music videos (Appendix F) were chosen for

analysis.

5.3.2 Data Analyses

Full transcripts of the song lyrics were used for the analyses (Appendix G). Lyrics

from all 37 songs were compiled into one Microsoft Word document and printed out. I cut

the lyrics into manageable data chunks (as in the method described for analysis of the Disney

movies), ranging from one word to several lines of text. The individual units of data were

sorted into tentative categories and coded. I then re-examined each data unit in each

‘category’ and made a decision about whether or not it belonged in that particular category or

if another category be more useful for an explanation of the word(s) or concept(s)

represented by the datum. At this level of coding (open coding), the categories were very


27

specific; some groups, therefore, consisted of only a few data bits. Category refinement, as

in the analyses of other media in the study, was conducted until the dominant themes

emerged, and the over-arching constructs were evident. The same criteria used to analyse the

Disney movies were used in analyses of the music videos (e.g., repetitious themes) and the

same methods were employed (e.g., repeated viewing of the videos and extensive note-

taking). Frequencies for recurring words were also noted.

5.4 Clothing Text

5.4.1 Sampling

Information about current fashion trends for young girls and adolescents was

collected through direct observation. In particular, I was interested in clothing with various

text messages (e.g., princess, gorgeous, sexy, kitten, diva, 'kiss me before my boyfriend

comes back', 'your boyfriend wants me').

5.4.2 Data Analyses

Based on direct observation (at various locations such as shopping malls, department

stores, restaurants, schools, and walking down the street) I recorded the type of clothing

available (e.g., if a product was available for purchase in a store or catalogue) and the type of

clothing being worn by girls and young women. However, in the end, I decided to include

only the text from the clothing that I observed girls/women wearing. My rationale for

excluding the items that I saw in catalogues/stores was two-fold. First, an item that is

available for purchase is not necessarily a popular item. Second, the text on the clothing

being worn was so repetitious that the themes were quickly and sufficiently saturated.

All text on the clothing was categorised by theme. Because the string of text on each

item was often only one word or a short phrase, the sorting and categorising was easily

conducted by organising the data in an Excel spreadsheet (Appendix I).


specific; some groups, therefore, consisted of only a few data bits. Category refinement, as

in the analyses of other media in the study, was conducted until the dominant themes

emerged, and the over-arching constructs were evident. The same criteria used to analyse the

Disney movies were used in analyses of the music videos (e.g., repetitious themes) and the

same methods were employed (e.g., repeated viewing of the videos and extensive note-

taking). Frequencies for recurring words were also noted.

5.4 Clothing Text

5.4.1 Sampling

Information about current fashion trends for young girls and adolescents was

collected through direct observation. In particular, I was interested in clothing with various

text messages (e.g., princess, gorgeous, sexy, kitten, diva, ‘kiss me before my boyfriend

comes back’, ‘your boyfriend wants me’).

5.4.2 Data Analyses

Based on direct observation (at various locations such as shopping malls, department

stores, restaurants, schools, and walking down the street) I recorded the type of clothing

available (e.g., if a product was available for purchase in a store or catalogue) and the type of

clothing being worn by girls and young women. However, in the end, I decided to include

only the text from the clothing that I observed girls/women wearing. My rationale for

excluding the items that I saw in catalogues/stores was two-fold. First, an item that is

available for purchase is not necessarily a popular item. Second, the text on the clothing

being worn was so repetitious that the themes were quickly and sufficiently saturated.

All text on the clothing was categorised by theme. Because the string of text on each

item was often only one word or a short phrase, the sorting and categorising was easily

conducted by organising the data in an Excel spreadsheet (Appendix I).


2

6. RESULTS AND DISCUSSION

6.1 Toys

Product descriptions for 90 toys were analysed for thematic content. Product

descriptions were sorted into categories based on the dominant thematic content in each.

Four categories (appearance, activities, relationships and dating, and other) emerged with

some overlap among categories. Not surprisingly, given the nature of the internet seaTch

(i.e., specific to fashions dolls and princess-themed merchandise), the overarching theme that

emerged was "`princessy' and stereotypically feminine behaviours and attitudes".

6.1.1 Thematic Content

Product descriptions included references to castles, carriages, and kingdoms, acting

like or pretending to be a princess, and appearance (e.g., fashion, hairstyling, makeup), with

emphasis on stereotypically feminine activities such as shopping, primping, and nurturing

activities.

6.1.1.1 Princess-themed descriptions. Princess-themed product descriptions include

those related to acting like/becoming a princess (e.g., "every little girl dreams of one day

becoming a princess and now is your chance" [Toys R Us, n.d.]; "Become Cinderella in this

jewelry dress up game" [Toys R Us, n.d.]), looking like a princess ("a princess needs to look

glamorous wherever she goes" [Hudson's Bay Company, n.d.]), and pretending to be a

princess (e.g., "girls can get inside [castle] and pretend they're a princess" [Toys R Us, n.d.]).

6.1.1.2 Appearance and fashion. Many product descriptions were related to fashion

and appearance. For example, "a girl needs a great outfit and special make-up to make an

impression" (Toys R Us, n.d.); "The Magical Interactive Cinderella Vanity is a must have for

every little girl that wants to be Cinderella! The Vanity interacts with the child and instructs

them on which accessories to pick up and use" (Toys R Us, n.d.).


6. RESULTS AND DISCUSSION

6.1 Toys

Product descriptions for 90 toys were analysed for thematic content. Product

descriptions were sorted into categories based on the dominant thematic content in each.

Four categories (appearance, activities, relationships and dating, and other) emerged with

some overlap among categories. Not surprisingly, given the nature of the internet search

(i.e., specific to fashions dolls and princess-themed merchandise), the overarching theme that

emerged was “‘princessy’ and stereotypically feminine behaviours and attitudes”.


Product descriptions included references to castles, carriages, and kingdoms, acting

like or pretending to be a princess, and appearance (e.g., fashion, hairstyling, makeup), with

emphasis on stereotypically feminine activities such as shopping, primping, and nurturing

activities.

6.1.1.1 Princess-themed descriptions. Princess-themed product descriptions include

those related to acting like/becoming a princess (e.g., “every little girl dreams of one day

becoming a princess and now is your chance” [Toys R Us, n.d.]; “Become Cinderella in this

jewelry dress up game” [Toys R Us, n.d.]), looking like a princess (“a princess needs to look

glamorous wherever she goes” [Hudson’s Bay Company, n.d.]), and pretending to be a

princess (e.g., “girls can get inside [castle] and pretend they're a princess” [Toys R Us, n.d.]).

6.1.1.2 Appearance and fashion. Many product descriptions were related to fashion

and appearance. For example, “a girl needs a great outfit and special make-up to make an

impression” (Toys R Us, n.d.); “The Magical Interactive Cinderella Vanity is a must have for

every little girl that wants to be Cinderella! The Vanity interacts with the child and instructs

them on which accessories to pick up and use” (Toys R Us, n.d.).


29

6.1.1.3 Activities. Activities in the product descriptions included shopping (e.g., "It's

time to shop till you drop with Barbie and all her cool, trendy friends!" [Hudson's Bay

Company, n.d.]; "these dolls will take you on a whirlwind shopping tour of eye-catching

couture at the world's most chic boutiques" [Kmart, n.d.]) and domestic activities (e.g., "This

adorable set comes with everything your little princess needs to host her very own royal

dinner party!" [Hudson's Bay Company, n.d].). In addition, several product descriptions

centred on nurturing activities, including `[doll] needs someone special like you to care for

her'; 'your child will fall in love with this 6-in-lcare center that lets her care for her doll like

a real mommy', and 'Children will experience the magic of providing for a vulnerable new-

born' (Toys R Us, n.d.).

6.1.1.4 Relationships and dating. Surprisingly, several of the product descriptions

included references to dating and/or romantic relationships. For example:

It's 7 p.m. on Saturday night. You're all dressed up and ready for your blind date to

arrive, when suddenly...the doorbell rings! Immediately, your heart begins to pound.

Who will it be? What will he be like? What does he have planned for your date? It's

all a secret until you open the door and fmd out. For Meygan, it's only a secret until

you bring home this collectible Secret Date doll and open the box. Once you see who

her date is, the two will laugh over smoothies and slow dance under a full moon.

(Kmart, n.d.)

The preceding product description (Bratz: Secret Date Doll) included a manufacturer's

recommended age of 6-12 years. This was also surprising, given that girls of 6-12 years of

age are unlikely to be dating or romantically involved. However, marriage and dating are

often romanticised (as in the Disney animated features discussed previously), and girls are

exposed to these messages at an early age. Descriptions such as "Every little girl dreams of


29

6.1.1.3 Activities. Activities in the product descriptions included shopping (e.g., “It’s

time to shop till you drop with Barbie and all her cool, trendy friends!” [Hudson’s Bay

Company, n.d.]; “these dolls will take you on a whirlwind shopping tour of eye-catching

couture at the world's most chic boutiques” [Kmart, n.d.]) and domestic activities (e.g., “This

adorable set comes with everything your little princess needs to host her very own royal

dinner party!” [Hudson’s Bay Company, n.d].). In addition, several product descriptiqns

centred on nurturing activities, including ‘[doll] needs someone special like you to care for

her’; ‘your child will fall in love with this 6-in-1 care center that lets her care for her doll like

a real mommy’, and ‘Children will experience the magic of providing for a vulnerable new

born’ (Toys R Us, n.d.).

6.1.1.4 Relationships and dating. Surprisingly, several of the product descriptions

included references to dating and/or romantic relationships. For example:

It's 7 p.m. on Saturday night. You're all dressed up and ready for your blind date to

arrive, when suddenly...the doorbell rings! Immediately, your heart begins to pound.

Who will it be? What will he be like? What does he have planned for your date? It's

all a secret until you open the door and find out. For Meygan, it's only a secret until

you bring home this collectible Secret Date doll and open the box. Once you see who

her date is, the two will laugh over smoothies and slow dance under a full mopn.

(Kmart, n.d.)

The preceding product description (Bratz: Secret Date Doll) included a manufacturer’s

recommended age of 6-12 years. This was also surprising, given that girls of 6-12 years of

age are unlikely to be dating or romantically involved. However, marriage and dating qre

often romanticised (as in the Disney animated features discussed previously), and girls are

exposed to these messages at an early age. Descriptions such as “Every little girl dreams of


30

her wedding day...make her dreams come true with this realistic baby bride" (Hudson's Bay

Company, n.d.) are not uncommon.

6.1.1.5 Other. There was only one type of doll (Barbie) with an occupational

reference in the product description (e.g., 'Wearing a pretty floral printed dress, Teacher

Barbie loves to teach kids fashion tips as much as she loves to help them learn math, history

and science' (WalMart, n.d.); 'Every animal's best friend, Pet Doctor Barbie doll wears a cute

printed lab coat and comes with all the accessories needed to make pets of every kind smile'

(WalMart, n.d.) and both included descriptions of clothing. What does this say about women

as professionals or about their career choices?

Out of the 90 product descriptions, there were only three references- to sports (all for

the same type of doll), including: "Bratz are rockin' their all-time favorite sports and

showing the world that it's not just about how you play, but about how hot you look when

you win!" (Amazon.com, n.d.), and there was, again, an emphasis on appearance. What does

this say about women as athletes? Even though there are several different themes that

emerged from analyses, most of the emphasis was on appearance and fashion, which

reinforces the notion that girls are learning, very early in their lives, that physical appearance

is essential to their happiness. The message seems to be that beauty is a form of 'insurance'

that comes with a 'guarantee': 'If you are beautiful, you will be loved, successful, and, of

course, live happily ever after'. There is little emphasis on aspirations beyond beauty in the

product descriptions.

6.1.2 Word Frequencies

Not surprisingly, since these were princess-themed toys, many recurring words were

those such as 'castle', 'tiara', 'princess', and 'prince'. The word 'doll' occurred 66 times and

the word 'girl' occurred 44 times in the 90 descriptions. There was also an overwhelming


3 °

her wedding day...make her dreams come true with this realistic baby bride” (Hudson’s Bay

Company, n.d.) are not uncommon.

6.1.1.5 Other. There was only one type of doll (Barbie) with an occupational

reference in the product description (e.g., ‘Wearing a pretty floral printed dress, Teacher

Barbie loves to teach kids fashion tips as much as she loves to help them learn math, history

and science’ (WalMart, n.d.); ‘Every animal's best friend, Pet Doctor Barbie doll wears a cute

printed lab coat and comes with all the accessories needed to make pets of every kind smile’

(WalMart, n.d.) and both included descriptions of clothing. What does this say about women

as professionals or about their career choices?

Out of the 90 product descriptions, there were only three references to sports (all for

the same type of doll), including: “Bratz are rockin' their all-time favorite sports and

showing the world that it's not just about how you play, but about how hot you look when

you win!” (Amazon.com, n.d.), and there was, again, an emphasis on appearance. What does

this say about women as athletes? Even though there are several different themes that

emerged from analyses, most of the emphasis was on appearance and fashion, whjch

reinforces the notion that girls are learning, very early in their lives, that physical appearance

is essential to their happiness. The message seems to be that beauty is a form of ‘insurance’

that comes with a ‘guarantee’: ‘If you are beautiful, you will be loved, successful, and, of

course, live happily ever after’. There is little emphasis on aspirations beyond beauty in the

product descriptions.

6.1.2 Word Frequencies

Not surprisingly, since these were princess-themed toys, many recurring Words were

those such as ‘castle’, ‘tiara’, ‘princess’, and ‘prince’. The word ‘doll’ occurred 66 times and

the word ‘girl’ occurred 44 times in the 90 descriptions. There was also an overwhelming


31

emphasis on appearance and fashion. Some of the words related to relationships included

nurturing relationships (playing with a baby doll, for instance), friendships, and romantic

relationships (dating). 'Activity' words included those related to shopping, having fpn,

playing games, dancing, and music. Word frequencies are summarised in Table 6.1 'Word

Frequencies in Toy Product Descriptions' (p. 32).


emphasis on appearance and fashion. Some of the words related to relationships included

nurturing relationships (playing with a baby doll, for instance), friendships, and romantic

relationships (dating). ‘Activity’ words included those related to shopping, having fyn,

playing games, dancing, and music. Word frequencies are summarised in Table 6.1 ‘Word

Frequencies in Toy Product Descriptions’ (p. 32).


Reproduced w

ith permission o

f the copyright owner.

Further reproduction prohibited w

ithout permission.

Table 6.1 Word Frequencies in Toy Product Descriptions

Princess-related Princess/Your little princess Lady/Girl

43

Tiara/Crown 46 Royal/Royalty 7 Castle/Kingdom 5 Magic/Magical 13 Dream/Dreams 16

5 Appearance/Beauty

Fashion/Style 58 Outfit/Dress 36 Hair 16 Accessories/Shoes/Make-up 31 Trendy/Cool 15

Glamor/Glamorous/Gorgeous 9 Lovely/Pretty 8 Beauty/Beautiful 11 Cute/Adorable 9

Behaviour/Activities 5 Mall 3 Shop/Shopping 4 Pretend 4 Attitude 7 Party 7 Care/Care for/Providing for 4 Game 12 Dance

Relationships & Dating Date 11 Prince 2 Ball 6 Friend 20 Love 16

1. learning is rewarded as you progress from little lady to a royal highness 2. bein' a princess is all about livin' it up like a lady, while still rockin' a rebellious

attitude 3. search for the magical tiara of friendship to make sure that everyone lives happily

ever after 4. every little girl dreams of one day becoming a princess

5. a princess needs to look glamorous wherever she goes! 6. a girl needs a great outfit and special make-up to make an impression 7. flaunt a fearless new attitude and show off your strength in style as you knock'em

down in the most explosive fashions around.

8. it's time to shop till you drop 9. everything your little princess needs to host her very own royal dinner party! 10. [doll] needs someone special like you to care for her 11. children will experience the magic of providing for a vulnerable new-born 12. it's not just about how you play, bin about how hot you look when you win

13. every little girl dreams of her wedding day 14. [doll] is all dressed up and ready for your blind date to arrive 15. she and prince charming can waltz on the dance floor 16. go to the ball in style

Reproduced

with perm

ission of the

copyright owner.

Further reproduction prohibited

without perm

ission.

Table 6.1 Word Frequencies in Toy Product Descriptions

Princess-relatedPrincess/Your little princess 43 1. learning is rewarded as you progress from little lady to a royal highnessLady/Girl 2. bein’ a princess is all about livin' it up like a lady, while still rockin' a rebelliousTiara/Crown 46 attitudeRoyal/Royalty 7 3. search for the magical tiara of friendship to make sure that everyone lives happilyCastle/Kingdom 5 ever afterMagic/Magical 13 4. every little girl dreams of one day becoming a princessDream/Dreams 16

«Appearance/Beauty

J

Fashion/Style 58 5. a princess needs to look glamorous wherever she goes!Outfit/Dress 36 6. a girl needs a great outfit and special make-up to make an impressionHair 16 7. flaunt a fearless new attitude and show off your strength in style as you knock'emAccessories/Shoes/Make-up 31 down in the most explosive fashions around.Trendy/Cool 15

Glamor/Glamorous/Gorgeous 9Lovely/Pretty 8Beauty/Beautiful 11Cute/Adorable 9

Behaviour/Activities 5Mall 3 8. it's time to shop till you dropShop/Shopping 4 everything your little princess needs to host her very own royal dinner party!Pretend 4 10. [doll] needs someone special like you to care for herAttitude 7 11. children will experience the magic of providing for a vulnerable ne w-botnParty 7 12. it's not just about how you play, blit about how hot you look when you winCare/Care for/Providing for 4Game 12Dance

Relationships & DatingDate 11 13. every little girl dreams of her wedding dayPrince 2 14. [doll] is all dressed up and ready for your blind date to arriveBall 6 15. she and prince charming can waltz on the dance floorFriend 20 16. go to the ball in styleLove 16

OJto

33

6.2 Disney Animated Features

For this portion of my research, full transcripts, including both verbal and non-verbal

information, were analysed. Twenty sub-themes, 10 themes, and seven common components

emerged from analyses. Although the movies selected span a 60 year time period, and

therefore, one might expect significant changes over time (to reflect the changing values of

society), this was not the case in terms of the storylines and the thematic content. The

sequence of events for all seven movies was remarkably similar, with only slight variations

across features. The seven common components are represented in Figure 6.1 'The Road to

Happily Ever After: Common Components in Disney Animated Features' (p. 34), and are

discussed briefly below.

6.2.1 Common Components

6.2.1.1 Wanting 'More'

Wanting more (e.g., a different life, to fall in love) occurred in all seven of the

movies. In five of the movies, it was the lead female character who wanted to find

`something more', in one movie it was (mainly) the lead male character, and in the remaining

movie, it was both the female and male lead characters. For example, Belle (Beauty and the

Beast) wants 'much more than this provincial life', Hercules wants to 'find where [he]

belong[s]', and Ariel (The Little Mermaid) sings 'I want more' in the song 'Part of Your

World'.

6.2.1.2 Obstacles

An obstacle or obstacles prevented the main character(s) from finding the 'more' that

they longed for. These obstacles included family, social, and legal obligations or

expectations. For example, Jasmine (Aladdin) is being forced, by law, to marry a prince


6.2 Disney Animated Features \

For this portion of my research, full transcripts, including both verbal and non-verbal

information, were analysed. Twenty sub-themes, 10 themes, and seven common components

emerged from analyses. Although the movies selected span a 60 year time period, and

therefore, one might expect significant changes over time (to reflect the changing values of

society), this was not the case in terms of the storylines and the thematic content. The

sequence of events for all seven movies was remarkably similar, with only slight variations

across features. The seven common components are represented in Figure 6.1 ‘The Road to

Happily Ever After: Common Components in Disney Animated Features’ (p. 34), and are


6.2.1 Common Components

6.2.1.1 Wanting ‘More’

Wanting more (e.g., a different life, to fall in love) occurred in all seven of the

movies. In five of the movies, it was the lead female character who wanted to find

‘something more’, in one movie it was (mainly) the lead male character, and in the remaining

movie, it was both the female and male lead characters. For example, Belle (Beauty and the

Beast) wants ‘much more than this provincial life’, Hercules wants to ‘find where [he]

belong[s]’, and Ariel (The Little Mermaid) sings ‘I want more’ in the song ‘Part of Your

World’.

6.2.1.2 Obstacles

An obstacle or obstacles prevented the main characters) from finding the ‘more’ that

they longed for. These obstacles included family, social, and legal obligations or

expectations. For example, Jasmine (Aladdin) is being forced, by law, to marry a prince


34

WU" 0 0 0

-:1544THE PRINCE -BY

FEMININE WILES

-FLIRTATIOUS4 -SEXUAL. -EMOTION -DISOB a TENT -LOVI

OBSTACLES -CURSES -FAMILY -IMPRISONED/PUNISHE -AGGRESSION OEU HERS

WELCOME TO ,,FIAPPILY EVER AFTER

\ -111.17

0 0 0

-VILLA! -CURSES

MORE -IMPRISONME

OBSTACLES

I WANT "MORE"

-SACRIFICES -AFFECTION -GESTURES

Figure 6.1 The Road to Happily Ever After: Common Components in Disney Animated Features


34

nn_nn“(rl.'l

TBYJHE PRINCE -BY ANOTHER

WELCOME TO\ HAPPILY EVER AF T E R ^ rr:

i n r u n M• f t

1-villains!

L—- -CURSES

FEMININE WILES

-FLIRTATIOUS^ -SEXUAL -EMOTION -DISOBEDIENT -LOVII

MORE -IMPRISONMENTOBSTACLES

-SACRIFICES ,OVE/ -AFFECTION V / -GESTURES

J & A , \ t (

LOVE THAT

^ ^ a /£R

I WANT "MORE"

OBSTACLES-CURSES -FAMILY-IMPRISONED/PUNISHE! -AGGRESSION Qf^ClfHERS

Figure 6.1 The Road to Happily Ever After: Common Components in Disney Animated Features


35

before her sixteenth birthday. Jasmine is angry because she wants the freedom to choose her

own suitor and to marry 'for love'.

6.2.1.3 Love

Through various circumstances, including breaking the 'rules', being disobedient,

with a bit of magical help, or by a twist of fate or circumstance, the characters meet the

person with whom they eventually or immediately fall in love. The characters were often

punished, imprisoned, cursed, and/or the victims of aggression either immediately before or

immediately after they met 'the one'. For example, after Cinderella goes to the ball and

meets her prince, her step-mother locks her in the attic so that the Grand Duke (who is

conducting a search for the 'mystery woman' who danced with the prince all night long)

cannot identify Cinderella as the woman to whom the prince wishes to be wed.

6.2.1.4 Feminine Wiles

Throughout their journeys, the female characters were portrayed as overly emotional,

disobedient and difficult, loving and kind, and, in the case of the more modern princesses, as

flirtatious, manipulative, and as sexual objects. For example, Belle, Jasmine, and Megara

(Hercules) use flirtation as a manipulative tactic. Belle flirts with one of the male characters

(Cogsworth) in order to gain access to information. Jasmine flirts with Jafar (the villain)

while she is his prisoner. Her purpose is to distract Jafar's attention while Aladdin tries to

rescue her. Megara flirts with Hercules in an attempt to find out what his 'weaknesses' are

(so that they can be used against him later).

6.2.1.5 More Obstacles

The princesses encountered additional obstacles to obtaining the elusive 'more'. This

was due to the interference of villains, imprisonment, being under the direct control of

another individual, and/or because of the curses bestowed upon them. For example, Snow


35

before her sixteenth birthday. Jasmine is angry because she wants the freedom to choose her

own suitor and to marry ‘for love’.

6.2.1.3 Love

Through various circumstances, including breaking the ‘rules’, being disobedient,

with a bit of magical help, or by a twist of fate or circumstance, the characters meet the

person with whom they eventually or immediately fall in love. The characters were often

punished, imprisoned, cursed, and/or the victims of aggression either immediately before or

immediately after they met ‘the one’. For example, after Cinderella goes to the ball and

meets her prince, her step-mother locks her in the attic so that the Grand Duke (who is

conducting a search for the ‘mystery woman’ who danced with the prince all night long)

cannot identify Cinderella as the woman to whom the prince wishes to be wed.

6.2.1.4 Feminine Wiles

Throughout their journeys, the female characters were portrayed as overly emotional,

disobedient and difficult, loving and kind, and, in the case of the more modem princesses, as

flirtatious, manipulative, and as sexual objects. For example, Belle, Jasmine, and Megara

(Hercules) use flirtation as a manipulative tactic. Belle flirts with one of the male characters

(Cogsworth) in order to gain access to information. Jasmine flirts with Jafar (the villain)

while she is his prisoner. Her purpose is to distract Jafar’s attention while Aladdin tries to

rescue her. Megara flirts with Hercules in an attempt to find out what his ‘weaknesses’ pre

(so that they can be used against him later).

6.2.1.5 More Obstacles

The princesses encountered additional obstacles to obtaining the elusive ‘more’. This

was due to the interference of villains, imprisonment, being under the direct control of

another individual, and/or because of the curses bestowed upon them. For example, Snow


36

White and Aurora are cursed to sleep (both need to be awakened by the kisses of their

princes), and Belle is a prisoner in the Beast's castle. The curses of the Disney Princesses are

summarised in Table 6.2 'Curses' (p. 37).

6.2. L 6 Saved!

The princesses were saved from their various circumstances by love. Most often,

`being saved' meant that the curse was broken by the prince's love for the princess. In other

instances, an event occurred that broke the hold of the curse, allowing love to prevail. For

example, Cinderella was never 'cursed' by paranormal means, but her life of slavery and

abuse can be viewed as her 'curse'. Therefore, when the Grand Duke found Cinderella and

the glass slipper fit her foot, the curse was broken and her new fate was to marry the prince.

Other princesses who were cursed by supernatural means (e.g., Aurora, Snow White) needed

to be rescued by their princess in order for the spells to be broken.

6.2.1.7 Happily Ever After

Finally, the princess and the prince lived happily ever after. The princess and the

prince get married (in Snow White, Cinderella, Sleeping Beauty, The Little Mermaid,

Aladdin), or it is implied that they are going to many (Beauty and the Beast, Hercules).


36

White and Aurora are cursed to sleep (both need to be awakened by the kisses of their

princes), and Belle is a prisoner in the Beast’s castle. The curses of the Disney Princesses are

summarised in Table 6.2 ‘Curses’ (p. 37).

6.2.1.6 Saved!

The princesses were saved from their various circumstances by love. Most often,

‘being saved’ meant that the curse was broken by the prince’s love for the princess. In other

instances, an event occurred that broke the hold of the curse, allowing love to prevail. For

example, Cinderella was never ‘cursed’ by paranormal means, but her life of slavery and

abuse can be viewed as her ‘curse’. Therefore, when the Grand Duke found Cinderella and

the glass slipper fit her foot, the curse was broken and her new fate was to marry the prince.

Other princesses who were cursed by supernatural means (e.g., Aurora, Snow White) needed

to be rescued by their princess in order for the spells to be broken.

6.2.1.7 Happily Ever After

Finally, the princess and the prince lived happily ever after. The princess mid the

prince get married (in Snow White, Cinderella, Sleeping Beauty, The Little Mermaid,

Aladdin), or it is implied that they are going to marry (.Beauty and the Beast, Hercules).


37

Table 6.2 Curses

Princess Curse

Mel

I Aurora

Gives up her voice in exchange for legs

To prick her finger on a spindle and fall asleep for 100 years

Belle Gives up her freedom in exchange for her father's freedom

Cinderella A life of slavery and abuse

Jasmine

Megara

Must marry a prince before her sixteenth birthday

Sold her soul to Hades

Snow White I Poisoned apple; eternal slumber


37

Table 6.2 Curses

Princess Curse

Ariel Gives up her voice in exchange for legs

Aurora To prick her finger on a spindle and fall asleep for 100 years

F Belle Gives up her freedom in exchange for her father’s freedom

Cinderella A life of slavery and abuse

Jasmine•

Must marry a prince before her sixteenth birthday

f Megara Sold her soul to Hades

JSnow Whitei ..........................................................

Poisoned apple; eternal slumber


38


Ten themes and 20 sub-themes emerged from analysis of the Disney animated

features. These are represented in Figure 6.2: 'Results of Analyses of Disney Animated

Features' (p. 39). The 10 themes included love, traditional roles, non-traditional roles, family

structure, victimisation, good versus evil, aggression, sexuality, objectification, and music.

Of the ten themes, the first seven were dominant in the selected features, and the last three

(sexuality, objectification, and music) were observed less frequently. These themes are

summarised in Table 6.3 'Thematic Content in Disney Animated Features' (p. 40) and


6.2.2.1 Love.

The most dominant theme in the Disney animated features is love, which is

interwoven with the notion of 'happily ever after'. The messages in these movies include the

ideas that in order to be happy, one must fall in love; in order to have someone fall in love

with you, one must be beautiful (e.g., thin but curvaceous) and stereotypically 'feminine'

(e.g., dependent and passive).

6.2.2.1.1 Romantic love and marriage. The idea of 'love at first sight' is romanticised

in the Disney movies. Four of the seven princess characters fall in love at first sight (Ariel,

Aurora, Cinderella, Snow White) , two of the princesses fall in love with their princes over

time (Belle, Jasmine), and in one instance, it is difficult to determine whether or not the lead

female character is immediately in love (Megara).

6.2.2.1.2 Non-romantic love. Love for family is evident in five of the seven animated

features, and love for friends (human, pets, other animals) is portrayed in all of the movies

that were selected for analysis. Most often, it was love for non-human animals, rather than

human friends, that was portrayed.


38


Ten themes and 20 sub-themes emerged from analysis of the Disney animated

features. These are represented in Figure 6.2: ‘Results of Analyses of Disney Animated

Features’ (p. 39). The 10 themes included love, traditional roles, non-traditional roles, family

structure, victimisation, good versus evil, aggression, sexuality, objectification, and music.

Of the ten themes, the first seven were dominant in the selected features, and the last three

(sexuality, objectification, and music) were observed less frequently. These themes are

summarised in Table 6.3 ‘Thematic Content in Disney Animated Features’ (p. 40) and


6.2.2.1 Love.

The most dominant theme in the Disney animated features is love, which is

interwoven with the notion of ‘happily ever after’. The messages in these movies include the

ideas that in order to be happy, one must fall in love; in order to have someone fall in lpve

with you, one must be beautiful (e.g., thin but curvaceous) and stereotypically ‘feminine’

(e.g., dependent and passive).

6.2.2.1.1 Romantic love and marriage. The idea of ‘love at first sight’ is romanticised

in the Disney movies. Four of the seven princess characters fall in love at first sight (Ariel,

Aurora, Cinderella, Snow White), two of the princesses fall in love with their princes over

time (Belle, Jasmine), and in one instance, it is difficult to determine whether or not the lead

female character is immediately in love (Megara).

6.2.2.1.2 Non-romantic love. Love for family is evident in five of the seven animated

features, and love for friends (human, pets, other animals) is portrayed in all of the movies

that were selected for analysis. Most often, it was love for non-human animals, rather than

human friends, that was portrayed.


39

1 CENTRAL CONSTRUCT

a •

7 COMMON COMPONENTS 10 THEMES

• . • •

20 SUB-THEMES

Figure 6.2 Results of Analyses of Disney Animated Features


39

1 CENTRAL CONSTRUCT

7 COMMON COMPONENTS 10 THEMES

20 SUB-THEMES

Figure 6.2 Results of Analyses of Disney Animated Features


Ta Aladdin Beauty & the

Beast Cinderella Hercules Little

Mermaid Sleeping Beauty

Snow White

. ,.. Romantic Love 9 princess over time over time first sight over time first sight first sight first sight d prince first sight over time first sight first sight over time ' first sight first sight

Traditional Roles 9 domestic yes yes yes no no yes yes

distress yes yes yes yes yes yes yes sacrifice no yes no yes yes no no grooming yes no yes yes yes no no nurturing no yes yes no yes no yes crying yes yes yes yes yes yes yes

Non-Traditional Roles d distress yes yes no yes yes no no 3 bonding yes yes yes yes yes yes yes 9 bonding no no yes no no yes no c nurturing yes yes no yes yes no no d affectionate yes yes no yes no yes yes

Family Structure father father step-mother no parents father two parents step-mother

Victimisation yes yes yes yes yes yes yes

Good vs. Evil Cursed yes yes yes yes yes yes yes

Magic/Sorcery yes yes yes yes yes yes yes Death no yes no no yes yes yes

Aggression d d Male-male yes yes no yes no no yes cn Male/female yes yes no • yes yes no yes y c Female/male yes no no yes no no no 9 9 Female/female no no yes no yes yes yes

Music yes yes yes yes yes yes yes

Sexuality yes yes I no yes yes no no

Objectification yes no no yes yes no no

Rep

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- Aladdin Beauty & the Beast

Cinderella Hercules LittleMermaid

SleepingBeauty

SnowWhite

Romantic Love? princess overtime over time first sight over time first sight first sight first sight

prince first sight over time first sight first sight over time first sight first sightTraditional Roles

? domestic yes yes yes no no yes yesdistress yes yes yes yes yes yes yessacrifice no yes no yes yes no nogrooming yes no yes yes yes no nonurturing no yes yes no yes no yesrn/itio yes yes yes yes yes yes

mmmM Non-Traditional Roles6 distress yes yes no yes yes no nos bonding yes yes yes yes yes yes yes? bonding no no yes no no yes no

■6 nurturing yes yes no yes yes no no6 affectionate yes yes no yes no yes yes

Family Structure1 . father father step-mother no parents father two parents step-mother

Victimisation$ yes yes yes yes yes yes yes

ilCursed yes yes yes yes yes yes yes

Magic/Sorcery yes yes yes yes yes yes yesDeath no yes no no yes yes yes

AggressionMale-male yes yes no yes no no yes

(J? Male/female yes yes no yes yes no yes?<? Female/male yes no no yes no no no? ? Female/female no no yes no yes yes yes

Musicyes yes yes yes yes yes yes

yes yes no yes yes no noObjectification

yes no no yes yes no no

Rep

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41

6.2.2.2 Traditional Roles

6.2.2.2.1 The Damsel in Distress. The lead female characters were typically portrayed

as dependent and helpless=—needing the intervention of a male character to save them from

their circumstances. In addition, the princesses were not were not action-oriented—most

often resorting to tears, despair, or simply passivity in difficult situations rather than taking

an active role in changing their fates. For example, after the step-sisters destroy Cinderella's

dress and she has nothing to wear to the ball, she runs out into the garden, throws herself

down, and sobs uncontrollably. Similarly, when Snow White runs away from home and is

lost in the forest, she lies down on the ground, sobbing herself to sleep. Later Disney

princesses (e.g., Ariel, Belle, Jasmine) act in similar ways when faced with difficult

situations.

6.2.2.2.2 Sacrifice. Both females and males sacrificed for the sake of love for another,

including instances of giving up family, freedom, and one's life. For example, Belle gives up

her freedom in exchange for her father's; Megara is crushed by a falling pillar (and dies)

when she rushes to push Hercules out of the way. In The Little Mermaid, Ariel's father (King

Triton) sacrifices his own freedom for the sake of his daughter, and he also grants her wish to

be human. Once she is human, Ariel marries Prince Eric, but she must leave her family (who

are mermaids and mermen) behind. In this instance, King Triton sacrifices his own happiness

(i.e., having his daughter remain with her family) for Ariel's happiness; Ariel chooses to

sacrifice her life with her family in order to be with her prince.

6.2.2.2.3 Feminine Qualities and Sex-Typed Roles. Females were portrayed as

nurturing, performing domestic duties, and as being beautiful, vain, and engaging in

grooming activities. For example, Belle, Cinderella, and Snow White are shown performing


41

6.2.2.2 Traditional Roles

6.2.2.2.1 The Damsel in Distress. The lead female characters were typically portrayed

as dependent and helpless—needing the intervention of a male character to save them from

their circumstances. In addition, the princesses were not were not action-oriented—most

often resorting to tears, despair, or simply passivity in difficult situations rather than taking

an active role in changing their fates. For example, after the step-sisters destroy Cinderella’s

dress and she has nothing to wear to the ball, she runs out into the garden, throws herself

down, and sobs uncontrollably. Similarly, when Snow White runs away from home and is

lost in the forest, she lies down on the ground, sobbing herself to sleep. Later Disney

princesses (e.g., Ariel, Belle, Jasmine) act in similar ways when faced with difficult

situations.

6.2.2.2.2 Sacrifice. Both females and males sacrificed for the sake of love for another,

including instances of giving up family, freedom, and one’s life. For example, Belle gives up

her freedom in exchange for her father’s; Megara is crushed by a falling pillar (and dies)

when she rushes to push Hercules out of the way. In The Little Mermaid, Ariel’s father (King

Triton) sacrifices his own freedom for the sake of his daughter, and he also grants her wish to

be human. Once she is human, Ariel marries Prince Eric, but she must leave her family (who

are mermaids and mermen) behind. In this instance, King Triton sacrifices his own happiness

(i.e., having his daughter remain with her family) for Ariel’s happiness; Ariel chooses to

sacrifice her life with her family in order to be with her prince.

6.2.2.2.3 Feminine Qualities and Sex-Typed Roles. Females were portrayed as

nurturing, performing domestic duties, and as being beautiful, vain, and engaging in

grooming activities. For example, Belle, Cinderella, and Snow White are shown performing


42

duties such as feeding livestock, cleaning, and preparing and serving food. Mel, Cinderella,

Jasmine, and Megara are all shown 'fussing' with their hair, makeup, and/or clothing.

6.2.2.3 Non--Traditional Roles

6.2.2.3.1 The 'dude' in distress. Four of the seven princesses saved their princes from

danger at least once. However, this often went awry and the female character once again

needed to be saved by a man. For example, when Megara dies after pushing Hercules out of

harm's way (see above), her soul is trapped in Hades. Hercules risks his own life by

travelling to the Underworld in order to rescue her.

6.2.2.3.2 Males as loving and nurturing. Males (e.g., the fathers and the 'prince'

characters) were shown as being affectionate at least as often as female characters. Further,

males were shown in relationships with other males (i.e., engaging in male bonding), whereas

females were never shown bonding with other females in a friendship-type of relationship.

The only positive female-female relationships portrayed were of a 'motherly/daughterly'

nature. For example, the faeries in Sleeping Beauty and the Fairy Godmother in Cinderella

are matronly figures rather than female friends.

6.2.2..4 Family Structure

Only one of the lead female characters (Aurora in Sleeping Beauty) had two

surviving parents, and only one character (Ariel in The Little Mermaid) had siblings who

were blood-related (Cinderella had two step-sisters). Aurora was also the only character who

had a positive female influence throughout her life (the three good faeries who raised her

from infancy). This lack of female role models (Figure 6.3: 'Family Structure', p. 43) seems

to reinforce the notion that women need men to take care of them and is a potentially harmful

message to be transmitting to young viewers. In addition, step-mothers are portrayed as evil


42

duties such as feeding livestock, cleaning, and preparing and serving food. Ariel, Cinderella,

Jasmine, and Megara are all shown ‘fussing’ with their hair, makeup, and/or clothing.

6,2.2.3 Non-Traditional Roles

6.2.2.3.1 The ‘dude’ in distress. Four of the seven princesses saved their princes from

danger at least once. However, this often went awry and the female character once again

needed to be saved by a man. For example, when Megara dies after pushing Hercules out of

harm’s way (see above), her soul is trapped in Hades. Hercules risks his own life by

travelling to the Underworld in order to rescue her.

6.2.2.3.2 Males as loving and nurturing. Males (e.g., the fathers and the ‘prince’

characters) were shown as being affectionate at least as often as female characters. Further,

males were shown in relationships with other males (i.e., engaging in male bonding), whereas

females were never shown bonding with other females in a friendship-type of relationship.

The only positive female-female relationships portrayed were of a ‘motherly/daughterly’

nature. For example, the faeries in Sleeping Beauty and the Fairy Godmother in Cinderella

are matronly figures rather than female friends.

6.2.2..4 Family Structure

Only one of the lead female characters (Aurora in Sleeping Beauty) had two

surviving parents, and only one character (Ariel in The Little Mermaid) had siblings wfto

were blood-related (Cinderella had two step-sisters). Aurora was also the only character who

had a positive female influence throughout her life (the three good faeries who raised her

from infancy). This lack of female role models (Figure 6.3: ‘Family Structure’, p. 43) seems

to reinforce the notion that women need men to take care of them and is a potentially harmful

message to be transmitting to young viewers. In addition, step-mothers are portrayed as evil


43

Family Structure

I "s.

Father

Ariel Belle

Figure 6.3 Family Structure

No Parents

1 Megara

Two Parents Stepmother

Aurora Snow Cinderella White

\


43

Father

Ariel Belle

Figure 6.3 Family Structure

Family Structure

No Parents

N. J

( \

Two Parents

V J

f y

Megara

^ J

f ........ " \

Aurora

I J

Stepmother

SnowWhite

Cinderella


44

and, given the increasing number of blended families (Juby, Marcil-Gratton, & Le Bourdais,

2006), this does not bode well in terms of how children may view their step-mothers.

6.2.2.5 Victimisation

The lead female characters in all seven animated features were victimised in some

way. For instance, physical and/or verbal abuse (e.g. Cinderella), indentured labour (e.g.,

Snow White, Cinderella), imprisonment (e.g., Belle, Jasmine), humiliation (e.g., Cinderella,

Jasmine), and/or being under the direct control (all of the princesses) of another individual

occurred.

6.2.2.6 Good Versus Evil

All films featured one or more villains; in four of the movies, the villains were female

and in three of the stories, the villains were male. All villains had male accomplices (usually

pets). Five of the villains had supernatural powers, but magic/sorcery is present in all seven

of the features chosen for analysis. Death occurs in four of the movies; in all of the features,

good eventually triumphs over evil.

6.2.2.7 Aggression The different types of aggression are noted in Table 6.4 'Aggression in

Disney Animated Features' (p. 45) and discussed briefly below.

6.2.2.7.1 Males toward males. Male aggression (verbal and physical) toward other

males occurred in four of the seven movies chosen for analyses (Aladdin, Beauty and the

Beast, Hercules, and Snow White). For example, in Beauty and the Beast, Gaston is involved

in a 'bar fight' in which he hits, shoves, and wrestles other men.

6.2.2.7.2 Females toward males. Female aggression toward male characters occurred

in all of the films, but only when the women were trying to protect themselves or someone

else. For example, in Aladdin, Jasmine tries to overpower Jafar when he is about to use his


44

and, given the increasing number of blended families (Juby, Marcil-Gratton, & Le Bourdais,

2006), this does not bode well in terms of how children may view their step-mothers.

6.2.2.5 Victimisation

The lead female characters in all seven animated features were victimised in some

way. For instance, physical and/or verbal abuse (e.g. Cinderella), indentured labour (e.g.,

Snow White, Cinderella), imprisonment (e.g., Belle, Jasmine), humiliation (e.g., Cinderella,

Jasmine), and/or being under the direct control (all of the princesses) of another individual

occurred.

6.2.2.6 Good Versus Evil

All films featured one or more villains; in four of the movies, the villains were female

and in three of the stories, the villains were male. All villains had male accomplices (usually

pets). Five of the villains had supernatural powers, but magic/sorcery is present in all seven

of the features chosen for analysis. Death occurs in four of the movies; in all of the featurps,

good eventually triumphs over evil.

6.2.2.7 Aggression The different types of aggression are noted in Table 6.4 ‘Aggression in

Disney Animated Features’ (p. 45) and discussed briefly below.

6.2.2.7.1 Males toward males. Male aggression (verbal and physical) toward other

males occurred in four of the seven movies chosen for analyses (Aladdin, Beauty and the

Beast, Hercules, and Snow White). For example, m Beauty and the Beast, Gaston is involved

in a ‘bar fight’ in which he hits, shoves, and wrestles other men.

6.2.2.7.2 Females toward males. Female aggression toward male characters occurred

in all of the films, but only when the women were trying to protect themselves or someone

else. For example, in Aladdin, Jasmine tries to overpower Jafar when he is about to use his


Table 6.4 Aggression in Disney Animated Features

Aladdin Beauty & the Beast

Cinderella Hercules Little

Mermaid Sleeping Beauty

Snow white

d toward

(3` -violence/ struggles

-violence/ struggles

no -violence/ struggles

no no -violence/ struggles

c3' toward

?

-raises a hand -knocks down -name-calling

-chases -yells at -corners -sexual advances

no

-chases -yells at -restrains -uninvited touching -sexual advances

no no

-chases - corners- threat ofdeath

Y toward

6

-violence/ struggles no no

-violence/ struggles

no no no

toward no no

-tears off clothing -passive- aggressive

no -name calling

-violence/ struggle

-passive-aggressive

Table 6.4 Aggression in Disney Animated Features

Aladdin Beauty & the Beast Cinderella Hercules Little

MermaidSleepingBeauty Snow White

3toward

3-violence/ struggles -violence/

struggles no -violence/struggles no no -violence/

struggles

3toward

9

-raises a hand -knocks down -name-calling

-chases -yells at -comers -sexual advances

no

-chases-yells at-restrains-uninvitedtouching-sexualadvances

no no

-chases -comers -threat of death

9toward

3-violence/struggles no no -violence/

struggles no no no

9toward

9no no

-tears off clothing -passive- aggressive

no -namecalling

-violence/struggle

-passive-aggressive

4^

Rep

rodu

ced

with

perm

issi

on

of the

co

pyrig

ht o

wne

r. Fu

rther

rep

rodu

ctio

n pr

ohib

ited

with

out

perm

issi

on.

46

staff to cast a spell on Aladdin. She manages to deflect the 'curse', but ends up sprawled on

the floor.

6.2.2.7.3 Females toward females. Female aggression (of a physical nature) toward

another female character occurred in two of the Disney movies. In one instance, it was to

protect oneself (The Little Mermaid), in the other (Cinderella), it was an act of spite (the

step=sisters destroy Cinderella's dress by tearing it off of her body). Most of the female-to--

female aggression in the films was of a passive-aggressive nature. Passive-aggressive

behaviours are those in which negative emotions (especially anger) are expressed indirectly

through negative attitudes and resistance to reasonable requests. For example, when

Cinderella asks her step-mother if she may go to the ball, the step-mother seems agreeable—

she tells Cinderella that she may go if she finishes all of her chores. However, she provides

Cinderella with an unreasonably long list of chores, knowing that Cinderella will be unable to

finish them all in time to attend the ball (instead of directly denying Cinderella's request).

6.2.2.7.4 Males toward females. Male aggression toward female characters occurred

in six of the seven movies. In all six of these movies, there was aggression of a physical

nature, including: destroying a female character's possessions (e.g., The Little Mermaid);

grabbing something from her hand (e.g., Beauty and the Beast); shouting directly in her face

(e.g., Beauty and the Beast, Hercules); chasing her (e.g., Beauty and the Beast, Snow White);

raising a hand to her (e.g., Aladdin, Snow White); knocking her to the ground (e.g., Aladdin,

Snow White); grabbing, touching, shoving, or other physical contact (e.g., Aladdin, Beauty

and the Beast, Hercules), and controlling or restraining her by supernatural means (e.g.,

immobilising, imprisoning, tying up). In three of the films there were instances of male to

female aggression that was of a sexual nature. These included: inappropriatehminvited


46

staff to cast a spell on Aladdin. She manages to deflect the ‘curse’, but ends up sprawled on

the floor.

6.2.2.73 Females toward females. Female aggression (o f a physical nature) towejrd

another female character occurred in two o f the Disney movies. In one instance, it was to

protect oneself (The Little Mermaid), in the other {Cinderella), it was an act o f spite (the

step-sisters destroy Cinderella’s dress by tearing it o ff o f her body). Most o f the female-to-

female aggression in the films was o f a passive-aggressive nature. Passive-aggressive

behaviours are those in which negative emotions (especially anger) are expressed indirectly

through negative attitudes and resistance to reasonable requests. For example, when

Cinderella asks her step-mother i f she may go to the ball, the step-mother seems agreeable—

she tells Cinderella that she may go if she finishes all o f her chores. However, she provides

Cinderella with an unreasonably long list o f chores, knowing that Cinderella w ill be unable to

finish them all in time to attend the ball (instead o f directly denying Cinderella’s request).

6.2.2.7.4 Males toward females. Male aggression toward female characters occurred

in six o f the seven movies. In all six o f these movies, there was aggression o f a physical

nature, including: destroying a female character’s possessions (e.g., The Little Mermaid)',

grabbing something from her hand (e.g., Beauty and the Beast); shouting directly in her face

(e.g., Beauty and the Beast, Hercules); chasing her (e.g., Beauty and the Beast, Snow White);

raising a hand to her (e.g., Aladdin, Snow White); knocking her to the ground (e.g., Aladdin,

Snow White); grabbing, touching, shoving, or other physical contact (e.g., Aladdin, Beauty

and the Beast, Hercules), and controlling or restraining her by supernatural means (e.g.,

immobilising, imprisoning, tying up). In three o f the films there were instances o f male to

female aggression that was o f a sexual nature. These included: inappropriate/uninvited

R eproduced with perm ission of the copyright owner. Further reproduction prohibited without perm ission.

47

touching (Aladdin, Hercules), sitting on her lap (Hercules), and pinning her against the wall

and trying to kiss her (Beauty and the Beast).

6.2.2.7.5 Indirect Aggression. Although not a common occurrence in the Disney

features, several references to female characters were particularly noteworthy as instances of

indirect aggression, including: 'shrew' (Jafar about Jasmine in Aladdin), 'pussycat' (Jafar

about Jasmine in Aladdin), and 'tramp' (Ursula about Ariel in The Little Mermaid). The

`tramp' reference stands out (for me) as the most problematic. When I first noticed the

occurrence of this word, I had visions of a little girl watching this movie and innocently

asking `Mommy, what is a tramp?' It also seems reasonable to assume that a word related to

promiscuity has no place in a children's movie. Of additional interest is that this reference

was made by a female character.

Again, although not a common occurrence, there are several instances in which

women are referred to in an objectifying manner, including: 'I will win your daughter'

(Aladdin speaking to the sultan about Jasmine in Aladdin), to which Jasmine responds "I am

not some prize to be won!". As well, there are several references to women that are

unmistakably sexist. The most notable example is Gaston speaking to Belle in Beauty and

the Beast:

Belle, it's about time you got your head out of those books and paid attention to more

important things—like me! The whole town is talking about it. It's not right for a

woman to read. Soon, she starts getting ideas...and thinking.

Although we are supposed to think that Gaston's character is sexist and that he has

`positively primeval' ideas about women and their roles, the message is still an important

reminder of how women's progress has been hindered as a result of sexist ideas.


47

touching (.Aladdin, Hercules), sitting on her lap {Hercules), and pinning her against the wall

and trying to kiss her {Beauty and the Beast).

6.2.2.7.5 Indirect Aggression. Although not a common occurrence in the Disney

features, several references to female characters were particularly noteworthy as instances o f

indirect aggression, including: ‘shrew’ (Jafar about Jasmine in Aladdin), ‘pussycat’ (Jafar

about Jasmine in Aladdin), and ‘tramp’ (Ursula about Ariel in The Little Mermaid). The

‘tramp’ reference stands out (for me) as the most problematic. When I first noticed the

occurrence o f this word, I had visions o f a little girl watching this movie and innocently

asking ‘Mommy, what is a tramp?’ It also seems reasonable to assume that a word relatedl to

promiscuity has no place in a children’s movie. O f additional interest is that this reference

was made by a female character.

Again, although not a common occurrence, there are several instances in which

women are referred to in an objectifying manner, including: ‘I w ill win your daughter’

(Aladdin speaking to the sultan about Jasmine in Aladdin), to which Jasmine responds “I am

not some prize to be won!”. A s well, there are several references to women that are

unmistakably sexist. The most notable example is Gaston speaking to Belle in Beauty and

the Beast'.

Belle, it’s about time you got your head out o f those books and paid attention to more

important things— like me! The whole town is talking about it. It’s not right for a

woman to read. Soon, she starts getting ideas.. .and thinking.

Although we are supposed to think that Gaston’s character is sexist and that he has

‘positively primeval’ ideas about women and their roles, the message is still an important

reminder o f how women’s progress has been hindered as a result o f sexist ideas.

R eproduced with perm ission o f the copyright owner. Further reproduction prohibited without perm ission.

48

6.2.2.8 Sexuality

Overall, the modem princesses (e.g., Ariel, Jasmine, Megara) are much more sexual

than earlier princesses in their actions, behaviours, appearance, and clothing styles. The

female 'characters in the more recent Disney films are portrayed in objectifying ways more

often than in the earlier Disney films (e.g, Cinderella, Sleeping Beauty, Snow White). This

may be a reflection of the increasingly sexual portrayals of pre=adolescent and adolescent

girls in the media (e.g., the more revealing clothing that is 'fashionable' for young women;

sexually suggestive scenes in music videos).

6.2.2.9 Objectification

`Sexual Objectification' occurs when a woman's body is treated as an object

(especially an object that exists for the pleasure and use of others), and is illustrated

interpersonally through gaze or 'checking out', and in the representation of women in the

media (Slater & Tiggemann, 2002, p. 343). Specific examples of such objectification (from

the animated feature Beauty and the Beast) are provided in Appendix J.

Young women may be particularly susceptible to objectification because they learn

that power, respect, and wealth can be derived from their physical appearance (American

Psychiatric Association, 1994). This is certainly true for Belle, Cinderella, Megara, and

Snow White all of whom gain power, respect, and wealth by virtue of the men (princes)

whom they marry. For Ariel, Aurora, and Jasmine (who are princesses already), social status

and wealth are not an issue and it is their beauty alone that attracts their mail suitors.

Related to both sexuality and objectification is another message that was portrayed in

Beauty and the Beast. Two of the 'people' who live in the Beast's castle (they have been

transformed into objects candelabra and a feather duster) are shown 'struggling'. The

male (candelabra) is saying 'yes, yes, yes' while the female (feather duster) is saying 'no, no,


48

6.2.2.8 Sexuality

Overall, the modem princesses (e.g., Ariel, Jasmine, Megara) are much more sexual

than earlier princesses in their actions, behaviours, appearance, and clothing styles. The

female characters in the more recent Disney films are portrayed in objectifying ways more

often than in the earlier Disney films (e.g, Cinderella, Sleeping Beauty, Snow White). This

may be a reflection o f the increasingly sexual portrayals o f pre-adolescent and adolescent

girls in the media (e.g., the more revealing clothing that is ‘fashionable’ for young women;

sexually suggestive scenes in music videos).

6.2.2.9 Objectification

‘Sexual Objectification’ occurs when a woman’s body is treated as an object

(especially an object that exists for the pleasure and use o f others), and is illustrated

inteipersonally through gaze or ‘checking out’, and in the representation o f women in (he

media (Slater & Tiggemann, 2002, p. 343). Specific examples o f such objectification (from

the animated feature Beauty and the Beast) are provided in Appendix J.

Young women may be particularly susceptible to objectification because they learn

that power, respect, and wealth can be derived from their physical appearance (American

Psychiatric Association, 1994). This is certainly true for Belle, Cinderella, Megara, and

Snow White all o f whom gain power, respect, and wealth by virtue o f the men (princes)

whom they marry. For Ariel, Aurora, and Jasmine (who are princesses already), social status

and wealth are not an issue and it is their beauty alone that attracts their mail suitors.

Related to both sexuality and objectification is another message that was portrayed in

Beauty and the Beast. Two o f the ‘people’ who live in the Beast’s castle (they have been

transformed into objects—a candelabra and a feather duster) are shown ‘struggling’. The

male (candelabra) is saying ‘yes, yes, yes’ while the female (feather duster) is saying ‘no, no,


no' (see Appendix K). What sort of message (e.g., that 'no' means 'yes') does this convey

regarding appropriate versus inappropriate sexual behaviour? Is it possible that such images

could influence girls' beliefs and expectations about sex and sexual experiences?

6.2.2.10 Music

The songs in the Disney movies are an important part of their appeal. Children (of all

ages) love to sing along, and it seems that they will often pay more attention to music than to

spoken dialogue. Therefore, it is important to note that most of the movies include songs

about finding true love and about wanting more. For example, in Snow White and the Seven

Dwarfs, Snow White sings 'Someday My Prince Will Come': "Some day my prince will

come. Some day we'll meet again. And away to his castle we'll go. To be happy forever I

know". Snow White is passively waiting for her prince to come, which is slightly different

than how Ariel (The Little Mermaid) sings about her prince in 'Part of Your World': "What

would I give to live where you are. What would I pay to stay here beside you. What would I

do to see you, smiling at me".

6.2.3 Changes Over Time

Because the selected animated features span a 60-year time period, I was also

interested in noting whether or not there were significant changes over time—in both the

thematic content of the movies as well as in the visual and contextual portrayals of women.

The ways in which the princesses were drawn, as well as their speech, mannerisms, and body

language were examined.

6.2.3.1 Drawings

Women in the earlier Disney films were drawn with softer features (e.g., Snow White,

Cinderella), less expressive faces, and more conservative clothing. Later Disney Princesses


49

no’ (see Appendix K). What sort o f message (e.g., that ‘no’ means ‘yes’) does this convey

regarding appropriate versus inappropriate sexual behaviour? Is it possible that such images

could influence girls’ beliefs and expectations about sex and sexual experiences?

6.2.2.10 Music

The songs in the Disney movies are an important part o f their appeal. Children (o f all

ages) love to sing along, and it seems that they will often pay more attention to music than to

spoken dialogue. Therefore, it is important to note that most o f the movies include songs

about finding true love and about wanting more. For example, in Snow White and the Seven

Dwarfs, Snow White sings ‘Someday My Prince Will Come’: “Some day my prince will

come. Some day we'll meet again. And away to his castle we'll go. To be happy forever I

know”. Snow White is passively waiting for her prince to come, which is slightly different

than how Ariel (The Little Mermaid) sings about her prince in ‘Part o f Your World’: “What

would I give to live where you are. What would I pay to stay here beside you. What would I

do to see you, smiling at me”.

6.2.3 Changes Over Time

Because the selected animated features span a 60-year time period, I was also

interested in noting whether or not there were significant changes over time-—in both the

thematic content o f the movies as well as in the visual and contextual portrayals o f women.

The ways in which the princesses were drawn, as well as their speech, mannerisms, and body

language were examined.

6.2.3.1 Drawings

Women in the earlier Disney films were drawn with softer features (e.g., Snow White,

Cinderella), less expressive faces, and more conservative clothing. Later Disney Princesses


50

have pointier facial features and are curvier with fuller breasts, impossibly small waists, large

eyes, longer hair, poutier lips, and skimpier clothing (Appendix L).

6.2.3.2 Speech

Earlier princesses use softer tones of voice—even when angry or upset, and remain

polite even in situations where being polite is not warranted (e.g., when being abused or 11

humiliated). Later Princesses are not afraid to raise their voices, speak out of turn, or use

sarcasm.

6.2.3.3 Mannerisms and Body Language

Princesses in the earlier movies are shy, demure, polite, and proper young women,

whereas princesses in the more recent films are more sarcastic, defiant, and temperamental.

For example, in Sleeping Beauty, Aurora will not look directly at the prince when she first

meets him. In fact, she tries to flee, but he catches her hand and they begin to dance.

The body language of later princesses includes flirtatious gestures, sexual innuendo,

and use of sexuality in order to distract, get attention, or to gain information. The later

princesses are much more sexual in their actions, behaviours, and clothing styles. Results are

summarised in Table 6.5 'Changes Over Time in the Portrayals of Disney Princesses' (p. 51).

Regardless of the year in which the film was made, the leading female characters in the

Disney animated features are drawn with ample curves, tiny waists, and long, slender legs.

Not only are they beautiful, but they also portray many stereotypically `feminine' qualities

and act in sex typed ways.

6.2.3.4 Feminine Qualities and Sex-Typed Roles

Early Disney princesses, such as Snow White (1937), Cinderella (1950), and Aurora

(Sleeping Beauty, 1955) cook, clean and need a prince to rescue them from their

circumstances. Initially, I thought that perhaps these particular characters were a reflection


50

have pointier facial features and are curvier with fuller breasts, impossibly small waists, large

eyes, longer hair, poutier lips, and skimpier clothing (Appendix L).

6\2.3.2 Speech

Earlier princesses use softer tones o f voice— even when angry or upset, and remain

polite even in situations where being polite is not warranted (e.g., when being abused or

humiliated). Later Princesses are not afraid to raise their voices, speak out o f turn, or use

sarcasm.

6.2.3.3 Mannerisms and Body Language

Princesses in the earlier movies are shy, demure, polite, and proper young women,

whereas princesses in the more recent films are more sarcastic, defiant, and temperamental.

For example, in Sleeping Beauty, Aurora w ill not look directly at the prince when she first

meets him. In fact, she tries to flee, but he catches her hand and they begin to dance.

The body language o f later princesses includes flirtatious gestures, sexual innuendo,

and use o f sexuality in order to distract, get attention, or to gain information. The later

princesses are much more sexual in their actions, behaviours, and clothing styles. Results are

summarised in Table 6.5 ‘Changes Over Time in the Portrayals o f Disney Princesses’ (p. 5 p .

Regardless o f the year in which the film was made, the leading female characters in the

Disney animated features are drawn with ample curves, tiny waists, and long, slender legs.

Not only are they beautiful, but they also portray many stereotypically ‘feminine’ qualities

and act in sex-typed ways.

6.2.3.4 Feminine Qualities and Sex-Typed Roles

Early Disney princesses, such as Snow White (1937), Cinderella (1950), and Aurpra

(Sleeping Beauty, 1955) cook, clean and need a prince to rescue them from their

circumstances. Initially, I thought that perhaps these particular characters were a reflection


51

Table 6.5 Changes Over Time in the Portrayals of Disney Princesses

Early Princesses Modern Princesses

Drawings (1937 — 1997)

-softer features -small waists -long legs -shorter hair -less make-up -conservative clothing (e.g., long sleeves, long skirts)

-pointier features -small waists -long legs -long hair -fuller breasts -more curvaceous -bigger eyes -heavier make-up -more revealing clothing -cleavage

Speech (1937 — 1997)

-soft tones of voice -remain polite -despairing

-raises her voice -speaks out of turn -uses sarcasm -threatening -seductive

Mannerisms & Body Language (1937 —1997)

-polite -shy -demure -proper -afraid of men/flee from men

-more sarcastic -forward -flirtatious -willing to fight back -initiate physical contact with men -sexually aggressive -use their beauty/sexuality to distract/attract


51

Table 6.5 Changes Over Time in the Portrayals o f Disney Princesses

Early Princesses M odern Princesses

Drawings(1 9 3 7 -1 9 9 7 )

-softer features -small waists -long legs -shorter hair -less make-up -conservative clothing (e.g., long sleeves, long skirts)

-pointier features -small waists -long legs -long hair -fuller breasts -more curvaceous -bigger eyes -heavier make-up -more revealing clothing -cleavage

Speech(1 9 3 7 -1 9 9 7 )

-soft tones o f voice -remain polite -despairing

-raises her voice -speaks out o f turn -uses sarcasm -threatening -seductive

M annerisms & Body Language (1 9 3 7 -1 9 9 7 )

-polite-shy-demure-proper-afraid o f men/flee from men

-more sarcastic-forward-flirtatious-willing to fight back-initiate physical contactwith men-sexually aggressive -use their beauty/sexuality to distract/attract


52

of a time during which women were expected to care for the home and family while the men

provided for and protected them. If this was indeed the case, it seemed logical that later

heroines and/or princesses would reflect the changing times (e.g., the rise of feminism).

Later Disney heroines, such as Ariel (The Little Mermaid, 1987), Belle (Beauty and the

Beast, 1991), Jasmine (Aladdin, 1992), and Megara (Hercules, 1997), still perpetuate such

gender stereotypic roles. These and other 'feminine' qualities and roles are illustrated in

Table 6.6 'Traditionally Feminine Qualities and Sex-Typed Roles' (p. 53).


o f a time during which women were expected to care for the home and family while the men

provided for and protected them. I f this was indeed the case, it seemed logical that later

heroines and/or princesses would reflect the changing times (e.g., the rise o f feminisip).

Later Disney heroines, such as Ariel (The Little Mermaid, 1987), Belle (Beauty and the

Beast, 1991), Jasmine (Aladdin, 1992), and Megara (Hercules, 1997), still perpetuate such

gender stereotypic roles. These and other ‘feminine, qualities and roles are illustrated in

Table 6.6 ‘Traditionally Feminine Qualities and Sex-Typed Roles’ (p. 53).


53

Table 6.6 Traditionally Feminine Qualities and Sex-Typed Roles

Ariel Aurora Belle Cinderella Jasmine Megara Snow White

Domestic duties x V V V x x V

Needs to be rescued V ' V I ✓ V V V V V

Cries. V V V V V V V

Nurtures another V x V V x x V

Subservient/controlled V V V V V V V

Victimised V V V V V V V

Engages in grooming V x x V V V x

Uses her sexuality V x V x V V x

Disobedient/difficult V x V V x

Sacrifice V x V V V V x

Dissatisfied V V V V V V V


53

Table 6.6 Traditionally Feminine Qualities and Sex-Typed Roles

Ariel \ Aurora Belle Cinderella Jasmine Megara Snow Whitp

Domestic duties X X X

Needs to be rescued S

Cries,, <

Nurtures another I S X S ■ X X

Subservient/controlled v ' S s1

Victimised j ^ S s

Engages in grooming X X S X

Uses her sexuality X S ] x | S X

Disobedient/difficult X S X X

Sacrifice | ^ X X

Dissatisfied ^ 1 ^ v '


54


Song lyrics were analysed separately as well as in conjunction with the corresponding

music video (if one existed). Thirty-seven songs and 31 music videos (Appendices F and G)

were analysed qualitatively using Grounded Theory (Strauss & Corbin, 1998) and Love's

(1992, as cited in Love, 1994) criteria for transcript analysis. A summary of these findings is

reported in Table 6.7 'Song Lyrics and Music Video Categories: Verbal and Visual' (p. 55),

and are discussed in further detail below.

6.3.1 Song Lyrics

Categories that emerged from data analyses of the lyrics included true self, sexuality

and/or objectification, relationships (e.g., both romantic and non-romantic relationships,

relationship difficulties, the ending of relationships), rumours, memories, and social issues.

Lyric 'chunks' (i.e., data bits) were included in as many categories as were appropriate (e.g.,

if a single datum included aspects of both sexuality and relationships, it was included in bpth

categories). As analyses were refined, songs were categorised according to the dominant

theme or message that was present in the lyrics.

6.3.1.1 True self One song, Wake Up (p. 119), emerged in a separate category. On

the surface, this song seems to be about going out and having fun (e.g., "Wake Up, wake up

on a Saturday night/Could be New York, maybe Hollywood and Vine/London, Paris maybe

Tokyo/There's something going on anywhere I go tonight", but it is also about feeling lonely

and misunderstood. For example, Hilary Duff sings: "I put my makeup on a Saturday night/I

try to make it happen/Try to make it all right/I know I make mistakes/I'm living life day to

day/It's never really easy but it's okay". The lyrics of this song also overlapped in other

categories such as 'rumours'. For example, the song begins: "There's people talking/They


54


Song lyrics were analysed separately as well as in conjunction with the corresponding

music video ( if one existed). Thirty-seven songs and 31 music videos (Appendices F and G)

were analysed qualitatively using Grounded Theory (Strauss & Corbin, 1998) and Love’s

(1992, as cited in Love, 1994) criteria for transcript analysis. A summary o f these findings is

reported in Table 6.7 ‘Song Lyrics and Music Video Categories: Verbal and Visual’ (p. 55),

and are discussed in further detail below.

6.3.1 Song Lyrics

Categories that emerged from data analyses o f the lyrics included true self, sexuality

and/or objectification, relationships (e.g., both romantic and non-romantic relationship,

relationship difficulties, the ending o f relationships), rumours, memories, and social issues.

Lyric ‘chunks’ (i.e., data bits) were included in as many categories as were appropriate (e.g.,

i f a single datum included aspects o f both sexuality and relationships, it was included in bpth

categories). As analyses were refined, songs were categorised according to the dominant

theme or message that was present in the lyrics.

6.3.1.1 True self. One song, Wake Up (p. 119), emerged in a separate category. On

the surface, this song seems to be about going out and having fun (e.g., “Wake Up, wake up

on a Saturday night/Could be N ew York, maybe Hollywood and Vine/London, Paris maybe

Tokyo/There's something going on anywhere I go tonight”, but it is also about feeling lonqly

and misunderstood. For example, Hilary D uff sings: “I put my makeup on a Saturday night/I

try to make it happen/Try to make it all right/I know I make mistakes/i'm living life day to

day/It's never really easy but it's okay”. The lyrics o f this song also overlapped in other

categories such as ‘rumours’. For example, the song begins: “There's people talking/They


55

Table 6.7 Song Lyrics and Music Video Categories: Verbal and Visual

Number of Songs Category (verbally

22 Relationships

Society/Social Commen

I Rumours

Memories

—True Self

Sexuality/Objectification

37

Number of Videos I Category (visually)

Story/Relationships

Society/Social Commentary '

Performance

Partying/Having Fun

7 Sexuality/Dancing

31


Table 6.7 Song Lyrics and Music Video Categories: Verbal and Visual

Number of Songs Category (verbally)

22 Relationships

Society/Social Commentary

! Rumours

Memories

True Self

Sexuality/Obj ectification

37

Number of Videos j Category (visually)

Story/Relationships

Society/Social Commentary

Performance

Partying/Having Fun

Sexuality/Dancing

31


56

talk about me/They know my name/They think they know everything/But they don't know

anything/About me".

6.3.1.2 Sexuality and objectification. The lyrics of six songs (Ass Like That, Beep,

Don't Cha, Hips Don't Lie, My Humps, Naughty Girl) were categorised as relating mainly to

sexuality and objectification. For example, in Ass Like That (p. 140), Eminem sings: "The

way you shake it, I can't believe it/I ain't never seen an ass like thatlThe way you move it,

you make my pee pee go/Doing, doing, doing". Not only does he sing about women as

sexual objects, he also makes it clear that he is turned on by them. Similarly, in the song

Beep (p. 142) by the Pussycat Dolls, Wil1.I.Am sings: "It's funny how a man only thinks

about the *beep*/You got a real big heart, but I'm looking at cha *beep*/You got real big

brains, but I'm looking at cha *beep*/Girl, there ain't no pain in me looking at ya *beep*".

Two of the songs in this category are examples of self-objectification. Rather than

men singing about women as sexual objects, it is the women who refer to themselves in

sexually objectifying ways. For example, in Naughty Girl (p. 121), Beyonce Knowles sings:

"Tonight I'll be your naughty girl/I'm callin' all my girls/We're gonna turn this party out/I

know you want my body/Tonight I'll be your naughty girl/I'm callin' all my girls/I see you

look me up and down/And I think about it". She knows that she has the man's attention and

that it is because of the way that she looks. Similarly, in the song Don't Cha (p. 115), The

Pussycat Dolls sing: "Don't cha wish your girlfriend was hot like me?"

The remaining two songs in this category include examples of both self-

objectification and sexual objectification by men. In Hips Don't Lie (p. 149), there is a back

and forth dialogue between a woman and a man:

?: Oh baby when you talk like that/You make a woman go mad/So be wise and keep on/Reading the signs of my body/And I'm on tonight/You know my hips don't lie/


56

talk about me/They know my name/They think they know eveiything/But they don't know

anything/About me”.

6.3.J.2 Sexuality and objectification. The lyrics o f six songs (Ass Like That, Beep,

D o n ’t Cha, Hips Don 7 Lie, My Humps, Naughty Girl) were categorised as relating mainly to

sexuality and objectification. For example, in Ass Like That (p. 140), Eminem sings: “The

way you shake it, I can't believe it/I ain't never seen an ass like that/The way you move it,

you make my pee pee go /Doing, doing, doing”. Not only does he sing about women as

sexual objects, he also makes it clear that he is turned on by them. Similarly, in the song

Beep (p. 142) by the Pussycat Dolls, Will.I.Am sings: “It's funny how a man only thinks

about the *beep*/You got a real big heart, but I'm looking at cha *beep*/You got real big

brains, but I'm looking at cha *beep*/Girl, there ain’t no pain in me looking at ya *beep*”.

Two o f the songs in this category are examples o f self-objectification. Rather than

men singing about women as sexual objects, it is the women who refer to themselves in

sexually objectifying ways. For example, in Naughty Girl (p. 121), Beyonce Knowles sings:

“Tonight I'll be your naughty girl/I'm callin’ all my girls/We're gonna turn this party out/I

know you want my body/Tonight I'll be your naughty girl/I'm callin’ all my girls/I see you

look me up and down/And I think about it”. She knows that she has the man’s attention and

that it is because o f the way that she looks. Similarly, in the song Don 7 Cha (p. 115), The

Pussycat Dolls sing: “Don't cha wish your girlfriend was hot like me?”

The remaining two songs in this category include examples o f both self

objectification and sexual objectification by men. In Hips Don 7 Lie (p. 149), there is a back

and forth dialogue between a woman and a man:

Oh baby when you talk like that/You make a woman go mad/So be wise and keep on/Reading the signs o f my body/And I'm on tonight/You know my hips don't lie/


57

And I'm starting to feel its right/All the attraction, the tension/Don't you see baby, this is perfection

d: Hey Girl, I can see your body moving/And it's driving me crazy/And I didn't have the slightest idea/Until I saw you dancing/And when you walk up on the dance floor/Nobody cannot ignore the way you move your body, girl/And everything so unexpected - the way you right and left it/So you can keep on taking it

In My Humps (p. 113), the lyrics are a back and forth dialogue between a man and a woman,

as well, but the objectification is much less subtle:

(3' What you gonna do with all that junk, all that junk inside that trunk 9 I'm a get, get, get, get, you drunk/Get you love drunk off my hump c/ What you gon' do with all that ass, all that ass inside them jeans Y' I'm a make, make, make, make you scream/Make you scream, make you scream y Cause of my hump, my hump, my hump, my hump/

My hump, my hump, my hump, my lovely lady lumps/Check it out

Although many of the messages in these lyrics are objectifying, it is interesting to note that

the women seem to be using their sexuality as a way to hold power over men. This is evident

in My Humps when Fergie sings: "You can look but you can't touch it", and in Beep when

Nicole Scherzinger of The Pussycat Dolls sings:

I don't give a *beep*/Keep looking at my *beep*/'Cause it don't mean a thing if you're looking at my *beep*/I'm a do my thing while you're playing wit cha *beep*

6.3.1.3 Relationships. In the lyrics chosen for analysis, there were several different

types of relationships depicted, including good relationships (e.g., happily in love, supportive

friendships), family relationships, longing for love, and troubled or terminated relationships.

Twenty-two songs were categorised as relationship songs.

Three songs were about supportive relationships (Count on Me, Fix You, Shine On),

and included lyrics such as:

I'm here for you so don't forget/You can count on me, 'cause I will carry you till you carry on/Anytime you need someone/Somebody strong to lean on/Well you can count on me/To hold you till the healing is done/And every time you fall apart/Well you


57

And I'm starting to feel its right/All the attraction, the tension/Don't you see baby, this is perfection

3'. Hey Girl, I can see your body moving/And it's driving me crazy/And I didn't have the slightest idea/Until I saw you dancing/And when you walk up on the dance floor/Nobody cannot ignore the way you move your body, girl/And everything so unexpected - the way you right and left it/So you can keep on taking it

In M y Humps (p. 113), the lyrics are a back and forth dialogue between a man and a woman,

as well, but the objectification is much less subtle:

3 What you gonna do with all that junk, all that junk inside that trunk $ I’m a get, get, get, get, you drunk/Get you love drunk o ff my hump 3 What you gon’ do with all that ass, all that ass inside them jeans $ I’m a make, make, make, make you scream/Make you scream, make you scream $ Cause o f my hump, my hump, my hump, my hump/$ My hump, my hump, my hump, my lovely lady lumps/Check it out

Although many o f the messages in these lyrics are objectifying, it is interesting to note that

the women seem to be using their sexuality as a way to hold power over men. This is evident

in M y Humps when Fergie sings: “You can look but you can’t touch it”, and in Beep when

N icole Scherzinger o f The Pussycat Dolls sings:

I don't give a *beep*/Keep looking at my *beep*/'Cause it don't mean a thing if you're looking at my *beep*/I'm a do my thing while you’re playing wit cha *beep*

6.3.1.3 Relationships. In the lyrics chosen for analysis, there were several different

types o f relationships depicted, including good relationships (e.g., happily in love, supportive

friendships), family relationships, longing for love, and troubled or terminated relationships.

Twenty-two songs were categorised as relationship songs.

Three songs were about supportive relationships (Count on Me, Fix You, Shine On),

and included lyrics such as:

I'm here for you so don't forget/You can count on me, ’cause I will carry you till you carry on/Anytime you need someone/Somebody strong to lean on/Well you can count on me/To hold you till the healing is done/And every time you fall apart/Well you


58

can hide here in my arms/And you can count on me/To hold you till that feeling is gone (Count on Me; p. 177)

and, "even if we can or can't be friends/I'll be with you until the very end" (Shine On; 174).

Only one song (of all thirty-seven) was about an untroubled romantic relationship

(Stickwitu (p. 168). This was surprising, since many songs (past and present) seem to be

about being in love and/or the celebration of love.

Nobody gonna love me better/I must stickwitu/Forever/Nobody gonna take me higher/I must stickwitu/You know how to 'preciate me/I must stickwitu/My baby Omar/Nobody ever made me feel this way/I must stickwitu

Two songs were about family relationships (Because of You, Confessions of a Broken

Heart). In Because of You (p. 160), Kelly Clarkson sings about growing up in a broken home

and how it has affected her own relationships:

I watched you die/I heard you cry/Every night in your sleep/I was so young/You should have known better than to lean on me/You never thought of anyone else/You just saw your pain/And now I cry/In the middle of the night/For the same damn thing

Similarly, Lindsay Lohan sings about her parents' separation/divorce and how it affects her:

And I wear all your old clothes your old polo sweater/I dream of another you, one who would never/Never, leave me alone to pick up the pieces/A Daddy to hold me, that's what I needed (Confessions of a Broken Heart; p. 171)

Three songs were about longing for someone (in a romantic sense). These songs

included: Catch Your Wave, Just the Girl, and Sugar, We're Goin' Down. In both Catch

Your Wave (p. 170) and Just the Girl (p. 165), The Click Five sing about the pursuit of a girl:

When I turned sixteen/That's when I started to dream/I chased you round in memories/Through the breeze and the trees and you tease me/But hey/Well every princess has her knight/And I'm still in it for the fight/Not givin' in, I'm gonna win, win, win (Catch Your Wave)

Cause she's bittersweet/She knocks me off of my feet/And I can't help myself/I don't want anyone else/She's a mystery/She's too much for me/But I keep coming back for more/She's just the girl I'm looking for /(Just the Girl)


58

can hide here in my arms/And you can count on me/To hold you till that feeling is gone (Count on Me; p. 177)

and, “even if we can or can’t be friends/Tll be with you until the very end” (Shine On; 174).

Only one song (o f all thirty-seven) was about an untroubled romantic relationship

(Stickwitu (p. 168). This was surprising, since many songs (past and present) seem to be

about being in love and/or the celebration o f love.

Nobody gonna love me better/I must stickwitu/Forever/Nobody gonna take me higher/I must stickwitu/You know how to 'predate me/I must stickwitu/My baby Omar/Nobody ever made me feel this way/I must stickwitu

Two songs were about family relationships (Because o f You, Confessions o f a Broken

Heart). In Because o f You (p. 160), Kelly Clarkson sings about growing up in a broken home

and how it has affected her own relationships:

I watched you die/I heard you cry/Every night in your sleep/I was so young/You should have known better than to lean on me/You never thought o f anyone else/Ypu just saw your pain/And now I cry/In the middle o f the night/For the same damn thing

Similarly, Lindsay Lohan sings about her parents’ separation/divorce and how it affects her:

And I wear all your old clothes your old polo sweater/I dream o f another you, one who would never/Never, leave me alone to pick up the pieces/A Daddy to hold me, that's what I needed (Confessions o f a Broken Heart', p. 171)

Three songs were about longing for someone (in a romantic sense). These songs

included: Catch Your Wave, Just the Girl, and Sugar, We ’re Goin ’ Down. In both Catch

Your Wave (p. 170) and Just the Girl (p. 165), The Click Five sing about the pursuit o f a girl:

When I turned sixteen/That's when I started to dream/I chased you round in memories/Through the breeze and the trees and you tease me/But hey/Well every princess has her knight/And I'm still in it for the flght/Not givin' in, I'm gonna win, win, win (Catch Your Wave)

Cause she's bittersweet/She knocks me o ff o f my feet/And I can't help myself/I don't want anyone else/She's a mystery/She's too much for me/But I keep coming back for more/She's just the girl I'm looking for /(Just the Girl)


59

The lyrics to Sugar, We're Goin' Down (p. 132) are drastically different from the other lyrics

in this category. The band Fall Out Boy sing about jealousy and wanting to be the object of

someone's affections:

Is this more than you bargained for yet/Oh, don't mind me I'm watching you two from the closet/Wishing to be the friction in your jeans/Isn't it messed up how I'm just dying to be him

These lyrics are disturbing for several reasons. First, because of the implied stalking of the

woman whom the lead singer, Patrick Stump, is singing about; second, the casual wording of

such serious issues (e.g., jealousy, spying on/stalking a woman); third, the scenario, if real, is

one in which violence could easily occur (e.g., rape ['wishing to be the friction in your jeans'

and 'I'm just dying to be him'] or other physical violence toward the woman and man who he

is watching [i.e., a jealous rage]).

Five songs were about troubled relationships (321, Beat of My Heart, Sorry, So She's

Leaving, Walk Away). In the first song, 321 by Hedley, Jacob Hoggard sings about his fear

of commitment that is leading to the end of a romantic relationship:

I heard a distant early warning/But I chose to ignore it/It came back and bit me/Seems like we're victims of bad timing/`Cause you wanted more than I did/I can't give you what you need/She said, "Hold me, hold me—closely, closely"/That's when I should have ran (321; p. 157)

In Beat of My Heart (p. 166), Hilary Duff sings about ending a relationship (or relationships)

for a different reason—she needs to follow her heart and be true to herself:

The way that you feel/Could never be real/I want you to know I finished the deal/So I'm sayin' to you/I'll always be true/To the rhythm inside...To the beat of my heart

Hilary Duff sends out a positive message through these lyrics, namely, that it is important for

everyone to follow their hearts and not compromise themselves or their dreams.

Sorry (p. 123) and Walk Away (p. 117)are both about despairing of, and giving up on

romantic relationships. In the song Sorry, Madonna sings: "I don't wanna hear, I don't wanna


59

The lyrics to Sugar, We ’re Goin ’ Down (p. 132) are drastically different from the other lyrics

in this category. The band Fall Out Boy sing about jealousy and wanting to be the object o f

someone’s affections:

Is this more than you bargained for yet/Oh, don't mind me I'm watching you two from the closet/Wishing to be the friction in your jeans/isn't it messed up how I'm just dying to be him

These lyrics are disturbing for several reasons. First, because o f the implied stalking o f the

woman whom the lead singer, Patrick Stump, is singing about; second, the casual wording o f

such serious issues (e.g., jealousy, spying on/stalking a woman); third, the scenario, if real, is

one in which violence could easily occur (e.g., rape [‘wishing to be the friction in yourjeaps’

and ‘I’m just dying to be him’] or other physical violence toward the woman and man who he

is watching [i.e., a jealous rage]).

Five songs were about troubled relationships (321, Beat o f M y Heart, Sorry, So S h e’s

Leaving, Walk Away). In the first song, 321 by Hedley, Jacob Hoggard sings about his fear

o f commitment that is leading to the end o f a romantic relationship:

I heard a distant early warning/But I chose to ignore it/it came back and bit me/Seems like we're victims o f bad timing/4 Cause you wanted more than I did/I can't give you what you need/She said, "Hold me, hold me— closely, closely'TThat's when I should have ran (321; p. 157)

In Beat o f My Heart (p. 166), Hilary D uff sings about ending a relationship (or relationships)

for a different reason— she needs to follow her heart and be true to herself:

The way that you feel/Could never be real/I want you to know I finished the deal/So I'm sayin’ to you/I'll always be true/To the rhythm inside.. .To the beat o f my heart

Hilary D uff sends out a positive message through these lyrics, namely, that it is important for

everyone to follow their hearts and not compromise themselves or their dreams.

Sorry (p. 123) and Walk Away (p. 117)are both about despairing of, and giving up on

romantic relationships. In the song Sorry, Madonna sings: “I don't wanna hear, I don't wanna


60

know/Please don't say you're sorry/I've heard it all before/And I can take care of myself'.

Similarly, in Walk Away (p. 117), Kelly Clarkson sings about her frustrations with her

romantic partner:

I'm looking for attention/Not another question/Should you stay or should you go/Well, if you don't have the answer/Why you still standing here/Hey, hey, hey, hey/Just walk away

Unlike in the other four songs in this category, Colin MacDonald of the The Trews sings

about his romantic entanglement with regret that it is ending:

I found love to take me home/But she dont want to live alone/I'm always out on the road/So she's leaving/Oh my girl please dont give in/Don't listen to your stupid friends/I hear them going off again/So she's leaving

Eight songs were about past relationships (Afterglow, D.O.A., Don't Bother, Ghost of

You, Helena, I Just Want You to Know, On My Own, Since You've Been Gone). Three of

these eight songs were about difficulty coping with the ending of a relationship. Examples of

these lyrics include: "Now I'm living in your afterglow" (Afterglow; p. 180); "I just want you

to know/That I've been fighting to let you go/Some days I make it through/And then there's

nights that never end" (I Just Want You to Know; p. 175), and, most notably,

For you, I'd give up all I own/And move to a communist country/If you came with me, of course/And I'd file my nails, so they don't hurt you/And lose those pounds, and learn about football/If it made you stay, but you won't (Don't Bother; p. 172)

Conversely, three songs in this category included lyrics about 'moving on' from

relationships, for example: "I'm finished, I'm getting you off my chest" (D. O.A.; p. 179);

"Since you've been gone/I can breathe for the first time" (Since You've Been Gone; p. 145);

and "Living in a world alone /Gets better every day/That I don't have to say I'm sorry I'm

coming home" (On My Own; p. 130)".

The last two songs in this category, Helena (p. 153) and The Ghost of You (p. 136),

were written (and performed) by My Chemical Romance. Both songs are about losing


60

know/Please don't say you're sorry/I've heard it all before/And I can take care o f m yself’.

Similarly, in Walk Away (p. 117), Kelly Clarkson sings about her frustrations with her

romantic partner:

I'm looking for attention/Not another question/Should you stay or should you go/Well, i f you don't have the answer/Why you still standing here/Hey, hey, hey, hey/Just walk away

Unlike in the other four songs in this category, Colin MacDonald o f the The Trews sings

about his romantic entanglement with regret that it is ending:

I found love to take me home/But she dont want to live alone/I'm always out on the road/So she's leaving/Oh my girl please dont give in/Don't listen to your stupid friends/I hear them going off again/So she's leaving

Eight songs were about past relationships {Afterglow, D.O.A., D on ’t Bother, Ghost o f

You, Helena, I Just Want You to Know, On M y Own, Since You’ve Been Gone). Three o f

these eight songs were about difficulty coping with the ending o f a relationship. Examples o f

these lyrics include: “N ow I'm living in your afterglow” {Afterglow, p. 180); “I just want you

to know/That I've been fighting to let you go/Some days I make it through/And then there's

nights that never end” {1 Just Want You to Know, p. 175), and, most notably,

For you, I'd give up all I own/And move to a communist counhy/If you came with me, o f course/And I'd file my nails, so they don't hurt you/And lose those pounds, and learn about football/If it made you stay, but you won't {D on’t Bother, p. 172)

Conversely, three songs in this category included lyrics about ‘moving on’ from

relationships, for example: “I'm finished, I’m getting you o ff my chest” (D.O.A.; p. 179);

“Since you've been gone/I can breathe for the first time” {Since You’ve Been Gone', p. 145);

and “Living in a world alone /Gets better every day/That I don't have to say I'm sorry I'm

coming home” {On M y Own', p. 130)”.

The last two songs in this category, Helena (p. 153) and The Ghost o f You (p. 136),

were written (and performed) by My Chemical Romance. Both songs are about losing


61

someone through death, and in both songs, there seems to be an internal conflict. In The

Ghost of You, the struggle is between 'giving up' because he does not want to live without

the person that he has lost ("I never said I'd lie and wait forever/If I died, we'd be together"),

or confronting his pain and grief:

And all the things that you never ever told me/And all the smiles that are ever gonna haunt me/Never coming home/Never coming hornet. „And all the wounds that, are ever gonna scar me/For all the ghosts that are never gonna catch me

In Helena, the struggle seems to be similar, in that he is making a decision about either

giving up or finding closure: "What's the worst that I can say/Things are better if I stay/So

long and goodnight/So long and goodnight".

6.3.1.4 Rumours. The lyrics of two songs centred on rumours, gossip, and

misconceptions (Boyfriend, Our Lips are Sealed). In Boyfriend (p. 138), Ashlee Simpson is

trying to dispel the rumours that she has 'stolen' another woman's boyfriend:

Don't put words up in my mouth/I didn't steal your boyfriend/Hey, how long till you face what's going on/'Cause you really got it wrong/I didn't steal your boyfriend/Hey, how long till you look at your own life/Instead of looking into mine/I didn't steal your boyfriend/Hey, how long till you're leaving me alone/Don't you got somewhere to go

In Our Lips Are Sealed (p. 155), Hilary and Haylie Duff sing about gossip and rumours:

Our lips are sealed/There's a weapon which we must use in our defence: Silence/Spreading Rumours/So far from true/Dragged up from the underworld/Just like some precious pearl/It doesn't matter what they say/In the jealous games people play

6.3.1.5 Memories. Two songs in this category centred on memories. In Photograph

(p. 126), Chad Kroeger of Nickelback sings about the town that he grew up in, some of his

fondest memories, and letting go of the past:

Kim's the first girl I kissed/I was so nervous that I nearly missed/She's had a couple of kids since then/I haven't seen her since God knows when/Oh, oh, oh/Oh god I, I/Every memory of looking out the back door/I have the photo album spread out on my bedroom floor /It's hard to say it, time to say it/Goodbye goodbye


61

someone through death, and in both songs, there seems to be an internal conflict. In The

Ghost o f You, the struggle is between ‘giving up’ because he does not want to live without

the person that he has lost (“I never said I'd lie and wait forever/If I died, we'd be together”),

or confronting his pain and grief:

And all the things that you never ever told me/And all the smiles that are ever gonna .haunt me/Never coming home/Never coming hom e/...And all the wounds that are ever gonna scar me/For all the ghosts that are never gonna catch me

In Helena, the struggle seems to be similar, in that he is making a decision about either

giving up or finding closure: “What's the worst that I can say/Things are better i f I stay/So

long and goodnight/So long and goodnight”.

6.3.1.4 Rumours. The lyrics o f two songs centred on rumours, gossip, and

misconceptions {Boyfriend, Our Lips are Sealed). In Boyfriend (p. 138), Ashlee Simpson is

trying to dispel the rumours that she has ‘stolen’ another woman’s boyfriend:

Don't put words up in my mouth/I didn’t steal your boyfriend/Hey, how long till you face what's going on/’Cause you really got it wrong/I didn't steal your boyfriend/Hey, how long till you look at your own life/instead o f looking into mine/I didn't steal your boyfriend/Hey, how long till you're leaving me alone/Don't you got somewhere to go

In Our Lips Are Sealed (p. 155), Hilary and Haylie Duff sing about gossip and rumours:

Our lips are sealed/There's a weapon which we must use in our defence: Silence/Spreading Rumours/So far from true/Dragged up from the underworld/Just like some precious pearl/It doesn't matter what they say/in the jealous games people play

6.3.1.5 Memories. Two songs in this category centred on memories. In Photograph

(p. 126), Chad Kroeger o f Nickelback sings about the town that he grew up in, some o f his

fondest memories, and letting go o f the past:

Kim's the first girl I kissed/I was so nervous that I nearly missed/She's had a couple o f kids since then/I haven't seen her since God knows when/Oh, oh, oh/Oh god I, I/Every memory o f looking out the back door/I have the photo album spread out on my bedroom floor /It's hard to say it, time to say it/Goodbye goodbye


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In Wake Me Up When September Ends (p. 152), Billie Joe Armstrong of Green Day

sings about the death of his father: "as my memory rests, but never forgets what I lost—wake

me up when September ends". He is still grieving for his father, even though many years

have passed.

6.3.1.6 Social issues. Four songs (Crazy, Jesus of Suburbia, Stupid Girls, Untitled)

included lyrics about larger social issues such as body image and eating disorders, drinking

and driving, alcohol and drug addictions, and family dysfunction(s). Two of these songs

(Crazy and Untitled) are by the same artists (Simple Plan).

Lyrics related to body image were evident in the songs Crazy and Stupid Girls and

included lyrics such as:

Tell me what's wrong with society/When everywhere I look, I see/Young girls dying to be on TV/They won't stop till they've reached their dreams/Diet pills, surgery/Photo-shopped pictures in magazines/Telling them how they should be/It doesn't make sense to me (Crazy; p. 134)

In the song Stupid Girls (p. 147), there is an interlude (talking rather than singing) in which

Pink (the artist) goes into a public washroom where a young woman is sticking a toothbrush

down her throat and vomiting into the sink. Pink says:

Oh my god you guys, I totally had more than 300 calories/That was so not sexy, no/Good one [referring to the other woman vomiting]/Can I borrow that? [referring to the toothbrush]/[Vomits] I Will be skinny!

The song Untitled (p. 159) is about a traffic accident involving an impaired driver who

collides with another vehicle, killing the other driver on impact. The messages in the lyrics

are related to confusion,

I open my eyes/I try to see but I'm blinded by the white light/I can't remember how/I can't remember why/I'm lying here tonight/And I can't stand the pain/And I can't make it go away/No I can't stand the pain

regret, and emotional pain following the accident:


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In Wake Me Up When September Ends (p. 152), Billie Joe Armstrong o f Green Day

sings about the death o f his father: “as my memory rests, but never forgets what I lost— wake

me up when September ends”. He is still grieving for his father, even though many years

have passed.

6.3.1.6 Social issues. Four songs {Crazy, Jesus o f Suburbia, Stupid Girls, Untitled)

included lyrics about larger social issues such as body image and eating disorders, drinking

and driving, alcohol and drug addictions, and family dysfunction(s). Two o f these songs

{Crazy and Untitled) are by the same artists (Simple Plan).

Lyrics related to body image were evident in the songs Crazy and Stupid Girls and

included lyrics such as:

Tell me what's wrong with society/When everywhere I look, I see/Young girls dying to be on TV/They won't stop till they've reached their dreams/Diet pills, surgery/Photo-shopped pictures in magazines/Telling them how they should be/it doesn't make sense to me {Crazy; p. 134)

In the song Stupid Girls (p. 147), there is an interlude (talking rather than singing) in which

Pink (the artist) goes into a public washroom where a young woman is sticking a toothbrush

down her throat and vomiting into the sink. Pink says:

Oh my god you guys, I totally had more than 300 calories/That was so not sexy, no/Good one [referring to the other woman vomiting]/Can I borrow that? [referring to the toothbrush]/[Vomits] I Will be skinny!

The song Untitled (p. 159) is about a traffic accident involving an impaired driver who

collides with another vehicle, killing the other driver on impact. The messages in the lyrics

are related to confusion,

I open my eyes/I try to see but I'm blinded by the white light/I can't remember how/I can't remember why/I'm lying here tonight/And I can't stand the pain/And I c^n't make it go away/No I can't stand the pain

regret, and emotional pain following the accident:


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Everybody's screaming/I try to make a sound but no one hears me/I'm slipping off the edge/I'm hanging by a thread/I wanna start this over again/So I try to hold onto a time when nothing mattered/And I can't explain what happened/And I can't erase the things that I've done/No I can't

In the chorus, it seems that the lyrics are about how everyone involved (including the family

of the victim, for example), not only the drunk driver, must be feeling:

„How could this happen to me/I made my mistakes/Got no where to run/The night goes on/As I'm fading away/I'm sick of this life/I just wanna scream/How could this happen to me

This song and the music video have both been used for the Mothers Against Drunk Driving

(MADD) campaigns (MTV, 2005). Although the themes in this song may not seem directly

related to the current research, I believe that this song (and the others in this category) are of

particular relevance. The messages in music can have a tremendous influence on many

individuals. Knowing that there are role models who are dedicated to transmitting messages

related to social issues (rather than simply superficial values) is highly encouraging.

Two of the songs (Crazy, Jesus of Suburbia) in this category include messages about

family issues. The first is related to how many individuals' busy lives and careers may be

contributing the destruction of the family unit:

I guess things are not how they used to be/There's no more normal families/Parents act like enemies/Making kids feel like its World War III/No one cares, no one's there/I guess we're all just too damn busy/And money's our first priority/It doesn't make sense to me (Crazy; p. 134)

The second is an example of (one) potential outcome for children who are raised in an

environment where there are domestic issues and disturbances. In Jesus of Suburbia (p. 162),

Billie Joe Armstrong of Green Day, sings: "Everyone is so full of shit/Born and raised by

hypocrites"; at the end of the song he concludes: "Running away from pain/When you've

been victimized/Tales from another broken home". There are other 'clues' throughout the


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Everybody's screaming/I try to make a sound but no one hears me/I'm slipping o ff the edge/I'm hanging by a thread/I wanna start this over again/So I try to hold onto a time when nothing mattered/And I can't explain what happened/And I can't erase the things that I've done/No I can't

In the chorus, it seems that the lyrics are about how everyone involved (including the family

o f the victim, for example), not only the drunk driver, must be feeling:

.How could this happen to me/I made my mistakes/Got no where to run/The night goes on/As I'm fading away/I'm sick o f this life/I just wanna scream/How could this happen to me

This song and the music video have both been used for the Mothers Against Drunk Driving

(MADD) campaigns (MTV, 2005). Although the themes in this song may not seem directly

related to the current research, I believe that this song (and the others in this category) are o f

particular relevance. The messages in music can have a tremendous influence on many

individuals. Knowing that there are role models who are dedicated to transmitting messages

related to social issues (rather than simply superficial values) is highly encouraging.

Two o f the songs {Crazy, Jesus o f Suburbia) in this category include messages about

family issues. The first is related to how many individuals’ busy lives and careers may be

contributing the destruction o f the family unit:

I guess things are not how they used to be/There's no more normal families/Parents act like enemies/Making kids feel like its World War III/No one cares, no one's there/1 guess we're all just too damn busy/And money's our first priority/it doesn't make sense to me (Crazy:; p. 134)

The second is an example o f (one) potential outcome for children who are raised in an

environment where there are domestic issues and disturbances. In Jesus o f Suburbia (p. 162),

Billie Joe Armstrong o f Green Day, sings: “Everyone is so full o f shit/Born and raised by

hypocrites”; at the end o f the song he concludes: “Running away from pain/When you've

been victimized/Tales from another broken home”. There are other ‘clues’ throughout the


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song about why he is feeling so angry, including: "Get my television fix sitting on my

crucifix/The living room or my private womb/While the moms and Brads are away"; and:

On a steady diet of soda pop and Ritalin.../To fall in love and fall in debt/To alcohol and cigarettes and Mary Jane/To keep me insane and doing someone else's cocaine

It seems that the character in this song is struggling with several issues including those

related to family and drug and alcohol addictions, and that he is unable to face/cope with

making any positive changes in his life:

And there's nothing wrong with me/This is how I'm supposed to be/In a land of make believe/That don't believe in me

The most dominant themes in the song lyrics were relationships and

sexuality/objectification. As previously noted, there was only one song (of the 22 songs about

relationships) that was about an untroubled romantic relationship (Stickwitu; p. 161). The

messages in the 'relationship songs' are inconsistent with those in media targeted at a

younger audience. If little girls are learning about 'happily ever after' but pre-

adolescent/adolescent girls are learning that relationships often end in heartache, there is

bound to be some confusion in their expectations about love, romance, and happiness.

Perhaps more surprisingly, six songs were almost exclusively about sexuality and/or

the objectification of women (Ass Like That, Beep, Don't Cha, Hips Don't Lie, My Humps,

Naughty Girl). All songs analysed are presented by category in Table 6.8 'Songs by

Category' (p. 65).


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song about why he is feeling so angry, including: “Get my television fix sitting on my

crucifix/The living room or my private womb/While the moms and Brads are away”; and:

On a steady diet o f soda pop and Ritalin.../To fall in love and fall in debt/To alcohol and cigarettes and Mary Jane/To keep me insane and doing someone else's cocaine

It seems that the character in this song is struggling with several issues including those

related to family and drug and alcohol addictions, and that he is unable to face/cope with

making any positive changes in his life:

And there's nothing wrong with me/This is how I'm supposed to be/in a land o f make believe/That don't believe in me

The most dominant themes in the song lyrics were relationships and

sexuality/objectification. As previously noted, there was only one song (o f the 22 songs about

relationships) that was about an untroubled romantic relationship (Stickwitu; p. 161). The

messages in the ‘relationship songs’ are inconsistent with those in media targeted at a

younger audience. I f little girls are learning about ‘happily ever after’ but pre

adolescent/adolescent girls are learning that relationships often end in heartache, there is

bound to be some confusion in their expectations about love, romance, and happiness.

Perhaps more surprisingly, six songs were almost exclusively about sexuality and/or

the objectification o f women (Ass Like That, Beep, D on ’t Cha, Hips Don 7 Lie, My Humps,

Naughty Girl). All songs analysed are presented by category in Table 6.8 ‘Songs by

Category’ (p. 65).


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Table 6.8 Songs by Category

True Self Wake Up

Rumours Boyfriend, Our Lips are Sealed

Memories Photograph, Wake Me Up When September Ends

Social issues Crazy, Jesus of Suburbia, Stupid Girls, Untitled

Sexuality & objectification Ass Like That, Beep, Don't Cha, Hips Don't Lie, My Humps, Naughty Girl

Relationships

Supportive Count on Me, Fix You, Shine On

Family Because of You, Confessions of a Broken Heart

Untroubled Stickwitu

Longing Catch Your Wave, Just the Girl, Sugar, We're Goin' Down,

Troubled 321, Beat of My Heart, Sorry, So She's Leaving, Walk Away

Difficulty Coping Afterglow, Don't Bother, Just Want You to Know,

Moving On D.O.A., Since You've Been Gone, On My Own

Death Helena, The Ghost of You

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Table 6.8 Songs by Category

True Self Wake Up

Rumours Boyfriend, Our Lips are Sealed

Memories Photograph, Wake Me Up When September Ends

Social issues Crazy, Jesus o f Suburbia, Stupid Girls, Untitled

Sexuality & objectification Ass Like That, Beep, D on ’t Cha, Hips D on ’t Lie, My Humps, Naughty Girl

Relationships

Supportive Count on Me, Fix You, Shine On

Family Because o f You, Confessions o f a Broken Heart

Untroubled Stickwitu

Longing Catch Your Wave, Just the Girl, Sugar, We ’re Goin ’ Down,

Troubled 321, Beat o f My Heart, Sorry, So She’s Leaving, Walk Away

Difficulty Coping Afterglow, D on’t Bother, Just Want You to Know,

Moving On D.O.A., Since You’ve Been Gone, On M y Own

Death Helena, The Ghost o f You

CT\

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6.3.2 Music Videos

Videos were coded according to what was portrayed in each video (e.g., the artist[s]

singing/performing, dancing, sexuality and/or objectification, social commentary, and stories

[i.e., mini-movies]). Thematic content included violence and relationships in addition to the

previously named categories.

6.3.2.1 Performance videos. Videos were categorised as performance videos if the

majority of the time (i.e., more than 50% of the total video time) was devoted to depictions of

the artist(s) performing/singing. Eight of the thirty-one videos were in this category:

Photograph, 321, Beat of My Heart, Boyfriend, Fix You, Just the Girl, On My Own, and Walk

Away.

6.3.2.2 Partying/having fun videos. Videos in this category included depictions of

people 'out on the town' in bars, clubs, shopping, hanging out with friends, and driving

around. The four videos in this category were: 1 Just Want You to Know, Our Lips Are

Sealed, Sorry, and Wake Up.

6.3.2.3 Dance, sexual, and/or objectifying videos. Although some of the videos in

this category could have been classified as performance videos (i.e., it was often the

artist/band members who were dancing), there were often other individuals (e.g., back up

dancers) dancing in the videos, as well, so a separate category emerged. All of the videos in

this category included sexual and/or objectifying images of women. These seven videos

were: Ass Like That, Beep, Don't Cha, Hips Don't Lie, My Humps, Naughty Girl, and

Stickwitu. See Table 6.9 'Objectifying and Sexual Images in Music Videos' (p. 67) for a

summary.


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6.3.2 Music Videos

Videos were coded according to what was portrayed in each video (e.g., the artistfs]

singing/performing, dancing, sexuality and/or objectification, social commentary, and stories

[i.e., mini-movies]). Thematic content included violence and relationships in addition to the

previously named categories.

6.3.2.1 Performance videos. Videos were categorised as performance videos if the

majority o f the time (i.e., more than 50% o f the total video time) was devoted to depictions o f

the artist(s) performing/singing. Eight o f the thirty-one videos were in this category:

Photograph, 321, Beat o f My Heart, Boyfriend, Fix You, Just the Girl, On M y Own, and Walk

Away.

6.3.2.2 Partying/having fun videos. Videos in this category included depictions o f

people ‘out on the town’ in bars, clubs, shopping, hanging out with friends, and drivjng

around. The four videos in this category were: 1 Just Want You to Know, Our Lips Are

Sealed, Sorry, and Wake Up.

6.3.2.3 Dance, sexual, and/or objectifying videos. Although some o f the videos in

this category could have been classified as performance videos (i.e., it was often the

artist/band members who were dancing), there were often other individuals (e.g., back up

dancers) dancing in the videos, as well, so a separate category emerged. All o f the videos in

this category included sexual and/or objectifying images o f women. These seven videos

were: Ass Like That, Beep, D on ’t Cha, Hips D o n ’t Lie, My Humps, Naughty Girl, and

Stickwitu. See Table 6.9 ‘Objectifying and Sexual Images in Music V ideos’ (p. 67) for a

summary.


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Table 6.9 Objectifying and Sexual Images in Music Videos

Objectifying and Sexual Images in Music Videos

Beep -close ups of body parts: breasts, buttocks, groin, midriff -male gaze/`checking out' -dancing/gyrating

Don't Cha -close ups of body parts: breasts, buttocks, groin, midriff -male gazer checking out' -dancing/gyrating

Hips Don't Lie -close ups of body parts: breasts, buttocks, groin, midriff -male gazerchecking out' -dancing/gyrating

Just the Girl -close ups of body parts: breasts, buttocks

Just Want You to Know -close ups of body parts: breasts, buttocks, groin, midriff -dancing/gyrating

My Humps -close ups of body parts: breasts, buttocks, groin, midriff -male gazer checking out' -dancing/gyrating

Naughty Girl -close ups of body parts: breasts, buttocks, groin, midriff -male gazer checking out' -dancing/gyrating

Sorry -close ups of body parts: breasts, buttocks, groin, midriff -male gazer checking out' -objectification of both women and men -dancing/gyrating

Stickwitu -close ups of body parts: breasts, buttocks, groin, midriff -dancing/gyrating

Stupid Girls -close ups of body parts: breasts, buttocks, groin, midriff -male gazer checking out' -dancing/gyrating


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Table 6.9 Objectifying and Sexual Images in Music Videos

Objectifying and Sexual Images in Music Videos

Beep -close ups o f body parts: breasts, buttocks, groin, midriff -male gaze/‘checking out’-dancing/gyrating

D on ’t Cha -close ups o f body parts: breasts, buttocks, groin, midriff -male gaze/4checking out’-dancing/gyrating

Hips D on ’t Lie -close ups o f body parts: breasts, buttocks, groin, midriff -male gaze/4checking out’-dancing/gyrating

Just the Girl -close ups o f body parts: breasts, buttocks

Just Want You to Know -close ups o f body parts: breasts, buttocks, groin, midriff -dancing/gyrating

M y Humps -close ups o f body parts: breasts, buttocks, groin, midriff -male gaze/4checking out’-dancing/gyrating

Naughty Girl -close ups o f body parts: breasts, buttocks, groin, midriff -male gaze/4checking out’-dancing/gyrating

Sorry -close ups o f body parts: breasts, buttocks, groin, midriff -male gaze/4checking out’-objectification o f both women and men -dancing/gyrating

Stickwitu -close ups o f body parts: breasts, buttocks, groin, midriff -dancing/gyrating

Stupid Girls -close ups o f body parts: breasts, buttocks, groin, midriff -male gaze/4checking out’-dancing/gyrating


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6.3.2.4 Social commentary videos. Three videos, Crazy, Stupid Girls, and Untitled,

were categorised as social commentaries. As discussed in the lyrics section, issues included

those related to body image and eating disorders, drinking and driving, alcohol and drug

addictions, and family issues.

6.3.2.5 Story videos. Nine videos (Afterglow, Because of You, Confessions of a

Broken Heart, Ghost of You, Helena, Jesus of Suburbia, Since You've Been Gone, Sugar,

We're Going Down, and Wake Me Up When September Ends) were categorised as 'story'

videos because they were similar to short movies. These videos are summarised in Table 6.10

`Story Videos' (p. 69) and overlapping categories are noted.

6.3.3 Other Content

6.3.3.1 Violence in music videos. The topic of violence in various forms of media has

been examined extensively (e.g., Aikat, 2004; Dietz, 1998; flaridakis, 2006; Signorielli,

2003; Villani, 2001) and I felt that it was important to examine the selected music videos for

instances of violence. Violence was a small (but notable) part of the thematic content of the

videos chosen for analysis, but was not prevalent enough (based on the length of time that

violence/law enforcement officials were portrayed) to be considered as a categorical

description of the videos.

The types of violence depicted in music videos included domestic violence (Because

of You, Confessions of a Broken Heart, Jesus of Suburbia, Wake Me Up When September

Ends); vandalism/destruction of objects or property (321, Afterglow, Jesus of Suburbia, Since

You've Been Gone); war (Ghost of You, Wake Me Up When September Ends); and actual

(e.g., physical fighting) or implied aggression (e.g., in Sugar, We're Goin' Down, the girl's

father wants to shoot her boyfriend with a crossbow, but does not do so) between men (Ass

Like That, Jesus of Suburbia, Sugar, We're Goin' Down).


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6.3.2.4 Social commentary videos. Three videos, Crazy, Stupid Girls, and Untitled,

were categorised as social commentaries. As discussed in the lyrics section, issues included

those related to body image and eating disorders, drinking and driving, alcohol and drug

addictions, and family issues.

6.3.2.5 Story videos. Nine videos (Afterglow, Because o f You, Confessions o f a

Broken Heart, Ghost o f You, Helena, Jesus o f Suburbia, Since You’ve Been Gone, Sugar,

We ’re Going Down, and Wake Me Up When September Ends) were categorised as ‘story’

videos because they were similar to short movies. These videos are summarised in Table 6.10

‘Story Videos’ (p. 69) and overlapping categories are noted.

6.3.3 Other Content

6.3.3.1 Violence in music videos. The topic o f violence in various forms o f media has

been examined extensively (e.g., Aikat, 2004; Dietz, 1998; Haridakis, 2006; Signorielli,

2003; Villani, 2001) and I felt that it was important to examine the selected music videos for

instances o f violence. Violence was a small (but notable) part o f the thematic content o f the

videos chosen for analysis, but was not prevalent enough (based on the length o f time that

violence/law enforcement officials were portrayed) to be considered as a categorical

description o f the videos.

The types o f violence depicted in music videos included domestic violence (Because

o f You, Confessions o f a Broken Heart, Jesus o f Suburbia, Wake Me Up When September

Ends)\ vandalism/destruction o f objects or property (321, Afterglow, Jesus o f Suburbia, Since

You’ve Been Gone)', wax (Ghost o f You, Wake Me Up When September Ends)', and actual

(e.g., physical fighting) or implied aggression (e.g., in Sugar, W e’re G oin ’ Down, the girl’s

father wants to shoot her boyfriend with a crossbow, but does not do so) between men (Ass

Like That, Jesus o f Suburbia, Sugar, We ’re Goin ’ Down).


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Table 6.10 Story Videos . _ Video - Overlapping Category Example

Afterglow Relationships/Memories

This video is about a man remembering a love that he has lost. There are scenes related to their troubled relationship and the difficulties he is experiencing now that she is gone.

Because of You Relationships

(family)/Memories

A woman is fighting with her husband and begins to remember her own childhood. Growing up, she witnessed domestic violence and had difficulty dealing with divorce of her parents. Her mother became depressed and dependent on her daughter for emotional support. As an adult, the woman does not want to make the same mistakes, and therefore, makes up with her husband. Together, they go and comfort their young daughter who has witnessed their argument.

Confessions of a Broken Heart Relationships

(family)/Memories

This video is similar to the preceding one in terms of the storyline. A woman is remembering her childhood and the domestic violence that occurred. She remembers how she was hiding in her room, alone and afraid, while her parents were fighting.

Ghost of You Relationships

(loss through death)

The scenes in this video switch back and forth between young couples dancing (at a USO dance) and scenes on a battlefield. The video is about losing a loved one who has died in combat.

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Table 6.10 Story VideosVideo Overlapping Category' Example

Afterglow Relationships/Memories

This video is about a man remembering a love that he has lost. There are scenes related to their troubled relationship and the difficulties he is experiencing now that she is gone.

Because o f You Relationships (family )/Memories

A woman is fighting with her husband and begins to remember her own childhood. Growing up, she witnessed domestic violence and had difficulty dealing with divorce o f her parents. Her mother became depressed and dependent on her daughter for emotional support. As an adult, the woman does not want to make the same mistakes, and therefore, makes up with her husband. Together, they go and comfort their young daughter who has witnessed their argument.

Confessions o f a Broken Heart Relationships(family)/Memories

This video is similar to the preceding one in terms o f the storyline. A woman is remembering her childhood and the domestic violence that occurred. She remembers how she was hiding in her room, alone and afraid, while her parents were fighting.

Ghost o f You Relationships (loss through death)

The scenes in this video switch back and forth between young couples dancing (at a USO dance) and scenes on a battlefield. The video is about losing a loved one who has died in combat.

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Helena Relationships


This video takes place in a church where a funeral is taking place. Those in attendance are grieving for, and eventually say goodbye to, the woman who has passed on. The song was written about the lead singer's (Gerard Way of My Chemical Romance) grandmother, and both the song and video are the band's tribute to her memory.

Jesus of Suburbia Society

This song is about a character named St. Jimmy. There are numerous themes in this video, including relationships and infidelity, sex, teen angst, addictions, and violence. Jimmy drinks, steals, broods, and treats women as objects. He is portrayed as a troubled young man—arguing his girlfriend, being unfaithful, and getting into physical altercations. He is also shown alone in several scenes, and seems depressed and suicidal. For example, in one scene, he is holding a razor blade in his hand and looking at his wrist. However, he cuts the palm of his hand instead, and leaves a bloody handprint on the wall of the public washroom where he has been scribbling on the walls. In the end, he leaves the town where he has been so unhappy and dissatisfied.

Since You've Been Gone Relationships (break-up)

A woman destroys everything in her ex-boyfriend's apartment. She overturns everything, breaks objects, and cuts clothing off of the hangers. At the end of the video, she leaves the building just as her ex-boyfriend is returning home (with his new girlfriend)

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HelenaRelationships


This video takes place in a church where a funeral is taking place. Those in attendance are grieving for, and eventually say goodbye to, the woman who has passed on. The song was written about the lead singer’s (Gerard Way o f My Chemical Romance) grandmother, and both the song and video are the band’s tribute to her memory.

Jesus o f Suburbia Society

This song is about a character named St. Jimmy. There are numerous themes in this video, including relationships and infidelity, sex, teen angst, addictions, and violence. Jimmy drinks, steals, broods, and treats women as objects. He is portrayed as a troubled young man—arguing his girlfriend, being unfaithful, and getting into physical altercations. He is also shown alone in several scenes, and seems depressed and suicidal. For example, in one scene, he is holding a razor blade in his hand and looking at his wrist. However, he cuts the palm o f his hand instead, and leaves a bloody handprint on the wall o f the public washroom where he has been scribbling on the walls. In the end, he leaves the town where he has been so unhappy and dissatisfied.

Since You’ve Been Gone Relationships(break-up)

A woman destroys everything in her exboyfriend’s apartment. She overturns everything, breaks objects, and cuts clothing off o f the hangers. At the end o f the video, she leaves the building just as her ex-boyfriend is returning home (with his new girlfriend)

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Sugar, We're Going Down Relationships

This video is about the relationship between a young woman and man. The young man is an outcast, but the woman loves him anyway. The woman's father does not approve of them dating and wants to shoot the young man (with a crossbow). By the end of the video, the father realises that he and his daughter's boyfriend have a lot in common. He accepts their relationship, and the video ends on a happy note.

Wake Me Up When September Ends Memories

This video is about the relationship between a young woman and man, as well. They are very much in love, and there are scenes of them enjoying their lives together. The young man enlists in the army, however, and the young woman is devastated. She does not want to lose the person whom she loves so much. The remaining scenes switch back and forth between the young man in combat and the young woman at home (alone)—waiting and hoping for his safe return.

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Sugar, We ’re Going Down Relationships

This video is about the relationship between a young woman and man. The young man is an outcast, but the woman loves Mm anyway. The woman’ s father does not approve o f them dating and wants to shoot the young man (with a crossbow). By the end o f the video, the father realises that he and his daughter’s boyfriend have a lot in common. He accepts their relationsMp, and the video ends on a happy note.

Wake Me Up When September Ends Memories

This video is about the relationship between a young woman and man, as well. They are very much in love, and there are scenes of them enjoying their lives together. The young man enlists in the army, however, and the young woman is devastated. She does not want to lose the person whom she loves so much. Hie remaining scenes switch back and forth between the young man in combat and the young woman at home (alone)— waiting and hoping for Ms safe return.

<1

72

In addition to violent acts, police/law enforcement were depicted visually in 321, Walk Away,

Boyfriend, Ass Like That, Untitled, and Confessions of a Broken Heart; there was a verbal

reference to police in Photograph (`The cops hated us hanging out', p. 126). Nine of the

videos included actual violence, two included instances of implied violence (e.g., a young

boy pretending to shoot people), and five included images of law enforcement figures.

Interestingly, it was not necessarily the videos that included violent imagery that also

included police/law enforcement. Three videos included portrayals of police but no violent

acts (Boyfriend, Untitled, Walk Away), and three included both violence and law enforcement

(321, vandalism; Ass Like That, male toward male aggression; Confessions of a Broken

Heart, domestic violence).

Three of the 15 videos that included instances of violence and/or reference to law

enforcement also included dancing (Ghost of You, Walk Away, Ass Like That), and three

included sexuality or sexually objectifying images of women (Jesus of Suburbia, Walk Away,

Ass Like That). All thirty-one videos analysed included images of the artist(s)

singing/performing, and most videos that included violence and/or law enforcement were

categorised as 'performance videos'.

Sixteen of the music videos did not include any violent imagery or reference to law

enforcement. Ten of these videos however, were those that included sexually objectifying

images of women (Beep, Don't Cha, Hips Don't Lie, I Just Want You to Know, Just the Girl,

My Humps, Naughty Girl, Sorry, Stickwitu, Stupid Girls), ten included dancing (Beep, Don't

Cha, Helena, Hips Don't Lie, My Humps, Naughty Girl, Sorry, Stickwitu, Stupid Girls, Wake

Up), and eight included both. Four of these videos were categorised as performance videos

(Beat of My Heart, Fix You, Just the Girl, On My Own), four as party/fun videos (I Just Want

You to Know, Our Lips Are Sealed, Sorry, Wake Up), one as a social commentary (Stupid


72

In addition to violent acts, police/law enforcement were depicted visually in 321, Walk Away;

Boyfriend, Ass Like That, Untitled, and Confessions o f a Broken Heart; there was a verbal

reference to police in Photograph ( ‘The cops hated us hanging out’, p. 126). Nine o f the

videos included actual violence, two included instances o f implied violence (e.g., a young

boy pretending to shoot people), and five included images o f law enforcement figures.

Interestingly, it was not necessarily the videos that included violent imagery that a(so

included police/law enforcement. Three videos included portrayals o f police but no violent

acts {Boyfriend, Untitled, Walk Away), and three included both violence and law enforcement

(321, vandalism; Ass Like That, male toward male aggression; Confessions o f a Broken

Heart, domestic violence).

Three o f the 15 videos that included instances o f violence and/or reference to law

enforcement also included dancing (Ghost o f You, Walk Away, Ass Like That), and three

included sexuality or sexually objectifying images o f women (Jesus o f Suburbia, Walk Away,

Ass Like That). All thirty-one videos analysed included images o f the artist(s)

singing/performing, and most videos that included violence and/or law enforcement were

categorised as ‘performance videos’.

Sixteen o f the music videos did not include any violent imagery or reference to law

enforcement. Ten o f these videos however, were those that included sexually objectifying

images o f women (Beep, D o n ’t Cha, Hips D o n ’t Lie, I Just Want You to Know, Just the Girl,

My Humps, Naughty Girl, Sorry, Stickwitu, Stupid Girls), ten included dancing (Beep, D o n ’t

Cha, Helena, Hips D on ’t Lie, My Humps, Naughty Girl, Sorry, Stickwitu, Stupid Girls, Wake

Up), and eight included both. Four o f these videos were categorised as performance videos

(Beat o f My Heart, Fix You, Just the Girl, On M y Own), four as party/fun videos (I Just Want

You to Know, Our Lips Are Sealed, Sorry, Wake Up), one as a social commentary (Stupid


73

Girls), and one as a story (Helena), See Table 6:11 'Additional Content in Music Videos' (p.

74) for a summary.

6.3.3.2 Relationships in music videos. Several types of intimate relationships were

portrayed in music videos, including same sex friendships, romantic relationships, and family

relationships. There were examples of both positive (e.g., hanging out, dancing with

friends/band members) and negative (e.g., domestic violence) aspects of these relationships

in the video content. Same sex friendships and/or camaraderie were most often portrayed in

the dance, performance, and partying/having fun videos.

Overall, the most common elements of the music videos were performing and

dancing. In addition, much of the sexual/objectifying content of music videos was related to

the artists' performances and/or dance style. For example, in the Black-Eyed Peas video My

Humps (p. 113), Fergie (female band member) is shown singing, flirting, dancing, and in

sexually suggestive ways (e.g., touching her own breasts, buttocks, pelvis).

6.3.4 Congruence

Lyrics and videos were also compared for 'congruence' (whether or not the song

lyrics 'matched' what was depicted in the corresponding videos). Eighteen of the 31 music

videos and lyrics were congruent (Afterglow, Ass Like That, Because of You, Beep,

Confessions of a Broken Heart, Crazy, Don't Cha, Ghost of You, Helena, Hips Don't Lie,

Jesus of Suburbia, My Humps, Naughty Girl, Photograph, Stickwitu, Stupid Girls, Untitled,

Wake Me Up When September Ends), and thirteen of the videos did not match the lyrics (321,

Beat of My Heart, Boyfriend, Fix You, I Just Want You to Know, Just the Girl, On My Own,

Our Lips Are Sealed, Since You've Been Gone, Sorry, Sugar, We're Going Down, Wake Up,

Walk Away; see Table 6.12 'Congruence Between Song Lyrics and Music Videos' (p. 76).


73

Girls), and one as a story {Helena), See Table 6.11 ‘Additional Content in Music Videos’ (p.

74) for a summary.

6.3.3.2 Relationships in music videos. Several types o f intimate relationships were

portrayed in music videos, including same sex friendships, romantic relationships, and family

relationships. There were examples o f both positive (e.g., hanging out, dancing with

friends/band members) and negative (e.g., domestic violence) aspects o f these relationships

in the video content. Same sex friendships and/or camaraderie were most often portrayed in

the dance, performance, and partying/having fun videos.

Overall, the most common elements o f the music videos were performing and

dancing. In addition, much o f the sexual/objectifying content o f music videos was related to

the artists’ performances and/or dance style. For example, in the Black-Eyed Peas video My

Humps (p. 113), Fergie (female band member) is shown singing, flirting, dancing, and in

sexually suggestive ways (e.g., touching her own breasts, buttocks, pelvis).

6.3.4 Congruence

Lyrics and videos were also compared for ‘congruence’ (whether or not the song

lyrics ‘matched’ what was depicted in the corresponding videos). Eighteen o f the 31 music

videos and lyrics were congruent {Afterglow, Ass Like That, Because o f You, Beep,

Confessions o f a Broken Heart, Crazy, D on ’t Cha, Ghost o f You, Helena, Hips D o n ’t Lie,

Jesus o f Suburbia, My Humps, Naughty Girl, Photograph, Stickwitu, Stupid Girls, Untitled,

Wake Me Up When September Ends), and thirteen o f the videos did not match the lyrics {321,

Beat o f My Heart, Boyfriend, Fix You, I Just Want You to Know, Just the Girl, On M y Own,

Our Lips Are Sealed, Since You’ve Been Gone, Sorry, Sugar, We ’re Going Down, Wake Up,

Walk Away, see Table 6.12 ‘Congruence Between Song Lyrics and Music Videos’ (p. 76).


74

Table 6.11 Additional Content in Music Videos

Videos With Violent Imagery and/or Law Enforcement

Selected Videos Violent/Aggressive Acts Category

Sugar, We're Going Down father wants to shoot his daughter's boyfriend

story

Confessions of a Broken Heart domestic/police story

Crazy I boy playing 'war' I society

Untitled I police I society

Boyfriend I police I performance

Photograph reference to police I performance

Afterglow f vandalism I story

Since You've Been Gone 1 vandalism [ story

321 I vandalism/police I performance

Because pfYou _ I____ violence/domestic I _ story _ ,

Wake Me Up When September Ends violence/war/domestic story

Ghost of You violence/war story

Jesus of Suburbia violence/domestic/other society

Walk Away police performance

Ass Like That violence/police sex/obj/dance

Videos Without Violent Imagery

Selected Videos Dancing Objectification Category

Our Lips Are Sealed no no party/fun

Fix You no no performance On My Own no no performance

Beat of My Heart no no performance

Wake Up yes no party/fun

Helena yes no story

I Just Want You to Know no yes party/fun

Just the Girl no yes performance

Naughty Girl yes yes sex/obj/dance

My Humps yes yes sex/obj/dance

Don't Cha yes yes sex/obj/dance


74

Table 6 A 1 Additional Content in Music Videos

Videos With Violent Imagery and/or Law Enforcement

Selected Videos Violent/Aggressive Acts Category

Sugar, We ’re Going Down father wants to shoot his daughter’s boyfriend

story

Confessions o f a Broken Heart domestic/police story

Crazy boy playing ‘war’ society

Untitled police society

Boyfriend police performance

Photograph reference to police performance

Afterglow vandalism story

Since You’ve Been Gone vandalism story

321 vandalism/police performance

Because o f You violence/domestic story

Wake Me Up When September Ends violence/war/domestic story

Ghost o f You violence/war story

Jesus o f Suburbia violence/domestic/other society

Walk Away police performance

Ass Like That violence/police................ ” T ■ ■■

sex/obj/dance

Videos W ithout Violent Im agery

Selected Videos Dancing Objectification Category

Our Lips Are Sealed no no party/fun

Fix You no no performanceOn M y Own no no performance

Beat o f My Heart no no performance

Wake Up yes no party/fun

Helena yes no story

I Just Want You to Know no yes party/fun

Just the Girl no yes performance

Naughty Girl yes yes sex/obj/dance

M y Humps yes yes sex/obj/dance

D on ’t Cha yes yes sex/obj/dance


75

Beep yes yes sex/obj/dance

Hips Don't Lie yes yes sex/obj/dance

Stickwitu yes yes sex/obj/dance

Stupid Girls yes yes society

Sorry yes yes party/fari


75

Beep yes yes sex/obj/dance

Hips D on ’t Lie yes yes sex/obj/dance

Stickwitu yes yes sex/obj/dance

Stupid Girls yes yes society

Sorry yes yes party/fun


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Table 6.12 Congruence Between Song Lyrics and Music Videos

Selected Music Videos

Sugar, We're Going Down

Confessions of a Broken Heart

Crazy

Our Lips Are Sealed

I Fix You

On My Own

Beat of My Heart

Boyfriend

Photograph

.Afterglow r..

( 'Since You've Been Gone

321

Because of You

I-Wake Me Up When September Ends

Wake Up

Helena Ghost of You

Congruence

no match

match

match

no match

no match

no match

no match

match

no match

match

match

no match

no match

match

match

no match

match match

Category (verbally) Category (visually)

relationships story

relationships story

society commentary

rumours party/fun

relationships performance



society commentary

rumours performance

memories

relationships

relationships

relationships

relationships story

performance

story

memories

true self

relationships relationships

story

performance

story

party/fun

story story

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copyright owner.


without perm

ission.

Table 6.12 Congruence Between Song Lyrics and Music Videos

Selected Music Videos

I Sugar, W e’re Going Downr ............... ....... ...i Confessions o f a Broken Heart

! Crazyi _ ................................................................................

i Our Lips Are Sealed

Fix You

. . . .I On My Own

I Beat o f My Heart

| Untitled

i Boyfriend

: Photographf .................

I Afterglow

! Since You’ve Been Gone

I 321

f Because o f You

i Wake Me Up When September Ends

I Wake Up

! Helena 1 Ghost o f You

Congruence

no match

match

match

no match

no match

no match

no match

match

no match

match

match

no match

no match

match

match

no match

matchmatch

Category (verbally)

relationships

relationships

society

rumours

relationships

relationships

relationships

society

rumours

memories

relationships

relationships

relationships

relationships

memories

true self

relationshipsrelationships

Category (visually)

story

story

commentary

party/fun

performance

performance

performance

commentary

performance

performance

story

story

performance

story

story

party/fun

storystory

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ithout permission.

I Just Want You to Know

Just the Girl

Jesus of Suburbia

Naughty Girl

Don't Cha

Beep

Hips Don't Lie

Stickwitu

Stupid Girls

Sony

Walk Away

Ass Like That

So She's Leavin'

D.O.A.

Shine On

Don't Bother

Count on Me

Catch Your Wave

no match

no match

match

match

match

match

match

no match

no match

match

N/A

N/A

N/A

N/A

N/A

relationships

relationships

society

objectification

party/fun

performance

story

sexual dance

objectification sexual dance




relationships

society

relationships

relationships

objectification

relationships

relationships

relationships

relationships

relationships

relationships

sexual dance

commentary

party/fun

performance

sexual dance

N/A

N/A

N/A

N/A

N/A

N/A

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without perm

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| I Just Want You to Know

i Just the Girl

I Jesus o f Suburbia

j Naughty Girl

I My Humps

i Don’t Cha

I Beep

] Hips Don’t Lie

! Stickwitu

i Stupid Girls

i Sorry

i Walk Away

i Ass Like That

I So She’s Leavin’

: D.O.A.

! Shine On

j Don’t Bother

| Count on Me

I Catch Your Wave

no match relationships party/fun

no match relationships performance

match society story

match objectification sexual dance


match | objectification sexual dance



match | relationships sexual dance

match I society commentary

no match j relationships \ party/fun

no match relationships performance

match | objectification sexual dance

N/A I relationships N/A

N/A | relationships N/A

N/A i relationships N/A

N/A i relationships N/A

N/A j relationships N/A

relationships N/A

78

6.4 Clothing Text

The text on clothing (mostly t-shirts) was examined for verbal and thematic content.

Saturation occurred quickly, due to the repetitive nature of the messages. Several themes and

one overarching construct (`Getting Attention') emerged. These results are reported in Table

6.13 'Thematic Content in Textual Messages on Clothing' (p. 79) and discussed briefly

below.


Seven themes emerged from analyses of the clothing text. The text in each category

included words related to the themes of innocence, naughtiness, objectification, `princessy',

spoiled, superiority, and competitiveness.

6.4.1.1 Innocence. Text that related to the theme of 'innocence' included words and

phrases such as: 'Angel', 'Adorable', 'Angel Baby', 'Baby Girl', 'Honey', 'Perfect',

`Precious & Perfect', and 'Sweet'. Words such as 'angel' and 'baby', in particular, seem to

reflect the theme of innocence.

64.1.2 Naughtiness. Words and phrases that emerged in the 'naughtiness' category

included: 'Bad Ass Blonde', 'Bad Girls Rule', 'Bad is Good', 'Bitch', 'Cold Hard Bitc1f ,

`Evil Bitch', 'Good Girl Gone Bad', and 'I Do Bad Things'. The notion that 'it is good to be

bad' seems to be an increasingly popular message that young women are transmitting (via the

messages on their t-shirts). Some of the messages in other categories (e.g., 'spoiled') overlap

with this theme.

6.4.1.3 Objectification. Self-objectifying messages, in other words, 'advertising' that

one is an object to be stared at, or touched (e.g., 'Squeeze These'), included the most

messages of any category. Examples of self-objectifying messages included: 'Every Boy's


6:4 Clothing Text

The text on clothing (mostly t-shirts) was examined for verbal and thematic content.

Saturation occurred quickly, due to the repetitive nature o f the messages. Several themes and

one overarching construct ( ‘Getting Attention’) emerged. These results are reported in Table

6.13 ‘Thematic Content in Textual Messages on Clothing’ (p. 79) and discussed briefly

below.


Seven themes emerged from analyses o f the clothing text. The text in each category

included words related to the themes o f innocence, naughtiness, objectification, ‘princessy’,

spoiled, superiority, and competitiveness.

6.4.1.1 Innocence. Text that related to the theme o f ‘innocence’ included words and

phrases such as: ‘A ngel’, ‘Adorable’, ‘Angel Baby’, ‘Baby Girl’, ‘Honey’, ‘Perfect’,

‘Precious & Perfect’, and ‘Sweet’. Words such as ‘angel’ and ‘baby’, in particular, seem to

reflect the theme o f innocence.

6.4.1.2 Naughtiness. Words and phrases that emerged in the ‘naughtiness’ category

included: ‘Bad Ass Blonde’, ‘Bad Girls Rule’, ‘Bad is Good’, ‘Bitch’, ‘Cold Hard Bitdfi’,

‘Evil Bitch’, ‘Good Girl Gone Bad’, and ‘I Do Bad Things’. The notion that ‘it is good to be

bad’ seems to be an increasingly popular message that young women are transmitting (via the

messages on their t-shirts). Some o f the messages in other categories (e.g., ‘spoiled’) overlap

with this theme.

6.4.1.3 Objectification. Self-objectifying messages, in other words, ‘advertising’ that

one is an object to be stared at, or touched (e.g., ‘Squeeze These’), included the most

messages o f any category. Examples o f self-objectifying messages included: ‘Every Boy's


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ithout permission.

Table 6.13 Thematic Content in Textual Messages on Clothing

Objectifying Princessy Innocence Naughtiness

Beauty Queen Because I'm the Princess Angel Bad Ass Blonde Cuteyful Drama Queen Adorable Bad Girls Rule Every Boy's Dream I Didn't Ask to be a Princess but if the Crown Angel Baby Bad is Good Bitch Foxy Fits Baby Girl Cold Hard Bitch Goddess It's Hard Being a Princess Honey Evil Bitch Hello My Name is Gorgeous It's Not Easy Being a Princess Perfect Good Girl Gone Bad Hot Mommy Love Royal Property of Princess Perfect Angel University I Do Bad Things Hottie Major Princess Precious & Perfect Rich Bitch Hottie with a Body Make Way for the Princess Sweet Super Bitch Juicy Pampered Princess Finishing School That's QUEEN Bitch To You Meet the Twins Pretty Pouty Princess You Call Me a Bitch Like It's A Bad Thing Pinch Me Princess Shake What Yer Momma Gave Princess in Training Spoiled Ya Princess My Father is the King of Kings All I Want is Everything! (Is That a Problem?) Size Matters Property of Royal Pain Princess Buy Me Stuff and I'll Be Nicer Squeeze These Princess Perfect I'm Only Nice So You'll Buy Me Stuff Skinny Bitch Princess Rules Spoil Me Rotten Treasure Chest Queen Bee Spoil Me! Red Hot Royal Highness The Princess Soon to be Spoiled Beyond Belief Juicy Drama Queen Queen Spoiled Brat Sweet Thang Royalty Spoiled Little Mama Define "Single" V.I.P. Very Important Princess Spoiled Rotten I Like it Dirty Where is My Prince? The World Revolves One Way--Around Me MILF in Training Where's My Tiara? This is What Spoiled Looks Like Yummy Mommy Yes, I'm Spoiled... So What's Your Point? Natural Blonde My Boyfriend is out of Town Competitive Superiority Flirt Don't Be Jealous Blondes Are Adored Brunettes Are Ignored Flirt in a Skirt Cheerleader Most Likely to Steal Your Boyfriend Blondes Do It Better I am Gorgeous Amazing Adorable Tell Your Boyfriend to Stop Calling Me Don't Be Jealous Precious You Don't Know My Name But Your I'm Hot... You're Not

Boyfriend Does Life is Better Blonde Your Boyfriend Bought Me This Shirt That's Hot...You're Not Your Boyfriend Prefers Blondes You'd Be Cooler if You Were Me Your Boyfriend Prefers Brunettes

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Table 6.13 Thematic Content in Textual Messages on Clothing

Objectifying Brincessy Innocence NaughtinessBeauty Queen Because I'm the Princess Angel Bad Ass BlondeCuteyful Drama Queen Adorable Bad Girls RuleEvery Boy's Dream I Didn't Ask to be a Princess but if the Crown Angel Baby Bad is Good BitchFoxy Fits Baby Girl Cold Hard BitchGoddess It's Hard Being a Princess Honey Evil BitchHello My Name is Gorgeous It's Not Easy Being a Princess Perfect Good Girl Gone BadHot Mommy Love Royal Property of Princess Perfect Angel University I Do Bad ThingsHottie Major Princess Precious & Perfect Rich BitchHottie with a Body Make Way for the Princess Sweet Super BitchJuicy Pampered Princess Finishing School That's QUEEN Bitch To YouMeet the Twins Pinch Me

Pretty Pouty Princess Princess

You Call Me a Bitch Like It's A Bad Thing

Shake What Yer Momma Gave Princess in Training SpoiledYa Princess My Father is the King of Kings All I Want is Everything! (Is That a Problem?)Size Matters Property of Royal Pain Princess Buy Me Stuff and I'll Be NicerSqueeze These Princess Perfect I'm Only Nice So You'll Buy Me StuffSkinny Bitch Princess Rules Spoil Me RottenTreasure Chest Queen Bee Spoil Mei!Red Hot Royal Highness The Princess Soon to be Spoiled Beyond BeliefJuicy Drama Queen Queen Spoiled BratSweet Thang Royalty Spoiled Little MamaDefine "Single" V.I.P. Very Important Princess Spoiled RottenI Like it Dirty Where is My Prince? The World Revolves One Way—Around MeMILF in Training Where's My Tiara? This is What Spoiled Looks LikeYummy Mommy Natural Blonde

Yes, I'm Spoiled...So What’s Your Point?

My Boyfriend is out of Town Competitive SuperiorityFlirt Don't Be Jealous Blondes Are Adored Brunettes Are IgnoredFlirt in a Skirt Cheerleader Most Likely to Steal Your Boyfriend Blondes Do It BetterI am Gorgeous Amazing Adorable Tell Your Boyfriend to Stop Calling Me Don't Be JealousPrecious You Don't Know My Name But Your

Boyfriend DoesYour Boyfriend Bought Me This Shirt

I'm Hot...You're Not Life is Better Blonde That's Hot.. .You're Not

Your Boyfriend Prefers Blondes Your Boyfriend Prefers Brunettes

You'd Be Cooler if You Were Me

SO

80

Dream', 'Hottie with a Body', 'Meet the Twins', 'Treasure Chest', `MILF in Training', and

`Yummy Mommy'. These messages are reported in Table 6.14 'Self-Objectifying Text on T-

Shirts' (p. 81).

6.4.1.4 Princessy. The messages about being a princess that are common (this was the

second largest category) on clothing for girls and young women included: 'Because I'm the

Princess', 'It's Hard Being a Princess', 'Make Way for the Princess', 'Property of Royal Pain

Princess', 'V.I.P. Very Important Princess', and 'Where is My Prince?'.

6.4.1.5 Spoiled. This category includes phrases that reflect egocentric attitudes and

materialistic values. Much like the notion that 'it is good to be bad', it seems that the

message being transmitted is that it is also 'good to be spoiled' and self-centred. Messages

included: 'Buy Me Stuff and I'll Be Nicer', 'Spoil Me Rotten', 'The World Revolves One

Way--Around Me', and 'Yes, I'm Spoiled...So What's Your Point?'.

6.4.1.6 Superiority. The messages of superiority (i.e., lam better than you) 'Blondes

Do It Better', 'Don't Be Jealous', 'I'm Hot...You're Not', and 'You'd Be Cooler if You Were

Me' are some of the messages that were common to this category. There have always been

(and always will be) people who feel that they are superior to others, but 'advertising' the

idea that one feels superior to others seems, to me, to be a form of bullying (transmitting a

message that is intended to harm others by making them feel inferior) and/or passive-

aggressive behaviour.

6.4.1.7 Competitiveness. The bullying and passive-aggressive nature of the messages

above are also evident in the messages within this category: 'Most Likely to Steal Your

Boyfriend', 'You Don't Know My Name But Your Boyfriend Does', 'Your Boyfriend

Bought Me This Shirt', 'Your Boyfriend Wants Me'.


80

Dream’, ‘Hottie with a Body’, ‘Meet the Twins’ ̂ ‘Treasure Chest’, ‘MILF in Training’, and

‘Yummy Mommy’. These messages are reported in Table 6.14 ‘Self-Objectifying Text on T-

Shirts’ (p. 81).

6.4.1.4 Princessy. The messages about being a princess that are common (this was the

second largest category) on clothing for girls and young women included: ‘Because I’m the

Princess’, ‘It's Hard Being a Princess’, ‘Make Way for the Princess’, ‘Property o f Royal Pain

Princess’, ‘V.I.P. Very Important Princess’, and ‘Where is My Prince?’.

6.4.1.5 Spoiled. This category includes phrases that reflect egocentric attitudes and

materialistic values. Much like the notion that ‘it is good to be bad’, it seems that the

message being transmitted is that it is also ‘good to be spoiled’ and self-centred. Messages

included: ‘Buy Me Stuff and I'll Be Nicer’, ‘Spoil Me Rotten’, ‘The World Revolves One

W ay-Around M e’, and ‘Yes, I'm Spoiled...So What's Your Point?’.

6.4.1.6 Superiority. The messages o f superiority (i.e., 1 am better than you ) ‘Blondes

Do It Better’, ‘Don't Be Jealous’, ‘I'm Hot...You're N ot’, and ‘You'd Be Cooler if You Were

M e’ are some o f the messages that were common to this category. There have always been

(and always will be) people who feel that they are superior to others, but ‘advertising’ the

idea that one feels superior to others seems, to me, to be a form o f bullying (transmitting a

message that is intended to harm others by making them feel inferior) and/or passive-

aggressive behaviour.

6.4.1.7 Competitiveness. The bullying and passive-aggressive nature o f the messages

above are also evident in the messages within this category: ‘Most Likely to Steal Your

Boyfriend’, ‘You Don't Know My Name But Your Boyfriend Does’, ‘Your Boyfriend

Bought Me This Shirt’, ‘Your Boyfriend Wants M e’.


81

Table 6.14 Self-Objectifying Text on T-Shirts

r

Beauty Queen

Cuteyful

Every Boy's Dream

• Foxy

Goddess r Hello My Name is Gorgeous

Hot Mommy

Hottie

Hottie with.a Body

Juicy

Meet the Twins

Pinch Me

Shake What Yer Momma Gave Ya

Size Matters

Squeeze These

Skinny Bitch

reasure Chest

• Red Hot

Juicy Drama Queen

Sweet Thang

Define "Single"

I Like it Dirty

MILF in Training

Yummy Mommy

• Natural Blonde

My Boyfriend is out of Town

Flirt

Flirt in a Skirt Cheerleader

I am Gorgeous Amazing Adorable Precious


Table 6; 14 Self-Objectifying Text on T-Shirts

i Beauty Queen

s Cuteyful

i Every Boy's Dream

' Foxy

Goddess

i Hello My Name is Gorgeous

■ Hot Mommy

i Hottie

Hottie with a Body

Juicyj Meet the Twins

: Pinch Me

Shake What Ter Momma Gave Ya

Size Matters

! Squeeze These

! Skinny Bitch

Treasure Chest

Red Hot

Juicy Drama Queen

: Sweet Thang

Define "Single"

i I Like it Dirty

i MILF in Training

Yummy Mommy

Natural Blonde

My Boyfriend is out o f Town

Flirt ^ ............ ................... ........ ......... .

i Flirt in a Skirt Cheerleader

I am Gorgeous Amazing Adorable Precious


82

The dominant words and phrases in the clothing text were those categorised as

objectifying and `princessy'. Roberts and Gettman (2004) were interested in examining

whether or not a state of self-objectification, and its related consequences, could be induced

through exposure to sexually objectifying words rather than images (which have been the

primary focus in most studies on self-objectification). It has been suggested, for example,

that the text on magazine covers has a greater influence on women's states of self-

objectification than do the images portrayed (Kittler, 2003, cited in Roberts and Gettman,

2004).

If this is the case, then I would argue that the text messages on clothing are equally, if

not more, important to examine, given the fact that girls and women who wear clothing with

text messages are likely to be seen in many more places than magazines (e.g., in schools,

malls, movie theatres), which are typically found only in specific areas (e.g., newsstands) of

specific places.

7. CONCLUSIONS

7.1 Summary and Discussion

The central components of my research are best described and summarised through

the application of 'objectification theory' (Fredrickson & Roberts, 1997) and through what I

refer to as The Princess Phenomenon.

7.1.1 Objectification Theory

`Objectification theory' was proposed by Fredrickson and Roberts (1997) as their

attempt to explain how females are socialised to internalise observers' perspectives of their

bodies. This, in turn, leads to a preoccupation with one's own physical appearance (self-

objectification). They argue: 'When objectified, individuals are treated as bodies and, in

particular, as bodies that exist for the use and pleasure of others' (Fredrickson, Roberts, Noll,


82

The dominant words and phrases in the clothing text were those categorised as

objectifying and ‘princessy’. Roberts and Gettman (2004) were interested in examining

whether or not a state o f self-objectification, and its related consequences, could be induced

through exposure to sexually objectifying words rather than images (which have been the

primary focus in most studies on self-objectification). It has been suggested, for example,

that the text on magazine covers has a greater influence on women’s states o f sqlf-

objectification than do the images portrayed (Kittler, 2003, cited in Roberts and Gettman,

2004).

If this is the case, then I would argue that the text messages on clothing are equally, if

not more, important to examine, given the fact that girls and women who wear clothing with

text messages are likely to be seen in many more places than magazines (e.g., in schools,

malls, movie theatres), which are typically found only in specific areas (e.g., newsstands) o f

specific places.

7. CONCLUSIONS

7.1 Summary and Discussion

The central components o f my research are best described and summarised through

the application o f ‘objectification theory’ (Fredrickson & Roberts, 1997) and through what I

refer to as The Princess Phenomenon.

7.1.1 Objectification Theory

‘Objectification theory’ was proposed by Fredrickson and Roberts (1997) as their

attempt to explain how females are socialised to internalise observers’ perspectives o f their

bodies. This, in turn, leads to a preoccupation with one’s own physical appearance (self

objectification). They argue: ‘When objectified, individuals are treated as bodies and, in

particular, as bodies that exist for the use and pleasure o f others’ (Fredrickson, Roberts, Noll,


83

Quinn, & Twenge, 1998, p. 269). Given this definition it is clear that the media examined in

the current study often included material that was objectifying of women.

The consequences of exposure to objectifying images, words, or ideas often manifest

in ways that are not always easily identifiable. For instance, internalising an observer's

perspective can increase a female's shame and anxiety about her own physical

appearance/attractiveness, decrease her awareness of internal bodily states, and,

subsequently, inhibit her ability for peak motivational states (Fredrickson & Roberts, 1997).

This lack of internal awareness may make an individual more vulnerable to developing

mental health problems such as unipolar depression, sexual dysfunction, and eating disorders

(Fredrickson & Roberts, 1997). It is difficult to determine the degree of influence that media

imagery has on these internalised beliefs, but the current research is a solid foundation for

further exploration into these phenomena.

7.1.2 The Princess Phenomenon (Revisited)

In the same way that females internalise observers' perspectives of their bodies

(objectification theory), they internalise other messages in their environment, as well. First,

and generally speaking, little girls are often socialised to be like tiny versions of the

`traditional princesses' that we see in fairy tales and movies. For example, they may be

encouraged to be demure, well-behaved, quiet, neat, clean, and polite, and are often rewardFd

for these behaviours. They may play with Barbie dolls, read fairy tales, play dress-up with

gowns, tiaras, and jewels, and they may watch the Disney princess movies. Although all of

these seem like 'normal' activities for little girls, they can reinforce/influence their attitudes

and beliefs about what it means to be female. For instance, not only are princess-like traits

being internalised, but also, girls' desires to princess-like are strengthened. The themes and

messages (e.g., dependence, passivity, emphasis on beauty) in media targeted at young girls


83

Quinn, & Twenge, 1998, p. 269); Given this definition* it is clear that the media examined in

the current study often included material that was objectifying o f women.

The consequences o f exposure to objectifying images, words, or ideas often manifest

in ways that are not always easily identifiable. For instance, internalising an observer’s

perspective can increase a female’s shame and anxiety about her own physical

appearance/attractiveness, decrease her awareness o f internal bodily states, and,

subsequently, inhibit her ability for peak motivational states (Fredrickson & Roberts, 1997).

This lack o f internal awareness may make an individual more vulnerable to developing

mental health problems such as unipolar depression, sexual dysfunction, and eating disorders

(Fredrickson & Roberts, 1997). It is difficult to determine the degree o f influence that media

imagery has on these internalised beliefs, but the current research is a solid foundation for

further exploration into these phenomena.

7.1.2 The Princess Phenomenon (Revisited)

In the same way that females internalise observers’ perspectives o f their bodies

(objectification theory), they internalise other messages in their environment, as well. First,

and generally speaking, little girls are often socialised to be like tiny versions o f the

‘traditional princesses’ that we see in fairy tales and movies. For example, they may be

encouraged to be demure, well-behaved, quiet, neat, clean, and polite, and are often rewarded

for these behaviours. They may play with Barbie dolls, read fairy tales, play dress-up with

gowns, tiaras, and jewels, and they may watch the Disney princess movies. Although all o f

these seem like ‘normal’ activities for little girls, they can reinforce/influence their attitudes

and beliefs about what it means to be female. For instance, not only are princess-like traits

being internalised, but also, girls’ desires to princess-like are strengthened. The themes and

messages (e.g., dependence, passivity, emphasis on beauty) in media targeted at young girls


84

seem outdated—we should be encouraging independence and emphasising that beauty lies

within.

Second, the sheer volume of princess products on the market, combined with the

other princess imagery in the media, for example, celebrities wearing tiaras and reality shows

such as The Bachelor. Both have a 'fairy tale' message inherent in them, namely, that 'you

will meet your prince and live happily ever after' This is particularly true of the past season

of The Bachelor because the bachelor is a real prince (Italian prince Lorenzo Borghese) and

the commercials advertising the programme included claims such as 'this season, one

woman's dreams of becoming a princess will come true!'.

Perhaps some girls internalise these princess-like ideals and may grow up to have

difficult romantic relationships because their expectations are so high. In other words, if they

are expecting Prince Charming to come along and sweep them off of their feet, or 'rescue'

them, then it is also possible that they may feel dissatisfied with someone who is less than the

`ideal'. This may, in some way, explain why women and men have such different views of

and expectations about relationships. I am not saying that this is inarguably true, nor that i/ is

the whole picture, but I think that the implications warrant consideration.

7.1.3 Contradictory Messages

The messages that are portrayed via childhood models (in the media examined)

include the importance of physical appearance (because the princesses, Barbie dolls, and

women in music videos are almost always beautiful), that women are weak because they

always need to be 'rescued' (e.g., like the Disney princesses), that women always have to be

nice and polite, and, if they do all of these things, then one day, their Prince Charming will

come along and they will live happily ever after.


84

seem outdated— we should be encouraging independence and emphasising that beauty lies

within.

Second, the sheer volume o f princess products on the market, combined with the

other princess imagery in the media, for example, celebrities wearing tiaras and reality shows

such as The Bachelor. Both have a ‘fairy tale’ message inherent in them, namely, that ‘you

will meet your prince and live happily ever after’! This is particularly true o f the past season

o f The Bachelor because the bachelor is a real prince (Italian prince Lorenzo Borghese) and

the commercials advertising the programme included claims such as ‘this season, one

woman’s dreams o f becoming a princess will come true!’.

Perhaps some girls internalise these princess-like ideals and may grow up to have

difficult romantic relationships because their expectations are so high. In other words, if they

are expecting Prince Charming to come along and sweep them o ff o f their feet, or ‘rescpe’

them, then it is also possible that they may feel dissatisfied with someone who is less than the

‘ideal’. This may, in some way, explain why women and men have such different views o f

and expectations about relationships. I am not saying that this is inarguably true, nor that if is

the whole picture, but I think that the implications warrant consideration.

7.1.3 Contradictory Messages

The messages that are portrayed via childhood models (in the media examined)

include the importance o f physical appearance (because the princesses, Barbie dolls, apd

women in music videos are almost always beautiful), that women are weak because they

always need to be ‘rescued’ (e.g., like the Disney princesses), that women always have to be

nice and polite, and, if they do all o f these things, then one day, their Prince Charming vyill

come along and they will live happily ever after.


85

However, as they get older, girls begin to receive contradictory messages. In music,

for example, many songs are about troubled relationships. Of the 37 songs that I analysed in

this research, only two were about good, healthy relationships. If many songs are about the

problems in relationships, such as cheating, lying, feeling alone, and breaking up, this is in

direct contrast to what girls learn about relationships when they are younger (i.e., the princess

and the prince ideal and the notion of 'happily ever after').

Pre-adolescent/adolescent girls may become interested in pop culture, including

fashion, music, videos, and they will often think of celebrities (such as musicians, actresses)

as their role models. Many of these role models portray both princess-like qualities as well as

coming across as sexual objects, which can leave girls very confused about how they should

act and what they should be. When we see how often women use their sexuality to get

noticed and how the media exploits that, it may seem that this is the only way to get attention

or even love.

Combine all of this with the proliferation of princess products on the market, princess

imagery, provocative fashion trends, and the self-objectifying text on clothing, and it is easy

to see how confused girls can be about who and what they should be. I think that it may, in

the end, leave them very confused in terms of their own abilities as well as their expectations

about love and relationships.

Although investigations of rape, rape myth acceptance, and of other inappropriate

sexual behaviours are beyond the scope of this research, these are important and related

aspects of the topics discussed. One mixed message that females receive, and which is

particularly dangerous, is that of trying to live up to these impossible standards/ideals while,

at the same time, trying to prevent inappropriate 'responses' from male observers (also noted

by Fredrickson & Roberts, 1997). If females are feeling pressure to be sexy and thinking of


85

However* as they get older* girls begin to receive contradictory messages. In music*

for example, many songs are about troubled relationships. O f the 37 songs that I analysed in

this research, only two were about good, healthy relationships. If many songs are about the

problems in relationships, such as cheating, lying, feeling alone, and breaking up, this is in

direct contrast to what girls learn about relationships when they are younger (i.e., the princess

and the prince ideal and the notion o f ‘happily ever after’).

Pre-adolescent/adolescent girls may become interested in pop culture, including

fashion, music, videos, and they will often think o f celebrities (such as musicians, actresses)

as their role models. Many o f these role models portray both princess-like qualities as well as

coming across as sexual objects, which can leave girls very confused about how they should

act and what they should be. When we see how often women use their sexuality to get

noticed and how the media exploits that, it may seem that this is the only way to get attention

or even love.

Combine all o f this with the proliferation o f princess products on the market, princess

imagery, provocative fashion trends, and the self-objectifying text on clothing, and it is easy

to see how confused girls can be about who and what they should be. I think that it may, in

the end, leave them very confused in terms o f their own abilities as well as their expectations

about love and relationships.

Although investigations o f rape, rape myth acceptance, and o f other inappropriate

sexual behaviours are beyond the scope o f this research, these are important and related

aspects o f the topics discussed. One mixed message that females receive, and which is

particularly dangerous, is that o f trying to live up to these impossible standards/ideals while,

at the same time, trying to prevent inappropriate ‘responses’ from male observers (also noted

by Fredrickson & Roberts, 1997). If females are feeling pressure to be sexy and thinking o f


86

themselves as objects to be evaluated, while at the same time being told that their bodies are

their own property, it is easy to become confused about what is, and what is not, acceptable

sexual behaviour.

7.2 Strengths and Limitations

A significant strength of this study is that it is the first of its kind in which a variety of

media targeted specifically at girls and young women were analysed using qualitative

methodology. Although the pervasiveness of 'princessy' merchandise and values is apparent

in our society, it seems as though the potential implications have never been questioned or

investigated, but rather, are simply accepted as the norm (e.g., all little girls want to be

princesses). I also examined a variety of media in the context of the same study, whereas

many researchers focus on only one type of media; some of the media examined have not

been included in most research (e.g., toy product descriptions, clothing text messages), and

therefore, comparisons could be made and conclusions drawn across media .

There are several limitations of this research. For example, it is impossible to know

how strong such media influences are, since there are other obvious influences (e.g., family,

environment, education, personality), as well. It is possible, of course, to infer that there is

an impact (based on previous research findings). Subjectivity in judgment (e.g., defining

`appropriate' vs. 'inappropriate'), exclusion of other media (e.g., books, commercials,

television programmes), and that there were no participants (these issues should be discussed

with women and girls to find out what their thoughts, feelings, attitudes really are) may also

be viewed as limitations. In the future, I hope to build upon this research by conducting

focus groups with girls and women in order to explore, and gain a deeper understanding of,

these issues and the underlying constructs.


86

themselves as objects to be evaluated* while at the same time being told that their bodies are

their own property, it is easy to become confused about what is, and what is not, acceptable

sexual behaviour.

7.2 Strengths and Limitations

A significant strength o f this study is that it is the first o f its kind in which a variety o f

media targeted specifically at girls and young women were analysed using qualitative

methodology. Although the pervasiveness o f ‘princessy’ merchandise and values is apparent

in our society, it seems as though the potential implications have never been questioned or

investigated, but rather, are simply accepted as the norm (e.g., all little girls want to be

princesses). I also examined a variety o f media in the context o f the same study, whereas

many researchers focus on only one type o f media; some o f the media examined have not

been included in most research (e.g., toy product descriptions, clothing text messages), and

therefore, comparisons could be made and conclusions drawn across media .

There are several limitations o f this research. For example, it is impossible to know

how strong such media influences are, since there are other obvious influences (e.g., family,

environment, education, personality), as well. It is possible, o f course, to infer that there is

an impact (based on previous research findings). Subjectivity in judgment (e.g., defining

‘appropriate’ vs. ‘inappropriate’), exclusion o f other media (e.g., books, commercials,

television programmes), and that there were no participants (these issues should be discussed

with women and girls to find out what their thoughts, feelings, attitudes really are) may also

be viewed as limitations. In the future, I hope to build upon this research by conducting

focus groups with girls and women in order to explore, and gain a deeper understanding of,

these issues and the underlying constructs.


87

This research was an investigation into the content of various media, with my

attention focussed on the implications for females by exposure to various media imagery. It

is important to note that, in doing so, it is not my intent to disregard the experiences of males.

It is my hope that future researchers will examine similar media, in similar ways, in relation

to males. It is, however, more often females, rather than males, who are objectified in the

media (Roberts & Gettman, 2004), which is one of the most important theoretical

underpinnings of this study. The message that young women receive via the media is that

appearance does matter, that it can affect how they are treated by others, and it can help or

impede their chances of success, both socially and economically (Roberts & Gettman, 2004).

7.3 Significance and Implications

One of the significant aspects of this study is the inclusion of clothing text messages,

something that has rarely, if ever, been studied. It is also significant that this is current

research; some of the scholarly research examined (especially that related to music videos) is

quite dated, and since trends often change significantly every few years, it is important that

these media are examined more frequently.

There are several important implications of the current research. First, it may open

the door to further critical examinations of the messages in the media that I have analysed

(particularly Disney movies, toys, and clothing text messages, which appear not to have been

given the same attention by researchers as lyrics and music videos). Second, I was able to

explore (and provide more solid evidence for) some concepts that other researchers have

suggested (e.g., The Cinderella Complex). Third, these findings can be used to educate

parents, teachers, and other adults about the types of messages that females are

receiving/being exposed to. Finally, the information can be used in educating girls and

young women about these messages, making them more critical consumers of media and


87

This research was an investigation into the content o f various media* with my

attention focussed on the implications for females by exposure to various media imagery. It

is important to note that, in doing so, it is not my intent to disregard the experiences o f males.

It is my hope that future researchers will examine similar media, in similar ways, in relation

to males. It is, however, more often females, rather than males, who are objectified in the

media (Roberts & Gettman, 2004), which is one o f the most important theoretical

underpinnings o f this study. The message that young women receive via the media is that

appearance does matter, that it can affect how they are treated by others, and it can help or

impede their chances o f success, both socially and economically (Roberts & Gettman, 2004).

7.3 Significance and Implications

One o f the significant aspects o f this study is the inclusion o f clothing text messages,

something that has rarely, i f ever, been studied. It is also significant that this is current

research; some o f the scholarly research examined (especially that related to music videos) is

quite dated, and since trends often change significantly every few years, it is important that

these media are examined more frequently.

There are several important implications o f the current research. First, it may open

the door to further critical examinations o f the messages in the media that I have analysed

(particularly Disney movies, toys, and clothing text messages, which appear not to have been

given the same attention by researchers as lyrics and music videos). Second, I was able to

explore (and provide more solid evidence for) some concepts that other researchers have

suggested (e.g., The Cinderella Complex). Third, these findings can be used to educate

parents, teachers, and other adults about the types o f messages that females are

receiving/being exposed to. Finally, the information can be used in educating girls and

young women about these messages, making them more critical consumers o f media and


88

giving them the information that they need in order to question or reject the messages that are

being directed toward them (e.g., that they need to be thin to be attractive, that they need to

be 'sexy' and to compete with other females for a 'prince').

It seems that the schema of female objectification may be more engrained than we

realise. If mere exposure to words can produce a state of self-objectification (see Roberts &

Gettman, 2004), imagine all of the situations in which females are exposed to such words

(e.g., via all of the media examined in the current study), and therefore, are at risk for

feelings of self-shame, disgust, anxiety, and unattractiveness. Taken together with all of the

other potentially objectifying situations that females encounter, it is no mystery why females

often feel like objects on display:

Sexual objectification occurs when a woman's body is treated as an object

(especially an object that exists for the pleasure and use of others), and is

illustrated interpersonally through gaze or 'checking out', and in the

representation of women in the media ... very few women are able to avoid

contexts that may be potentially objectifying. (Slater & Tiggemann, 2002, p.

343)

This is most apparent in the music lyrics and videos that were analysed. It seems that female

artists often choose to put themselves on display (e.g., wearing revealing clothing, dancing

provocatively), and refer to themselves in self-objectifying ways (e.g., 'you love my lady

lumps', My Humps by the Black Eyed Peas).

One of the important aspects of the Transformative Paradigm is empowering those in

the community who are the focus of the research, so it is important to note that this research

could benefit girls and young women in a number of ways. Content analyses of various

media, such as the ones that I have conducted, can yield information that will allow


88

giving them the information that they need in order to question or reject the messages that are

being directed toward them (e.g., that they need to be thin to be attractive, that they need to

be 'sexy' and to compete with other females for a 'prince').

It seems that the schema o f female objectification may be more engrained than we

realise. If mere exposure to words can produce a state o f self-objectification (see Roberts &

Gettman, 2004), imagine all o f the situations in which females are exposed to such words

(e.g., via all o f the media examined in the current study), and therefore, are at risk for

feelings o f self-shame, disgust, anxiety, and unattractiveness. Taken together with all o f the

Other potentially objectifying situations that females encounter, it is no mystery why females

often feel like objects on display:

Sexual objectification occurs when a woman’s body is treated as an object

(especially an object that exists for the pleasure and use o f others), and is

illustrated interpersonally through gaze or ‘checking out’, and in the

representation o f women in the media ... very few women are able to avoid

contexts that may be potentially objectifying. (Slater & Tiggemann, 2002, p.

343)

This is most apparent in the music lyrics and videos that were analysed. It seems that female

artists often choose to put themselves on display (e.g., wearing revealing clothing, dancing

provocatively), and refer to themselves in self-objectifying ways (e.g., ‘you love my lady

lumps’, My Humps by the Black Eyed Peas).

One o f the important aspects o f the Transformative Paradigm is empowering those in

the community who are the focus o f the research, so it is important to note that this research

could benefit girls and young women in a number o f ways. Content analyses o f various

media, such as the ones that I have conducted, can yield information that will allow


89

researchers, parents, and educators to contribute to the process of defusing, or at least

minimising, some of the negative effects that the media have on women. My goal is not only

to present the results of this study at scholarly conventions and to publish in scholarly

journals, but also to reach beyond the world of academia. For instance, publication of the

results in women's magazines, on the internet, in educational videos, and in books that are

written for non-academic audiences will allow me to inform and educate the females who are

the targets of the media that I have analysed. I am also interested in organising focus

groups/interviews for girls, young women, parents, and/or educators in order to discuss these

issues in-depth.

7.4 Future Directions

Few researchers have examined females' body image across the lifespan, but there is

some consensus that body dissatisfaction and shame remain stable throughout adulthood (see

Tiggemann & Lynch, 2001). Therefore, it is important to examine media influences from

infancy and childhood through adolescence and adulthood, rather than media targeted at only

one age group (e.g., many researchers focus on the media influences on adolescents and seem

to be ignoring the potential media influences from earlier developmental stages). An

examination of media exposure at all developmental stages is necessary in order to develop

more comprehensive theories.

The thematic content that emerged from these content analyses could serve as the

foundation for discussion topics in focus groups conducted with young girls, adolescent girls,

and adult women. Several directions could be taken with such focus groups, including an

exploration of how females, at different developmental stages, feel about themselves in

relation to the media portrayals of females (e.g., physical appearance; their future roles as

women in terms of occupation choice, relationship roles, sexuality and expectations;


89

researchers, parents, and educators to contribute to the process o f defusing* or at least

minimising, some o f the negative effects that the media have on women. My goal is not only

to present the results o f this study at scholarly conventions and to publish in scholarly

journals, but also to reach beyond the world o f academia. For instance, publication o f the

results in women’s magazines, on the internet, in educational videos, and in books that are

written for non-academic audiences will allow me to inform and educate the females who are

the targets o f the media that I have analysed. I am also interested in organising focus

groups/interviews for girls, young women, parents, and/or educators in order to discuss these

issues in-depth.

7.4 Future Directions

Few researchers have examined females’ body image across the lifespan, but there is

some consensus that body dissatisfaction and shame remain stable throughout adulthood (see

Tiggemann & Lynch, 2001). Therefore, it is important to examine media influences from

infancy and childhood through adolescence and adulthood, rather than media targeted at only

one age group (e.g., many researchers focus on the media influences on adolescents and seem

to be ignoring the potential media influences from earlier developmental stages). An

examination o f media exposure at all developmental stages is necessary in order to develop

more comprehensive theories.

The thematic content that emerged from these content analyses could serve as the

foundation for discussion topics in focus groups conducted with young girls, adolescent girls,

and adult women. Several directions could be taken with such focus groups, including an

exploration o f how females, at different developmental stages, feel about themselves in

relation to the media portrayals o f females (e.g., physical appearance; their future roles as

women in terms o f occupation choice, relationship roles, sexuality and expectations;


90

disordered eating and the media's influence on females' self-esteem; societal issues). Such

data may be useful in an examination of the possible cumulative effects of media exposure

(i.e., from childhood to adulthood), and in the development of new theory based on these

themes and concepts.

In addition, if merely encountering words (visually) that describe one's physical

appearance activated a state of self-objectification in women (and led to greater appearance

anxiety; see Roberts & Gettman, 2004), it would be interesting to examine whether this

occurs, to a greater or lesser extent, when women encounter these words aurally (e.g., in

music lyrics/videos). Finally, any new understandings could be used to develop

questionnaire items/a survey instrument for determining the pervasiveness of media

influences on females' thoughts, attitudes, and beliefs.

7.5 Concluding Remarks

The implications of being female in a society in which individuals place so much

emphasis on, and consistently/constantly objectify, the female body need to be assessed and

studied in-depth so that researchers can begin to untangle the tightly woven threads that make

up the complex tapestries of females' internalised beliefs. All females are at risk for self-

objectification, particularly when we begin to examine how early they are exposed to images

and messages that perpetuate the pressure to be thin, beautiful, sexy, perfect, to find 'true

love', the perfect mate, and to live 'happily ever after' (e.g., the messages in Disney animated

features and music lyrics/videos).

Education about objectification and self-awareness, diversification of the images of

women in the media, and media literacy programmes have all been suggested as possible

strategies to help prevent or offset the negative consequences of self-objectification (Roberts

& Gettman, 2004). I suggest that these problems cannot be offset entirely with such


90

disordered eating and the media's influence on females' self-esteem; societal issues); Such

data may be useful in an examination o f the possible cumulative effects o f media exposure

(i.e., from childhood to adulthood), and in the development o f new theory based on these

themes and concepts.

In addition, if merely encountering words (visually) that describe one’s physical

appearance activated a state o f self-objectification in women (and led to greater appearance

anxiety; see Roberts & Gettman, 2004), it would be interesting to examine whether this

occurs, to a greater or lesser extent, when women encounter these words aurally (e.g., in

music lyrics/videos). Finally, any new understandings could be used to develop

questionnaire items/a survey instrument for determining the pervasiveness o f media

influences on females’ thoughts, attitudes, and beliefs.

7.5 Concluding Remarks

The implications o f being female in a society in which individuals place so much

emphasis on, and consistently/constantly objectify, the female body need to be assessed and

studied in-depth so that researchers can begin to untangle the tightly woven threads that make

up the complex tapestries o f females’ internalised beliefs. A ll females are at risk for self

objectification, particularly when we begin to examine how early they are exposed to images

and messages that perpetuate the pressure to be thin, beautiful, sexy, perfect, to find ‘true

love’, the perfect mate, and to live ‘happily ever after’ (e.g., the messages in Disney animated

features and music lyrics/videos).

Education about objectification and self-awareness, diversification o f the images o f

women in the media, and media literacy programmes have all been suggested as possible

strategies to help prevent or offset the negative consequences o f self-objectification (Roberts

& Gettman, 2004). I suggest that these problems cannot be offset entirely with such


91

simplistic solutions. Yes, education and awareness are important and, I believe that, over

time, if consistently applied, they will make a difference. However, the media cannot be

used as a scapegoat for all of the problems that females encounter throughout their lives in

relation to the discussed topics. Education must begin at home, in infancy, in the ways that

females are socialised. Subtle cues and seemingly innocent comments such as 'look how

pretty/beautiful you are' may have much more influence than we can imagine.

The media have a tremendous influence on most individuals in society, but it is only

one influence. Parents, role models and educators need to take the time to help children

understand, at an early age, the very real consequences of accepting media messages as

`reality'. Awareness of the subtle cues/messages that, as adults, we often (very innocently)

transmit to girls, particularly during their formative years, is extremely important. Only once

we begin to take collective and consistent action can we begin to defuse the damaging effects

of both the blatant and subtle messages that females are bombarded with on a daily basis.

Analyses of media targeted at children and those media directed toward adolescents

and young adult women, and identification of the possible cumulative effects on females,

(i.e., that the consequences of media exposure do not occur in isolation, nor can they be

necessarily attributed to one specific medium at one specific point in time) is an important

area for future investigation. For instance, an adolescent girl is not likely to pick up a fashipn

magazine one day, decide that she is overweight and unattractive, and then develop an eating

disorder the next. Similarly, a young woman does not daydream about her 'fairy-tale'

wedding or her 'knight in shining armour' coming along and sweeping her off of her feet

simply because she watched Cinderella, Sleeping Beauty, or Snow White as a young girl.

However, when the princess imagery and messages become commonplace in all forms of

media, their influences may be stronger and longer-lasting. These thoughts and behaviours


91

simplistic solutions. Yes, education and awareness are important and, I believe that, over

time, if consistently applied, they will make a difference. However, the media cannot be

used as a scapegoat for all o f the problems that females encounter throughout their lives in

relation to the discussed topics. Education must begin at home, in infancy, in the ways that

females are socialised. Subtle cues and seemingly innocent comments such as ‘look how

pretty/beautiful you are’ may have much more influence than we can imagine.

The media have a tremendous influence on most individuals in society, but it is only

one influence. Parents, role models and educators need to take the time to help children

understand, at an early age, the very real consequences o f accepting media messages as

‘reality’. Awareness o f the subtle cues/messages that, as adults, we often (very innocently)

transmit to girls, particularly during their formative years, is extremely important. Only once

we begin to take collective and consistent action can we begin to defuse the damaging effepts

o f both the blatant and subtle messages that females are bombarded with on a daily basis.

Analyses o f media targeted at children and those media directed toward adolescents

and young adult women, and identification o f the possible cumulative effects on females,

(i.e., that the consequences o f media exposure do not occur in isolation, nor can they be

necessarily attributed to one specific medium at one specific point in time) is an important

area for future investigation. For instance, an adolescent girl is not likely to pick up a fashipn

magazine one day, decide that she is overweight and unattractive, and then develop an eatipg

disorder the next. Similarly, a young woman does not daydream about her ‘fairy-tale’

wedding or her ‘knight in shining armour’ coming along and sweeping her o ff o f her feet

simply because she watched Cinderella, Sleeping Beauty, or Snow White as a young girl.

However, when the princess imagery and messages become commonplace in all forms o f

media, their influences may be stronger and longer-lasting. These thoughts and behaviours


92

seem to develop over long periods of time, and become internalised (therefore, becoming

much harder to identify and eliminate), negatively influencing, limiting, and damaging

women's views about their abilities, their bodies, their sexuality, and their relationships—

essentially, every aspect of their lives.


seem to develop over long periods o f time, and become internalised (therefore* becoming

, much harder to identify and eliminate), negatively influencing, limiting, and damaging

women’s views about their abilities, their bodies, their sexuality, and their relationships—

essentially, every aspect o f their lives.


93

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http://www.hbc.com/zellers

100

Appendix A: Club Libby Lu


Appendix A: Club Libby Lu


101

Club Libby Lu WHAT do girls DO at Club Libby Lu? They get beauty makeovers! New hairdos (called 'Libby Du's!) And sparkly 'makeup' (called `potions.') Plus, they mix magical 'potions' of their own to take home with them.

For $25: a Club Libby Lu hairstyle-and-makeup makeover, plus a choice of 5, minimally-coloured, pre-packaged beauty items from the 'pick a mix' gallery...which is a bin full of miscellaneous small items appealing to tween girls.

For $30: all the above, plus she'll get to create ONE mix-her-own 'potion,' which is a chance to customize her own lip gloss, shampoo, or other beauty-related item.

For $35., all of the above, but get to mix THREE special beauty potions of her own, which she'll take home in a special `Glam on the Go' pack!

For $40: the Libby Du hairstyle...plus a stuffed dog from the 'pooch parlor.'

`Libby Du' hip hairstyles! Your daughter may choose from 5 Libby Du's---the `Tween Idol,' `The Priceless Princess', 'The Rocker', 'The Super Star,' and 'The Royal Heiress' Each of these 5 Libby Lu hairstyles comes with accessories to complete a stylin' look. These are: The Royal Heiress...Sunglasses The Priceless Princess...tiara The Rocker...hot pink headband and 'choker' style necklace Tween Idol...headset 'microphone' Super Star...Pink hair streaks

While getting her hair styled at Club Libby Lu, your daughter will be the center of attention. Why? Because the hair stylist's table sits right at the front of the store where all the other customers can watch the process. She'll sit at a specially-designed styling table, complete with pink-framed, heart-shaped mirrors! (Parents and grandparents, of course, may take photos to their heart's content!) After getting styled with their Libby Du's, the girls can create an assortment of potions, which include lip gloss, Magic Fairy Dust (body sparkler), Shimmering Perfume Spray, Bath & Shower Gel, and Princess Polish Body Shimmer Gel.

The girls select a base---which will be gooey, powdery, or in-between, depending on what potion they're making. They'll add a color, a fragrance, and the desired amount and color of `shimmer.'


1 0 1

Club Libby LuWHAT do girls DO at Club Libby Lu? They get beauty makeovers! New hairdos (called ‘Libby Du's!) And sparkly ‘makeup’ (called ‘potions.’) Plus, they mix magical ‘potions’ of their own to take home with them.

For $25: a Club Libby Lu hairstyle-and-makeup makeover, plus a choice of 5, minimally-coloured, prepackaged beauty items from the ‘pick a mix’ gallery... which is a bin full of miscellaneous small items appealing to tween girls.

For $30: all the above, plus she'll get to create ONE mix-her-own ‘potion,’ which is a chance to customize her own lip gloss, shampoo, or other beauty-related item.

For $35 : all of the above, but get to mix THREE special beauty potions of her own, which she'll take home in a special ‘Glam on the Go’ pack!

For $40: the Libby Du hairstyle...plus a stuffed dog from the ‘pooch parlor.’

‘Libby Du’ hip hairstyles! Your daughter may choose from 5 Libby Du's—the ‘Tween Idol,’‘The Priceless Princess’, ‘The Rocker’, ‘The Super Star,’ and ‘The Royal Heiress’ Each of these 5 Libby Lu hairstyles comes with accessories to complete a stylin' look. These are:The Royal Heiress...Sunglasses The Priceless Princess...tiara The Rocker...hot pink headband and ‘choker’ style necklaceTween Idol...headset ‘microphone’Super Star...Pink hair streaks

While getting her hair styled at Club Libby Lu, your daughter will be the center of attention.Why? Because the hair stylist's table sits right at the front of the store where all the other customers can watch the process. She’ll sit at a specially-designed styling table, complete with pink-framed, heart-shaped mirrors! (Parents and grandparents, of course, may take photos to their heart's content!)After getting styled with their Libby Du's, the girls can create an assortment of potions, which include lip gloss, Magic Fairy Dust (body sparkler), Shimmering Perfume Spray, Bath &Shower Gel, and Princess Polish Body Shimmer Gel.

The girls select a base—which will be gooey, powdery, or in-between, depending on what potion they're making. They'll add a color, a fragrance, and the desired amount and color of ‘shimmer.’


102

In this photo, you can see the Body Shimmer-making station at Club Libby Lu.

Then, when the girls are stylin' with their finished Libby Du's, and lugging around the colourful beauty potions that they've made, then it's time for them to shop for accessories in the merchandise-filled shelves at the Club Libby Lu store!

So, what kind of merchandise do the Club Libby Lu stores feature? Anything pink...or puffy; feathery or pastel ribbon-decorated; shiny or shimmery. In other words, the shopping floor at Club Libby Lu is a young girl's dream world!

In the photo, you see several pink outfits for sale at Club Libby Lu. The pretty colors and the dressy fabrics are certain to appeal to your child.

Other items sold in the store include hair decorations, scarves, hair styling gels and electrical equipment, bath products, pens and note pads.

Club Libby Lu holds makeover parties for birthdays, Girl Scout troop meetings, end-of-school celebrations...or what ever event for which you'd like to bring your group to celebrate.

At Club Libby Lu, the cost for each girl will be the same 'full price' that any other customer is charged for a `Libby Du' makeover package. Instead of getting a discount, what the group WILL receive is their own private hair and makeover consultant to stay with them throughout the length of the party (at no extra charge.)

Information from:

http://wwvv.family-vacation-getaways-at-los-angeles-theme-parks.com/Club-Libby-Lu.html


102

In this photo, you can see the Body Shimmer- making station at Club Libby Lu.

Then, when the girls are stylin' with their finished Libby Du's, and lugging around the colourful beauty potions that they've made, then it's time for them to shop for accessories in the merchandise-filled shelves at the Club Libby Lu store!

So, what kind of merchandise do the Club Libby Lu stores feature? Anything pink...or puffy; feathery or pastel ribbon-decorated; shiny or shimmery. In other words, the shopping floor at Club Libby Lu is a young girl's dream world!

In the photo, you see several pink outfits for sale at Club Libby Lu. The pretty colors and the dressy fabrics are certain to appeal to your child.

Other items sold in the store include hair decorations, scarves, hair styling gels and electrical equipment, bath products, pens and note pads.

Club Libby Lu holds makeover parties for birthdays, Girl Scout troop meetings, end-of-school celebrations...or what ever event for which you'd like to bring your group to celebrate.

At Club Libby Lu, the cost for each girl will be the same ‘full price’ that any other customer is charged for a ‘Libby Du’ makeover package. Instead of getting a discount, what the group WILL receive is their own private hair and makeover consultant to stay with them throughout the length of the party (at no extra charge.)

Information from:

http://www.family-vacation-getaways-at-los-ange1es-theme-parks.com/Club-Libby-Lu.html


http://www.family-vacation-getaways-at-los-ange1es-theme-parks.com/Club-Libby-Lu.html

103

Appendix B: Toys with a Princess Line


Appendix B: Toys with a Princess Line


104

Toys with a Princess Line

Dora the Explorer

Bratz Princess

Dolls of the World Barbie Princess of Holland

Polly Pocket

r

Disney Princess Ballerina Cinderella

Disney Princess Barbies

Dolls of the World Barbie Princess of the Pacific Island


104

Toys with a Princess Line

Dorathe Explorer

Bratz Princess

£ ■> >4

Dolls o f the World Barbie Princess o f Holland

Polly Pocket

T\Disney Princess

Ballerina Cinderella

Disney Princess Barbies

Dolls o f the World Barbie Princess o f the Pacific Island


105

Appendix C: Categories Across Media


Appendix C: Categories Across Media


106

Categories Across Media

TOYS CLOTHING LYRICS VIDEOS MOVIES Main

CATEGORIES Stereotypically

Feminine Getting

Attention Relationships

& Society Relationships


Lies/Rumours x 1 1 1 1Society x x V V V

Sexuality/Objectification ✓ I ./ 1 V Relationships ✓ 1 V V I

Innocence ✓ I ✓ V 1Naughtiness x V V V V`Princessy' V 1 x V V

Spoiled 1 V 1 ISuperiority x I V V 1

Competition for males x I V x V

Dating ✓ V I 1 I

Violence/Aggression x 1 x V 1

Dancing 1 V V 1Partying/Having Fun V V x V V

Tells a Story 1 x J V 1

Memories x x V V x

Performing/singing x x I 1 1


106

Categories Across Media

TOYS CLOTHING LYRICS VIDEOS MOVIESMain

CATEGORIESStereotypically

FeminineGetting

AttentionRelationships

& SocietyRelationships


Lies/Rumours X y y y ySociety X X y y y

Sexuality/Objectification / y y y yRelationships ✓ . y y y y

Innocence V S y y yNaughtiness X y y y y‘Princessy’ y y X y y

Spoiled y y y y ySuperiority X y y y y

Competition for males X y y X yDating y y y y y

Violence/Aggression X y X y yDancing V V y y y

Partying/Having Fun / y X y yTells a Story y X y y yMemories X X y y X

Performing/singing X X y y y


107

Appendix D: Comparisons Within and Across Disney Animated Features


Appendix D: Comparisons Within and Across Disney Animated Features


Reproduced w

ith permission o



ithout permission.

Comparisons Within and Across Disney Animated Features Aladdin

_ Beauty & the

Beast Cinderella Hercules Little

Mermaid Sleeping, Beauty

Snow White

Romantic Love

9 princess V V V V V V v d prince V V V 1 V V V

Traditional Roles

9 domestic V i V x x V V

distress V V V V V V V

sacrifice x I x V V x x

grooming V x V V V x x

nurturing x V v x V x V

crying V V V V I V V

Non-Traditional Roles d distress V V x i V x x

d bonding V V V V V V V

9 bonding x x V x x V x

d nurturing V V x V V x x

d affectionate V V x i x V V

Family Structure father father step-mother no parents father two parents step-mother

Victimisation

Good vs. Evil Cursed V V V i V V V

Magic/Sorcery V V V i V V V Death x V x x V V V

Aggression d d Male-male V V x V x x V

c3' y Male/female V V x V V x V

9 d Female/male V x x V x x x 99 Female/female x x V x V V V

Music V I V V V V V

Sexuality V V x V V x x

Objectification V x x V V x x

C 00

Reproduced

with perm

ission of the

copyright owner.


without perm

ission.

Comparisons Within and Across Disney Animated FeaturesAladdin Beauty & the

BeastCinderella Hercules Little

MermaidSleeping.Beauty

SnowWhite

Romantic Love9 princess ✓ S / y y y ✓

6 prince y y y y y y yTraditional Roles

9 domestic y y / X X y ydistress ✓ y / y y y y

sacrifice X y X y y X X

grooming ✓ X / y y X X

nurturing X y / X y X ✓crying y y / y y y ✓

Non-Traditional Roles6 distress S y X y y X X

6 bonding S y / y y y y9 bonding X X y X X y X

6 nurturing y y X y ✓ X X

6 affectionate y y X y X y ✓

Family Structurefather father step-mother no parents father two parents step-mother

Victimisation9 S ✓ / y y y /

Good vs. EvilCursed y ✓ / y y y /

Magic/Sorcery y y / y y y ✓Death X y X X y y y

Aggressionc?c? Male-male y y X y X X yc?9 Male/female y ✓ X y y X y9c? Female/male y X X y X X X

99 Female/female X X / X y ✓ ✓

Musicy ■ / / y y ✓ ✓

Sexualityv ' y X y y X X

Objectification✓ X X y y X X

o00

109

Appendix E: Song Lyrics Chosen for Analysis


Appendix E: Song Lyrics Chosen for Analysis


110

Song Lyrics Chosen for Analysis

01. 02. 03. 04. 05. 06. 07.,,08. 09. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37.

My Humps Don't Cha Walk Away Wake Up Naughty Girl Sorry Fix You Photograph So She's Leavin' On My Own Sugar, We're Goin' Down Crazy Ghost of You Boyfriend Ass Like That Beep Since You've Been Gone Stupid Girls Hips Don't Lie Wake Me Up When September Ends Helena Our Lips are Sealed 321 Untitled Because of You Jesus of Suburbia Just The Girl Beat Of My Heart Stickwitu Catch Your Wave Confessions Of A Broken Heart Don't Bother Shine on I Just Want You To Know Count on Me D.O.A. Afterglow

Black Eyed Peas Pussycat Dolls Kelly Clarkson Hilary Duff Beyonce Madonna Coldplay Nickelback The Trews Hedley Fall Out Boy Simple Plan My Chemical Romance Ashlee Simpson Eminem Pussycat Dolls Kelly Clarkson Pink Shakira Green Day My Chemical Romance Hilary & Haylie Duff Hedley Simple Plan Kelly Clarkson Green Day The Click Five Hilary Duff Pussycat Dolls The Click Five Lindsay Lohan Shakira Ryan Cabrera Backstreet Boys Default Foo Fighters INXS


Song Lyrics Chosen for Analysis

01. My Humps Black Eyed Peas02. Don't Cha Pussycat Dolls03. Walk Away Kelly Clarkson04. Wake Up Hilary D uff05. Naughty Girl Beyonce06. Sorry Madonna07.. Fix You Coldplay08. Photograph Nickelback09. So She's Leavin' The Trews10. On My Own Hedley11. Sugar, We're Goin' Down Fall Out Boy12. Crazy Simple Plan13. Ghost o f You My Chemical Romance14. Boyfriend Ashlee Simpson15. Ass Like That Eminem16. Beep Pussycat Dolls17. Since You've Been Gone Kelly Clarkson18. Stupid Girls Pink19. Hips Don't Lie Shakira20. Wake Me Up When September Ends Green Day21. Helena My Chemical Romance22. Our Lips are Sealed Hilary & Haylie D uff23. 321 Hedley24. Untitled Simple Plan25. Because o f You Kelly Clarkson26. Jesus o f Suburbia Green Day27. Just The Girl The Click Five28. Beat O f My Heart Hilary D uff29. Stickwitu Pussycat Dolls30. Catch Your Wave The Click Five31. Confessions O f A Broken Heart Lindsay Lohan32. Don’t Bother Shakira33. Shine on Ryan Cabrera34. I Just Want You To Know Backstreet Boys35. Count on Me Default36. D.O.A. Foo Fighters37. Afterglow INXS


111

Appendix F: Music Videos Chosen for Analysis


Appendix F: Music Videos Chosen for Analysis


112

Music Videos Chosen for Analysis

01. My Humps 02. Don't Cha 03. Walk Away 04. Wake Up 05. Naughty Girl 06. Sorry 07. „ Fix You 08. Photograph 09. On My Own 10. Sugar, We're Going Down 11. Crazy 12. Ghost of You 13. Boyfriend 14. Ass Like That 15. Beep 16. Since You've Been Gone 17. Stupid Girls 18. Hips Don't Lie 19. Wake Me Up When September Ends 20. Helena 21. Our Lips Are Sealed 22. 321 23. Untitled 24. Because of You 25. Jesus of Suburbia 26. Just the Girl 27. Beat of My Heart 28. Stickwitu 29. Confessions of a Broken Heart 30. Afterglow 31. I Just Want You to Know

The Black Eyed Peas The Pussycat Dolls Kelly Clarkson Hilary Duff Beyonce Knowles Madonna Coldplay Nickelback Hedley Fall Out Boy Simple Plan My Chemical Romance Ashlee Simpson Eminem The Pussycat Dolls Kelly Clarkson Pink Shakira Green Day My Chemical Romance Hilary & Haylie Duff Hedley Simple Plan Kelly Clarkson Green Day The Click Five Hilary Duff The Pussycat Dolls Lindsay Lohan INXS The Backstreet Boys


112

Music Videos Chosen for Analysis

01. My Humps The Black Eyed Peas02. Don’t Cha The Pussycat Dolls03. Walk Away Kelly Clarkson04. Wake Up Hilary Duff05. Naughty Girl Beyonce Knowles06. Sorry Madonna07.. Fix You Coldplay08. Photograph Nickelback09. On My Own Hedley10. Sugar, W e’re Going Down Fall Out Boy11. Crazy Simple Plan12. Ghost o f You My Chemical Romance13. Boyfriend Ashlee Simpson14. Ass Like That Eminem15. Beep The Pussycat Dolls16. Since You’ve Been Gone Kelly Clarkson17. Stupid Girls Pink18. Hips Don’t Lie Shakira19. Wake Me Up When September Ends Green Day20. Helena My Chemical Romance21. Our Lips Are Sealed Hilary & Haylie D uff22. 321 Hedley23. Untitled Simple Plan24. Because o f You Kelly Clarkson25. Jesus o f Suburbia Green Day26. Just the Girl The Click Five27. Beat o f My Heart Hilary D uff28. Stickwitu The Pussycat Dolls29. Confessions o f a Broken Heart Lindsay Lohan30. Afterglow INXS31. I Just Want You to Know The Backstreet Boys


113

Appendix G: Song Lyrics


Appendix G: Song Lyrics


114

Song Lyrics

01. My Humps — The Black Eyed Peas

What you gonna do with all that junk, all that junk inside that trunk I'ma get, get, get, get, you drunk Get you love drunk off my hump My hump, My hump, My hump, My hump My hump, My hump, My hump, My hump My lovely little lumps

Check it out I drive these brothers crazy, I do it on the daily They treat me really nicely, They buy me all these icies Dolce & Gabbana, Fendi and then Donna Karan, got me sharin' All their money got me wearin' fly, whether I ain't askjn', They say they love my ass in Seven Jeans, True Religion, I say no, but they keep givin', So I keep on takin' And no I ain't takin', We can keep on datin' Now keep on demonstrating

My love, my love, my love, my love You love my lady lumps My hump, my hump, my hump My humps they got you She's got me spending (O000) Spendin' all your money on me and spend your time on me She's got me spendin' (O000) Spendin' all your money on me (uh) on me, on me

What you gonna do with all that junk, all that junk inside that trunk I'm a get, get, get, get, you drunk Get you love drunk off my hump What you gon' do with all that ass, all that ass inside them jeans I'm a make, make, make, make you scream Make you scream, make you scream Cause of my hump, my hump, my hump, my hump My hump, my hump, my hump, my lovely lady lumps, check it out I met a girl down at the disco She said hey, hey, hey yeah let's go I could be your baby, you can be my honey Let's spend time not money. mix your milk wit my cocoa puff, Milky, milky cocoa Mix your milk with my cocoa puff, milky, milky right


Song Lyrics

01. My Humps - The Black Eyed Peas

What you gonna do with all that junk, all that junk inside that trunkI’ma get, get, get, get, you drunkGet you love drunk o ff my humpMy hump, My hump, My hump, My humpMy hump, My hump, My hump, My humpMy lovely little lumps

Check it outI drive these brothers crazy, I do it on the daily They treat me really nicely, They buy me all these icies Dolce & Gabbana, Fendi and then Donna Karan, got me sharin’All their money got me wearin' fly, whether I ain’t askin',They say they love my ass in Seven Jeans, True Religion,I say no, but they keep givin’, So I keep on takin’And no I ain’t takin’, We can keep on datin’N ow keep on demonstrating

My love, my love, my love, my love You love my lady lumps My hump, my hump, my hump My humps they got you She’s got me spending(Oooo) Spendin’ all your money on me and spend your time on xpe She’s got me spendin’(Oooo) Spendin’ all your money on me (uh) on me, on me

What you gonna do with all that junk, all that junk inside that trunk I’m a get, get, get, get, you drunk Get you love drunk o ff my humpWhat you gon’ do with all that ass, all that ass inside them jeansI’m a make, make, make, make you screamMake you scream, make you screamCause o f my hump, my hump, my hump, my humpMy hump, my hump, my hump, my lovely lady lumps, check it outI met a girl down at the discoShe said hey, hey, hey yeah let’s goI could be your baby, you can be my honeyLet's spend time not money.mix your milk wit my cocoa puff,Milky, milky cocoaMix your milk with my cocoa puff, milky, milky right


115

They say I'm really sexy, the boys they wanna sex me They always standing next to me, always dancing next to me Tryin' a feel my hump, hump Lookin' at my lump, lump You can look but you can't touch it If you touch it I'm a start some drama You don't want no drama No, no drama, no, no, no, no drama So don't pull on my hand, boy You ain't my man, boy I'm just tryin'a dance boy And move my hump

My hump, my hump, my hump, my hump My hump, my hump, my hump, my hump My hump, my hump. My lovely lady lumps In the back and in the front My lovin' got you She's got me spendin' (O000) Spendin' all your money on me and spending time on me She's got me spendin' (O000) Spendin' all your money on me, up on me, on me

What you gon' do with all that junk, all that junk inside that trunk I'm a get, get, get, get, you drunk Get you love drunk off my hump What you gon' do with all that ass All that ass inside them jeans I'm a make, make, make, make you scream Make u scream, make you scream What you gon' do with all that junk, all that junk inside that trunk I'm a get, get, get, get, you drunk Get you love drunk off my hump What are you gonna do with all that breast all that breast inside that shirt I'ma gonna make make make you work make you work work make you work She's got me spendin' (Ooo) Spendin' all your money on me And spendin' time on me She's got me spendin' (Ooo) Spendin' all your money on me (uh) on me, on me.


They say I'm really sexy, the boys they wanna sex meThey always standing next to me, always dancing next to meTryin’ a feel my hump, humpLookin’ at my lump, lumpYou can look but you can’t touch itIf you touch it I’m a start some dramaYou don’t want no dramaNo, no drama, no, no, no, no dramaSo don’t pull on my hand, boyYou ain’t my man, boyI’m just tryin’a dance boyAnd move my hump

My hump, my hump, my hump, my hump My hump, my hump, my hump, my hump My hump, my hump.My lovely lady lumps In the back and in the front My lovin’ got you She’s got me spendin’(Oooo) Spendin’ all your money on me and spending time on me She’s got me spendin’(Oooo) Spendin’ all your money on me, up on me, on me

What you gon’ do with all that junk, all that junk inside that trunkI’m a get, get, get, get, you drunkGet you love drunk o ff my humpWhat you gon’ do with all that assAll that ass inside them jeansI’m a make, make, make, make you screamMake u scream, make you screamWhat you gon’ do with all that junk, all that junk inside that trunk I’m a get, get, get, get, you drunk Get you love drunk o ff my humpWhat are you gonna do with all that breast all that breast inside that shirt I'ma gonna make make make you work make you work work make you work She's got me spendin'(Ooo) Spendin' all your money on me And spendin' time on me She's got me spendin’(Ooo) Spendin' all your money on me (uh) on me, on me.


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02. Don't Cha — The Pussycat Dolls

Baby Ladies Fellas Are you ready? Let's dance Baby (0000h) I know you like me (I know you like me) I know,,you do (I know you do) That's why whenever I come around She's all over you (she's all over you) I know you want it (I know you want it) It's easy to see (it's easy to see) And in the back of your mind I know you should be flicking me (babe)

Don't cha wish your girlfriend was hot like me? Don't cha wish your girlfriend was a freak like me? Don't cha Don't cha Don't cha wish your girlfriend was raw like me? Don't cha wish your girlfriend was fun like me? Don't cha Don't cha

Fight the feeling (fight the feeling) Leave it alone (leave it alone) Cause if it ain't lave It just ain't enough to leave my happy home (my happy home) Let's keep it friendly (let's keep it friendly) You have to play fair (you have to play fair) See I don't care But I know She ain't gonna wanna share

[Refrain:] Don't cha wish Don't cha wish Don't cha Don't cha Don't cha wish Don't cha wish Don't cha Don't cha

your girlfriend was hot like me? your girlfriend was a freak like me?

your girlfriend was raw like me? your girlfriend was fun like me?

I know I'm on your mind I know we'd have a good time


02. Don't Cha - The Pussycat Dolls

BabyLadiesFellasAre you ready?Let’s dance Baby (ooooh)I know you like me (I know you like me)I know you do (I know you do)That’s why whenever I come around She's all over you (she's all over you)I know you want it (I know you want it)It's easy to see (it's easy to see)And in the back o f your mind I know you should be fucking me (babe)

Don't cha wish your girlfriend was hot like me?Don't cha wish your girlfriend was a freak like me?Don't cha Don't chaDon't cha wish your girlfriend was raw like me?Don't cha wish your girlfriend was fun like me?Don't cha Don't cha

Fight the feeling (fight the feeling)Leave it alone (leave it alone)Cause if it ain't loveIt just ain’t enough to leave my happy home (my happy home) Let's keep it friendly (let's keep it friendly)You have to play fair (you have to play fair)See I don’t careBut I know She ain't gonna wanna share

[Refrain:]Don't cha wish your girlfriend was hot like me?Don't cha wish your girlfriend was a freak like me?Don't cha Don't chaDon't cha wish your girlfriend was raw like me?Don't cha wish your girlfriend was fun like me?Don't cha Don't cha

I know I'm on your mind I know we'd have a good time


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I'm your friend I'm fun And I'm fine I ain't lying Look at me shine You ain't blind (you ain't blind) I know I'm on your mind I know we'd have a good time I'm your friend Pm fun And I'm fine I ain't lying Look at me shine You ain't blind

I know she loves you (I know she loves you) So I understand (I understand) I probably be just as crazy about you If you where my own man Maybe next lifetime (maybe next lifetime) Possibly (possibly) Until then no friend possibly Is a drag for me

[Refrain:] Don't cha wish your girlfriend was hot like me? Don't cha wish your girlfriend was a freak like me? Don't cha Don't cha Don't cha wish your girlfriend was raw like me? Don't cha wish your girlfriend was fun like me? Don't cha Don't cha


I'm your friendI’m funAnd I'm fineI ain’t lyingLook at me shineYou ain’t blind (you ain’t blind)I know I'm on your mindI know w e’d have a good timeI'm your friendI'm funAnd I'm fineI ain’t lyingLook at me shineYou ain’t blind

I know she loves you (I know she loves you)So I understand (I understand)I probably be just as crazy about youIf you where my own manMaybe next lifetime (maybe next lifetime)Possibly (possibly)Until then no friend possibly Is a drag for me

[Refrain:]Don't cha wish your girlfriend was hot like me? Don't cha wish your girlfriend was a freak like me? Don't cha Don't chaDon't cha wish your girlfriend was raw like me? Don't cha wish your girlfriend was fun like me? Don't cha Don't cha


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03. Walk Away — Kelly Clarkson

You've got your mother and your brother Every other, undercover, telling you what to say You think I'm stupid But the truth is, that it's Cupid, baby Loving you has made me this way

So before you point your finger Get your hands off of my trigger, oh yeah You need to know this situations getting old And now the more you talk, the less I can take

I'm looking for attention, Not another question Should you stay or should you go Well, if you don't have the answer Why you still standing here Hey, hey, hey, hey Just walk away (just walk away, just walk away)

I waited here for you like a kid waiting after school So tell me, how come you never showed I gave you everything and never asked for anything And look at me, I'm all alone So before you start defending, baby Stop all your pretending

I know you know I know So what's the point in being slow Let's get this show on the road today, hey

I'm looking for attention Not another question Should you stay or should you go Well, if you don't have the answer Why you still standing here Hey, hey, hey, hey Just walk away (just walk away, just walk away)

I want a love, I want a fire To feel the burn, my desires I want a man by my side Not a boy who runs and hides Are you gonna fight for me Die for me Live and breathe for me


03. Walk Away - Kelly Clarkson

You've got your mother and your brother Every other, undercover, telling you what to say You think I'm stupid But the truth is, that it's Cupid, baby Loving you has made me this way

So before you point your finger Get your hands o ff o f my trigger, oh yeah You need to know this situations getting old And now the more you talk, the less I can take

I'm looking for attention,Not another question Should you stay or should you go Well, i f you don't have the answer Why you still standing here Hey, hey, hey, heyJust walk away (just walk away, just walk away)

I waited here for you like a kid waiting after schoolSo tell me, how come you never showedI gave you everything and never asked for anythingAnd look at me, I'm all aloneSo before you start defending, babyStop all your pretending

I know you know I knowSo what's the point in being slowLet's get this show on the road today, hey

I'm looking for attention Not another question Should you stay or should you go Well, i f you don't have the answer Why you still standing here Hey, hey, hey, heyJust walk away (just walk away, just walk away)

I want a love, I want a fire To feel the bum, my desires I want a man by my side Not a boy who runs and hides Are you gonna fight for me Die for meLive and breathe for me


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Do you care for me Cause if you don't then just leave

I'm looking for attention Not another question Should you stay or should you go Well, if you don't have the answer Why you still standing here Hey, hey, hey, hey Just walk away

If you don't have the answer Just walk away Just leave Walk away, walk away


Do you care for meCause if you don't then just leave

I'm looking for attentionNot another questionShould you stay or should you goWell, i f you don't have the answerWhy you still standing hereHey, hey, hey, heyJust walk away

If you don't have the answer Just walk away Just leaveWalk away, walk away


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04. Wake Up — Hilary Duff

There's people talking They talk about me They know my name They think they know everything But they don't know anything About me

Give me a dance floor Give me a dj Play me a record Forget what they say Cause I need to go Need to getaway tonight

I put my makeup on a Saturday night I try to make it happen Try to make it all right I know I make mistakes I'm living life day to day It's never really easy but it's ok

Wake Up, Wake Up On a Saturday night Could be New York Maybe Hollywood and Vine London, Paris maybe Tokyo There's something going on anywhere I go Tonight Tonight Yeah, tonight

The city's restless It's all around me People in motion Sick of all the same routines And they need to go They need to get away Tonight

I put my makeup on a Saturday night I try to make it happen Try to make it all right I know I make mistakes I'm living life day to day It's never really easy but it's ok


04. Wake Up - Hilary D uff

There's people talkingThey talk about meThey know my nameThey think they know everythingBut they don't know anythingAbout me

Give me a dance floor Give me a dj Play me a record Forget what they say Cause I need to go Need to getaway tonight

I put my makeup on a Saturday nightI try to make it happenTry to make it all rightI know I make mistakesI'm living life day to dayIt's never really easy but it's ok

Wake Up, Wake UpOn a Saturday nightCould be N ew YorkMaybe Hollywood and VineLondon, Paris maybe TokyoThere’s something going on anywhere I goTonightTonightYeah, tonight

The city's restlessIt's all around mePeople in motionSick o f all the same routinesAnd they need to goThey need to get awayTonight

I put my makeup on a Saturday nightI try to make it happenTry to make it all rightI know I make mistakesI'm living life day to dayIt's never really easy but it's ok


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Wake Up, Wake Up On a Saturday night Could be New York Maybe Hollywood and Vine London, Paris maybe Tokyo There's something going on anywhere I go Tonight Tonight Yeah, tonight

People all around you Everywhere that you go People all around you They don't really know you Everybody watching like it's some kind of show Everybody's watching They don't really know you now (They don't really know you) (They don't really know you) And forever

Wake Up Wake Up (Wake Up Wake Up) Wake Up Wake Up (Wake Up Wake Up)

Wake Up Wake Up On a Saturday night Could be New York Maybe Hollywood and Vine London, Paris maybe Tokyo There's something going on anywhere I go

Wake Up, Wake Up On a Saturday night Could be New York Maybe Hollywood and Vine London, Paris maybe Tokyo There's something going on anywhere I go tonight Tonight, yeah, tonight


Wake Up, Wake UpOn a Saturday nightCould be N ew YorkMaybe Hollywood and VineLondon, Paris maybe TokyoThere's something going on anywhere I goTonightTonightYeah, tonight

People all around youEverywhere that you goPeople all around youThey don't really know youEverybody watching like it’s some kind o f showEverybody's watchingThey don't really know you now(They don't really know you)(They don't really know you)And forever

Wake Up Wake Up (Wake Up Wake Up)Wake Up Wake Up (Wake Up Wake Up)

Wake Up Wake UpOn a Saturday nightCould be N ew YorkMaybe Hollywood and VineLondon, Paris maybe TokyoThere's something going on anywhere I go

Wake Up, Wake Up On a Saturday night Could be N ew York Maybe Hollywood and Vine London, Paris maybe TokyoThere's something going on anywhere I go tonight Tonight, yeah, tonight


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05. Naughty Girl — Beyonce Knowles

I love to love you baby [love to love you baby] I love to love you baby [love to love you baby]

I'm feelin' sexy I wanna hear you say my name, boy If you can reach me You can feel my burnin' flame

Feelin' kinda N-A-S-T-Y I might just take you home wit me Baby the *minute I feel your energy Your vibe has just taken over me Start feelin' so crazy babe

Lately, I feel the funk coming over me I don't know what's gotten into me The rhythm's got me feelin' so crazy babe

Tonight I'll be your naughty girl [UHH] I'm callin' all my girls We're gonna turn this party out I know you want my body

Tonight I'll be your naughty girl I'm callin' all my girls I see u look me up and down And I think about it

You're so sexy Tonight I am all yours, boy The way your body moves across the floor

Feelin' kinda N-A-S-T-Y I might just take you home wit me Baby the minute I feel your energy Your vibe has just taken over me Start feelin' so crazy babe

Lately, I feel the funk coming over me I don't know what's gotten into me The rhythm's got me feelin' so crazy babe

Tonight I'll be your naughty girl [Ufil] I'm callin' all my girls We're gonna turn this party out


05. Naughty Girl - Beyonce Knowles

I love to love you baby [love to love you baby] I love to love you baby [love to love you baby]

I'm feelin' sexyI wanna hear you say my name, boyIf you can reach meYou can feel my bumin1 flame

Feelin’ kindaN-A-S-T-Y I might just take you home wit me Baby the *minute I feel your energy Your vibe has just taken over me Start feelin’ so crazy babe

Lately, I feel the funk coming over me I don’t know what's gotten into me The rhythm's got me feelin’ so crazy babe

Tonight I'll be your naughty girl [UHH]I'm callin' all my girls We're gonna turn this party out I know you want my body

Tonight I'll be your naughty girl I'm callin’ all my girls I see u look me up and down And I think about it

You're so sexyTonight I am all yours, boyThe way your body moves across the floor

Feelin’ kindaN-A-S-T-Y I might just take you home wit me Baby the minute I feel your energy Your vibe has just taken over me Start feelin’ so crazy babe

Lately, I feel the funk coming over me I don’t know what’s gotten into me The rhythm's got me feelin’ so crazy babe

Tonight I'll be your naughty girl [UFfH]I'm callin’ all my girls We're gonna turn this party out


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I know you want my body

Tonight I'll be your naughty girl I'm callin' all my girls I see you look me up and down And I think about it

I love to love you baby [love to love you baby] I love to love you baby [love to love you baby] I love to love you baby [love to love you baby] I love to love you baby [love to love you baby]






I know you want my body

Tonight I'll be your naughty girl I'm callin’ all my girls I see you look me up and down And I think about it

I love to love you baby [love to love you baby] I love to love you baby [love to love you baby] I love to love you baby [love to love you baby] I love to love you baby [love to love you baby]

Tonight I'll be your naughty girl [UHH]I'm callin’ all my girls We're gonna turn this party out I know you want my body

Tonight I’ll be your naughty girl I'm callin’ all my girls I see you look me up and down And I think about it

Tonight I'll be your naughty girl [UHH]I'm callin’ all my girls We're gonna turn this party out I know you want my body

Tonight I'll be your naughty girl I'm callin’ all my girls I see you look me up and down And I think about it


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06. Sorry - Madonna

Je suis &sole = I am sorry (French) Lo siento = I am sorry (Spanish) Ik ben droevig = I am sad (Dutch) Sono spiacente = I am sorry (Italian) Perd6name = Forgive me (Spanish)

I've heard it all before I've hegrd it all before I've heard it all before I've heard it all before

I don't wanna hear, I don't wanna know Please don't say you're sorry I've heard it all before And I can take care of myself I don't wanna hear, I don't wanna know Please don't say 'forgive me' I've seen it all before And I can't take it anymore

You're not half the man you think you are Save your words because you've gone too far I've listened to your lies and all your stories (Listen to your stories) You're not half the man you'd like to be


Don't explain yourself 'cause talk is cheap There's more important things than hearing you speak You stayed because I made it so convenient Don't explain yourself, you'll never see

Gomennasai - "Forgive me"/"sorry" in Japanese Mujhe maaf kardo - "Please forgive me" in Hindi Przepraszam - "Sorry" in Polish Slihah (Hebrew) Forgive me...


06. Sorry - Madonna

Je suis desole = I am sorry (French)Lo siento = I am sorry (Spanish)Ik ben droevig = I am sad (Dutch)Sono spiacente = I am sorry (Italian)Perdoname = Forgive me (Spanish)

I've heard it all before I've heard it all before I've heard it all before I've heard it all before

I don't wanna hear, I don't wanna knowPlease don't say you're sorryI've heard it all beforeAnd I can take care o f m yselfI don't wanna hear, I don't wanna knowPlease don't say 'forgive me'I've seen it all before And I can't take it anymore

You're not half the man you think you areSave your words because you've gone too farI've listened to your lies and all your stories (Listen to your stories)You're not half the man you'd like to be


Don't explain yourself 'cause talk is cheap There's more important things than hearing you speak You stayed because I made it so convenient Don't explain yourself, you'll never see

Gomennasai - "Forgive me"/"sorry" in Japanese Mujhe maaf kardo - "Please forgive me" in Hindi Przepraszam - "Sorry" in Polish Slihah (Hebrew)Forgive me...


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(Sorry, sorry, sorry) I've heard it all before I've heard it all before I've heard it all before [repeat]


I don't wanna hear, I don't wanna know Please don't say you're sorry (Don't explain yourself 'cause talk is cheap) I've heard it all before, and I can take care of myself (There's more important things than hearing you speak) I don't wanna hear, I don't wanna know Please don't say 'forgive me'


(Sorry, sorry, sorry)I've heard it all before

, I’ve heard it all before I’ve heard it all before [repeat]


I don't wanna hear, I don't wanna knowPlease don't say you're sorry(Don't explain yourself 'cause talk is cheap)I've heard it all before, and I can take care o f m yself (There's more important things than hearing you speak) I don't wanna hear, I don't wanna know Please don't say 'forgive me'


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07. Fix You - Coldplay

When you try your best but you don't succeed When you get what you want but not what you need When you feel so tired but you can't sleep Stuck in reverse

And the tears come streaming down your face When you lose something you can't replace When you love someone but it goes to waste Could it be worse

Lights will guide you home and ignite your bones And I will try to fix you

High up above or down below when you're too in love to let it go but If you never try you'll never know Just what your worth


Tears streaming down your face When you lose something you cannot replace Tears streaming down your face and I

Tears streaming down your face I promise you I will learn from my mistakes Tears stream down your face and I

Lights will guide you home And ignite your bones And I will try to fix you


07. Fix You - Coldplay

When you try your best but you don't succeed When you get what you want but not what you need When you feel so tired but you can't sleep Stuck in reverse

And the tears come streaming down your face When you lose something you can't replace When you love someone but it goes to waste Could it be worse


High up above or down below when you're too in love to let it go but If you never try you'll never know Just what your worth


Tears streaming down your faceWhen you lose something you cannot replaceTears streaming down your face and I

Tears streaming down your face I promise you I will learn from my mistakes Tears stream down your face and I

Lights will guide you home And ignite your bones And I will try to fix you


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08. Photograph - Nickelback

Look at this photograph Every time I do it makes me laugh How did our eyes get so red And what the hell is on Joey's head

And this is where I grew up I think the present owner fixed it up I never knew we'd ever went without The second floor is hard for sneaking out

And this is where I went to school Most of the time had better things to do Criminal record says I broke in twice I must have done it half a dozen times

I wonder if It's too late Should I go back and try to graduate Life's better now then it was back then. If I was them I wouldn't let me in

Oh oh oh Oh god I

Every memory of looking out the back door I had the photo album spread out on my bedroom floor It's hard to say it, time to say it Goodbye, goodbye

Every memory of walking out the front door I found the photo of the friend that I was looking for It's hard to say it, time to say it Goodbye, goodbye

Remember the old arcade Blew every dollar that we ever made The cops hated us hangin' out They say somebody went and burned it down

We used to listen to the radio And sing along with every song we know We said someday we'd find out how it feels To sing to more than just the steering wheel

Kim's the first girl I kissed I was so nervous that I nearly missed


08. Photograph - Nickelback

Look at this photograph Every time I do it makes me laugh How did our eyes get so red And what the hell is on Joey's head

And this is where I grew up I think the present owner fixed it up I never knew we'd ever went without The second floor is hard for sneaking out

And this is where I went to school Most o f the time had better things to do Criminal record says I broke in twice I must have done it half a dozen times

I wonder if It's too late Should I go back and try to graduate Life's better now then it was back then If I was them I wouldn't let me in

Oh oh oh Oh god I

Every memory o f looking out the back door I had the photo album spread out on my bedroom floor It's hard to say it, time to say it Goodbye, goodbye

Every memory o f walking out the front door I found the photo o f the friend that I was looking for It's hard to say it, time to say it Goodbye, goodbye

Remember the old arcadeBlew every dollar that we ever madeThe cops hated us hangin' outThey say somebody went and burned it down

We used to listen to the radio And sing along with every song we know We said someday we'd find out how it feels To sing to more than just the steering wheel

Kim's the first girl I kissed I was so nervous that I nearly missed


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She's had a couple of kids since then I haven't seen her since god knows when

Oh oh oh Oh god I



I miss that town I miss the faces You can't erase You can't replace it I miss it now I can't believe it

So hard to stay Too hard to leave it

If I could I relive those days I know the one thing that would never change



Look at this photograph Every time I do it makes me laugh Every time I do it makes me


She's had a couple o f kids since then I haven't seen her since god knows when

Oh oh oh Oh god I



I miss that town I miss the faces You can't erase You can't replace it I miss it now I can't believe it

So hard to stay Too hard to leave it

If I could I relive those days I know the one thing that would never change



Look at this photograph Every time I do it makes me laugh Every time I do it makes me


129

09. So She's Leavin' — The Trews

Love planting flowers, in October Cemetery blackbird, flying all over It's nearly at a standstill And pushing rocks uphill Mountain made of feathers And no natural bullshit

I found out they're taking me home But she don't wanna live alone I'm always out on the road So she's leaving

You better stop pretending That this is never ending, yeah It seems the dream is over And not with the

Nothings gonna take me A mountain full of misery Careless abandon All alone and empty


Oh my girl please don't give in Don't listen to your stupid friends I hear you're goin' off again So she's leaving

Oh my girl please don't stay long While I'm singing you a song Dry your eyes for all night long Take your love before it's gone

Whoa yeah! nah nah nah! whoa! yeah!


Oh my girl please don't give in


09. So She's Leavin' - The Trews

Love planting flowers, in October Cemetery blackbird, flying all over It’s nearly at a standstill And pushing rocks uphill Mountain made o f feathers And no natural bullshit

I found out they’re taking me home But she don’t wanna live alone I'm always out on the road So she’s leaving

You better stop pretending That this is never ending, yeah It seems the dream is over And not with the

Nothings gonna take me A mountain full o f misery Careless abandon All alone and empty


Oh my girl please don’t give in Don't listen to your stupid friends I hear you’re goin' o ff again So she’s leaving

Oh my girl please don't stay long While I’m singing you a song Dry your eyes for all night long Take your love before it’s gone

Whoa yeah! nah nah nah! whoa! yeah!


Oh my girl please don’t give in


130

Don't listen to your stupid friends I hear you're goin' off again So she's leaving So she's leaving So she's leaving


Don't listen to your stupid friends I hear you’re goin’ o ff again So she’s leaving So she’s leaving So she’s leaving


131

10. On My Own - Hedley

Stayed awake all night toss and turnin' Now my blood shot eyes are burnin' Workin' out why this ain't workin' Fight after fight after fight And now it's killin' me You were too busy to believe in All the run away dreams I was dreamin' Time to pack up and go I'm leavin' Fight after fight after fight

And now I gotta be On My Own And living in a world alone Gets better every day That I don't have to say I'm sorry I'm coming home I'm gonna make it on my own I'll always take the harder road Gets better every day That I don't have to say I'm sorry I'm coming home

How'd you end up oh so jaded? Cynical and so sedated Can't live in this world you created Day after day after day

And now I gotta be On My Own And living in a world alone Gets better every day That I don't have to say I'm sorry I'm coming home I'm gonna make it on my own I'll always take the harder road Gets better every day That I don't have to say I'm sorry I'm coming home

You will always be the lonely one You will always try to swallow the Sun Just remember you could never make it rain on everyone

On my own And living in a world alone Gets better every day Cause I don't have to say And now you're killin' me


10. On My Own - Hedley

Stayed awake all night toss and turnin'N ow my blood shot eyes are bumin'Workin' out why this ain't workin'Fight after fight after fightAnd now it's killin' meYou were too busy to believe inAll the run away dreams I was dreamin'Time to pack up and go I'm leavin'Fight after fight after fight

And now I gotta be On My OwnAnd living in a world alone Gets better every dayThat I don't have to say I'm sorry I'm coming home I'm gonna make it on my own I'll always take the harder road Gets better every dayThat I don't have to say I'm sorry I'm coming home

How'd you end up oh so jaded?Cynical and so sedatedCan't live in this world you createdDay after day after day

And now I gotta be On My OwnAnd living in a world alone Gets better every dayThat I don't have to say I'm sorry I'm coming home I'm gonna make it on my own I'll always take the harder road Gets better every dayThat I don't have to say I'm sorry I'm coming home

You will always be the lonely oneYou will always try to swallow the SunJust remember you could never make it rain on everyone

On my ownAnd living in a world alone Gets better every day Cause I don't have to say And now you're killin' me


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On My Own And living in a world alone Gets better every day That I don't have to say I'm sorry I'm coming home I'm gonna make it on my own I'll always take the harder road Gets better every day That I don't have to say I'm sorry I'm coming home I'll make it on my own I'm sorry I won't be coming home I'll make it on my own I'm sorry I won't be coming home I'll make it on my own I'm sorry I won't be coming home I'll make it on my own I'm sorry I won't be coming home


On My OwnAnd living in a world alone Gets better every dayThat I don't have to say I'm sorry I'm coming home I'm gonna make it on my own I'll always take the harder road Gets better every dayThat I don't have to say I'm sorry I'm coming homeI'll make it on my ownI'm sorry I won't be coming homeI'll make it on my ownI'm sorry I won't be coming homeI'll make it on my ownI'm sorry I won't be coming homeI'll make it on my ownI'm sorry I won't be coming home


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11. Sugar, We're Goin' Down — Fall Out Boy

Am I more than you bargained for yet I've been dying to tell you anything you want to hear Cause that's just who I am this week Lie in the grass, next to the mausoleum I'm just a notch in your bedpost But you're just a line in a song (A notch in your bedpost, but you're just a line in a song

Drop a heart, break a name We're always sleeping in, and sleeping for the wrong team

We're going down, down in an earlier round And Sugar, we're going down swinging I'll be your number one with a bullet A loaded God complex, cock it and pull it

Is this more than you bargained for yet Oh don't mind me I'm watching you two from the closet Wishing to be the friction in your jeans Isn't it messed up how I'm just dying to be him I'm just a notch in your bedpost But you're just a line in a song (Notch in your bedpost, but you're just a line in a song)

Drop a heart, break a name We're always sleeping in, and sleeping for the wrong team


Down, down in an earlier round And Sugar, we're going down swinging I'll be your number one with a bullet A loaded God complex, cock it and pull it

We're going down, down in an earlier round (Take aim at myself) And Sugar, we're going down swinging (Take back what you said) I'll be your number one with a bullet (Take aim at myself) A loaded God complex, cock it and pull it

We're going down, down (down, down) Down, down (down, down) We're going down, down (down, down)


11. Sugar, We're Goin' Down - Fall Out Boy

Am I more than you bargained for yetI've been dying to tell you anything you want to hearCause that's just who I am this weekLie in the grass, next to the mausoleumI'm just a notch in your bedpostBut you're just a line in a song(A notch in your bedpost, but you're just a line in a song)

Drop a heart, break a nameWe're always sleeping in, and sleeping for the wrong team


Is this more than you bargained for yetOh don't mind me I'm watching you two from the closetWishing to be the friction in your jeansIsn't it messed up how I'm just dying to be himI'm just a notch in your bedpostBut you're just a line in a song(Notch in your bedpost, but you're just a line in a song)

Drop a heart, break a nameWe're always sleeping in, and sleeping for the wrong team


Down, down in an earlier round And Sugar, we're going down swinging I'll be your number one with a bullet A loaded God complex, cock it and pull it

We're going down, down in an earlier round (Take aim at myself) And Sugar, we're going down swinging (Take back what you said) I'll be your number one with a bullet (Take aim at myself)A loaded God complex, cock it and pull it

We're going down, down (down, down)Down, down (down, down)We're going down, down (down, down)


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A loaded God complex, cock it and pull it

We're going down, down in an earlier round (Take aim at myself) And Sugar, we're going down swinging (Take back what you said) I'll be your number one with a bullet (Take aim at myself) A loaded God complex, cock it and pull it


A loaded God complex, cock it and pull it

We're going down, down in an earlier round (Take aim at myself) And Sugar, we're going down swinging (Take back what you said) I'll be your number one with a bullet (Take aim at myself)A loaded God complex, cock it and pull it


135

12. Crazy — Simple Plan

Tell me what's wrong with society When everywhere I look, I see Young girls dying to be on TV They won't stop till they've reached their dreams

Diet pills, surgery Photo-shopped pictures in magazines Telling them how they should be It doesn't make sense to me

Is everybody going crazy? Is anybody gonna save me? Can anybody tell me what's going on? Tell me what's going on? If you open your eyes You'll see that something is wrong

I guess things are not how they used to be There's no more normal families Parents act like enemies Making kids feel like its World War III

No one cares, no one's there I guess we're all just too damn busy And money's our first priority It doesn't make sense to me

Is everybody going crazy? Is anybody gonna save me? Can anybody tell me what's going on? Tell me what's going on? If you open your eyes You'll see that something is wrong

Is everybody going crazy? Is everybody going crazy?

Tell me what's wrong with society

When everywhere I look I see Rich guys driving big SUVs While kids are starving in the streets

No one cares No one likes to share I guess life's unfair


12. Crazy - Simple Plan

Tell me what's wrong with societyWhen everywhere I look, I seeYoung girls dying to be on TVThey won't stop till they've reached their dreams

Diet pills, surgeryPhoto-shopped pictures in magazines Telling them how they should be It doesn't make sense to me

Is everybody going crazy?Is anybody gonna save me?Can anybody tell me what's going on?Tell me what's going on?If you open your eyesYou'll see that something is wrong

I guess things are not how they used to be There's no more normal families Parents act like enemies Making kids feel like its World War III

No one cares, no one's there I guess we're all just too damn busy And money's our first priority It doesn't make sense to me

Is everybody going crazy?Is anybody gonna save me?Can anybody tell me what's going on?Tell me what's going on?If you open your eyesYou'll see that something is wrong

Is everybody going crazy?Is everybody going crazy?

Tell me what's wrong with society When everywhere I look I see Rich guys driving big SUVs While kids are starving in the streets

N o one cares No one likes to share I guess life's unfair


136

Is everybody going crazy? Is anybody gonna save me? Can anybody tell me what's going on? Tell me what's going on? If you open your eyes You'll see that something, something is wrong

Is everybody going crazy? Can anybody tell me what's going pn? Tell me what's going on? If you open your eyes You'll see that something is wrong


Is everybody going crazy?Is anybody gonna save me?Can anybody tell me what's going on?Tell me what's going on?If you open your eyesYou'll see that something, something is wrong

Is everybody going crazy?Can anybody tell me what's going on?Tell me what's going on?If you open your eyesYou'll see that something is wrong


137

13. Ghost of You — My Chemical Romance

I never said I'd lie and wait forever If I died, we'd be together I can't always just forget her But she could try

At the end of the world Or the last thing I see You are Never coming home Never coming home Could I? Should I? And all the things that you never ever told me And all the smiles that are ever ever... Ever...

Get the feeling that you're never All alone and I remember now At the top of my lungs in my arms she dies She dies

At the end of the world Or the last thing I see You are Never coming home Never coming home Could I? Should I? And all the things that you never ever told me And all the smiles that are ever gonna haunt me Never coming home Never coming home Could I? Should I? And all the wounds that are ever gonna scar me For all the ghosts that are never gonna catch me

If I fall If I fall (down)

At the end of the world

Or the last thing I see You are Never coming home Never coming home Never coming home Never coming home And all the things that you never ever told me


13. Ghost o f You - My Chemical Romance

I never said I'd lie and wait forever If I died, we'd be together I can't always just forget her But she could try

At the end o f the world Or the last thing I see You areNever coming home Never coming home Could 1? Should I?And all the things that you never ever told me And all the smiles that are ever ever...Ever...

Get the feeling that you're never All alone and I remember now At the top o f my lungs in my arms she dies She dies

At the end o f the world Or the last thing I see You areNever coming home Never coming home Could I? Should I?And all the things that you never ever told me And all the smiles that are ever gonna haunt me Never coming home Never coming home Could I? Should I?And all the wounds that are ever gonna scar me For all the ghosts that are never gonna catch me

If I fallI f I fall (down)

At the end o f the world Or the last thing I see You areNever coming home Never coming home Never coming home Never coming homeAnd all the things that you never ever told me


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And all the smiles that are ever gonna haunt me Never coming home Never coming home Could I? Should I? And all the wounds that are ever gonna scar me For all the ghosts that are never gonna...


And all the smiles that are ever gonna haunt me Never coming home Never coming home Could I? Should I?And all the wounds that are ever gonna scar me For all the ghosts that are never gonna...


139

14. Boyfriend — Ashlee Simpson

Ha, Ha, Ha, Ha, Ha, Ha,

Whatcha been doin' Whatcha been doin' Whoa, Whoa, Haven't seen ya 'round,

How you been feelin' How you been feelin' Whoa, whoa, Don't you bring me down,

[Album version:] All that shit about me, [Radio version:] All that stuff about me, Being with him, Can't believe, All the lies that you told, Just to ease your own soul, But I'm bigger than that, No, you don't have my back, No, No, HA

Hey, how long till the music drowns you out? Don't put words up in my mouth, I didn't steal your boyfriend, Hey, how long till you face what's goin" on, Cause you really got it wrong, I didn't steal your boyfriend,

Well I'm sorry, That he called me, And that I answered the telephone, Don't be worried, I'm not with him, And when I go out tonight, I'm going home alone, Just got back from my tour, I'm a mess girl for sure, All I want is some fun, Guess that I'd better run, Hollywood sucks you in, But it won't spit me out, Whoa Whoa, HA


14. Boyfriend - Ashlee Simpson

Ha, Ha, Ha,Ha, Ha, Ha,

Whatcha been doin'Whatcha been doin’Whoa, Whoa,Haven't seen ya 'round,

How you been feelin’How you been feelin’Whoa, whoa,Don't you bring me down,

[Album version:] All that shit about me, [Radio version:] All that stuff about me, Being with him,Can't believe,All the lies that you told,Just to ease your own soul,But I'm bigger than that,No, you don't have my back,No, N o, HA

Hey, how long till the music drowns you out? Don't put words up in my mouth,I didn't steal your boyfriend,Hey, how long till you face what's goin” on, Cause you really got it wrong,I didn't steal your boyfriend,

Well I'm sorry,That he called me,And that I answered the telephone,Don't be worried,I'm not with him,And when I go out tonight,I'm going home alone,Just got back from my tour,I'm a mess girl for sure,All I want is some fun,Guess that I'd better run,Hollywood sucks you in,But it won't spit me out,Whoa Whoa, HA


140

Hey, how long till the music drowns you out? Don't put words up in my mouth, I didn't steal your boyfriend, Hey, how long till you face what's going on? Cause you really got it wrong, I didn't steal your boyfriend, Hey, how long till you look at your own life, Instead of looking into mine, I didn't steal your boyfriend, Hey, how long till you're leaving me alone, Don't you got somewhere to go?. I didn't steal your boyfriend,

Whoa, whoa, whoa ha Whoa, whoa, whoa ha

Please stop telling all your friends, I'm getting sick of them, Always staring at me like I took him from ya'

Hey, how long till the music drowns you out? Don't put words up in my mouth, I didn't steal your boyfriend, Hey, how long till you face what's going on? Cause you really got it wrong, I didn't steal your boyfriend, Hey, how long till you look at your own life, Instead of looking into mine, I didn't steal your boyfriend, Hey, how long till you're leaving me alone, Don't you got somewhere to go? I didn't steal your boyfriend,

Whoa, whoa, whoa, ha, Whoa, I didn't steal your boyfriend, Whoa, whoa, whoa, ha, Whoa, I didn't steal your boyfriend


Hey, how long till the music drowns you out? Don't put words up in my mouth,I didn't steal your boyfriend,Hey, how long till you face what's going on? Cause you really got it wrong,I didn't steal your boyfriend,Hey, how long till you look at your own life, Instead o f looking into mine,I didn't steal your boyfriend,Hey, how long till you're leaving me alone, Don't you got somewhere to go?I didn't steal your boyfriend,

Whoa, whoa, whoa ha Whoa, whoa, whoa ha

Please stop telling all your friends,I'm getting sick o f them,Always staring at me like I took him from ya'

Hey, how long till the music drowns you out? Don't put words up in my mouth,I didn't steal your boyfriend,Hey, how long till you face what's going on? Cause you really got it wrong,I didn't steal your boyfriend,Hey, how long till you look at your own life, Instead o f looking into mine,I didn't steal your boyfriend,Hey, how long till you're leaving me alone, Don't you got somewhere to go?I didn't steal your boyfriend,

Whoa, whoa, whoa, ha,Whoa, I didn't steal your boyfriend,Whoa, whoa, whoa, ha,Whoa, I didn't steal your boyfriend


141

15. Ass Like That - Eminem

The way you shake it, I can't believe it I ain't never seen an ass like that The way you move it, you make my pee pee go Doing, doing, doing

I don't believe it; it's almost too good to be true I ain't never seen an ass like that The way you move it, you make my pee pee go Doing, doing, doing

The way she moves she's like a belly dancer She's shaking that ass to the new Nelly jams, I Think someone's at the door But I don't think I'm gonna answer Police saying freeze Doing, doing, doing What do you mean freeze? Please, I'm a human being, I have needs I'm not done, not till I'm finish peeing I am not resisting arrest, I am agreeing Mr. Officer I'm already on my knees I can't get on the ground any further, it's impossible for me And do not treat me like a murderer, I just like to pee, pee, pee Yes, I make R&B, I sing song it go Ring-a-chong, a-ching-chong-chong-chong-ching Psych, I joke, I joke, I kid, I kid If I offend I'm sorry, please, please forgive For I am Triumph, the puppet dog, I am a mere puppet I can get away with anything I sing, you will love it

Jessica Simpson looks oh so temptin' Nick I ain't never seen an ass like that Every time I see that show on MTV my pee pee goes Doing, doing, doing

Mary-Kate and Ashley used to be so wholesome Now they're getting older, they're starting to grow bum bums I go to the movies and sit down with my pop corn

Police saying freeze Doing doing doing What do you mean freeze? Jeez, I just got my seat I have ticket, look I put away, my zipper's zipped Please do not remove me from this movie theatre please I did not even get to see Mary-Kate shower scene


15. Ass Like That - Eminem

The way you shake it, I can't believe it I ain't never seen an ass like that The way you move it, you make my pee pee go Doing, doing, doing

I don't believe it; it's almost too good to be true I ain't never seen an ass like that The way you move it, you make my pee pee go Doing, doing, doing

The way she moves she's like a belly dancerShe's shaking that ass to the new Nelly jams, IThink someone’s at the doorBut I don't think I'm gonna answerPolice saying freezeDoing, doing, doingWhat do you mean freeze?Please, I'm a human being, I have needs I'm not done, not till I'm finish peeing I am not resisting arrest, I am agreeing Mr. Officer I'm already on my kneesI can't get on the ground any further, it's impossible for meAnd do not treat me like a murderer, I just like to pee, pee, peeYes, I make R&B, I sing song it goRing-a-chong, a-ching-chong-chong-chong-chingPsych, I joke, I joke, I kid, I kidIf I offend I'm sorry, please, please forgiveFor I am Triumph, the puppet dog, I am a mere puppetI can get away with anything I sing, you w ill love it

Jessica Simpson looks oh so temptin’Nick I ain't never seen an ass like thatEvery time I see that show on MTV my pee pee goesDoing, doing, doing

Mary-Kate and Ashley used to be so wholesomeN ow they're getting older, they're starting to grow bum bumsI go to the movies and sit down with my pop comPolice saying freezeDoing doing doingWhat do you mean freeze?Jeez, I just got my seatI have ticket, look I put away, my zipper’s zipped Please do not remove me from this movie theatre please I did not even get to see Mary-Kate shower scene


142

I didn't mean to be obscene or make a great big scene And don't treat me like I'm pee wee Herman, this movies PG Mr. Officer, I demand to see my attorney I will simply plead innocent, cop a plea and be free Free, yes, free, right back on the streets What you mean my lawyer's with Michael, he's too busy? I am Triumph; Britney Spears has shoulders like a man And I can say that and you'll laugh 'cause that is a puppet on my hand

Hilary Puff is not quite old enough so I ain't never seen a butt like that Maybe next year I'll say ass and she'll make my pee pee go Doing, doing, doing

The way she moves she dances like a go-go In that video she sings get out you bozo I need a new boyfriend, hi my name is JoJo Police saying freeze Doing, doing, doing What do you mean freeze? My computers would be seized and my keys to my ranch I just baked cookies Mr. Officer, looky, take a whiff of these Here, I make Jesus juice, take a sip of this Nobody is safe from me, no not even me I don't even know if I can say the word pee pee, pee On the radio, but I think I did Janet, is that a breast, I think I just saw a tit Psych, I joke, I joke, I kid, I kid I don't think my joke is working, I must flee quick Get to the chopper, everybody get out I am not Triumph, I am Arnold, get down

So Gwen Stefani, will you pee pee on me please? I ain't never seen an ass like that `Cause the way you move it, you make my pee pee go Doing, doing, doing

Fuck is wrong with you? (ha!)


I didn't mean to be obscene or make a great big sceneAnd don't treat me like I'm pee wee Herman, this movies PGMr. Officer, I demand to see my attorneyI will simply plead innocent, cop a plea and be freeFree, yes, free, right back on the streetsWhat you mean my lawyer's with Michael, he's too busy?I am Triumph; Britney Spears has shoulders like a manAnd I can say that and you'll laugh ’cause that is a puppet on my hand

Hilary P u ff is not quite old enough so I ain't never seen a butt like thatMaybe next year I'll say ass and she'll make my pee pee go Doing, doing, doing

The way she moves she dances like a go-go In that video she sings get out you bozo I need a new boyfriend, hi my name is JoJo Police saying freeze Doing, doing, doing What do you mean freeze?My computers would be seized and my keys to my ranchI just baked cookies Mr. Officer, looky, take a w hiff o f theseHere, I make Jesus juice, take a sip o f thisNobody is safe from me, no not even meI don't even know if I can say the word pee pee, peeOn the radio, but I think I didJanet, is that a breast, I think I just saw a titPsych, I joke, I joke, I kid, I kidI don't think my joke is working, I must flee quickGet to the chopper, everybody get outI am not Triumph, I am Arnold, get down

So Gwen Stefani, will you pee pee on me please?I ain't never seen an ass like that‘Cause the way you move it, you make my pee pee goDoing, doing, doing

Fuck is wrong with you? (ha!)


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16. Beep — The Pussycat Dolls

Ha, ha-ha, ha-ha Ha, ha-ha, ha Ha-ha, ha-ha, ha-ha Ha, ha-ha, ha, ha

[Will.I.Am] It's funny how a man only thinks about the... You got a real big heart, but I'm looking at cha... You got real big brains, but I'm looking at cha... Girl, there ain't no pain in me looking at ya...

[PCD] I don't give a... Keep looking at my... 'Cause it don't mean a thing if you're looking at my... Ha, I'm a do my thing while you're playing wit cha Ha, ha-ha, ha-ha, ha-ha

Every boy's the same Since up in the seventh grade They been tryin' to get with me Trying to (Ha, ha-ha, ha, ha-ha) They always got a plan To be my one and only man Want to hold me with their hands Want to (Ha, ha-ha, ha, ha-ha) I keep turning them down But, they always come around Asking me to go around That's not the way it's going down

'Cause they only want Only want my ha, ha-ha Ha, ha-ha Only want what they want But, na, ah-ah Na, ah-ah


[PCD]


16. Beep - The Pussycat Dolls

Ha, ha-ha, ha-ha Ha, ha-ha, ha Ha-ha, ha-ha, ha-ha Ha, ha-ha, ha, ha

[Will.I.Am]It's funny how a man only thinks about the...You got a real big heart, but I'm looking at cha...You got real big brains, but I'm looking at cha...Girl, there ain't no pain in me looking at ya...

[PCD]I don't give a...Keep looking at my...'Cause it don't mean a thing if you're looking at my... Ha, I’m a do my thing while you’re playing wit cha ... Ha, ha-ha, ha-ha, ha-ha

Every boy's the same Since up in the seventh grade They been tryin’ to get with me Trying to (Ha, ha-ha, ha, ha-ha)They always got a plan To be my one and only man Want to hold me with their hands Want to (Ha, ha-ha, ha, ha-ha)I keep turning them down But, they always come around Asking me to go around That's not the way it's going down

'Cause they only want Only want my ha, ha-ha Ha, ha-haOnly want what they want But, na, ah-ah Na, ah-ah


[PCD]


144

I don't give a... Keep looking at my... 'Cause it don't mean a thing if you're looking at my... I'm a do my thing while you're playing wit cha Ha, ha-ha, ha-ha, ha-ha

Do you know that no Don't mean yes, it means no So just hold up, wait a minute Let me, put my two cents in it One, just be patient Don't be rushing Like you're anxious And two, your just too aggressive trying to get your (Ahh)

Do you know that I know? And I don't want to go there

Only want Only want my ha, ha-ha Ha, ha-ha Only want what they want But, na, ah-ah Na, ah-ah


[PCD] I don't give a... Keep looking at my... 'Cause it don't mean a thing if you're looking at my... I'm a do my thing while you're playing wit cha Ha, ha-ha, ha-ha, ha-ha

Boomp-boomp, Omp-omp Boomp, boomp-boomp Boomp-boomp, Omp-omp Boomp, boomp-boomp [Repeated]

[PCD]


I don't give a...Keep looking at my...'Cause it don't mean a thing if you're looking at my... I'm a do my thing while you’re playing wit ch a ... Ha, ha-ha, ha-ha, ha-ha

Do you know that noDon't mean yes, it means noSo just hold up, wait a minuteLet me, put my two cents in itOne, just be patientDon't be rushingLike you're anxiousAnd two, your just too aggressivetrying to get your (Ahh)

Do you know that I know?And I don't want to go there

Only wantOnly want my ha, ha-ha Ha, ha-haOnly want what they want But, na, ah-ah Na, ah-ah


[PCD]I don't give a...Keep looking at my...'Cause it don't mean a thing i f you're looking at my... I'm a do my thing while you’re playing wit cha ...Ha, ha-ha, ha-ha, ha-ha

Boomp-boomp, Omp-omp Boomp, boomp-boomp Boomp-boomp, Omp-omp Boomp, boomp-boomp [Repeated]

[PCD]


145

Ooh, you've got it bad I can tell You want it bad, but oh well Dude, what you got for me Is something I Something I don't need hey!


[PCD] I don't give a... Keep looking at my... 'Cause it don't mean a thang if you're looking at my... I'm a do my thing while you're playing wit cha Ha, ha-ha, ha-ha, ha-ha


[PCD] I don't give a... Keep looking at my... 'Cause it don't mean a thang if you're looking at my... I'm a do my thing while you're playing wit cha Ha, ha-ha, ha-ha, ha-ha


Ooh, you've got it bad I can tell You want it bad, but oh well Dude, what you got for me Is something I Something I don't need hey!


[PCD]I don't give a...Keep looking at my...'Cause it don't mean a thang if you're looking at my... I'm a do my thing while you’re playing wit cha ...Ha, ha-ha, ha-ha, ha-ha

[Will.I.Am]It's funny how a man only thinks about the...You got a real big heart, but I'm looking at cha...You got real big brains, but I'm looking at cha...Girl, there ain’t no pain in me looking at ya...

[PCD]I don't give a...Keep looking at my...'Cause it don't mean a thang if you're looking at my... I'm a do my thing while you’re playing wit cha ...Ha, ha-ha, ha-ha, ha-ha


146

17. Since You've Been Gone — Kelly Clarkson

Here's the thing We started out friends It was cool but it was all pretend Yeah, Yeah Since you've been gone

You dedicated, You took the time Wasn't long 'till I called you mine Yeah, Yeah Since you've been gone

And all you'd ever hear me say Is how I picture me with you That's all you ever hear me say

But since you've been gone I can breathe for the first time I'm so moving on Yeah Yeah Thanks to you Now I get What I want Since you've been gone

How can I put it? You put me on I even fell for that stupid love song Yeah Yeah Since you've been gone

How come I never hear you say, I just wanna be with you I guess you never felt that way

But since you've been gone I can breathe for the first time I'm so moving on Oh Yeah Yeah Thanks to you Now I get... I get what I want..(Since you've been gone)

You had your chance, you blew it Out of sight, out of mind Shut your mouth, I just can't take it


17. Since You've Been Gone - Kelly Clarkson

Here's the thingWe started out friendsIt was cool but it was all pretendYeah, YeahSince you've been gone

You dedicated,You took the timeWasn't long 'till I called you mineYeah, YeahSince you've been gone

And all you'd ever hear me say Is how I picture me with you That's all you ever hear me say

But since you've been goneI can breathe for the first timeI'm so moving onYeah YeahThanks to youN ow I getWhat I wantSince you've been gone

How can I put it?You put me onI even fell for that stupid love song Yeah YeahSince you've been gone

How come I never hear you say,I just wanna be with you I guess you never felt that way

But since you've been gone I can breathe for the first time I'm so moving on Oh Yeah Yeah Thanks to youN ow I get... I get what I want..(Since you've been gone)

You had your chance, you blew itOut o f sight, out o f mindShut your mouth, I just can't take it


147

again and again and again and again!

Since you've been gone (Since you've been gone) I can breathe for the first time I'm so moving on Yeah Yeah Thanks to you, Now I get.. I get what I want I can breathe for the first time I'm so moving on Yeah Yeah Thanks to you, Thanks to you Now I get (I get) You should know, You should know That I get I get what I want...

Since You've Been Gone Since You've Been Gone Since You've Been Gone


147

again and again and again and again!

Since you've been gone (Since you've been gone)I can breathe for the first timeI'm so moving onYeah YeahThanks to you,N ow I get..I get what I want I can breathe for the first time I'm so moving on Yeah YeahThanks to you, Thanks to you N ow I get (I get)You should know, You should know That I get I get what I want...

Since You've Been Gone Since You've Been Gone Since You've Been Gone


148

18. Stupid Girls - Pink

Stupid girl, stupid girls, stupid girls Maybe if I act like that, that guy will call me back Porno F'apara7.7i girl, I don't wanna be a stupid girl

Go to Fred Segal, you'll find them there Laughing loud so all the little people stare Looking for a daddy to pay for the champagne (Drop a name) What happened to the dreams of a girl president She's dancing in the video next to 50 Cent They travel in packs of two or three With their itsy bitsy doggies and their teeny-weeny tees Where, oh where, have the smart people gone? Oh where, oh where could they be?

Maybe if I act like that, that guy will call me back Porno Paparazzi girl, I don't wanna be a stupid girl Baby if I act like that, flipping my blond hair back Push up my bra like that, I don't wanna be a stupid girl

(Break it down now) Disease's growing, it's epidemic I'm scared that there ain't a cure The world believes it and I'm going crazy I cannot take any more I'm so glad that I'll never fit in That will never be me Outcasts and girls with ambition That's what I wanna see Disasters all around World despaired Their only concern Will they **** up my hair


[Interlude] Oh my god you guys, I totally had more than 300 calories That was so not sexy, no Good one, can I borrow that? [Vomits]


[4 8

18. Stupid Girls - Pink

Stupid girl, stupid girls, stupid girlsMaybe if I act like that, that guy will call me backPorno Paparazzi girl, I don't wanna be a stupid girl

Go to Fred Segal, you'll find them there Laughing loud so all the little people stare Looking for a daddy to pay for the champagne (Drop a name)What happened to the dreams o f a girl presidentShe's dancing in the video next to 50 CentThey travel in packs o f two or threeWith their itsy bitsy doggies and their teeny-weeny teesWhere, oh where, have the smart people gone?Oh where, oh where could they be?

Maybe if I act like that, that guy will call me back Porno Paparazzi girl, I don't wanna be a stupid girl Baby i f I act like that, flipping my blond hair back Push up my bra like that, I don't wanna be a stupid girl

(Break it down now)Disease's growing, it’s epidemicI'm scared that there ain't a cureThe world believes it and I'm going crazyI cannot take any moreI'm so glad that I'll never fit inThat will never be meOutcasts and girls with ambitionThat’s what I wanna seeDisasters all aroundWorld despairedTheir only concernWill they **** up my hair


[Interlude]Oh my god you guys, I totally had more than 300 calories That was so not sexy, no Good one, can I borrow that?[Vomits]


149

I WILL BE SKINNY

(Do ya thing, do ya thing, do ya thing) (I like this, like this, like this) Pretty will you * * * * me girl, silly as a lucky girl Pull my head and suck it girl, stupid girl! Pretty would you **** me girl, silly as a lucky girl Pull my head and suck it girl, stupid girl!

Baby if I act like that, flipping my blond hair back Push up my bra like that, stupid girl!



I WILL BE SKINNY

(Do ya thing, do ya thing, do ya thing)(I like this, like this, like this)Pretty will you **** me girl, silly as a lucky girl Pull my head and suck it girl, stupid girl!Pretty would you **** me girl, silly as a lucky girl Pull my head and suck it girl, stupid girl!

Baby if I act like that, flipping my blond hair back Push up my bra like that, stupid girl!



150

19. Hips Don't Lie - Shakira

Ladies up in here tonight No fighting, no fighting We got the refugees up in here No fighting, no fighting

Shakira, Shakira

I never really knew that she could dance like this She makes a man wants to speak Spanish Como se llama, bonita, mi casa, su casa Shakira, Shakira

Oh baby when you talk like that You make a woman go mad So be wise and keep on Reading the signs of my body

And I'm on tonight You know my hips don't lie And I'm starting to feel its right All the attraction, the tension Don't you see baby, this is perfection

Hey Girl, I can see your body moving And it's driving me crazy And I didn't have the slightest idea Until I saw you dancing

And when you walk up on the dance floor Nobody cannot ignore the way you move your body, girl And everything so unexpected - the way you right and left it So you can keep on taking it

I never really knew that she could dance like this She makes a man want to speak Spanish Como se llama, bonita, mi casa, su casa Shakira, Shakira

Oh baby when you talk like that You make a woman go mad So be wise and keep on Reading the signs of my body

And I'm on tonight You know my hips don't lie


19. Hips Don't Lie - Shakira

Ladies up in here tonight N o fighting, no fighting We got the refugees up in here N o fighting, no fighting

Shakira, Shakira

I never .really knew that she could dance like this She makes a man wants to speak Spanish Como se llama, bonita, mi casa, su casa Shakira, Shakira

Oh baby when you talk like that You make a woman go mad So be wise and keep on Reading the signs o f my body

And I'm on tonightYou know my hips don't lieAnd I'm starting to feel its rightAll the attraction, the tensionDon't you see baby, this is perfection

Hey Girl, I can see your body moving And it's driving me crazy And I didn't have the slightest idea Until I saw you dancing

And when you walk up on the dance floor Nobody cannot ignore the way you move your body, girl And everything so unexpected - the way you right and left it So you can keep on taking it


Oh baby when you talk like that You make a woman go mad So be wise and keep on Reading the signs o f my body

And I'm on tonight You know my hips don't lie


151

And I am starting to feel you boy Come on lets go, real slow Don't you see baby asi es perfecto

Oh I know I am on tonight my hips don't lie And I am starting to feel its right All the attraction, the tension Don't you see baby, this is perfection Shakira, Shakira

Oh boy, I can see your body moving Half animal, half man I don't, don't really know what I'm doing But you seem to have a plan My will and self restraint Have come to fail now, fail now See, I am doing what I can, but I can't so you know That's a bit too hard to explain

Baila en la calle de noche Baila en la calle de dia



Oh baby when you talk like that You know you got me hypnotized So be wise and keep on Reading the signs of my body

Senorita, feel the conga, let me see you move like you come from Colombia

Mira en Barranquilla se baila asi, say it! Mira en Barranquilla se baila asi

Yeah She's so sexy every man's fantasy a refugee like me back with the Fugees from a 3rd world country I go back like when 'pac carried crates for Humpty Humpty I need a whole club dizzy Why the CIA wanna watch us? Colombians and Haitians


151

And I am starting to feel you boy Come on lets go, real slow Don't you see baby asi es perfecto

Oh I know I am on tonight my hips don't lie And I am starting to feel its right All the attraction, the tension Don't you see baby, this is perfection Shakira, Shakira

Oh boy, I can see your body movingHalf animal, half manI don't, don't really know what I'm doingBut you seem to have a planMy will and se lf restraintHave come to fail now, fail nowSee, I am doing what I can, but I can't so you knowThat's a bit too hard to explain




Oh baby when you talk like that You know you got me hypnotized So be wise and keep on Reading the signs o f my body

Senorita, feel the conga, let me see you move like you come from Colombia

Mira en Barranquilla se baila asi, say it!Mira en Barranquilla se baila asi

YeahShe's so sexy every man's fantasy a refugee like me back with the Fugees from a 3rd world countiyI go back like when 'pac carried crates for Humpty Humpty I need a whole club dizzy Why the CIA wanna watch us?Colombians and Haitians


152

I ain't guilty, it's a musical transaction Boo-boop-so-boop No more do we snatch ropes Refugees run the seas 'cause we own our own boats

I'm on tonight, my hips don't lie And I'm starting to feel you boy Come on let's go, real slow Baby, like this is perfecto

Oh, you know I am on tonight and my hips don't lie And I am starting to feel its right The attraction, the tension Baby, like this is perfection

No fighting No fighting


I ain't guilty, it's a musical transactionBoo-boop-so-boopNo more do we snatch ropesRefugees run the seas 'cause we own our own boats

I'm on tonight, my hips don't lie And I'm starting to feel you boy Come on let's go, real slow Baby, like this is perfecto

Oh, you know I am on tonight and my hips don't lie And I am starting to feel its right The attraction, the tension Baby, like this is perfection

N o fighting N o fighting


153

20. Wake Me Up When September Ends — Green Day

Summer has come and passed The innocent can never last wake me up when September ends

like my fathers come to pass seven years has gone so fast wake me up when September ends

here comes the rain again falling from the stars drenched in my pain again becoming who we are

as my memory rests but never forgets what I lost wake me up when September ends

summer has come and passed the innocent can never last wake me up when September ends

ring out the bells again like we did when spring began wake me up when September ends here comes the rain again falling from the stars drenched in my pain again becoming who we are

as my memory rests but never forgets what I lost wake me up when September ends


like my father's come to pass twenty years has gone so fast wake me up when September ends wake me up when September ends wake me up when September ends


20. Wake Me Up When September Ends - Green Day


like my fathers come to pass seven years has gone so fast wake me up when September ends

here comes the rain again falling from the stars drenched in my pain again becoming who we are

as my memory restsbut never forgets what I lostwake me up when September ends

summer has come and passed the innocent can never last wake me up when September ends

ring out the bells again like we did when spring began wake me up when September ends here comes the rain again falling from the stars drenched in my pain again becoming who we are

as my memory restsbut never forgets what I lostwake me up when September ends


like my father's come to pass twenty years has gone so fast wake me up when September ends wake me up when September ends wake me up when September ends


154

21. Helena — My Chemical Romance

Long ago Just like the hearse you die to get in again We are so far from you

Burning on just like a match you strike to incinerate The lives of everyone you know And what's the worst you take (worst you take) from every heart you break (heart you break) And like the blade you stain (blade you stain) Well I've been holding on tonight

[Chorus] What's the worst that I can say? Things are better if I stay So long and goodnight So long and goodnight

Came a time When every star fall brought you to tears again We are the very hurt you sold And what's the worst you take (worst you take) from every heart you break (heart you break) And like the blade you stain (blade you stain) Well I've been holding on tonight

[Chorus] What's the worst that I can say? Things are better if I stay So long and goodnight So long and goodnight And if you carry on this way Things are better if I stay So long and goodnight So long and goodnight

Can you hear me? Are you near me? Can we pretend to leave and then We'll meet again When both our cars collide?

[Chorus] What's the worst that I can say? Things are better if I stay So long and goodnight


21. Helena - My Chemical Romance

Long agoJust like the hearse you die to get in again We are so far from you

Burning on just like a match you strike to incinerate The lives o f everyone you know And what's the worst you take (worst you take) from every heart you break (heart you break)And like the blade you stain (blade you stain)Well I've been holding on tonight

[Chorus]What's the worst that I can say?Things are better if I stay So long and goodnight So long and goodnight

Came a timeWhen every star fall brought you to tears again We are the very hurt you sold And what's the worst you take (worst you take) from every heart you break (heart you break)And like the blade you stain (blade you stain)Well I've been holding on tonight

[Chorus]What's the worst that I can say?Things are better if I stay So long and goodnight So long and goodnight And if you carry on this way Things are better if I stay So long and goodnight So long and goodnight

Can you hear me?Are you near me?Can we pretend to leave and thenWe'll meet againWhen both our cars collide?

[Chorus]What's the worst that I can say?Things are better if I stay So long and goodnight


155

So long and goodnight And if you carry on this way Things are better if I stay So long and goodnight So long and goodnight


So long and goodnight And if you carry on this way Things are better if I stay So long and goodnight So long and goodnight


156

22. Our Lips are Sealed — Hilary and Haylie Duff

Can you hear them? They talk about us Telling Lies Well, that's no surprise Can you see them? See right through them? They have no shield No secrets to reveal

It doesn't matter what they say In the jealous games people play...ay...ay...ay

Our lips are sealed There's a weapon Which we must use In our defence: Silence Spreading Rumours So far from true. Dragged up from the underworld. Just like some precious pearl. It doesn't matter what they say In the jealous games people play...ay...ay...ay

Our lips are sealed

Pay no body to what they say It doesn't matter anyway...ay...ay...ay

Our lips are sealed

Hush, my darling Don't you cry Cryin, angel Forget their lies

Can you hear them? They talk about us Telling lies Well, that's no surprise Can you see them? See right through them? They have no shield No secrets to reveal


22. Our Lips are Sealed - Hilary and Haylie Duff

Can you hear them?They talk about us Telling Lies Well, that's no surprise Can you see them?See right through them?They have no shield No secrets to reveal

It doesn't matter what they sayIn the jealous games people play...ay...ay...ay

Our lips are sealed There's a weapon Which we must use In our defence:SilenceSpreading Rumours So far from true.Dragged up from the underworld.Just like some precious pearl.It doesn't matter what they sayIn the jealous games people play...ay...ay...ay

Our lips are sealed


Our lips are sealed

Hush, my darling Don't you cry Cryin, angel Forget their lies

Can you hear them?They talk about us Telling liesWell, that's no surprise Can you see them?See right through them?They have no shield No secrets to reveal


157

It doesn't matter what they say In the jealous games people play...ay...ay...ay

Our lips are sealed


Our lips are sealed Our lips are sealed Our lips are sealed


It doesn't matter what they sayIn the jealous games people play...ay...ay...ay

Our lips are sealed


Our lips are sealed Our lips are sealed Our lips are sealed


158

23. 321 - Hedley

I heard a distant early warning but I chose to ignore it it came back and bit me seems like we're victims of bad timing cause you wanted more than I did I can't give you what you need

she said "hold me, hold me, closely, closely" that's when I should have ran 3.2.1, it's the final meltdown I want out now I wish I would've known to doubt you I'm better off alone without you 3.2.1, it's the same old story, love gets gory why'd we have to go and change things? now touching you is such a strange thing

I got so caught up in the moment that I forgot what it all meant but still I'd do it all again you said, "no stings attached, I'm wild" I didn't know you're in denial and you became my ball and chain

she said, "hold me, hold me, closely, closely" that's when I should have ran 3.2.1, it's the final meltdown I want out now I wish I would've known to doubt you I'm better off alone without you 3.2.1, it's the same old story, love gets gory why'd we have to go and change things? now touching you is such a strange thing

she said "hold me, hold me, closely, closely" "hold me, hold me, closely, closely" that's when I should have ran

3.2.1, it's the final meltdown I want out now I wish I would've known to doubt you

I'm better off alone without you 3.2.1, it's the same old story, love gets gory why'd we have to go and change things? now touching you is such a strange thing

she's holding on while she can why'd we have to go and change things?


158

23. 321 - Hedley

I heard a distant early warningbut I chose to ignore itit came back and bit meseems like we're victims o f bad timingcause you wanted more than I didI can't give you what you need

she said "hold me, hold me, closely, closely" that's when I should have ran3.2.1, it's the final meltdown I want out now I wish I would've known to doubt youI’m better o ff alone without you3.2.1, it's the same old story, love gets gory why'd we have to go and change things? now touching you is such a strange thing

I got so caught up in the momentthat I forgot what it all meantbut still I’d do it all againyou said, "no stings attached, I’m wild"I didn't know you're in denial and you became my ball and chain

she said, "hold me, hold me, closely, closely" that's when I should have ran3.2.1, it's the final meltdown I want out now I wish I would've known to doubt youI’m better o ff alone without you3.2.1, it's the same old story, love gets gory why'd we have to go and change things? now touching you is such a strange thing

she said "hold me, hold me, closely, closely" "hold me, hold me, closely, closely" that's when I should have ran

3.2.1, it's the final meltdown I want out now I wish I would've known to doubt youI’m better o ff alone without you3.2.1, it's the same old story, love gets gory why'd we have to go and change things? now touching you is such a strange thing

she's holding on while she can why'd we have to go and change things?


159

she's holding on while she can now touching you is such a strange thing she's so out of hand I'm dreading all the baggage and what it brings she's so out of hand but still I'd do it all again


she's holding on while she cannow touching you is such a strange thingshe's so out o f handI’m dreading all the baggage and what it bringsshe's so out o f handbut still I’d do it all again


160

24. Untitled — Simple Plan

I open my eyes I try to see but I'm blinded by the white light I can't remember how I can't remember why I'm lying here tonight

And I can't stand the pain And I can't make it go away No I can't stand the pain

How could this happen to me I made my mistakes Got no where to run The night goes on as I'm fading away I'm sick of this life, I just wanna scream How could this happen to me

Everybody's screaming I try to make a sound but no one hears me I'm slipping off the edge I'm hanging by a thread I wanna start this over again

So I try to hold onto a time when nothing mattered And I can't explain what happened And I can't erase the things that I've done No I can't

How could this happen to me I made my mistakes Got no where to run The night goes on As I'm fading away I'm sick of this life I just wanna scream How could this happen to me

I made my mistakes Got no where to run The night goes on As I'm fading away I'm sick of this life I just wanna scream How could this happen to me


24. Untitled - Simple Plan

, I open my eyes I try to see but I'm blinded by the white light I can't remember how I can't remember why I'm lying here tonight

And I can't stand the pain And I can't make it go away N o I can't stand the pain

How could this happen to meI made my mistakesGot no where to runThe night goes on as I'm fading awayI'm sick o f this life, I just wanna screamHow could this happen to me

Everybody's screaming I try to make a sound but no one hears me I'm slipping o ff the edge I'm hanging by a thread I wanna start this over again

So I try to hold onto a time when nothing mattered And I can't explain what happened And I can't erase the things that I've done No I can't

How could this happen to me I made my mistakes Got no where to run The night goes on As I'm fading away I'm sick o f this life I just wanna scream How could this happen to me

I made my mistakesGot no where to runThe night goes onAs I'm fading awayI'm sick o f this lifeI just wanna screamHow could this happen to me


161

25. Because of You--Kelly Clarkson

I will not make the same mistakes that you did I will not let myself cause my heart so much misery I will not break the way you did You fell so hard I've learned the hard way, to never let it get that far

Because of you I never stray too far from the sidewalk Because of you I learned to play on the safe side So I don't get hurt Because of you I find it hard to trust Not only me, but everyone around me Because of you I am afraid

I lose my way And it's not too long before you point it out I cannot cry Because I know that's weakness in your eyes I'm forced to fake, a smile, a laugh Every day of my life My heart can't possibly break When it wasn't even whole to start with

Because of you I never stray too far from the sidewalk Because of you I learned to play on the safe side So I don't get hurt Because of you I find it hard to trust Not only me, but everyone around me Because of you I am afraid

I watched you die I heard you cry Every night in your sleep I was so young You should have known better than to lean on me You never thought of anyone else You just saw your pain And now I cry


25. Because o f You--Kelly Clarkson

I will not make the same mistakes that you did I will not let m yself cause my heart so much misery I will not break the way you did You fell so hardI've learned the hard way, to never let it get that far

Because o f youI never stray too far from the sidewalk Because o f youI learned to play on the safe sideSo I don't get hurtBecause o f youI find it hard to trustNot only me, but everyone around meBecause o f youI am afraid

I lose my wayAnd it's not too long before you point it out I cannot cryBecause I know that's weakness in your eyesI'm forced to fake, a smile, a laughEvery day o f my lifeMy heart can't possibly breakWhen it wasn't even whole to start with

Because o f youI never stray too far from the sidewalk Because o f youI learned to play on the safe sideSo I don't get hurtBecause o f youI find it hard to trustNot only me, but everyone around meBecause o f youI am afraid

I watched you die I heard you cry Every night in your sleep I was so youngYou should have known better than to lean on me You never thought o f anyone else You just saw your pain And now I cry


162

In the middle of the night For the same damn thing

Because of you I never stray too far from the sidewalk Because of you I learned to play on the safe side So I don't get hurt Because of you I tried my hardest just to forget everything Because of you I don't know how to let anyone else in Because of you I'm ashamed of my life because it's empty Because of you I am afraid

Because of you Because of you


In the middle o f the night For the same damn thing

Because o f youI never stray too far from the sidewalk Because o f youI learned to play on the safe side So I don't get hurt Because o f youI tried my hardest just to forget everything Because o f youI don't know how to let anyone else in Because o f youI'm ashamed o f my life because it's empty Because o f you I am afraid

Because o f you Because o f you


163

26. Jesus of Suburbia — Green Day

[Part 1]

I'm the son of raging love The Jesus of Suburbia From the bible of none of the above On a steady diet of soda pop and Ritalin No one ever died for my sins in hell As far as I can tell At least the ones I got away with

And there's nothing wrong with me This is how I'm supposed to be In a land of make believe That don't believe in me

Get my television fix sitting on my crucifix The living room or my private womb While the moms and brads are away To fall in love and fall in debt To alcohol and cigarettes and Mary Jane To keep me insane and doing someone else's cocaine

And there's nothing wrong with me This is how I'm supposed to be In a land of make believe That don't believe in me

[Part 2: City Of The Damned]

At the center of the Earth In the parking lot Of the 7-11 where I was taught The motto was just a lie It says home is where your heart is But what a shame Cause everyone's heart Doesn't beat the same It's beating out of time

City of the dead At the end of another lost highway Signs misleading to nowhere City of the damned Lost children with dirty faces today No one really seems to care


26. Jesus o f Suburbia - Green Day

[Part 1]

I'm the son o f raging loveThe Jesus o f SuburbiaFrom the bible o f none o f the aboveOn a steady diet o f soda pop and RitalinN o one ever died for my sins in hellAs far as I can tellAt least the ones I got away with

And there's nothing wrong with me This is how I'm supposed to be In a land o f make believe That don't believe in me

Get my television fix sitting on my crucifixThe living room or my private wombWhile the moms and brads are awayTo fall in love and fall in debtTo alcohol and cigarettes and Mary JaneTo keep me insane and doing someone else's cocaine

And there's nothing wrong with me This is how I'm supposed to be In a land o f make believe That don't believe in me

[Part 2: City O f The Damned]

At the center o f the EarthIn the parking lotO f the 7-11 where I was taughtThe motto was just a lieIt says home is where your heart isBut what a shameCause everyone's heartDoesn't beat the sameIt's beating out o f time

City o f the deadAt the end o f another lost highway Signs misleading to nowhere City o f the damned Lost children with dirty faces today N o one really seems to care


164

I read the graffiti In the bathroom stall Like the holy scriptures of a shopping mall And so it seemed to confess It didn't say much But it only confirmed that The center of the earth Is the end of the world And I could really care less

City of the dead At the end of another lost highway Signs misleading to nowhere City of the damned Lost children with dirty faces today No one really seems to care

[Part 3: I don't care]

I don't care if you don't I don't care if you don't I don't care if you don't care [x4]

I don't care

Everyone is so full of shit Born and raised by hypocrites Hearts recycled but never saved From the cradle to the grave We are the kids of war and peace From Anaheim to the middle east We are the stories and disciples Of the Jesus of suburbia Land of make believe And it don't believe in me Land of make believe And I don't believe And I don't care! I don't care! [x4]

[Part 4: Dearly beloved]

Dearly beloved are you listening? I can't remember a word that you were saying Are we demented or am I disturbed?


I read the graffiti In the bathroom stallLike the holy scriptures o f a shopping mallAnd so it seemed to confessIt didn't say muchBut it only confirmed thatThe center o f the earthIs the end o f the worldAnd I could really care less

City o f the deadAt the end o f another lost highway Signs misleading to nowhere City o f the damned Lost children with dirty faces today N o one really seems to care

[Part 3 : 1 don't care]

I don't care if you don't I don't care i f you don't I don't care i f you don’t care [x4]

I don’t care

Everyone is so full o f shit Bom and raised by hypocrites Hearts recycled but never saved From the cradle to the grave We are the kids o f war and peace From Anaheim to the middle east We are the stories and disciples O f the Jesus o f suburbia Land o f make believe And it don’t believe in me Land o f make believe And I don’t believe And I don't care!I don't care! [x4]

[Part 4: Dearly beloved]

Dearly beloved are you listening?I can't remember a word that you were saying Are we demented or am I disturbed?


165

The space that's in between insane and insecure Oh therapy, can you please fill the void? Am I retarded or am I just overjoyed Nobody's perfect and I stand accused For lack of a better word, and that's my best excuse

[Part 5: Tales of another broken home]

To live and not to breathe Is to die In tragedy To run, to run away To find what you believe And I leave behind This hurricane of fucking lies I lost my faith to this This town that don't exist

So I run I run away To the light of masochist And I leave behind This hurricane of fucking lies And I walked this line A million and one flicking times But not this time

I don't feel any shame I won't apologize

When there ain't nowhere you can go Running away from pain When you've been victimized Tales from another broken home

You're leaving... You're leaving... You're leaving... Ah you're leaving home...


The space that’s in between insane and insecure Oh therapy, can you please fill the void?Am I retarded or am I just overjoyed Nobody's perfect and I stand accused For lack o f a better word, and that's my best excuse

[Part 5: Tales o f another broken home]

To live and not to breathe Is to dip In tragedy To run, to run away To find what you believe And I leave behind This hurricane o f fucking lies I lost my faith to this This town that don't exist

So I run I run awayTo the light o f masochist And I leave behind This hurricane o f fucking lies And I walked this line A million and one fucking times But not this time

I don't feel any shame I won't apologize

When there ain't nowhere you can go Running away from pain When you've been victimized Tales from another broken home

You're leaving...You're leaving...You're leaving...Ah you're leaving home...


166

27. Just The Girl - The Click Five

She's cold and she's cruel but she knows what she's doing She pushed me in the pool at our last school reunion She laughs at my dreams but I dream about her laughter Strange as it seems she's the one I'm after

Cause she's bittersweet, she knocks me off of my feet And I can't help myself I don't want anyone else She's a mystery, she's too much for me But I keep coming back for more She's just the girl I'm looking for

She can't keep a secret for more than an hour She runs on one hundred proof attitude power And the more she ignores me, the more I adore her What can I do - I'd do anything for her

Cause she's bittersweet, she knocks me off of my feet And I can't help myself I don't want anyone else She's a mystery She's too much for me But I keep coming back for more She's just the girl I'm looking for

And when she sees it me On her caller ID She won't pick up the phone She'd rather be alone But I can't give up yet Cause every word she's every said Is still ringing in my head Still ringing in my head

She's cold and she's cruel but she knows what she's doing Knows just what to say so my whole day is ruined

Cause she's bittersweet, she knocks me off of my feet And I can't help myself I don't want anyone else She's a mystery She's too much for me But I keep coming back for more She's just the girl I'm looking for


166

27. Just The Girl - The Click Five

, She's cold and she's cruel but she knows what she's doing She pushed me in the pool at our last school reunion She laughs at my dreams but I dream about her laughter Strange as it seems she’s the one I'm after

Cause she's bittersweet, she knocks me o ff o f my feetAnd I can't help m yselfI don't want anyone elseShe's a mystery, she's too much for meBut I keep coming back for moreShe's just the girl I'm looking for

She can't keep a secret for more than an hour She runs on one hundred proof attitude power And the more she ignores me, the more I adore her What can I do - I'd do anything for her

Cause she's bittersweet, she knocks me o ff o f my feetAnd I can't help m yselfI don't want anyone elseShe's a mysteryShe's too much for meBut I keep coming back for moreShe's just the girl I'm looking for

And when she sees it meOn her caller IDShe won't pick up the phoneShe'd rather be aloneBut I can't give up yetCause every word she's every saidIs still ringing in my headStill ringing in my head

She's cold and she's cruel but she knows what she's doing Knows just what to say so my whole day is ruined

Cause she's bittersweet, she knocks me o ff o f my feetAnd I can't help m yselfI don't want anyone elseShe's a mysteryShe's too much for meBut I keep coming back for moreShe’s just the girl I’m looking for


167

28. Beat Of My Heart - Hilary Duff

To the beat of my To the beat of my To the beat of my heart

I'm thinking about, Letting it out I wanna give in, I wanna go out Been looking around I've finally found, The rhythm of love, The feeling of sound It's making a change,

The feeling is strange It's coming right back Right back in my range Not worried about anything else, I'm waking up

To the beat of my, To the beat of my, To the beat of my heart

[Chorus:] The beat of my heart, The beat of my heart, The beat of my heart, It tears us apart The beat of my heart, The beat of my heart, The beat of my heart, Now I'm back to the start To the beat of my, To the beat of my, To the beat of my heart,

I'm up from my down I turn it around I'm making it back, I'm not gonna drown I'm taking a stance I won't miss a chance I want you to see I'm not scared to dance


28. Beat O f My Heart - Hilary Duff

To the beat o f my To the beat o f my To the beat o f my heart

I'm thinking about,Letting it out I wanna give in,I wanna go out Been looking around I've finally found,The rhythm o f love,The feeling o f sound It's making a change,

The feeling is strangeIt's coming right backRight back in my rangeNot worried about anything else,I'm waking up

To the beat o f my,To the beat o f my,To the beat o f my heart

[Chorus:]The beat o f my heart,The beat o f my heart,The beat o f my heart,It tears us apart The beat o f my heart,The beat o f my heart,The beat o f my heart,N ow I'm back to the start To the beat o f my,To the beat o f my,To the beat o f my heart,

I'm up from my down I turn it around I'm making it back,I'm not gonna drown I'm taking a stance I won't miss a chance I want you to see I'm not scared to dance


16$

The way that you feel Could never be real I want you to know I finished the deal So I'm sayin' to you I'll always be true To the rhythm inside,

To the beat of my, To the beat of my, To the beat of my heart,

[Chorus]

Away Away, Away Away, Away Away, Away Away, Away Away, Away Away, To the beat of my, To the beat of my heart, Away Away, Away Away, To the beat of my, To the beat of my heart,

The beat of my heart, The beat of my heart, The beat of my heart, It tears us apart, The beat of my heart, The beat of my heart, The beat of my heart, Now I'm back to the start,

[Chorus]

Away Away, Away Away, To the beat of my, To the beat of my heart, Away Away, Away Away, To the beat of my, To the beat of my heart


The way that you feel , Could never be real

I want you to know I finished the deal So I'm sayin’ to you I'll always be true To the rhythm inside,

To the beat o f my,To die beat o f my,To the beat o f my heart,

[Chorus]

Away Away,Away Away,Away Away,Away Away,Away Away,Away Away,To the beat o f my,To the beat o f my heart,Away Away,Away Away,To the beat o f my,To the beat o f my heart,

The beat o f my heart,The beat o f my heart,The beat o f my heart,It tears us apart,The beat o f my heart,The beat o f my heart,The beat o f my heart,N ow I'm back to the start,

[Chorus]

Away Away,Away Away,To the beat o f my,To the beat o f my heart,Away Away,Away Away,To the beat o f my,To the beat o f my heart


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29. Stickwitu — The Pussycat Dolls

000h 0000h C'mon

I don't wanna go another day So I'm telling you exactly what is on my mind Seems like everybody's breaking up And throwing their love away But I know I got a good thing right her That's why I say:

Nobody gonna love me better I must stickwitu Forever Nobody gonna take me higher I must stickwitu (mmm) You know how to 'preciate me I must stickwitu My baby Nobody ever made me feel this way I must stickwitu

I don't wanna go another day So I'm telling you exactly what is on my mind See the way we ride In our private lives Ain't nobody getting in between I want you to know that you're the only one for me And I say

Nobody gonna love me better I must stickwitu Forever Nobody gonna take me higher I must stickwitu You know how to 'preciate me I must stickwitu My baby Omar Nobody ever made me feel this way

I must stickwitu

Hey babe----this should be 'and now' Ain't nothing else I could need (nothing else I could need) Hey babe----this should be 'and now' I'm singing 'cause you're so, so into me I got you


29. Stickwitu - The Pussycat Dolls

oooh ooooh C'mon

I don't wanna go another daySo I'm telling you exactly what is on my mindSeems like everybody's breaking upAnd throwing their love awayBut I know I got a good thing right herThat's why I say:

Nobody gonna love me betterI must stickwituForeverNobody gonna take me higher I must stickwitu (mmm)You know how to 'predate me I must stickwitu My babyNobody ever made me feel this way I must stickwitu

I don't wanna go another daySo I'm telling you exactly what is on my mindSee the way we rideIn our private livesAin’t nobody getting in betweenI want you to know that you're the only one for meAnd I say

Nobody gonna love me betterI must stickwituForeverNobody gonna take me higherI must stickwituYou know how to 'predate meI must stickwituMy baby OmarNobody ever made me feel this way I must stickwitu

Hey babe— this should be 'and now’Ain't nothing else I could need (nothing else I could need) Hey babe— this should be 'and now'I'm singing 'cause you're so, so into me I got you


170

We'll be making love endlessly I'm with you Omar(baby), I'm with you Omar(baby), you're with me Omar(baby) you're with me higher

So don't you worry about People hanging around They ain't bringing us down I know you and you know me And that's all that counts (heeey) So don't you worry about People hanging around They ain't bringing us down I know you and you know me And that's ,that's why I say(Hey)

Nobody gonna love me better I must stickwitu Forever Nobody gonna take me higher I must stickwitu You know how to 'preciate me I must stickwitu My baby Nobody ever made me feel this way I must stickwitu

Nobody gonna love me better I must stickwitu Forever Nobody gonna take me higher I must stickwitu You know how to 'preciate me I must stickwitu My baby Nobody ever made me feel this way I must stickwitu


We'll be making love endlessly I'm with youOmar(baby), I’m with you Omar(baby), you're with me Omar(baby) you're with me higher

So don't you worry about People hanging around They ain't bringing us down I know you and you know me And that's all that counts (heeey)So don't you worry about People hanging around They ain't bringing us down I know you and you know me And that's,that's why I say(Hey)

Nobody gonna love me betterI must stickwituForeverNobody gonna take me higherI must stickwituYou know how to 'predate meI must stickwituMy babyNobody ever made me feel this way I must stickwitu

Nobody gonna love me betterI must stickwituForeverNobody gonna take me higherI must stickwituYou know how to 'predate meI must stickwituMy babyNobody ever made me feel this way I must stickwitu


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30. Catch Your Wave - The Click Five

In the middle of the night That's when you caught my eye I chased you round in memories Through the breeze and the trees and you tease me But hey

The clock's turning around and you're still playing these games It's such a waste to bring me down, down, down Don't bring me down cause

Hey girl, I wanna catch your wave Hey girl, I wanna drift away with you Hey girl, you've got an undertow Hey girl, hey girl, don't wanna let you go

When I turned sixteen That's when I started to dream I chased you round in memories Through the breeze and the trees and you tease me But hey

Well every princess has her knight And I'm still in it for the fight Not givin' in, I'm gonna win, win, win I'm gonna win cause

Hey girl, I wanna catch your wave Hey girl, I wanna drift away with you Hey girl, you've got an undertow Hey girl, hey girl don't wanna let you go

I'm never gonna let you go

Hey girl, I wanna catch your wave Hey girl, I wanna drift away with you Hey girl, you've got an undertow Hey girl, hey girl, don't wanna let you

Hey girl, I wanna catch your wave Hey girl, I wanna drift away with you Hey girl, you've got an undertow Hey girl, hey girl, don't wanna let you Hey girl, hey girl don't wanna let you go I'll never let you go Alright


30. Catch Your Wave - The Click Five

In the middle o f the nightThat's when you caught my eyeI chased you round in memoriesThrough the breeze and the trees and you tease meBut hey

The clock's turning around and you're still playing these games It's such a waste to bring me down, down, down Don't bring me down cause

Hey girl, I wanna catch your wave Hey girl, I wanna drift away with you Hey girl, you’ve got an undertow Hey girl, hey girl, don't wanna let you go

When I turned sixteenThat's when I started to dreamI chased you round in memoriesThrough the breeze and the trees and you tease meBut hey

Well every princess has her knight And I'm still in it for the fight Not givin’ in, I’m gonna win, win, win I'm gonna win cause

Hey girl, I wanna catch your wave Hey girl, I wanna drift away with you Hey girl, you’ve got an undertow Hey girl, hey girl don't wanna let you go

I'm never gonna let you go

Hey girl, I wanna catch your wave Hey girl, I wanna drift away with you Hey girl, you've got an undertow Hey girl, hey girl, don't wanna let you

Hey girl, I wanna catch your wave Hey girl, I wanna drift away with you Hey girl, you've got an undertow Hey girl, hey girl, don't wanna let you Hey girl, hey girl don't wanna let you go I'll never let you go Alright


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31. Confessions of a Broken Heart - Lindsay Lohan

I wait for the postman to bring me a letter. And I wait for the good Lord to make me feel better. And I carry the weight of the world on my shoulders. Family in crisis that only grows older. Why'd you have to go? Why'd you have to go? Why'd you have to go?

Daughter to father, daughter to father! I am broken, but I am hopin'. Daughter to father, daughter to father! I am crying, a part of me's dying. But these are, these are the confessions of a broken heart!

And I wear all your old clothes your old polo sweater. I dream of another you, one who would never. Never, leave me alone to pick up the pieces. A Daddy to hold me, that's what I needed.

So, why'd you have to go? Why'd you have to go? Why'd you have to go?

Daughter to father, daughter to father! I don't know you, but I still want to. Daughter to father, daughter to father! Tell me the truth, did you ever love me? 'Cause these are, these are the confessions of a broken heart! Of a broken heart!

I love you. I love you. I love you. I ...! I love you!

Daughter to father, daughter to father! I don't know you, but I still want to. Daughter to father, daughter to father! Tell me the truth, did you ever love me? Did you ever love me? These are the confessions of a broken heart!

Ohh yeah. I wait for the postman to bring me a letter.


31. Confessions o f a Broken Heart - Lindsay Lohan

I wait for the postman to bring me a letter.And I wait for the good Lord to make me feel better.And I carry the weight o f the world on my shoulders.Family in crisis that only grows older.Why'd you have to go?Why'd you have to go?Why'd you have to go?

Daughter to father, daughter to father!I am broken, but I am hopin'.Daughter to father, daughter to father!I am crying, a part o f me's dying.But these are, these are the confessions o f a broken heart!

And I wear-all your old clothes your old polo sweater.I dream o f another you, one who would never.Never, leave me alone to pick up the pieces.A Daddy to hold me, that's what I needed.

So, why’d you have to go?Why'd you have to go?Why'd you have to go?

Daughter to father, daughter to father!I don't know you, but I still want to.Daughter to father, daughter to father!Tell me the truth, did you ever love me?'Cause these are, these are the confessions o f a broken heart! O f a broken heart!

I love ypu.I love ypu.I love you.I...!I love you!

Daughter to father, daughter to father!I don't know you, but I still want to.Daughter to father, daughter to father!Tell me the truth, did you ever love me?Did you ever love me?These are the confessions o f a broken heart!

Ohh yeah.I wait for the postman to bring me a letter.


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32. Don't Bother - Shakira

She's got the kind of look that defies gravity She's the greatest cook, and she's fat free

She's been to private school, And she speaks perfect French She's got her perfect friends Oh, isn't she cool

She practices tai chi She'd never lose her nerve She's more than you deserve She's just far better than me Hey, hey

So don't bother I won't die of deception I promise you won't ever see me cry Don't feel sorry

And don't bother I'll be fine, But she's waiting The ring you gave to her will lose its shine So don't bother, be unkind

I'm sure she doesn't know How to touch you like I would I beat her at that one good Don't you think so?

She's almost six feet tall, She must think I'm a flea I'm really a cat you see And it's not my last life at all Hey, hey

So don't bother I won't die of deception I promise you won't ever see me cry Don't feel sorry

Don't bother I'll be fine But she's waiting The ring you gave to her will lose its shine


32. Don't Bother - Shakira

She’s got the kind o f look that defies gravity She’s the greatest cook, and she’s fat free

She’s been to private school,And she speaks perfect French She’s got her perfect friends Oh, isn’t she cool

She practices tai chi She'd never lose her nerve She's more than you deserve She's just far better than me Hey, hey

So don’t bother I won't die o f deception I promise you won't ever see me cry Don’t feel sorry

And don't bother I’ll be fine,But she’s waitingThe ring you gave to her will lose its shine So don’t bother, be unkind

I’m sure she doesn’t know How to touch you like I would I beat her at that one good Don’t you think so?

She's almost six feet tall,She must think I'm a flea I’m really a cat you see And it’s not my last life at all Hey, hey

So don't bother I won't die o f deception I promise you won't ever see me cry Don't feel sorry

Don't bother I’ll be fine But she's waitingThe ring you gave to her will lose its shine


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So don't bother, be unkind

For you, I'd give up all I own, And move to a communist country, If you came with me, of course And I'd file my nails, so they don't-hurt you And lose those pounds, and learn about football If it made you stay, but you won't, but you won't

So don't bother, I'll be fine, be fine, I'll be fine, I'll be fine I promise you won't ever see me cry And after all I'm glad that I'm not your type I promise you won't ever see me cry

Don't bother, I'll be fine, I'll be fine, I'll be fine, I'll be fine I promise you won't ever see me cry

And after all I'm glad that I'm not your type, Not your type, not your type, not your type I promise you won't ever see me cry


So don’t bother, be unkind

For you, I'd give up all I own,And move to a communist country,If you came with me, o f course And I'd file my nails, so they don't-hurt-you And lose those pounds, and learn about football If it made you stay, but you won't, but you won't

So don't bother,I'll be fine, I'll be fine, I'll be fine, I'll be fine I promise you won’t ever see me cry And after all I'm glad that I'm not your type I promise you won't ever see me cry

D on’t bother,I'll be fine, I'll be fine, I'll be fine, I'll be fine I promise you won't ever see me cry

And after all I'm glad that I'm not your type,Not your type, not your type, not your type I promise you won't ever see me cry


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33. Shine On - Ryan Cabrera

Given every moment I had Still I can never seem to keep up with you You're done with one mile and onto another one thousand Still I can never seem to keep up with you

I know you'll be better off without me when I'm gone You know you're, you're beautiful, you're beautiful

Shine on You were made to shine on And you know I love you And even if we can or can't be friends I'll be with you until the very end So shine on, you want me to

It's keeping me awake every night But I can never seem to give up on you I send up a prayer and I'm onto another one thousand I can never seem to give up on you

I know you'll be better off without me when I'm gone You know you're, you're beautiful, you're beautiful

Shine on You were made to shine on And you know I love you And even if we can or cant be friends I'll be with you until the very end So shine on, yeah

Nobody's wrong, nobody's right Keep moving on Shine on, yeah You want me to shine on

Shine on, you were made to Shine on, and you know I love you And even if we can or cant be friends Were gonna be brighter than we've ever been So shine on

You're gonna be just fine Oh, you're gonna be all right love, You're gonna be just fine, Oh you're gonna be all right love


33. Shine On - Ryan Cabrera

, Given every moment I had Still I can never seem to keep up with you You're done with one mile and onto another one thousand Still I can never seem to keep up with you

I know you’ll be better o ff without me when I’m gone You know you’re, you’re beautiful, you're beautiful

Shine onYou were made to shine onAnd you know I love youAnd even if we can or can’t be friendsI'll be with you until the very endSo shine on, you want me to

It's keeping me awake every night But I can never seem to give up on you I send up a prayer and I’m onto another one thousand I can never seem to give up on you

I know you’ll be better o ff without me when I’m gone You know you’re, you’re beautiful, you're beautiful

Shine onYou were made to shine on And you know I love you And even if we can or cant be friends I'll be with you until the very end So shine on, yeah

Nobody's wrong, nobody's rightKeep moving onShine on, yeahYou want me to shine on

Shine on, you were made to Shine on, and you know I love you And even if we can or cant be friends Were gonna be brighter than we've ever been So shine on

You're gonna be just fineOh, you’re gonna be all right love,You're gonna be just fine,Oh you’re gonna be all right love


176

34. I Just Want You To Know - Backstreet Boys

Lookin' at your picture from when we first met You gave me a smile that I could never forget And nothing I could do Could protect me from you that night Wrapped around your finger, always on my mind The days would blend 'cause we stayed up all night Yeah, you and I were, everything, everything to me

I just want you to know That I've been fighting to let you go Some days I make it through And then there's nights that never end I wish that I could believe That there's a day you'll come back to me But still I have to say I would do it all again Just want you to know

All the doors are closing, I'm trying to move ahead And deep inside I wish it's me instead My dreams are empty from the day, The day you slipped away

And I just want you to know That I've been fighting to let you go (oh) Some days I make it through And then there's nights that never end I wish that. I could believe That there's a day you'll come back to me But still I have to say (yeah) I would do it all again Just want you to know

That since I lost you I lost myself (ohhh) No I can't fake it There's no one else

So I just want you to know That I've been fighting to let you go Some days I make it through And then there's nights that never end I wish that I could believe That there's a day you'll come back to me (back to me) But still I have to say (I have to say)


176

3 4 . 1 Just Want You To Know - Backstreet Boys

Lookin’ at your picture from when w e first metYou gave me a smile that I could never forgetAnd nothing I could doCould protect me from you that nightWrapped around your finger, always on my mindThe days would blend 'cause we stayed up all nightYeah, you and I were, everything, everything to me

I just want you to knowThat I've been fighting to let you goSome days I make it throughAnd then there's nights that never endI wish that I could believeThat there's a day you'll come back to pieBut still I Lave to sayI would do it all againJust want you to know

All the doors are closing, I'm trying to move ahead And deep inside I wish it's me instead My dreams are empty from the day,The day you slipped away

And I just want you to knowThat I've been fighting to let you go (olj)Some days I make it throughAnd then there's nights that never endI wish that I could believeThat there’s a day you'll come back to meBut still I have to say (yeah)I would do it all again Just want you to know

That since I lost you I lost m yself (ohhh)N o I can't fake it There's no one else

So I just want you to know That I've been fighting to let you go Some days I make it through And then there's nights that never end I wish that I could believeThat there's a day you'll come back to me (back to me) But still I have to say (I have to say)


177

I would do it all again (do it all again)

I just want you to know (`cause I've been fighting) That I've been fighting to let you go (ohh) Some days I make it through (and then there's) And then-there's nights that never end I wish that I could believe (yeah) That there's a day you'll come back to me (but still) But still I have to say (I have to say) I would do it all again Just want you to know


I would do it all again (do it all again)

I just want you to know ( ‘cause I've been fighting) That I've been fighting to let you go (ohh)Some days I make it through (and then there's)And then there's nights that never end I wish that I could believe (yeah)That there's a day you'll come back to me (but still) But still I have to say (I have to say)I would do it all again Just want you to know


l7

35. Count on Me - Default

I know that life ain't always good to you. I've seen exactly what it's put you through Thrown you around and turned you upside down and so you You got to thinking there was no way out You started sinking and it pulled you down It may be tough you've to get back up Because you know that life ain't over yet I'm here for you so don't forget You can count on me Cause' I will carry you till you carry on

Anytime you need someone Somebody strong to lean on Well you can count on me To hold you till the healing is done And every time you fall apart Well you can hide here in my arms And you can count on me To hold you till that feeling is gone

I wonder why nobody's waiting on you I'd like to be the one to pull you through your darkest times I'd love to be the light that finds you I see a silver lining on your cloud I'll pick you up whenever you fall down Just take my hand and I will help you stand

Because you know that life ain't over yet I'm here for you so don't forget You can count on me Cause' I will carry you till you carry on Anytime you need someone Somebody strong to lean on Well you can count on me to hold you till the healing is done And every time you fall apart you can hide here in my arms And you can count on me to hold you till that feeling is Gone so you can live today Seems so long to yesterday Keep on counting on me to carry you till you carry on Carry on

You know that life ain't over yet I'm here for you so don't forget You can count on me cause I will carry you till you carry on


17^

35. Count on Me - Default

I know that life ain't always good to you.I've seen exactly what it's put you throughThrown you around and turned you upside down and so youYou got to thinking there was no way outYou started sinking and it pulled you downIt may be tough you've to get back upBecause you know that life ain't over yetI'm here for you so don't forgetYou can count on meCause' I will carry you till you carry on

Anytime you need someone Somebody strong to lean on Well you can count on me To hold you till the healing Is done And every time you fall apart Well you can hide here in my arms And you can count on me To hold you till that feeling is gone

I wonder why nobody's waiting on youI'd like to be the one to pull you through your darkest timesI'd love to be the light that finds youI see a silver lining on your cloudI'll pick you up whenever you fall downJust take my hand and I will help you stand

Because you know that life ain't over yetI'm here for you so don't forgetYou can count on meCause' I will carry you till you carry onAnytime you need someoneSomebody strong to lean onWell you can count on me to hold you till the healing is done And every time you fall apart you can hide here in my arms And you can count on me to hold you till that feeling is Gone so you can live today Seems so long to yesterdayKeep on counting on me to carry you till you cany on Carry on

You know that life ain't over yet I'm here for you so don't forgetYou can count on me cause I will carry you till you carry on


179

Anytime you need someone Somebody strong to lean on Well you can count on me to hold you till that healing is done And every time you fall apart You can hide here in my arms And you can count on me to hold you till -that feeling is gone Remember life ain't over yet I'm here for you so don't forget That you can count on me to hold you till that feeling is gone Remember life ain't over yet I'm here for you so don't forget That you can count on me to hold you till that feeling is gone


Anytime you need someone Somebody strong to lean onWell you can count on me to hold you till that healing is done And every time you fall apart You can hide here in my armsAnd you -can count on me to hold you till that feeling is gone Remember life ain't over yet I'm here for you so don't forgetThat you can count on me to hold you till that feeling is gone Remember life ain't over yet I'm here for you so don't forgetThat you can count on me to hold you till that feeling is gone


180

36. D.O.A. - Foo Fighters

Yeah, you know I did it It's over and I feel fine Nothing you can say is gonna change my mind Waited, and I wait at the longest night Nothing like the taste of sweet decline

I went down and I fell, I fell so fast Dropping like a grain in an hour glass Never say forever 'cause nothing lasts Dancing with the bones of my very past

Never mind there's nothing I could do Bet your life there's something killing you.

It's a shame we have to die my dear No-one's getting out of here alive This time You're away to go but have no fear No-one's getting out of here alive This time

I'm finished, I'm getting you off my chest Nature come clean in a dirty dress A promise is a promise you kept in check Hard to cross a heart that beats its fist

Take a good hard look for the very last time The very last one in a very long line. Only took a second to say goodbye Been a pleasure, but the pleasure's been mine all mine

Ain't no way D.O.A Ain't no way D.O.A

Take a good hard look for the very last time The very last one in a very long line Only took a second to say goodbye Been a pleasure, but the pleasure's been mine all mine

It's a shame we have to disappear No-one's getting out of here alive This time


36. D.O.A. - Foo Fighters

Yeah, you know I did it It's over and I feel fineNothing you can say is gonna change my mind Waited, and I wait at the longest night Nothing like the taste o f sweet decline

I went down and I fell, I fell so fast Dropping like a grain in an hour glass Never say forever 'cause nothing lasts Dancing with the bones o f my very past

Never mind there's nothing I could do Bet your life there's something killing you.

It's a shame we have to die my dear No-one's getting out o f here alive This timeYou're away to go but have no fear No-one's getting out o f here alive This time

I'm finished, I’m getting you o ff my chest Nature come clean in a dirty dress A promise is a promise you kept in check Hard to cross a heart that beats its fist

Take a good hard look for the very last time The very last one in a very long line.Only took a second to say goodbyeBeen a pleasure, but the pleasure's been mine all mine

Ain't no way D.O.A Ain't no way D.O.A

Take a good hard look for the very last timeThe very last one in a very long lineOnly took a second to say goodbyeBeen a pleasure, but the pleasure's been mine all mine

It's a shame we have to disappear No-one's getting out o f here alive This time


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37. Afterglow - INXS

Here I dill, lost in the light of the moon that comes through my window Bathed in blue, the walls of my memory divide the thorns from the rases It's you and the roses

Touch me and I will follow in your afterglow Heal me from all this sorrow As I let you go I will find my way when I see your eyes Now I'm living in your afterglow

Here I am, lost in the ashes of time, but who owns tomorrow? In between the longing to hold you again I'm caught in your shadow, I'm losing control My mind drifts away, we only have today

Touch me and I will follow in your afterglow Heal me from all this sorrow As I let you go I will find my way I will sacrifice 'til the blinding day when I see your eyes Now I'm living in your afterglow

When the veils are gone, as I let you go, as I let you go

Touch me and I will follow in your afterglow Heal me from all this sorrow As I let you go I will find my way, I will sacrifice Now I'm living in your afterglow

Bathed in blue, the walls of my memory divide the thorns from the roses It's you who is closest


37. Afterglow - INXS

Here I am, lost in the light o f the moon that comes through my window Bathed in blue, the walls o f my memory divide the thorns from the roses It's you and the roses

Touch me and I will follow in your afterglow Heal me from all this sorrowAs I let you go I will find my way when I see your eyes Now I'm living in your afterglow

Here I am, lost in the ashes o f time, but who owns tomorrow?In between the longing to hold you again I'm caught in your shadow, I'm losing control My mind drifts away, we only have today

Touch me and I will follow in your afterglow Heal me from all this sorrow As I let you go I will find my way I will sacrifice 'til the blinding day when I see your eyes Now I'm living in your afterglow

When the veils are gone, as I let you go, as I let you go

Touch me and I will follow in your afterglow Heal me from all this sorrow As I let you go I will find my way, I will sacrifice N ow I'm living in your afterglow

Bathed in blue, the walls o f my memory divide the thorns from the roses It's you who is closest


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Appendix H: Example of Product Descriptions of Toys


Appendix H: Example o f Product Descriptions o f Toys


Reproduced w

ith permission o



ithout permission.

Example of Product Descriptions of Toys

Toys R Us Product Description Special Features. Ages

1 Disney Princess: Cinderella Magical Talking Vanity

The Magical Interactive Cinderella Vanity is a must have for every little girl that wants to be Cinderella! The Vanity interacts with the child and instructs them on which accessories to pick Up and use. Cinderella's face appears in the mirror. This vanity lights up, contains talking phrases that are unlocked by a special key.

Get ready fOr the ball with your magical talking vanity and interactiye beauty accessories I Magical key unlocks the world of beauty! Cinderella magically appears in mirror! Beauty accessories interact with vanity! Magical vanity mirror lights up!

3 - 7 years

2 Disney Princess: Precious Princess Fashions: Belle from Beauty and Beast

Now Disney Princess dolls come as precious small dolls with lots of stretchy fashions in pretty, reusable bags. Each doll comes with five complete outfits, two wigs, accessories, and two character friends.

5 outfits Easy change clothes & hair! Fashions come in a purse for you! Contents: doll, outfits, accessories

3 - 6 years

3 Disney Princess (Game Boy ' Advance Game)

Every little girl dreams of one day becoming a princess and now is your chance. Play as Snow White, Cinderella, Ariel, Sleeping Beauty, Belle, and Jasmine as you search fot the magical Tiara of Friendship to make sure that everyone lives happily ever after. Along the way, you'll meet tons of other Disney characters including the seven dwarfs, Sleeping Beauty's fairy godmothers, and Aladdin's Genie, but watch out because you'll also run into an evil villain or two.

Play as Cinderella, Ariel (The Little Mermaid), Snow White, Belle (Beauty and the Beast), Jasmine (Aladdin), and Sleeping Beauty Visit Snow White's enchanted forest, save Belle's magical castle, fly on Aladdin's magic carpet and more Interact with tons of other classic Disney characters, including the 7 dwarfs, Abu, and a host of Disney villains Each of the 6 Princess story worlds has 3 levels, resulting in over 18 levels of fun For 1 player

6 years and hp

4 Disney Princess - Corded Phone

_

Charming electronics for her castle! Magical Sights! Adorable heart shape. Phone illuminates when it rings. Magical Sounds! Customized Princess ring tone. Handset volume control (normal/hi). Ringer on/off. Plus last number redial and tone/pulse selector. .

None given 7 - 12 years

Reproduced

with perm

ission of the

copyright owner.


without perm

ission.

Example o f Product Descriptions o f Toys

_ Toys R Us Product Description Special Features Ages

1 Disney Princess: Cinderella Magical Talking Vanity

The Magical Interactive Cinderella Vanity is a must have for every little girl that wants to be Cinderella! The Vanity interacts with the child and instructs them on which accessories to pick Up and use. Cinderella's face appears in the mirfor. This vanity lights up, contains talking phrases that are unlocked by a special key.

Get ready fpf the ball with your magical talking vanity and interactive beauty accessories!Magical key unlocks the world of beauty! Cinderella magically appears in mirror! Beauty accessories interact with vanity! Magical vanity mirror lights up!

3 - 7 years

2 Disney Princess: Precious Princess Fashions: Belle from Beauty and Beast

Now Disney Princess dolls come as precious small dolls with lots of stretchy fashions in pretty, reusable bags. Each doll comes with five complete outfits, two wigs, accessories, and two character friends.

5 outfitsEasy change clothes & hair! Fashions come in a purse for you! Contents: doll, outfits, accessories

3 -6 years

3 Disney Princess (Game Boy Advance Game)

Every little girl dreams of one day becoming a princess and now is your chance. Play as Snow White, Cinderella, Ariel, Sleeping Beauty, Belle, and Jasmihe as you search fof the magical Tiara of Friendship to make sure that everyone lives happily ever after. Along the way, you'll meet tons of other Disney characters including the seven dwarfs, Sleeping Beauty's fairy godmothers, and Aladdin's Genie, but watch out because you'll also run into an evil villain or two.

Play as Cinderella, Ariel (The Tittle Mermaid), Snow White, Belle (Beauty and the Beast), Jasmine (Aladdin), and Sleeping BeautyVisit Snow White's enchanted forest, saveBelle's magical castle, fly on Aladdin'smagic carpet and moreInteract with tons of other classic Disneycharacters, including the 7 dwarfs, Abu,and a host of Disney villainsEach of the 6 Princess story worlds has 3levels, resulting in over 18 levels of funFor 1 player

6 years and tip

4 Disney Princess - Corded Phone

Charming electronics for her castle! Magical Sights! Adorable heart shape. Phone illuminates when it rings. Magical Sounds! Customized Princess ring tone. Handset volume control (normal/hi). Ringer on/off. Plus last number redial and tone/pulse selector.

None given 7-12yeafs

00

184

Appendix I: Clothing Categories


Appendix I: Clothing Categories


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ithout permission.

Clothing Categories Objectifying__ Princessy Innocence Naughtiness

Beauty Queen Cuteytill Eyery soy's Dream Foxy Goddess Hot Mommy Hottie Hottie with a Body Juicy Meet the Twins Pinch Me Size Matters Squeeze These Skinny Bitch Treasure Chest Red Hot Juicy Drama Queen Sweet 'thang Define 'Single" I Like it Dirty MILF ih Training Yummy Mommy

Because I'm the Princess Drama Queen I Didn't Ask to be a Princess but if the Crown Fits It's Hard Being a Princess It's Not Easy Being a Princess Love Royal Property of Princess Major Princess Make Way for the Princess Pampered Princess Finishing School Pretty Pouty Princess Princess Princess in Training Property of Royal Pain Princess Queen Bee Royalty V.I.P. Very Important Princess Where is My Prince? Where's My Tiara?

Angel Adorable Angel Baby Baby Girl Honey Perfect Perfect Angel University Precious & Perfect Sweet

Bad Ass Elonde Bad Girls Rule Bad is Good Bitch Cold Hard Bitch Evil Bitch Good Girl Gone Bad I Do Bad Things Rich Bitch Super Bitch That's QUEEN Bitch To You You Call Me a Bitch Like It's A Bad Thing

Spoiled Superiority

All I Want is Everything! (Is That a Problem?) Buy Me Stuff and I'll Be Nicer I'm Only Nice So You'll Btly Me Stuff Spoil Me Rotten Spoil Me! Spoiled Beyond Belief Spoiled Brat Spoiled Little Mama Spoiled Rotten The World Revolves One Way—AroUnd Me This is What Spoiled Looks Like Yes, I'm Spoiled... So What's Your Point?

Blondes Are Adored Brunettes Are Ignored Blondes Do It Better Don't Be Jealous I'm Hot...You're Not Life is Better Blonde That's Hot, .. You're Not You'd Be Cooler if You Were Me

Natural Blonde My Boyfriend is out of Town Flirt Flirt in a Skirt Cheerleader

Competitive

Don't Be Jealous Most Likely to Steal Your Boyfriend Tell Your I3oyfriend to Stop Calling Me You Don't Know My Name Btu Your Boyfriend DoesYour Boyfriend Bought Me This Shirt Your Boyfriend Prefers Blondes Your Boyfriend Prefers Brunettes

Reproduced

with perm

ission of the

copyright owner.


without perm

ission.

Clothing CategoriesObjectifying^ Princessy Innocence Naughtiness

Beauty Queen Because I'm the PrincessCuteyfUl Drama QueenEyery Boy's Dream I Didn't Ask to be aFoxy Princess but if the CrownGoddess FitsHot Mommy It's Hard Being aHottie PrincessHottie with a Body It's Not Easy Being aJuicy PrincessMeet the Twins Love Royal Property ofPinch Me PrincessSize Matters Major PrincessSqueeze These Make Way for theSkinny Bitch PrincessTreasure Chest Pampered PrincessRed Hot Finishing SchoolJuicy Drama Queen Pretty Pouty PrincessSweet 'thang PrincessDefine ''Single" Princess in TrainingI Like it Dirty Property of Royal PainMILF ih Training PrincessYummy Mommy Queen BeeNatural Blonde RoyaltyMy Boyfriend is out of Town V.I.P. Very ImportantFlirt PrincessFlirt in a Skirt Cheerleader Where is My Prince?

Where's My Tiara?

Angel Adorable Aiigel Baby Bdby Girl Honey PerfectPerfect Angel University Precious & Perfect Sweet

Bad Ass Blonde Bad Girls Rule Bad is Good Bitch Cold Hard Bitch Evil BitchGood Girl Gone Bad I Do Bad Things Rich Bitch Super BitchThat's QUEEN Bitch To YouYou Call Me a Bitch Like It's A Bad Thing

Spoiled SuperiorityAll I Want is Everything! (Is That a Problem?)Buy Me Stuff and I'll Be NicerI'm Only Nice So You'll Biiy Me Stuff Spoil Me Rotten Spoil Me!Spoiled Beyond Belief Spoiled Brat Spoiled Little Mama Spoiled Rotten The World Revolves One Way—AroUnd Me This is What Spoiled Looks Like Yes, I'm Spoiled...So What's Your Point?

Blondes Are Adored Brunettes Are IgnoredBlondes Do It BetterDon't Be JealousI'm Hot.. .You're NotLife is Better BlondeThat's Hoti.. You're NotYou'd Be Cooler if You Were Me

CompetitiveDon't Be JealousMost Likely to Steal Your Boyfriend Tell Your Boyfriend to Stop Calling Me You Don't Know My Name Bht Your Boyfriend DoesYour Boyfriend Bought Me This Shirt Your Boyfriend Prefers Blondes Your Boyfriend Prefers Brunettes

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Appendix J: Objectification in Beauty and the Beast


Appendix J: Objectification in Beauty and the Beast


187

Objectification in Beauty and the Beast


Objectification in Beauty and the Beast

R eproduced with perm ission of the copyright owner. Further reproduction prohibited without perm ission

18$

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

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Appendix K: 'No' means 'yes'?


Appendix K: ‘N o’ means ‘yes’?


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`No' means 'Yes'?

Oh, yes! Yes, yes, yes!

I've been burned by you before!


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‘N o’ means ‘Y es’?


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Appendix L: Disney Princesses


Appendix L: Disney Princesses


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Disney Princesses


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Disney Princesses


From Princess to Sex-Object: A Content Analysis of Portrayals of ...

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