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 1. How useful is Jean Baudrillard’s concept of simulacra in analysing the props and costumes used in

Old Town Road

?

Jean Baudrillard’s concept of simulacra is very useful in analysing the props and costumes in Old Town Road because the video creates a hyperreal version of the American West based on media representations rather than historical reality.

Baudrillard argues that postmodern media constructs copies without originals — representations that become more real to audiences than reality itself. In Old Town Road, the cowboy costumes, horses, saloons, sheriff badges, and revolvers are not authentic depictions of the nineteenth-century West. Instead, they are stylised recreations based on earlier media texts such as Hollywood westerns and video games.  

The costumes are deliberately exaggerated and theatrical. For example:

• brightly coloured cowboy outfits
• oversized hats
• gold accessories
• flamboyant leather clothing

These create a playful parody of western masculinity. The video references an imagined “Wild West” that audiences already recognise through films, television, and games rather than through history itself.

The use of imagery associated with Red Dead Redemption 2 is particularly important. Lil Nas X originally promoted the song using gameplay footage from the game, meaning the music video partly imitates a digital simulation of the West.   This reflects Baudrillard’s idea of hyperreality because audiences may know the West more through games and films than through historical knowledge.

The video also mixes historical and modern signifiers:

• horses alongside sports cars
• cowboy clothing alongside designer fashion
• western towns alongside modern urban settings

This blurring of time periods creates a postmodern aesthetic where historical authenticity becomes irrelevant.

However, Baudrillard’s theory has limits. The props and costumes are not purely meaningless simulations because they also communicate social and political ideas about race, masculinity, and identity. Therefore, theories of representation, such as Judith Butler or Stuart Hall, may also be necessary.

Overall, simulacra is highly useful because the video intentionally constructs a hyperreal cowboy fantasy shaped by media culture rather than historical reality.

2. Explain how representations in the music video for

Old Town Road

reflect its social and political context.

The representations in Old Town Road strongly reflect contemporary social and political debates surrounding race, gender, and cultural identity in America.

One major context is the controversy surrounding the song’s removal from the Billboard country charts. Critics argued the decision reflected racial bias because country music has traditionally been associated with white artists.   The music video responds to this context by placing a Black artist at the centre of a genre historically dominated by white masculinity.

Lil Nas X is represented as a western hero:

• riding horses
• escaping sheriffs
• participating in cowboy culture

This challenges traditional racial stereotypes in western media, where Black cowboys were often excluded or marginalised.

The inclusion of Billy Ray Cyrus is also politically significant. His presence symbolises acceptance into country music culture and references the real-world support he gave Lil Nas X during the Billboard controversy.

The video also reflects changing attitudes towards masculinity and sexuality. Traditional westerns often represented men as stoic, aggressive, and heterosexual. However, Lil Nas X performs masculinity in a playful and exaggerated way through flamboyant costumes, humour, and dance. This reflects wider social debates about gender fluidity and LGBTQ+ visibility.

The political context is especially relevant because Lil Nas X publicly came out as gay shortly after the song’s success. The video can therefore be interpreted as challenging the conservative masculinity often associated with both hip-hop and country music.  

The music video also reflects internet culture and meme culture. The rapid circulation of the song through TikTok and social media reflects how digital platforms now shape popular culture and allow marginalised artists to bypass traditional gatekeepers.

Overall, the representations reflect contemporary debates about race, sexuality, genre boundaries, and digital identity in modern America.

3. To what extent can producers use the codes and conventions of music videos to construct political viewpoints?

Producers can strongly use the codes and conventions of music videos to construct political viewpoints because media language shapes how audiences interpret ideas about identity, power, and society. Old Town Road demonstrates this effectively.

The video uses western genre conventions to communicate political ideas about race and exclusion. Traditional westerns often centred white heroes defending civilisation. By placing Lil Nas X at the centre of this narrative, the producers challenge dominant racial representations.

Specific media language choices construct this viewpoint:

• low-angle shots position Lil Nas X as heroic
• reaction shots show townspeople staring at him as an outsider
• costumes and iconography associate him with western power and masculinity

These conventions encourage audiences to see him as a legitimate cowboy figure despite historical genre exclusion.

Intertextual references also create political meaning. The video references:

• western films
• country music traditions
• gaming culture
• hip-hop aesthetics

By blending these forms together, the producers challenge rigid genre categories and ideas about cultural ownership.

Humour is another important convention. The exaggerated costumes and comedic performances make political commentary more accessible to mainstream audiences. Rather than directly lecturing viewers, the video embeds political ideas within entertainment.

However, producers cannot completely control audience interpretation. According to Stuart Hall’s reception theory, audiences may:

• accept the preferred reading
• negotiate it
• reject it entirely

Some viewers may interpret the video simply as comedy rather than political commentary.

Additionally, commercial pressures may limit how radical political viewpoints can be. Music videos are still promotional products designed to maximise profit and audience appeal.

Overall, producers are highly capable of constructing political viewpoints through music video conventions, although audience interpretation and commercial pressures limit total control over meaning.

4. Judith Butler argued gender was a “stylized repetition of acts”. To what extent do you think the representations of masculinity in the video could be interpreted as performative?

Judith Butler’s theory of performativity is highly relevant to Old Town Road because the video presents masculinity as something performed through repeated behaviours, clothing, gestures, and cultural symbols.

Butler argues gender is not natural or biologically fixed. Instead, gender identities are constructed through repeated social performances. In Old Town Road, Lil Nas X performs masculinity through:

• cowboy costumes
• horse riding
• confident body language
• competitive behaviour
• western iconography

These are all culturally recognised signs of masculine identity associated with the western genre.

However, the performance is playful and exaggerated, which exposes masculinity as artificial rather than natural. The flamboyant outfits, dancing, and humorous tone undermine traditional western masculinity. Instead of appearing stoic and emotionally restrained, Lil Nas X presents masculinity as theatrical and flexible.

The collaboration with Billy Ray Cyrus is significant because Cyrus represents a more traditional form of masculine country identity. By combining Cyrus’ traditional cowboy image with Lil Nas X’s modern and stylised performance, the video demonstrates how masculinity can be reconstructed and hybridised.

The video also reflects Butler’s idea that gender performances can challenge dominant norms. Lil Nas X later publicly came out as gay, making the performance even more politically significant because both hip-hop and country music have historically marginalised openly gay men.

Nevertheless, some traditional masculine conventions remain:

• competition
• rebellion
• dominance
• outlaw imagery

Therefore, the video does not completely reject traditional masculinity but reworks it into something more fluid and performative.

Overall, Butler’s theory is extremely useful because the video clearly demonstrates masculinity as a constructed performance built through repeated cultural signs and behaviours.

5. Explain how

Old Town Road

uses intertextuality to create meaning.

Old Town Road heavily uses intertextuality to create humour, cultural commentary, and political meaning.

Intertextuality refers to media texts referencing other media products so audiences bring existing meanings into the new text. The music video draws on multiple media forms including:

• western films
• country music
• hip-hop culture
• internet memes
• video games

One major reference is to classic western films. The costumes, desert landscapes, saloons, sheriffs, and horseback chases immediately remind audiences of Hollywood westerns. These references position Lil Nas X within a genre traditionally associated with white masculinity.

The video also references Red Dead Redemption 2 because the original promotion for the song used footage from the game.   Audiences familiar with gaming culture recognise this connection, making the video feel modern and internet-driven.

Intertextuality is also created through music genres. The song blends:

• country music
• trap beats
• rap performance styles

This fusion challenges rigid genre boundaries and reflects postmodern culture.

The appearance of Billy Ray Cyrus is another important reference. As a famous country musician, his inclusion symbolises acceptance into country music culture while also parodying traditional country stereotypes.

The video additionally references meme culture and viral internet aesthetics through exaggerated humour and self-aware editing. This helped the song circulate successfully on TikTok and social media.

These intertextual references create layered meanings:

• comedy
• nostalgia
• political critique
• genre hybridity
• cultural rebellion

Overall, intertextuality is central to the video because audiences gain meaning by recognising and interpreting references to other media texts and cultural forms.

6. To what extent are artists able to make money from music videos?

Artists are increasingly able to make money from music videos, although profitability depends on streaming, advertising revenue, branding, and audience engagement rather than direct video sales alone.

Traditionally, music videos functioned mainly as promotional tools for album sales. However, digital platforms such as YouTube now allow videos themselves to generate revenue through advertising, sponsorships, and streaming.

Old Town Road demonstrates this shift clearly. The video gained enormous online views and viral circulation through TikTok, memes, and social media sharing.   Viral popularity increased:

• streaming revenue
• downloads
• advertising income
• concert demand
• merchandise sales

The music video also helped build Lil Nas X’s brand identity. Modern artists often monetise their image across multiple platforms rather than relying only on music sales.

Remixes were also economically important. Multiple versions of Old Town Road extended the song’s chart success and streaming numbers.   This reflects how digital music industries maximise profits through constant recirculation and audience interaction.

However, large production costs can limit profitability. High-budget music videos may not directly recover their expenses through advertising alone. Record labels often treat videos as marketing investments rather than standalone products.

Streaming platforms also create financial challenges because artists may receive relatively small payments per stream compared to older physical music sales models.

Nevertheless, social media has reduced barriers to entry. Lil Nas X initially promoted the song independently online using memes and gaming footage before receiving major label support.   This demonstrates how artists can now monetise music videos through viral audience engagement without relying entirely on traditional industry structures.

Overall, artists can make substantial money from music videos today, but success depends on cross-platform promotion, branding, and digital circulation rather than direct video sales alone.