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The Under Construction is an expressive article by Whitney A. Peoples and is centered on dissecting the political and social objectives of feminism within the hip-hop musical context. The essay identifies and tackles the generational disruptions that emerge as a result of the revealed objectives. Further, the article addresses the theoretical and practical elements shared by black feminists from both the second and third generation waves. The hip-hop culture holds considerable potential considered both sexually liberating and radical at the same time. The contemporary feminist movement seeks to overlook the incontestable misogyny in rap music and instead it uses the platform to critique racism and express race and ethnic associations. Hip-hop feminists argue that the music provides young black women with an avenue to conceive and develop personal gender critique and feminist identities that will eventually end the misogyny of rap music. The journal acknowledges and identifies the animosity and rivalry existing between hip-hop and the feminist …show more content…
movement. As he states, ‘There exists, however, resistance to the label of hip-hop feminism, making it a contested term even within its own generational constituency.’ (Peoples, 2007, p.26). A section of feminists argues that the hip-hop’s misogyny is too extreme, making a relationship between the music and feminism impossible. Denean Sharpley-Whiting is a renowned feminist writer that contends the label of hip-hop feminism. The writer believes that feminism by itself is enough to grapple with the realities and the experiences of African-American women without the modifications of qualifiers such as hip-hop. Authors, activists and self-proclaimed hip-hop feminists are continuously using feminism as an analysis tool to critique the economic, political, and social, structures that govern the lives of African American women.
The article contends that hip-hop feminists seek to discover the conditions that give rise to the misogynist and violent lyrics that are prevalent in mainstream rap music. The major critiques that second generation feminists push are: over-emphasis on misogyny, narrow conception of feminist identities, and the application of outdated and ineffectual strategies (Peoples, 2007). Rappers such as MC Lyte, Queen Latifah and Rhapsody advocate for the empowerment of black women alongside resisting racism and men’s sexism. Hence, personally, I find the journal as critically underpinning in highlighting developments in feminists movements. Also, in dissecting the view of feminism in relation to the hip-hop
discourse.
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 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.
Will sexism ever come to an end in today’s society? Are women going to let men step all over them? Jennifer Mclune discusses in her article, Hip-Hops Betrayal on Black Women, how black male singers objectify and degrade black females in the music industry. The purpose of this article is to show how black women are being deceived in the hip hop industry and being used as sex symbols instead of showing them for their true colors. Mclune (2015) voices her strong argument in attracting her audience by using ethos, tones, and the use of word choices.
The semantics of the word “hoe” lead to defenders’ thoughts that a man can be a “ho” too. Men who defend this thought might point to the fact that a ho is “…anyone who has ‘too much’ indiscriminate sex…” (Rose, 171). In this instance, they are putting less weight into the fact that these words are used to put down women. Rappers might use these terms in lyrics in order to diss another man by attacking their manliness. Defenders of hip hop like rappers say that “bitches and hoes” are a specific type of girl, and that when they use those words, they don’t mean to reference all women. However, the reality is that rappers use these words pertaining to all women. Women who listen to the music are attracted to this demeaning image, because at least it would be “about them”. So, when hip hop’s defenders’ say that “there are bitches and hoes” to further their argument for hip hop, they reassure women that a hyper-sexualized image and lifestyle is acceptable. For this reason, this argument ignores the effects of these impressions on women, and attempts to legitimize the classification of women as figures existing to be used by
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.
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.
Joan Morgan’s “Fly Girls, Bitches, and Hoes” begins with an excerpt from a Vibe Magazine essay detailing the narrator’s first hand experience in the hip hop community as a woman, who came to love the music of its emcees, while battling with the sexism present both in rap lyrics and the men who wrote them. The conclusion is rather bittersweet, with the narrator resolving to continue being a part of the community, despite the ways its most prominent voices may degrade her and women like her, out of a familial kind to love. Because Joan Morgan considers herself a member of that same community she feels similarly compelled to recognize the ways Black men have inflicted pain and trauma onto Black women, using her own account of a family friend’s death as a result of the aforementioned phenomena. Morgan notes that Black men aren’t simply
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.
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.
Jennifer Mclune, author of “Hip-Hops Betrayal of Black Women,” expresses her reaction of outrage toward the opinions of Kevin Powell, writer of “Notes of a Hip Hop Head.” McLune reveals through Powell’s writing, the encouragement and acceptance of hip-hop lyrics sang by black male artists to degrade black women. Powell’s expression of socioeconomic reasons for the sexism in lyrics is an approach to silencing feminist criticism of the culture. “Powell’s understanding also lends itself to elitist assumption that somehow poverty breeds sexism, or at least should excuse it.” The Mclune’s view is that the spread of women-hating among society are due to the harsh words used in these rap songs. Furthermore, causing sexism and disrespect among the communities and making women victims.
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.
Herein lies the problem that plagues Hip Hop: the most prominent artists continue to use their social influence to spread words of misogyny and sexism instead of equality and change. These artists are never challenged for their use of demeaning language largely due to the fact that these words have become so prominent that they have lost all meaning. This loss of value leads to lines such as “You ain’t gonna let me fuck you and I feel you / But you gone suck my dick, or I’ll kill you.” (Chief Keef “You”) becoming as frequent as the word “the”. The general hatred of Hip Hop and its artists can be attributed to this immense use of misogynistic words and general vulgarity, which at times is directed at women
Hip-hop throughout the years has had an overwhelming influence on the Black and Hispanic community as well as society as a whole. Hip-hop is not only music for entertainment but a role model for others regardless of whether it is positive or negative. Although historically American society has impacted hip-hop, Hip-hop has perpetuated how women are represented in today’s society. Women’s representation in the hip-hop culture such as music videos or magazine covers portray women in a negative light. Women had long fought for the rights to be considered equals, however, are presented as tools men gain the greater they hold power. Not only are women objectified, but they are also seen as sex tools. However, too much sex and they are labeled to
In a hip-hop dominated music world, rap lyrics often portray women as the weaker gender or as objects for man’s pleasure. The lyrics of those songs refer to women as “bitches” or “hoes”, which are words that can be very damaging to a woman’s view of herself. Queen Latifah, wanting to change the way that women, specifically black women, are depicted in popular music, released her song “U.N.I.T.Y.”, which provides a positive message for women in this age of hip-hop. On the twelfth track of Latifah’s album Black Reign, she discusses the issues that women face in today’s society. “U.N.I.T.Y.” by Queen Latifah empowers women to stand up for themselves when men are abusive, objectify them, or encourage them to change who they are. She sends a message to women through this song that tells them that they
unending and unequal struggle for power, others view them as complementary. The Hip-hop world tilts towards the second assumption. However, the complementary role being played by the two is being benefited by men where the women are portrayed as dangerous objects of desires.” (85)