“This is for grown looking girls who's only ten/ The ones who watch videos and do what they see, as cute as can be, up in the club with fake ID /Careful, 'fore you meet a man with HIV / You can host the TV like Oprah Winfrey / Whatever you decide, be careful, some men be rapists / So act your age, don't pretend to be older than you are, give yourself time to grow” (I Can). In 2004, the Hip-Hop artist Nelly released his music video for his song, “Tip Drill,” which included several young females dancing in scantly clad outfits, some naked, and all while money was thrown down at them. The climax of the music video came when a male counterpart in the music video slid his credit card down one of the female’s butt cheeks. This action caused major backlash from several communities and eventually led to some repercussions for Nelly, one of which came from Spellman College. Spellman College, an historically African American college located in Atlanta, Georgia, made headlines in 2004 when, after the video premiered, they would not let Nelly perform on campus unless Nelly, himself, would talk on behalf of the content in the music video. This form of accountability on Spellman’s behalf is what is needed to change the continuing stereotypes of Hip-hop; women’s ability alone to overcome Hip-Hop’s male derogatory influence on society seems powerless. Unless others join their efforts, the continuation of Hip-hop will only allow the perpetuation of negative stereotypes. Hip-Hop is defined as, “The musical style incorporating rhythmic and/or rhyming speech that became the movement’s most influential and lasting art forms” (“Hip-Hop” 1). Created by the youth in New York during the 1970’s, Hip-Hop has become not only a form of music but also a way ... ... middle of paper ... ...d, with the fear of death due to neighborhood violence, it’s a much safer route as well. The need to remove the stereotypes about what it means to be either a man or a woman in these areas is necessary to overcome the Hip-hop culture’s desire to discriminate against women. Jenee Osterheldt, the lifestyle columnist for The Kansas City Star newspaper, wrote an opinion piece about this problem saying, “It’s becoming harder for women of the hip-hop generation to defend the culture when the mainstream is latching on to the ho-stomping, booty-shaking elements of hip-hop” (Osterheldt 1). A rising above these stereotypes for women and showing the meaning of healthy success will also provide a background and stable foundation for future generations. While these changes may take time, Hip-hop culture can survive and become an even better influence on tomorrow’s young females.
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.
It is often the case that media and more specifically, film, perpetuates the stereotypes of black men. These stereotypes include not showing emotion, being physically aggressive, embrace violence, supposed criminality, associated with drug use, lack a father figure, sexually exploit women, and others. In the film, Boyz n the Hood, Tre’s father, Furious Styles, encourages Tre to demonstrate loyalty to other people in relationships, resist aggressive behavior, and foster and exhibit sexual responsibility. Thus, throughout the film, Tre challenges the society’s stereotyped norms of black masculinity and what it means to be a black man.
Hip Hop’s according to James McBride article “Hip Hop Planet” is a singular and different form of music that brings with it a message that only those who pay close attention to it understand it. Many who dislike this form of music would state that it is one “without melody, sensibility, instruments, verse, or harmony and doesn’t even seem to be music” (McBride, pg. 1). Though Hip Hop has proven why it deserves to be called music. In going into depth on its values and origins one understands why it is so popular among young people and why it has kept on evolving among the years instead of dying. Many of Hip Hop values that make it unique and different from other forms of music would be that it makes “visible the inner culture of Americas greatest social problem, its legacy of slavery, has taken the dream deferred to a global scale” (McBride, pg. 8). Hip Hop also “is a music that defies definition, yet defines our collective societies in immeasurable ways” (McBride, pg. 2). The
In modern day society, popular culture has gained equal status to world issues and politics. Music, movies, and literature have started cultural revolutions and challenged the straight-forward thinking many individuals have accepted in the past. But while popular culture can advance new ideas and create movements, it also has the ability to challenge advancements society has made. Imani Perry’s essay, The Venus Hip Hop and the Pink Ghetto, focuses on hip hop and its negative impact on women and body image.
McGruder never tries to answer the question of what does it mean to be African American now, but to create conversation. To provide a unique space for examining the implications of being a young African American now. He draws attention to what institutions are now defining the black identity; whether the street life and gangster rap so tightly embraced by Riley or the Black Entertainment Network and its role in promoting misogynistic ideals. He does so through the use of hyper-exaggerated stereotypes to first break down the idea of a black monolithic identity then evaluate what now is defining the black identity.
In the Journal of Human Behavior in the Social Environment, sociologists Ruby Gourdine and Brianna Lemmons conducted a study of college students, predominantly African-American students, to find out how they felt about misogynistic lyrics. They found that female rappers are seen as being empowered when they use strong lyrics such as the ‘‘B-word’’ by making the word their own (61). Although Gourdine and Lemmons feel that this kind of language may allow women to be portrayed as being abused and symbolizing persons who can be mistreated by males, giving a troublesome message to the youths (70), Minaj understands that if she is to be seen as empowered, she must fight fire with fire. Particularly, when Minaj raps, “Come through and f*** ‘em in my automobile,” it’s easy to see how misogynistic language has been turned against the man, and it is the female who is dominating the
Glazing over these ‘gold digging’ tendencies as well as video girls’ willingness to objectify themselves in favor of viewing Black women as the perpetual victim of Black men reinforces the idea that Black women lack agency, and are incapable of participating in oppressive behavior. Morgan asserts that Black women can and should recognize their lack of self confidence and willingness to be objectified, the ways they treat each other poorly, the ways Black men hurt, and the ways they hurt us, at the same time. Rather than a fighting match to determine who’s correct in their contributions and consumption of hip hop and who’s wrong, Morgan concludes that these engagements should be a loving dialogue to
Women have consistently been perceived as second-class citizens. Even now, in times when a social conscience is present in most individuals, in an era where an atmosphere of gender equality 'supposedly' exists, it is blatantly apparent that the objectification and marginalization of women is still a major social issue. In reality, progression in terms of reducing female exploitation has been stagnant at best. Not only is the degradation of women a major problem that to date has not been eradicated, but it is actually being endorsed by some music celebrities. There are a growing number of people who purchase rap albums that support the fallacy that women are mere objects and should be treated as such. As the popularity of rap continues to climb at unprecedented rates, so too does its influence on the perception of women. In the vast majority of hip-hop songs, the depiction of women as sexual objects, the extreme violence directed towards them and the overall negative influence these lyrics have on the average adolescent's perception of women make rap the absolute epitome of female exploitation.
... 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 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.
There’s a certain reinforcement of binary misconceptions about gender common to hip-hop that doesn’t even exist in the distinctions between the biological sexes, let alone any kind of social concept about gender. To these rappers sex and gender seem to be pure categories. The roles of man and woman
Richardson, Elaine. "Developing Critical Hip Hop Feminist Literacies: Centrality and Subversion of Sexuality in the Lives of Black Girls." Equity & Excellence in Education Routledge 08 August 2013. 327-341. Web. 07 November 2013.
Common expectations seem to indicate gender roles on every individual. The males will play their part in being masculine while the females act an as object. There are several ways one can see how gender roles are played. A way is through hip-hop and rap music in the black community. Joan Morgan, an African American feminist and hip-hop and rap music fan, shows us how gender roles are being played in her community through music. Since Morgan is a feminist, she voices her opinion on the way black men treat black women in her article, “From Fly-Girls to Bitches and Hos.” Morgan states her argument that black men write lyrics ranting about black women to give a self-reflection. The males feel oppressed and express it through music. There are many reasons a male can feel oppressed, whereas one reason is becoming masculine. Michael Kimmel, a sociologist professor at Stony Brook University and the author of “‘Bros Before Hos’: The Guy Code” states that guys tries their best to show that they are manly. To clarify on how the men portray their oppression is to sing of misogyny and self-hatred in disguised hatred toward women. Men expressing their oppression through music tie the guy code of acting masculine and Morgan’s view of men feeling oppressed. Morgan describes black men express their oppression by objectifying black women sexually in music. Jean Kilbourne, the author of “‘Two Ways a Woman Can Get Hurt’: Advertising and Violence” and an activist on advertisement based on public health problems and violence against women agrees with Morgan on women being sexually identified. Kilbourne and Morgan connect to Kimmel by showing how males are seen to be masculine and females are soft and emotional. Morgan’s claims, in “From Fly-Girls to Bi...
Jackson, Andrea, and Nicole M. West and Henry Wilma. “Hip-Hop’s Influence on the Identity Development of Black Female College Students: A Literature Review.” Journal of College Student Development 51.3 (2010): 237-251. Project MUSE. Web. 14 Nov. 2013.
Did anyone ever wonder what hip hop is? Is it music? Hip hop can be music. Besides being music, hip hop is a type of dance, but it is not that popular anymore. People focus more on ballet, tap, jazz, and lyrical these days. Hip hop is nothing like those types of dances. It started in the Bronx, which is New York City in the mid seventies. It soon spread throughout the world, but got lost with all the technology that is getting created. At least Hip hop is still in some people.