Popular Music (2014) Volume 33/2. © Cambridge University Press 2014, pp. 209–224 doi:10.1017/S0261143014000312 Welcome to the candy shop! Conflicting representations of black masculinity MARITA B. DJUPVIK Faculty of Fine Arts, University of Agder, Post Box 422, No- 4604 Kristiansand, Norway E-mail:
[email protected] Abstract Mainstream hip hop videos have long been known for their images of scantily clad women, extreme materialism, and misogynist and homophobic lyrics. In this article I focus on how rapper 50 Cent’smas- culinity is constructed and expressed through music, lyrics and images in his video ‘Candy Shop’ from 2005. This is a classically modelled hip hop video, replete with markers of hypermasculinity: fancy cars, ‘bling’, and lots of beautiful, sexually available women. Several scholars have discussed how women are exploited in videos like this and reduced to props for the male star. However, few have explored how this macho masculinity is constructed. Through a close reading of this video, using socio-musicology and audiovisual analysis as my approach, I propose that the macho masculinity presented here is threatened when the male body is on display, but 50 Cent reassures himself (and his audience) through selective framing, involving both other performers and the music. Introduction There is a long tradition in popular music lyrics of using sugar or candy to evoke something desirable, including ‘I Can’t Help Myself (Sugar Pie Honey Bunch)’ by the Four Tops (1965), ‘Sugar, Sugar’ by the Archies (1969), ‘Brown Sugar’ by the Rolling Stones (1971) and ‘Candy Girl’ by New Edition (1983), among others.