Influence is a social concept that has existed since the creation of society. However, with the introduction of the Information Age where various forms of media have allowed the world to be ever more connected than before, the concept of influence has become a major point of discussion. Catalysed by the study of semiotics, mediums of influence have been able to be analysed via the various included icons, indexes and symbols; with one of the most effective mediums of influence being TIME Magazine. Starting as a concept by two journalists in 1923, it quickly became one of the most popular news magazines available with more than 175,000 copies annually in circulation a mere four years later. (The Editors of Encyclopaedia Britannica, 1998b). Time wields a substantial amount of power regarding its audience and subsequent opinions, which they are able to use at their own requirement
Starting in 2004, Time introduced a new annual edition of the magazine titled “Time 100”, dedicated to the “Most Influential People” of the year. This list brought awareness to social figures’ accomplishments, while also provoking meaningful discussion about the impact of influence itself. The cover of this magazine edition has since become a symbol of power with such icons as Prince Harry, Oprah and even Tim Cook all having spots on the cover. It has been constructed as an elitist symbol of power and is thus a large honour to be featured. 2019’s edition included faces such as Dwayne Johnson, and Taylor Swift- both of whom have built an empire of followers and fame from their dedication and hard work.
The magazine however took an unusual perspective for its 2020 release.
2020 was an unorthodox year filled with hate, fear, and an outpouring of equality. Due to this, Time had to alter its approach to the magazine, which it has effectively done with the inclusion of Megan Thee Stallion.
Rising to fame for her ability to freestyle rap, as well as her early hit songs such as “Big Ole Freak”, Megan utilised the 21st-century medium of social media to build a passionate following in under 10 years. While the average person would correlate Megan with the lifestyle in her songs like “Savage” and “W.A.P”, she depicts a woman of two worlds, as while she rapped and created TikTok trends around twerking with the #BigOleFreakChallenge, she also completed her studies and graduated from Texas Southern University with a Bachelor of Science in Health Administration. (Muaddi, 2021).
Her ability to demonstrate two different ends of a spectrum of power developed impactful insight into how we view power itself. A defining part of how Megan rose to power lies within the #BlackLivesMatter movement. Sparked by the death of George Floyd, this movement broke many constraints that Megan, among other women of colour, were facing, thus allowing Megan to be seen as a symbol of empowerment and be featured on the cover of TIME.
In her cover, The viewer is instantly drawn to Megan’s hair. This has been intricately braided into a long ponytail and acts as a focal point of the image. Long and Johnson discuss the study of semiotics and iconography as “not divorced from the social, cultural, political and historical contexts of their making" (Long et al., 2021). The emphasis of hair within this cover pays homage to the civil rights movement of the ’60s. As black people began to fight for their rights and equality during this time of redemption and empowerment, natural hairstyles synonymous with black culture began to become prevalent as a subtle way of combatting their discrimination. (Rodriguez, 2003).
The styling of baby hairs, known as “edges” is a detail often highlighted within these hairstyles and subsequently Megan’s hairstyle. Under the discussion of semiotics, Megan’s hairstyle is not a styling choice, but a symbolic commentary on #BlackLivesMatter, as well as equality itself. While the effect is subtle, it acts to prove her right to a platform, as well as her assertion as a powerful figure coined as one of the most influential of the year. Additionally, in 2020, the film “Wonder Woman 1984” was also released. As a pop culture icon, Wonder Woman is a spokesperson for women’s rights. Her use of iconography via her whip is also utilised by TIME magazine. Megan’s hair flicks back in a similar fashion of a whip. While Wonder Woman used her platform as a vigil for feminism, Megan does so for people of colour. The iconography of the whip is significant when discussing the past of America and the era of slavery. As Megan’s hair symbolises a whip, via Long and Johnson’s discussion of semiological icons, Megan can harness the power of the whip to empower black culture.
Megan is dressed particularly elegantly, pictured with a beautifully draped ochre-coloured dress. This dress features an asymmetrical neckline which accentuates her shoulders. The creators of Semiotics (Saussure and Pierce) came to similar conclusions regarding the analysis of signs within semiotics, discussing how concepts of a “media text”, “audience”, and its “production” are all aspects that reflect upon each other to create a signifier and its subsequent signified meaning (Fiske, 2010). Megan’s dress and emphasised shoulders are a central focus point. As a symbolic sign, broad and defined shoulders have been effectively used to assert a figure as a symbol of power and hope. The most iconic of these examples is the fascist party leader Mussolini’s propaganda posters, which bear a striking resemblance to Megan on Time magazine. While the intentions of these individuals are severely different – opposites even, both these pieces of media were effective at creating a strong following that perpetuated strong views.
The colour of Megan’s dress is also strikingly significant, paying homage to the colour scheme and silhouette of the ‘Iro ati Buba’- a traditional Nigerian garment. (Adoukè, 2022). Countless times within this magazine cover, Megan is depicted to either represent or reclaim forms of African tradition and history. From the indexical sign of these attributions of Megan, Megan can be perceived as a genuine spokesperson for #BlackLivesMatter, rather than using it as a gimmick. Reflecting on the ‘triangle of reference’ in semiotics, we can discuss how without the audiences’ prior experiences with #BlackLivesMatter, the emphasis of African culture on Time magazine would likely be far more subdued than seen here. By reflecting upon the influence of current affairs on consumerism and media, the target of the medium are able to perceive the difference between genuine and falsified equality.
During 2020, Megan gained a large amount of unwarranted negative traction after speaking out against Tory Lanez; a rapper who was convicted of shooting Megan in the foot. Megan was faced with social media users sexualising her and suggesting that she deserved the violence taken out on her. Ironically, on this cover, she flaunts her foot through the slit within her dress. Her foot appears unscathed and with a layer of black nail polish on. Megan standing barefoot and accentuating her foot acts as a signifier. When Megan’s moment of weakness is paired with her power stance and strong stare, the signified is made clear – her backlash has made her stronger.
A study conducted in 2017 analysed trending hashtags among common platforms, in which the hashtags such as “black sassy lady” and “big black woman” were heavily trending on GIF keyboards- often used as reaction content. (Jackson, 2017). These trending hashtags among its users connotate the suggestion that in society, black women are only popular for their ‘bizarre’ and ‘unorthodox’ reactions and ways of life. (Stravens, 2021). Megan’s backlash against her abuse retaliates against the stigma and incorrect signs that suggest black women are comedic relief, which would thus suggest that Megan cannot be a spokesperson for empowerment. By correlating a low point of her life (being shot), with a high point (being featured in TIME magazine), Megan can use her negative traction to the tokenization of black women during the time of #BlackLivesMatter. As target audiences are able to hear genuine accounts of empowerment from the “Most Influential People of 2022”, they are able to gain their power.
Despite this, semiotics have their limits in terms of perception and analysis. As discussed by Goode and Zuberi, “One should not assume that textual analysis is simply trying to circumvent the media and its manipulations.” (Goode & Zuberi, 2004). The signs discussed within this magazine cover are targeted towards the younger generations. These generations are not only the most easily influenced, but they were also the largest impacted generation of the #BlackLivesMatter movement. The medium of social media that this movement has progressed through has meant that awareness has been spread more thoroughly to younger generations with easier access to technology. (Seemiller & Grace, 2017). Thus, by analysing this magazine cover from the perspective of a Generation Z social media user, the target audience is influenced by their preconceived notions regarding the topics discussed- once again referring to the triangle of reference in semiotics.
The discussion of modality comes into play with the inclusion of semiotics. Modality is the terminology utilised within a medium to denote truth and believability. (O’Shaughnessy et al., 2016) We are drawn into TIME magazine’s cover not only through Megan herself, but the text beside her: “THE 100 MOST INFLUENTIAL PEOPLE”. The terminology used within this title denotes this claim as a fact, rather than an opinion. By utilising a high modality statement as the title, the semiotics behind Megan’s image are made all the more impactful.
As a woman of colour, Megan Thee Stallion has effectively utilised her platform to better shape the future of equality. The intricately constructed semiology of Megan’s attributes and their subsequent connotations bring to light necessary discussions within society regarding the perception and treatment of those who differ from the ‘straight while male’ narrative. By perceiving the commentary projected by TIME, audiences are able to better understand influence from an unbiased lens.
References
Adoukè, D. (2022, April 7). The evolution of Iro and Buba. Doria Adoukè. https://doriaadouke.com/the-evolution-of-iro-and-buba/
Fiske, J. (2010). Introduction to Communication Studies. Routledge.
Goode, L., & Zuberi, N. (2004). Media Studies in Aotearoa/New Zealand. Longman.
Jackson, L. M. (2017, August 2). We Need to Talk About Digital Blackface in Reaction GIFs. Teen Vogue. https://www.teenvogue.com/story/digital-blackface-reaction-gifs
Long, P., Johnson, B., MacDonald, S., Bader, S. R., & Wall, T. (2021). Media Studies: Texts, Production, Context. Routledge.
Muaddi, N. (2021, December 12). #MeganTheeGraduate: Megan Thee Stallion celebrates her college graduation. CNN. https://edition.cnn.com/2021/12/12/entertainment/megan-thee-stallion-graduation/index.html#:~:text=Megan%20Thee%20Stallion%20earned%20a,administration%20from%20Texas%20Southern%20University.
O’Shaughnessy, M., Stadler, J., & Casey, S. (2016). Media and Society. Oxford University Press, USA.
Pete, M. J. R. (2020, October 13). Megan Thee Stallion: Why I Speak Up for Black Women. The New York Times. https://www.nytimes.com/2020/10/13/opinion/megan-thee-stallion-black-women.html
Rodriguez, C. (2003). Hair story: Untangling the roots of black hair in America. Transforming Anthropology, 11(2), 64-65.
Seemiller, C., & Grace, M. (2017). Generation Z: Educating and engaging the next generation of students. About Campus, 22(3), 21-26.
Stravens, N. (2021). The Memeification of Black Women’s Trauma. New Sociology: Journal of Critical Praxis, 2(2).
The Editors of Encyclopaedia Britannica. (1998, July 20). Time | American magazine. Encyclopedia Britannica. https://www.britannica.com/topic/Time-American-magazine
Tricoci University. (2022, December 28). History Behind the Slayed Edges Hairstyle and How to Pull it Off. https://www.tricociuniversity.edu/beauty-blog/history-behind-the-slayed-edges-hairstyle-and-how-to-pull-it-off/