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Gender issues in hip hop
Gender issues in hip hop
Hip Hop and its betrayal of black women
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The Patriarchy within Hip-Hop In the twenty-five years since introducing hip-hop into the music scene, only few artists (known commonly as rappers) have successfully been able to provide a respectable image of black women to listeners around the world (Chadwick, n.d, p. 1). Unfortunately, many talented artists chose to trade in their respect for women, especially women of African-American decent, at the start of their careers, just to harvest money as entertainers of the current generation. Audiences of famous rappers, such as Jay-Z and Nelly, have become accustomed to their misogynistic lyrics. Forced to acknowledge their unfair representations in hip-hop alone, black females are overheard or forgotten completely in any attempt at protesting …show more content…
A main reason why the misogyny of rap music has been such a problem in this generation, is because as the years pass, each generation evolves and becomes more accepting of race, non-existent gender roles, and equality between men and women. These evolutions are prevalent in the everyday lives of black women, however, artists in the hip-hop genre clearly have never gotten that memo. Black women have found it hard enough to escape the social barrier between races and stereotypes, without rappers’ attempts to diminish their self-worth. Mike Klocke (2007), author of the article “Let’s take the rap for what we listen to,” has stated that hip-hop music found “objectionable” would be easier to ignore, and easier for black women to overcome, if the music wasn’t so anticipated and “in your face” (p. …show more content…
Spelman College, a black liberal arts college for women, has taken a stand against the patriarchy in hip-hop, starting with black rapper Nelly (Holsendolph, 2005, p. 1). Feminists within the college, upon watching the rapper’s music video, entitled “Tip Drill,” held protests against allowing him to “present his plan to promote his bone marrow education program” at the school (Holsendolph, 2005, p. 1). When Nelly decided to cancel his presentation, protesters took a major step in the fight against misogyny, which fueled the idea that with enough effort, other misogynistic rappers would realize the harm they were doing to the black female population (Holsendolph, 2005, p. 1). The college has since joined with Essence magazine to sponsor “Take Back the Music” (Holsendolph, 2005, p. 1). This initiative lasted one whole week, and focused on “the controversy over hip-hop images” (Holsendolph, 2005, p. 2). Moya Bailey, a student and leader of the Spelman movement against the controversy of rap, has stated that the battle for a more appropriate representation of black women in hip-hop was formed on a “personal” level (Holsendolph, 2005, p. 2). She has been quoted to believe, along with many other students attending Spelman, that “out of the many issues [hip-hop raises with respect to black women] is the question of
In his most recent album, Kanye West raps, “Now if I fuck this model/ And she just bleached her asshole/ And I get bleach on my T-shirt/ I 'mma feel like an asshole.” He suggests that it is the girl’s fault for getting bleach on his tee shirt, which she only did to make herself more sexually appealing. This misogyny in hip-hop culture is recognized to bring about problems. For instance, the women around these rappers believe they can only do well in life if they submit themselves to the men and allow themselves to be cared for in exchange for physical pleasure. In her essay, “From Fly-Girls to Bitches and Hoes”, Joan Morgan argues that the same rap music that dehumanizes women can be a powerful platform for gender equality if implemented correctly.
In The Venus Hip Hop and the Pink Ghetto, Imani Perry argues that the over-sexualized, unattainable bodies of black women in popular culture will lead to the breakdown of feminism and the positive body image of the everyday black women. As hip hop music continues to become more popular, the sexist messages presented in lyrics and music videos are becoming more common to the everyday public, including young black girls developing a self-image. Instead of these girls being exposed to healthy, positive role models who encourage individuality and that there is more to a woman than her body they are given hip hop video models whose only purpose is to look sensual on screen. The strong women that do exist in the hip hop genre are pushed to sexualize themselves or their lyrics to sell records or stay relatively unknown. Although Perry’s arguments are logical, I believe that she is creating a slippery slope of logic. A genre of music cannot destroy the self-image of black women that has existed for generations.
When looking at the landscape of Hip-Hop among African Americans, from the spawn of gangsta rap in the mid 1980s to current day, masculinity and an idea of hardness is central to their image and performance. Stereotypical to Black masculinity, the idea of a strong Black male - one who keeps it real, and is defiant to the point of violence - is prevalent in the genre. This resistant, or even compensatory masculinity, encompasses: the hyper masculinity rife in the Western world, misogyny, and homophobia, all noticeable in their lyrics, which is in part a result of their containment within the Black community. The link of masculinity and rap music was established due to this containment, early innovators remaking public spaces in their segregated neighbourhoods. A notion of authentic masculinity arose from the resistant nature of the genre, but the move to the mainstream in the 90s created a contradiction to their very image - resistance. Ultimately, this in part led to the construction of the masculinity defined earlier, one that prides itself on its authenticity. I’ll be exploring how gender is constructed and performed in Hip Hop, beginning with a historical framework, with the caveat of showing that differing masculine identities in the genre, including artists
One of Williams main topics of concerns is the wrong messages that “public airwaves” are sending to their listeners and followers. Williams claims rap and other medias are representing and sending the wrong message about African American communities. She mentions that rap music once held a positive message but now rap music is bombarding the public with the use of profanity, violence, and obscenity throughout their lyrics and music
In the article “ From Fly to Bitches and Hoes” by Joan Morgan, she often speaks about the positive and negative ideas associated with hip-hop music. Black men display their manhood with full on violence, crime, hidden guilt, and secret escapes through drugs and alcohol. Joan Morgan’s article views the root causes of the advantage of misogyny in rap music lyrics. In the beginning of the incitement her desires shift to focus on from rap culture condemnation to a deeper analysis of the root causes. She shows the hidden causes of unpleasant sexism in rap music and argues that we need to look deeper into understanding misogyny. I agree with Joan Morgan with the stance that black men show their emotions in a different way that is seen a different perspective.
Funk music touched on a myriad of subject matter, but there are some notable recurring themes that also intertwine themselves in the structure of the hip hop music that came afterwards.
In the predominantly patriarchal history of the world masculinity and what it means to be a man have differed from culture to culture. When it comes to African American culture, particularly what it has meant to be a man has no clear set of universal rules or guidelines. There are a few different sources such as hip hop and television many young black men across America draw their sense of masculinity from. While hip hop music in particular has had and continues to have a very strong influence on both masculinity and femininity of the youth, young black youth in particular has been affected the most .
Oswald, Janelle. “Is Rap Turning Girls into Ho’s?” The Black Book: A Custom Publication. 3rd ed. Ed. Sam Pierstorff. Modesto: Quercus Review Press, 2012. 171-175.
In the words of rapper Busta Rhymes, “hip-hop reflects the truth, and the problem is that hip-hop exposes a lot of the negative truth that society tries to conceal. It’s a platform where we could offer information, but it’s also an escape” Hip-hop is a culture that emerged from the Bronx, New York, during the early 1970s. Hip-Hop was a result of African American and Latino youth redirecting their hardships brought by marginalization from society to creativity in the forms of MCing, DJing, aerosol art, and breakdancing. Hip-hop serves as a vehicle for empowerment while transcending borders, skin color, and age. However, the paper will focus on hip-hop from the Chican@-Latin@ population in the United States. In the face of oppression, the Chican@-Latin@ population utilized hip hop music as a means to voice the community’s various issues, desires, and in the process empower its people.
A race issue that occurs within the rap and hip-hop musical genre is the racial stereotypes associated with the musical form. According to Brandt, and Viki rap music and hip- hop music are known for fomenting crime violence, and the continuing formation of negative perceptions revolving around the African-American race (p.362). Many individuals believe that rap and hip-hop music and the culture that forms it is the particular reason for the degradation of the African-American community and the stereotypes that surround that specific ethnic group. An example is a two thousand and seven song produced by artist Nas entitled the N-word. The particular title of the song sparked major debates within not only the African-American community thus the Caucasian communities as well. Debates included topics such as the significance and worth of freedom of speech compared with the need to take a stand against messages that denigrate African-Americans. This specific label turned into an outrage and came to the point where conservative white individuals stood in front of the record label expressing their feelings. These individuals made a point that it is because artists like Nas that there is an increase in gang and street violence within communities. Rap and hip-hop music only depicts a simple-minded image of black men as sex crazed, criminals, or “gangsters”. As said above, community concerns have arisen over time over the use of the N-word, or the fact that many rappers vocalize about white superiority and privilege. Of course rap music did not develop these specific stereotypes, however these stereotypes are being used; and quite successfully in rap and hip-hop which spreads them and keeps the idea that people of color are lazy, all crimin...
The article discusses the fact that hip hop “provides a lens [through which white students and faculty at institutions] interpret Black culture” and that because of this not only is the Black female’s view of herself being manipulated, but black males expect what is being promoted by hip hop culture from them, and so does every other person (Henry, West, & Jackson 238). A professor at North Carolina Central University spoke about how he dislikes how hip-hop has influenced the way his students dress, he said “ They look like hoochie mamas, not like they’re coming to class” (as cited in Evelyn
Hip hop has permeated popular culture in an unprecedented fashion. Because of its crossover appeal, it is a great unifier of diverse populations. Although created by black youth on the streets, hip hop's influence has become well received by a number of different races in this country. A large number of the rap and hip hop audience is non-black. It has gone from the fringes, to the suburbs, and into the corporate boardrooms. Because it has become the fastest growing music genre in the U.S., companies and corporate giants have used its appeal to capitalize on it. Although critics of rap music and hip hop seem to be fixated on the messages of sex, violence, and harsh language, this genre offers a new paradigm of what can be (Lewis, 1998.) The potential of this art form to mend ethnic relations is substantial. Hip hop has challenged the system in ways that have unified individuals across a rich ethnic spectrum. This art form was once considered a fad has kept going strong for more than three decades. Generations consisting of Blacks, Whites, Latinos, and Asians have grown up immersed in hip-hop. Hip hop represents a realignment of America?s cultural aesthetics. Rap songs deliver a message, again and again, to keep it real. It has influenced young people of all races to search for excitement, artistic fulfillment, and a sense of identity by exploring the black underclass (Foreman, 2002). Though it is music, many people do not realize that it is much more than that. Hip hop is a form of art and culture, style, and language, and extension of commerce, and for many, a natural means of living. The purpose of this paper is to examine hip hop and its effect on American culture. Different aspects of hip hop will also be examined to shed some light that helps readers to what hip hop actually is. In order to see hip hop as a cultural influence we need to take a look at its history.
Hip-hop and rap music are commonly criticized for its anti-feminist lyrics and degrading exploitation of women in music and music videos. (Sharpley-Whiting ) Many feminists have taken action against the music industry, which produces these messages in the music they release. However, in the hip-hop genre there are plenty of successful female rappers promoting feminist views, artist such as Queen Latifah and Mary J. Blige have made the choice to condemn the derogatory culture towards women. (Oliver, 382–384)
... educating at home, workshops, protest, and support of positive artists women can make larger steps to changing the portrayal of women in the rap music industry.
Dixon, Travis L., TaKeshia Brooks. “Rap Music and Rap Audiences: Controversial Themes, Psychological Effects and Political Resistance.” Perspectives. 7 April 2009. .