Sabrina Carpenter’s new album art for ‘Man’s Best Friend’ created the latest social media divide, spurring debate between fans and critics alike. One side argues that the album cover, which features the singer in a short black dress on her knees reaching out to a (presumed) man in a suit while he clutches a fistful of her hair, is degrading to women. People have left comments on her Instagram saying “the image isn’t very empowering to women.”
Others on X have pointed out the album cover clearly has a satirical tone, playing on the term “bitch” regularly being applied to women. Fans are confused and don’t know which way to sway.
I do, however, know the following: money talks.
Carpenter isn’t begging for attention or playing into the patriarchy. Rather, she is carefully crafting a conversation built to generate buzz for her album, and in turn, revenue.
The 26-year-old American Grammy Award-winning singer, songwriter and actress is known for her big doe eyes and platinum blonde hair. These, along with her short stature give her a certain sense of innocence. Carpenter’s “horny choreography” and figure hugging outfits showcased at her live performances both intrigue audiences and cause us to scratch our heads.
All of this appeals to America’s guilty pleasure: good girls gone bad. The public focuses on the more sexual aspects of her performance and music. Carpenter is the mirror, showing us our own dirty thoughts and reflection. If controversy is currency, it makes sense that she would use it to her advantage. It is a classic strategy in terms of garnering liquid and social capital.
I understand some feel that Carpenter’s art sets women back. A large part of the modern feminist movement involves de-centering men and not dressing or acting for the benefit of the male gaze.
In a New York Times article, Stella Bugbee says Carpenter’s cover art is “very pornographic.” Admittedly, seeing a woman in a position that could be described as degrading doesn’t scream “I am woman, hear me roar.”
Some of Carpenter’s fans feel differently.
Ariana Glaser, a UM student and fan of Sabrina’s work for over a decade, feels that “it’s pretty obvious that the album is not catering to men the way people would like to pretend it is … Sabrina has NEVER pandered to men.”
Sabrina isn’t performing for the male gaze. She is merely capitalizing on what both the public and the algorithms focus on.
So, if Sabrina isn’t undoing years of feminism, is she catapulting it forward?
Maybe not, but with its general lack of intersectionality and inclusiveness, feminism has more to worry about than the cover art of a traditionally beautiful white woman.
I believe the cover to be satirical and Sabrina is in on the joke. Men refer to women as “bitches” and dogs as “man’s best friend.” Both revolve around male ownership. Looking at the camera, Sabrina invites the viewer to guess what happens next. Maybe she uses her feminine wiles to get what she wants from the man in the photo. Maybe she is literally taken for a walk. Some fans are speculating that she is the ‘man’ pulling her hair since we can’t see ‘his’ face. Unless she gives us a clear cut answer, we’ll never know.
The point of the cover art is to start a dialogue, one that translates to likes, views, shares and ultimately dollars. The singer has revamped the discussion of female empowerment while increasing curiosity related to her album “Man’s Best Friend.”
Engagement is the new currency. With over 4.5 million likes on her Instagram post announcing the album, Sabrina likely hears public discourse as background noise while sipping her espresso and counting her coins.