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Depiction of females in rap music
Gender issues in hip hop
Depiction of females in rap music
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Cherly James and Sandy Denton better known as Salt 'N Pepa are one of the most known female groups ever. These two women were able to create music that spoke about sex, men, and other issues that most women were not. One of their hit songs "Push It" changed the game for females in the music industry. "Push It" was nominated for a Grammy in 1985, but Salt 'N Pepa boycotted the show when the rap categoru wasn't televised (Rollingstone)." This was something that was not suprising back then and even today because of the way that female artist are acknowleged. Many of the female artists back then were overlooked because of the way females were seen in the rap industry. In this essay I will go into detail about Salt 'N Pepa's music career, the …show more content…
way that they influenced both men and women, all of their successes, and different key releases in their career. Salt 'N Pepa "met while working at Seats in New York (Strong Voices-Female MC's, lecture)." Then by 1985 they were releasing hits that made the Billboard R&B Chart.
Shortly after Salt 'N Pepa added Dee Dee "Spindrella" Roper to their group. She was added to the group and soon after they made the song "Push It". "Salt 'N Pepa became the first female MCs to crack the pop Top 20 when this track was remixed by San Francisco DJ Cameron Paul (Rollingstone)." This was a huge single for the group because this song set the pacce for them. "Salt 'N Pepa sold over 15 million records in a phenomenal career, peaking 1955 and 1993 (Croy Music Miscellany)." During this period they had hits like Push It, Let's Talk About Sex. and Whatta Man that set a platform for them. Push It was a song that was about sex and making the world understand that "they were able to beat the boys at their own game (Strong Voices-Female MC's, …show more content…
lecture)." Let's Talk About Sex was one of the songs that provided women and men with a song that they could relate too.
Some of the lyrics are "But she was mad and sad and feelin' bad thinking about the things that she never had no love, just sex, followed next with a check and a note that last night was dope, dope (azlyrics.com)." This was reality for most women and the fact that Salt 'N Pepa made a song for women empowered them because they had never had someone understand them. In 2007 the Salt 'N Pepa show(excluding Spindrella) premiered documenturing their life and how they were doing then. This allowed followers to keep up with the once most popular female groups around. I remember in one of the episodes Salt 'N Pepa were performing Let's Talk About Sex at an HIV/AIDS event. They were giving away free condoms and expressing how important it is for everyone to go get checked for any disease. This is extremely important because when a figure like Salt 'N Pepa does something to make a difference in the community people listen. These women have been using their fame to help
others. In 2002 the group broke up, but soon in 2008 came back together. In a interview by the Tampa Bay Times, Cheryl James also known as Salt said "the pressure of being in the industry since I was 18 took a toll on me and took a toll on me and Pep's relationship. We had become.. not enemies, but I was tired and overwhelmed. I hadn't had a break since the beginning. If you saw the reality show (VH1's The Salt-N-Pepa Show), I revealed that for a long time I was bulimic." This was obviously something extremely critical to Salt and all of the over time in the studio and tours caused her to have a serious eating disorder. Today Salt is open about her disorder and tells everyone her story of how she overcame the disorder. After about five years, Salt 'N Pepa were able to be reunited and make their television show, The Salt 'N Pepa Show. The show only aired about a year, but the ladies were on tour called the "I Love 90's Tour" from April to October 2016. They had people like Vanilla Ice, Biz Markie, Coolio, Tone Loc, and Kid 'N Play perform at some of their concerts. Cheryl "Salt" explained in an USA Today interview that "It feels like you're taking people back to a time in their lives that they really enjoyed." This is true because my parents went to their concert in Redmond, Washington and they said "we loved it. It brought back a lot of memories." These women have paved a way for future female MC's. Anyone who is into Hip-Hop knows about them and how much of an impact they had on the culture of Hip-Hop. Today their are not any major female groups that stand out like them that are addressing major issues in their music. I would be extremely excited to see a female group to come out and change up the way things have been for a long time.
Kool-aid was invented by a man named Edwin Perkins He was born in the state of Iowa but he eventually went to live in Nebraska. At about 1927 he invented Kool-aid He was inspired by the drink Fruit smack, but because he wanted to lower the cost of shipping he removed all fluids from the drink. This dry powder eventually became Kool-aid. However Kool-aid did not always go by the same name It was originally Kool-Ade but because Ade refers to juice he had to change it tho the name it has today. Eventually Kool-aid got their own mascot the cool-aid man (He often broke through walls), They also had a comic with 7 issues, along with the Atari 2600 came the “Adventures of Kool-aid Man”. Kool-aid can still be bought today and has manny flavors
This song became the perfect background for PSA's. Maybe, after all, there was more to this band than sexuality and drugs. This album has a bit of each of the necessary elements to become a hit. In fact, it has. much more than that.
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.
Trina’s intent was to create a song that liberated women from the double standards and stereotypical views placed upon them. Her song however can cause harm to young women that listen to take this song to heart. Instead of liberation, we are moved further down into the hole of degrading and devaluing women. Trina should’ve sent the message that these things were wrong. Instead she endorsed and encouraged them.
Whitney Houston’s career truly took off in the mid-1980s after releasing her second album, Whitney, which includes her smash hit I Wanna Dance With Somebody. I Wanna Dance With Somebody is such an upbeat tune that includes a heavily edited and enhanced pop melodic line, synthesizers, and the notorious percussion and keyboard tease that begins the tune. Whitney Houston definitely brings this to life through her outstanding vocals that fully showcases her range, elastic vibrato, and precise musical abilities. Houston is most known for her voice that, in my opinion, is still considered extremely iconic and powerful. Houston’s chart-topping single also showcased the type of music that the United States enjoyed and cherished in the late 1980s. This song brings to the surface the anticipation, joy, and free-spirit that the 1980s culture presented to its people, and this hit ties in the importance of music, love, and dancing that stem from the core of Whitney’s pop-hit lyrics. The style of music portrayed in the 1980s consisted of many drum machines, synth-based styles of music, and electronic programming that twisted and manipulated the music into its reputable popular techno/rock characteristics. These characteristics are also seen in Gloria Estefan’s hit, Betcha Say That. Betcha Say That and I Wanna Dance With Somebody explicitly shows how popular energetic anthems were to the musical audience being catered back
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
Cheryl Wray and Sandy Denton, better known as dynamic rap duo, Salt-N-Pepa, from Brooklyn, New York, burst onto the all-male scene of hip hop in the 1980’s as Super Nature with “The Showstopper,” an answer track to Doug E. Fresh and Slick Rick’s “The Show.” Since then, the two made remarkably incredible music together. They met at Queensborough College in New York. They were polar opposites. Cheryl (Salt) was the quiet reserved one who always had her nose in a book and Sandy (Pepa) was the loud, outgoing party girl. One day, according to Denton’s autobiography Let’s Talk About Pep, Cheryl floated around the cafeteria handing out applications for positions at her then job at Sears. Denton accepted one, filled it out, and got a job at Sears with James where she met Hurby Azor, Salt-N-Pepa’s future producer, songwriter, and manager. Since the first song, Salt-N-Pepa went on to sell many albums and win plenty of awards. They’ve inspired many women as well as most, if not all, female rap, R&B, and hip-hop artists such as Alicia Keys, Nicki Minaj, and others.
Rose, Tricia. The Hip Hop Wars: What We Talk about When We Talk about Hip Hop - and Why
The most popular new music to emerge from the ‘80’s was rap music. It first developed in the mid ‘70’s in New York City, and soon in other urban areas, primarily amongst African-American teen-agers. It became very popular with the urban public that it soon began to spread throughout the United States and much of the world. It replaced rock music as the creative force in music of the ‘80’s and ‘90’s. However, as popular as it was then and it is now, the lyrics of many rap songs have caused controversy. Many believe and have charged that these lyrics promote racism and violence and show contempt for women.
The oppressive picture displaying the sexual objectification of women that most hip-hop artists paint while rapping can only be described as appalling. Many artists imply that a woman?s sole purpose is to gratify a man?s every sexual desire. For instance, ?Nelly?s ?Tip Drill? goes as far to portray scantily clad women as sexual appliances? (Weisstuch). Though Nelly is relatively mild when contrasted to other hip-hop artists, his actualization of women cannot be ignored. By calling women ?sexual appliances,? Nelly essentially promotes the idea that it is customary to view all women solely as sexual objects. Moreover, the generic ?sex appe...
... 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.
Hip hop has multiple branches of style and is a culture of these. This essay will examine Hip Hop from the point of view of the following three popular music scholars, Johnson, Jeffries and Smitherman. It will delve deeper into their understanding of what hip hop is and its relation to the different people that identify with its message and contents. It will also identify the history of Hip hop and its transition into popular music. In particular this essay will focus on what hip hop represents in the black community and how it can be used as a social movement against inequalities faced by them. This will then open up the discussion for the how this has influenced society, and the impact it has had in terms of race issues which hip hop itself often represents through music.
Dixon, Travis L., TaKeshia Brooks. “Rap Music and Rap Audiences: Controversial Themes, Psychological Effects and Political Resistance.” Perspectives. 7 April 2009. .
As one moves past the initial onslaught of rhythmic beats that calypso has to offer, it is difficult to miss the way in which it reverberates with negative and demoralizing images of women to their male counterparts. Whether it is within the lyrics of Sparrow’s “Drunk and Disorderly” or Square One’s “My Ding-a Ling”, an ample number of verses are often dedicated to making lewd comments about the female body and the suggestive body language described through thinly veiled rhymes and puns, can be offensive depending on the listener. The half naked models being displayed on the various album covers of calypso, soca and rap mix tapes further reinforces these negative connotations. This bandwagon has been jumped upon by many, including the rap genre in the last two decades, wanting to capitalize on a marketing strategy that generally purports to flag consumer attention, playing on their sense of eroticism. The sections titled “Music, Sex, Sexism” and “Woman Rising” within Peter Manuel’s text: Caribbean Currents, dive into the many issues surrounding gender within music as well as female portrayal specifically in calypso. Observations can be made simply by reading through the textual comparisons. Many aspects of this subject area allude to the fact that the issue of gender portrayal in music can be construed differently depending on who the critical listener happens to be. With the increased awareness and heightened sensitivity to the way in which females are portrayed in popular media, it is important to reflect on the impact these lyrics have on male-female relationships within the communities who most often enjoy this music genre.