This dominance is best described as “toxic masculinity” (Carrigan et al. More specifically, male dominance persuades society to conform to its values, among which are autonomy, group solidarity, toughness, and forms of aggression through the media and other organizational institutions. Gramsci describes the importance of such dominant roles that hold power in the subsequent formation of social strata through that power. This theory explains how and why men maintain dominant social roles over women and other groups considered to be feminine, such as homosexual men (Connell and Messerschmidt 2005). Hegemonic masculinity denotes a societal pattern wherein stereotypically male traits are idealized as part of the masculine cultural ideal (Connell and Messerschmidt 2005).
Among these, patriarchy and sexism form the basis for Gramsci’s (1971) theory of hegemonic masculinity.
These values can sometimes adhere to patriarchy, hegemony, racism, sexism, and other negative influences and discriminators. Media have an essential role in mirroring society and emphasizing the prevalent values of its culture. The analysis returned three themes that reflect basic tenets of hegemonic masculinity: the patriarchal values and superiority of men, female subordination, and violent behavior. The study performed a qualitative textual analysis on a sample of 10 Arabic music videos that are popular for containing instances of violence and supremacy of men. This study sought to examine the prevalence of the violence and aggression of men in Arabic music videos using Gramsci’s theory of hegemonic masculinity. Although Western music videos have been the subject of numerous research studies, research on Arabic music videos is nearly non-existent. The effects of this exposure on people have been shown to affect day to day attitudes and behaviors, especially among the youth (Johnson et al. Presented in the form of music videos, these songs contain visuals that carry several themes including the glorification of violence and the dominance of men over women (Sherman and Dominick 1986), and the sexual objectification of women (Kozman et al. A portion of that show is included in the recent anthology "Out Loud and Laughing" (Anchor Books).Free access to music videos on YouTube has allowed generations of consumers to be exposed to songs from their favorite artists on a daily basis. He appeared regularly at Caroline's Comedy Club in New York City, and his one-man show, "Paying for the Pool," ran at the Atlantic Theater Company for eight weeks in the fall of 1993. Maya redefined himself again as an openly gay stand-up comedian, and he became the first such comedian to appear on MTV's "Half-Hour Comedy Hour." He also starred in his own half-hour special on the Comedy Central network.
He also appeared in John Jesurun's avant-garde theater serial, "Chang in a Void Moon."īy the 1980's, he had redefined himself as a performance artist delivering musically inflected solo monologues that he called "rants." Three shows - "Frank Maya Talks," "Get Out of the House" and "Unauthorized Autobiography: An Outing for the Whole Family" - were presented in New York spaces that included LaMama, Performance Space 122, the Kitchen and Alice Tully Hall (as part of the Serious Fun series at Lincoln Center). After graduating from Hofstra University in 1972, he began his career as a singer, songwriter and poet, appearing extensively in clubs around Manhattan. Maya, a high-energy, hyperanimated performer who affected a sardonically hysterical tone on the stage, was born in Queens and reared in Babylon, L.I. The cause was heart failure related to AIDS, said his sister Janet.
"Frank Maya, a comedian and performance artist who was one of the first openly gay male comics to gain a foothold in mainstream stand-up comedy, died on Monday at his parents' home in Manhattan.