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Essay on women and gender in hip hop
Stereotypes portrayed in rap music today
A study of language of sexism in hip hop
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In reading bell hooks’ opinion about sexism and misogyny I had to admit to myself that I had no idea what she meant by sexism and misogyny. So, to accurately know what she was referring to, I looked them up on the Merriam-Webster Online Dictionary. For the word sexism, I found there were two meanings that support hooks’ ideas: 1: prejudice or discrimination based on sex; especially: discrimination against women and 2: behavior, conditions, or attitudes that foster stereotypes of social roles based on sex. The word misogyny, according to Merriam-Webster, is: a hatred of women. With these definitions, I feel that both words with their meanings truly expose what bell hooks is telling us what Americans, and it seems she talks about the black male Americans, think of the black female culture.
In ‘Gangsta Culture…’ bell hooks tells us that the ‘patriarchal ways of thinking…are glorified in gangsta rap’ (116) and I think she’s right. Although I do not think she is right in all that she says in this narrative. She also says that ‘young black males are forced to take the heat for encouraging via their music the hatred of and violence against women…’ (116), and this I do not believe it completely true. She believes that the black men of America have taken themselves to a new degree in order to make themselves ‘higher’ than black women – she believes that the black men should be equal to the black women and that the men should believe that as well. She talks about Calvin Broadus a.k.a. Snoop Doggy Dog (which he later changed to the current title ‘Snoop Dogg’) and his album Doggystyle. She tells us that the cover is degrading toward black women, which it is, but not just to black women, to all women.
bell hooks shows us that black male sexism is real and it is in America’s music. She is correct, but it is not just against the white people of America. Snoop Dogg’s album is degrading toward the girl whose butt’s out of the doghouse, but it
was her choice for one; and for two, it’s not just black women he’s degrading on the cover. hooks is just placing blame on Snoop’s cover, but she doesn’t say much about his music, this is where the music of the gangsta culture comes to play.
In 1993, Snoop ‘Doggy’ Dogg put out an album entitled Doggystyle, and its front portrait is describing a form of male dominance toward the woman society and one of the dog’s is say...
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... doesn’t? Dr. Dre, Eminem, Fifty Cent…all at some point have referred to women as objects instead of WOMEN, but why single out just Snoop Dogg? Has he done something even worse than Eminem calling his own mother a whore? It’s just the music, they are just notes on a page and words from mouths. I feel bell hooks needs to do more digging because Eminem speaks worse of women than Snoop Dogg does, even though Snoop has the pictures and Eminem just has words.
bell hooks closes her essay by saying, “If black men are betraying us through acts of male violence, we save ourselves and the race by resisting.” (123) I believe in what she is saying, but she is one sided. Maybe she is just saying that we, as women, would rather be called just ‘girls’, ‘women’ or even ‘chicka’, but that is every woman, not just the black women. But, did she even think about the girls (black and white) that like to be paraded around like giraffes at a circus? Did she realize that she is just one person, as am I, and she can’t change the world she lived in? The world is cruel and evil and some of the men in it are just as nasty and immoral, but it’s our choice whether to live in the world…or in the circus.
In school we are always taught about the lighter parts of Canadian History, but only until recently have Canadian students been taught about the darker parts of our history. Residential Schools were included in these dark parts of Canada’s history. In the 19th century, the Canadian government believed that Residential Schools were responsible for educating and caring for the country’s aboriginal people. The goal of these schools was to teach the aboriginal children about Christianity and Canadian customs, in hopes of them passing these practices on towards their own children and it would eventually be adopted into the aboriginal culture. The Canadian
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.
Toni Morrison and bell hooks share the same views on how white America envisions blacks. In bell hooks' essays " Seduction and Betrayal" and " Sorrowful Black Death is Not a Hot Ticket" she focuses in on the portrayal of African Americans on the big screen. In "Seduction and Betrayal" hooks uses Spike Lee's Crooklyn to demonstrate how invaluable the life of a black person is. In " Sorrowful Black Death Is Not a Hot Ticket" she claims the Bodyguard and The Crying Game illustrate the notion that blacks, especially black females, are inferior to whites. In Toni Morrison's introduction to Birth of a Nation'hood , she suggests these same views by looking at the O.J. Simpson case. Through the use of these movies and courtcases, hooks and Morrison suggest that blacks are viewed as worthless, violent criminals, who are subordinate to the white race.
Schissel, Bernard, and Terry Wotherspoon. “The Legacy of Residential Schools.” Inequality in Canada: A Reader on the Intersections of Gender, Race, and Class. 2nd ed. Ed. Valerie Zawilski. Don Mills: Oxford University Press, 2010. 102-121. Print.
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.
Bell hooks covers an abundance of issues through different class, race, gender and nation. In her article ‘Feminism A Movement to End Sexist Oppression’ she begins by discussing the oppression of mainly black women who are in a lower class. Hooks discusses if men become associated with the feminist movement it would mainly affect the upper class and middle aged white women while just scratching the surface for working-class and poor women. In the recent article ‘Representing Whiteness in the Black Imagination’ bell hooks discusses the oppression about the racism faced by black people. I find it that this article is more non-intersectional because we are only talking about black people in general. We can only assume that hooks is discussing racism faced by poor black people because they were servants. Further into the article however hooks does focus on African Americans and we read upon what their impression of the white man could be. Hook also looks as students and how racism occurred in one of her class discussions. Finally, we look at the view of two black women and how they faced racism. The first woman was Njeri from ‘Every Good-Bye Ain’t Gone and how her grandfather was run over by 2 white guys. The second woman was Sethe from ‘Beloved’ by Morrision and how she killed her young because she didn’t want them to grow up in a world of terror. I found it that hooks did not say specifically who she is talking about like in her article ‘Feminism A Movement to End Sexist Oppression’ but is targeting the topic of racism all
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.
To say it lightly, Stanley Crouch does not like the hip-hop genre of music. The dreadlocks, the clothing style, and the "vulgar": gold chains are just a few things he does not approve of at all. (Crouch, 1 ) It astounds him to see how far African-American music has fallen since the days of the Motown. Stanley was quoted as saying this about rap, "It is rudeness, vulgarity, and pornography disguised as ‘keeping it real.'" (Crouch, 1) He also went on to say the hip-hop music genre has the worst impact of all music genres on our culture today. (Crouch, 2) Crouch believes one does not need much talent to become a successful rapper unlike the jazz greats he listens to all the time.
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
Residential schools were first established in the 1880's to solve Canada's “Indian Problem”. Settlers in Canada thought of the First Nations people as savages, and the goal of the residential schools was to civilize them and integrate them in to white Canadian society. The first operators of residential schools thought of their forced integration as a benefit to native peoples. One of the overseers of residential schools wrote to the Sisters in charge of St. Joseph's Mission at Williams Lake that “It now remains for ...
The Canadian and American governments designed a residential school system to assimilate Indigenous children into Western society by stripping them of their language, cultural practices as well as their traditions. By breaking these children’s ties to their families and communities, as well as forcing them to assimilate into Western society; residential schools were a root cause of many social problems, which even persist within Aboriginal communities today.
In her article "Representing Whiteness in the Black Imagination" bell hooks argues that the distance between the white and black races created a tense relationship between the two. This tension caused a multitude of problems that are still present today including systems of domination, stereotypes of one another, white naivety of their privilege and fear of white individuals. Similarly, Ruth Frankenberg 's article "White Women, Race Matters" discuss these issues but from the perspective of a white feminist. Many of the same points can be connected to hooks ' arguments because the main aspects with races focus on the idea that whiteness is a perspective in which we see ourselves, others and society and also that whiteness continues to remain
By writing Sisters of the Yam: Black Women and Self-Recovery Bell Hooks gave black women a chance to relate to one another on issues that we are often afraid to express. In PSC 318 we often discussed the stigma of being a “strong black woman” and the negative aspects of that stigma. In my eyes thee is nothing negative about being strong and there is surely nothing negative about being a black woman. But, as a black woman we are looked at providers, caregivers, mentors, mother figures, a shoulder to lean on and much more. Bell Hooks touches on the touchy subject in the black community and that is mental health. Often times as black people we worry about physical health and spiritual health, in the black community our answer to everything and anything going wrong in our lives is to pray about it. Yes, God can heal and help us but Bell Hooks tells us in writing Sisters of the Yam: Black Women and Self-Recovery that we need to take care of our mental health as well as pray. Black women rarely go to therapist to talk about their problems because they are so worried about helping everyone else handle their problems.
Rap is about giving voice to a black community otherwise underrepresented, if not silent, in the mass media. It has always been and remains … directly connected to the streets from which it came. (144)
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.