Ingrid Barlon : This Is An Un Official Fan Site Tribute
Ingrid Barlon
Porn Queen Actress Superstar


Ingrid Barlon

La Casa del placer secreto alternative title for Das Haus der geheimen Lüste Notes available Suppliers listed (as?, plays Frau von Klingenberg) Fick Figaro 1970s, Dir. Hans Billian DVD available Fick, Figaro! alternative title for Fick Figaro Hard Penetrations alternative title for Wild Playgirls Notes available (plays the last client, Denise) Das Haus der geheimen Lüste 1979, Dir. Hans Billian DVD available Notes available Suppliers listed (as?, plays Frau von Klingenberg) Hôtesses très intimes alternative title for Wild Playgirls Notes available (plays the last client, Denise) Josefine Mutzenbacher's Haus der geheimen Lüste alternative title for Das Haus der geheimen Lüste DVD available Notes available Suppliers listed (as?, plays Frau von Klingenberg) Parfums de lingeries intimes alternative title for Wild Playgirls Notes available (plays the last client, Denise)
Passions secrètes alternative title for Das Haus der geheimen Lüste Notes available Suppliers listed (as?, plays Frau von Klingenberg) Pornographie c. 1985 DVD available Notes available Secret Passions alternative title for Das Haus der geheimen Lüste Notes available Suppliers listed (as?, plays Frau von Klingenberg) Tabu Erotic Fire - Veronikas frivole Spiele alternative title for Das Haus der geheimen Lüste Notes available Suppliers listed (as?, plays Frau von Klingenberg) Eine verdammt heisse Braut, 1. Teil: es bleibt in der Familie 1989, Dir. Hans Billian DVD available Notes available (two scenes, one an insert from Fick Figaro) Wild Playgirls 1982, Dir. Michel Jean DVD available Notes available (plays the last client, Denise)



Other studies analyzed 123 music videos from varying genres that aired in the summer of 1995. 44.7% of the videos failed to feature a female in a central role, while 31.7% of the videos portrayed women as conventional, meaning they served either as objects or sensory props to romantic male desire.[10] However, the overtly sexual nature of women in these videos was not the only thing analyzed. Gender displays in the form of nonverbal sexual cues were also considered, proving women could also be depicted as more subliminally sexual than men. For example, in the videos only 1.24% of men touched their hair compared to 38.35% of females.[11] Additionally, only 74% of males danced suggestively in their videos compared to 26.80% of females. The study examines the distinction between the prominence and depiction of male and female gender portrayals within the music videos of the 1990s. 2000s Singer Britney Spears performs in The Circus tour in Miami, 2009 Music remained integral to cultural life in the 2000s, even though not many new genres were created during this time other than a few indie-related and electronic genres. Teen Pop had a heavy influence over the 90s and into the first part of the decade. Artists like Britney Spears, Christina Aguilera, NSYNC and Backstreet Boys were extremely popular in the early 2000s. By the mid-2000s, Contemporary R&B had become the most popular genre with artists Like Usher at the forefront. A 2008 study by Jacob Turner hypothesized that African American genres of music—hip-hop, rhythm and blues—would feature the most sexual content in their music videos while white genres—Country and Rock—would feature less. The study found that 73% of all music videos had some sort of sexual content. The study also found that 90.09% of mixed Hip-Hop and R&B music videos contained sexual content, followed by Hip-Hop with 79.7% and R&B with 76.9%. The genres that contained the least amount of sexual content on their music videos were Rock with 40% and Country with 37%. The study also looked into how African American and white wallpaper characters were dressed in music videos. It found African American wallpaper characters were three times more likely to dress provocatively than white wallpaper characters. The study also found that while African Americans were not underrepresented in music videos, it proposes this is because videos featuring African Americans contained significantly more sexual content than videos that featured whites.[12] In 2004, many family groups and politicians lobbied unsuccessfully to ban Eric Prydz's "Call on Me" video for containing women dancing in a sexually suggestive way. In 2005, the music video of "These Boots Are Made for Walkin'", which featured Jessica Simpson in character as Daisy Duke, was controversial for featuring Simpson in "revealing" outfits and washing the General Lee car in her bikini.[13] The controversy resulted in the music video being banned in some countries. Sexuality in music videos can be perceived as something positive or negative, depending on the viewer. It has been growing and impacting the world. In 2008, sexual songs were on the top of the Billboard charts. Some sexual music videos have brought a varying degree of discomfort to people, leading to them being banned. For example, Madonna's music video for "What It Feels Like for a Girl" was banned due to sexualizing and portraying girls as violent and non-traditional.[14] Role of social media platforms In the 2000s, social media platforms such as Facebook and MySpace grew in popularity, allowing users to share music videos quickly with one another. This had an impact on the direction of sexuality in music videos. Due to the increased accessibility of music videos online, many of which featured some sexually suggestive content, this led to the increased perception of normality with respect to sexual themes in music videos.[citation needed] In particular, YouTube was a major contributor to this trend. The platform, launched in early 2005, grew rapidly—with its videos amassing one billion daily videos by October 2009[15] and became the largest video sharing site on the internet. Although YouTube's success in the 2000s was relatively limited compared to its explosive growth in the 2010s, it was nevertheless one of the most popular sites on the internet. Naturally, it became a hub for music videos as many content creators and fans flocked to the site to post content. The easy accessibility of various music videos, some charged with sexual themes, began to increase the perception of its normality. 2010s Into the 2010s, artists continued to garner headlines for provocative content in their music videos. For example, Rihanna's music video for the song "S&M", in which she simulates sex with a life-sized doll and wears bondage gear, generated much media attention and was banned in 11 countries. YouTube required its users to verify they were 18 years of age before being able to view the video.[16] The video's director, Melina Matsoukas, responded to the controversy by saying she felt it was a success because the provocative imagery created a dialogue around the video.[17] Conversely, Ariana Grande's "Everyday" video which depicts several couples beginning to have sex in various public places, such as on a bus, was praised for its sex positivity and inclusion of different races and sexual orientations.[18] Recent research has looked into the effects music videos that sexually objectify women have on women's body image perceptions. A study of college students found that young women with low self-esteem were more likely to view their body in a negative light after exposure to a sexually-objectifying music video. The same study found exposure to sexually objectifying music videos lessened the extremes of young women's concepts of an ideal body weight.[19] A 2017 study found a relationship between sexual content in dance music videos and negative attitudes toward sex and sexuality among young adults in the United States and Australia.[20] Some scholars have noted that sexualized content in music videos rarely depicts non-heterosexuality. Frederik Dhaenens has pointed out that when music videos feature gay content, it often involves a "heteronormative shaping of gay and lesbian identities", citing Macklemore and Ryan Lewis' "Same Love" as an example.[21] Carly Rae Jepsen's music video "Call Me Maybe" demonstrates the heteronormativity in music videos. Its scenes portray stereotypical heterosexual figures who reiterate heterosexuality.[21] The music video focuses around heterosexuality by using homosexuality to bring attention to the video. Music videos like Disclosure's "Latch" and Citizens!' "True Romance" emphasize homosexuality on a small-scale. It is presented in small amounts to include sexual diversity and attraction.[21] The artists' music videos depict heterosexuality but also include homosexuality to embrace social change. Expansion of social media YouTube continued to grow in the 2010s after a successful half-decade since its launch in the 2000s. Sexual themes were explored in videos that grew to enormous popularity on YouTube. Meghan Trainor's 2014 single "All About That Bass" is one example of this trend, although a milder one, as the sexual themes were very subtle. Nevertheless, the video amassed over 2.3 billion views on YouTube as of November 2019.[22] Also in the 2010s came the rise of music streaming platforms such as Spotify, which reached 248 million active users by October 2019.[23] The site is possibly creating a countermovement to the increased acceptance furthered by YouTube's growth by de-emphasizing the video itself in favor of the sound. Depictions of race Studies have shown music videos featuring African American characters tend to feature significantly more depictions of sexual acts than videos featuring white characters.[24] For example, African American women are more likely to be depicted as engaging in sexual behaviors and wearing provocative clothing. A study in the American Journal of Health Education attributed music videos' "frank sexual messages, objectification, and overtly sexual images" to apathy toward these behaviors in African American girls. The journal considered this dangerous in light of the heightened HIV risk for African Americans.[24] It has been suggested by scholar Jacob Turner that white-run corporations like Viacom (which owns MTV) are more willing to pay for music videos from African American artists who perpetuate racial and sexual stereotypes, thus explaining why African Americans videos are disproportionately sexualized compared to white videos.[25] Implications include the idea that Black women may internalize video messages about beauty and sexuality, and that Black men and White individuals may form inaccurate and harmful ideas of Black femininity because of music video images. [26] 2 Sexuality has been thoroughly addressed in terms of how it is used in music videos, however, race in relation to sexuality in music videos has not been covered effectively. Race and music have been intertwined for hundreds of years, with certain races relating to specific types of music more closely. For example, younger African Americans tend to listen to hip hop while older whites listen to county and classical music. While certain races can relate more to certain music genres, modern times have led to an increase in all races listening to all types of music. Although there has been an increase in races listening to all types of music, the content in music videos has not changed much. Hip hop videos still tend to feature predominantly African Americans with their focus upon a generalized harsh lifestyle that only a portion of the African American population truly faces.[27] In addition, country songs still tend to focus on a white male lead, while their audience has expanded to include many different races over time. Youth culture has driven the population to become more accepting towards all types of music genres and videos. This has allowed for the roles of certain races and genders within videos to change as well. While the article focuses on the influence of sexuality in music videos, it does not explain how race has an effect on how people are portrayed in them. It is a concept that has drastically changed in the last 30 years as the appeal of different types of music has spread to all races. Certain people of specific races, especially African American women, are used for their sexuality in music videos. By not demonstrating how race has influenced sexuality in music videos, the article does not encompass the full meaning of sexuality in music videos, and how and why different sexualization of people occurs. Modern technology, social media, and prominent figures in music are increasing the reach of music globally, including South Korea and India. Their growing influence in the music industry has allowed for many racial stereotypes, such as the Indian taxi driver, however, stereotypes within the US still dominate how people from across the world are portrayed in music videos. As an increasing number of American artists have begun to collaborate with foreign artists such as BTS,[28] racial stereotyping is becoming less of a factor in how different races are portrayed in music videos. Asian artists, like BoA, have been accused of presenting Western stereotypes of Asian female sexuality in their music videos in an attempt to gain popularity in the United States. Japan's Koda Kumi and AKB48 also present sexuality in their music videos. Male K-pop star Rain's music video for his song "Rainism" has been credited with helping to refute stereotypes of Asian men as effeminate and weak depicting an Asian man in various sexual situations, primarily with white women.[29] In the article "Sex and the Spectacles of Music Videos: An Examination of the Portrayal of Race and Sexuality in Music Videos", Jacob Turner studies the sexual behavior portrayed in music videos by two races. His study revealed African American women were more likely to portray sexual content than white women in music videos that were televised in the United States. This included both the use of provocative clothing and sexual acts in the videos, which ultimately showed how gender roles and race play a part in the amount of sexual content in music videos.[30] In Erika VanDyke's article "Race, Body, and sexuality in music videos", she explains how men appear more often in music videos than women. Men are usually portrayed as "powerful" and "aggressive" characters. Consequently, women occupy female stereotypical roles in these music videos and are usually seen as passive and are objectified in this manner


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