And it’s not just pop per-se: popular cultural morés in general often present as being at odds with female biology even whilst commodifying (female) sexuality embodied therein…
Pornographic representation of in-vaginal ejaculation is so novel it occupies its own, minority-interest ‘kink’ category (‘creampie‘, if you’re interested): the converse ubiquity of ejaculation on faces and/or breasts (as far as possible from the vagina, note) and anal sex.
Public breast-feeding remains a matter of consternation and misunderstanding, despite those practicing it having ‘enjoyed’ http://www.maternityaction.org.uk/sitebuildercontent/sitebuilderfiles/breastfeedingpublicplace.pdf since 2010; restrictions on its portrayal via social media. Showing breasts is only a (moral, if not actually legal) crime it seems, when they’re actually functioning as breasts; rather than as a sexual fetish.
The increasingly visible recourse to accusations/diagnoses of Transphobia/Cissexism within public discourse, with the tacit purpose of disabling such discourse: embodying the increasingly-fashionable Post-Modern notion that female-ness is a psychosexual ‘identity’ divorced from reproductive biology, and that any suggestion to the contrary is offensive, albeit to a small minority.
The longstanding trend towards employing girls/women with ‘masculine’ (i.e. tall, lean, not-so-curvy) physiques as models in fashion.
What is it ‘we’ don’t want to see? You’d think femaleness were a terrible thing indeed, that we might be blinded by the light of it. ‘This little wound women have… it frightens me.’ spoke the artist-seducer Reynolds in Anaïs Nin’s A Model’ . Seems it frightens a lot of people. Maybe it should?
From The Fader article:
‘Why is pop scared of pregnancy? Aside from the fact that women are so often presented as objects not subjects available for consumption in their own music videos—an illusion that’s broken by the sight of a pregnant bump—perhaps it’s something to do with that old nightmare of “having it all.” Ever since the sexual revolution of the ’60s and ’70s—when sexual morals shifted, independence celebrated, and more women began to enter the workplace—women have been split into workers and nurturers.’
‘Having it all‘ is a phrase once often deployed to knock down women who dared to step outside of their male-prescribed, supposed limitations, especially if they performed too well. Overt, incontestible evidence of female reproductive power is an affront to those of us who claim to have the red telephone to woman-central at our fingertips. Whilst some of us non-females show aptitude as both workers and nurturers, there’s still that one thing we can’t do. And it’s no coincidence that artists such as Cherry and Björk who unashamedly bare – and revel in – their femaleness are also high-achieving and indisputably icons. Bjrk writes of
‘”(the) “biological” process of heartbreak: “the wound and the healing of the wound.” But, let’s be real: it also looks like a vagina! Which is, of course, the anatomical source of the family unit that she mourns on “Family,” following the breakdown of her relationship. Where do I go to make an offering, she sings, To mourn our miraculous triangle: father, mother, child.'”
(Which the Po-Mo set might seize on as homophobic, unjustly: even Elton in full indignance is grounded enough to realize he can’t have his kids without female participation. There’s good reason to interrogate the wisdom of IVF and other ‘reproductive technologies’ but that’s a debate for another day.)
When Marillion‘s Steve Hogarth wrote the words for The Wound he was in the same metaphorical space, I think; albeit from a necessarily incomplete, male perspective:
Finally, here’s a good – and apposite – one from the vault: