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you a stone freak in yo own skin: Missy Elliott's and Lil' Kim's Constructions of Black Womanhood
Unformatted Document Text:  Black Womanhood 16 Given the attention to Jones’ sexual image in the accompanying article, it may come as a surprise to some that the cover photo does not sexualize Jones at all. Instead, she is given a more toned down, classier look, probably in an attempt to appeal to the magazine's demographic. She wears a brown overcoat with animal-print knee-high boots. However, she still sports blonde hair and blue eyes. Another photo inside the magazine shows Jones in a purple cat suit, but still nothing is very significant about the photo. The third photo of Jones, that accompanies her "story," is a close-up shot of her upper body adorned in Swarovski crystals (the shot is from the back with her head turned to face the camera). In all the photos, the one theme seems to be that Jones is a model. There is nothing to suggest sexualization, empowerment or any type of concept other than that she is a versatile model. Furthermore, she clearly enjoys the attention of the camera. However, the magazine also included a photo collage of the many faces of Jones: two show her before her blonde hair-blue eyes transformation, two of her modeling, three of her performing, one publicity appearance in the infamous purple pasty jumpsuit and one advertisement for Viva Glam III lipstick. These photos were not done exclusively for Essence, but they are the only visual clues to a multi-dimensional person. However, most of the photos show her scantily clad, and, in one case, nude. Although the photographers at Essence do not shoot photos that sexualize Jones, archival photos are included to illustrate the point the writer makes about Jones’ image. Here lies an example of a black woman highly visible as an object but not as a subject. Her visibility and pseudo-embodiment in the magazine does not empower her.

Authors: Brooks, TaKeshia.
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Black Womanhood 16
Given the attention to Jones’ sexual image in the accompanying article, it may
come as a surprise to some that the cover photo does not sexualize Jones at all. Instead,
she is given a more toned down, classier look, probably in an attempt to appeal to the
magazine's demographic. She wears a brown overcoat with animal-print knee-high
boots. However, she still sports blonde hair and blue eyes. Another photo inside the
magazine shows Jones in a purple cat suit, but still nothing is very significant about the
photo. The third photo of Jones, that accompanies her "story," is a close-up shot of her
upper body adorned in Swarovski crystals (the shot is from the back with her head turned
to face the camera). In all the photos, the one theme seems to be that Jones is a model.
There is nothing to suggest sexualization, empowerment or any type of concept other
than that she is a versatile model. Furthermore, she clearly enjoys the attention of the
camera. However, the magazine also included a photo collage of the many faces of
Jones: two show her before her blonde hair-blue eyes transformation, two of her
modeling, three of her performing, one publicity appearance in the infamous purple pasty
jumpsuit and one advertisement for Viva Glam III lipstick. These photos were not done
exclusively for Essence, but they are the only visual clues to a multi-dimensional person.
However, most of the photos show her scantily clad, and, in one case, nude. Although
the photographers at Essence do not shoot photos that sexualize Jones, archival photos
are included to illustrate the point the writer makes about Jones’ image. Here lies an
example of a black woman highly visible as an object but not as a subject. Her visibility
and pseudo-embodiment in the magazine does not empower her.


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