Iler_AB Midterm
Dawn Iler
Dr. Pabon
Gender & Sexuality in Hip Hop
March 12, 2018
Annotated Bibliography Midterm
Source #1: Like an Old Soul Record: Black Feminism, Queer Sexuality, and the Hip-Hop Generation
Clay, Andreana. “Like an Old Soul Record: Black Feminism, Queer Sexuality, and the Hip-Hop Generation.” Meridians: Feminism, Race, Transnationalism, vol. 8, no. 1, Apr. 2008, pp. 53-73. EBSCOhost, libdatabase.newpaltz.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,url,uid,cookie&db=a9h&AN=33415470.
This article looks at queer sexuality, hip-hop generations, and its emergence in academia. The article describes artist Me’Shell Ndegeocello as being the poster child of bisexuality for the hip-hop movement, since her debut in 1993. Clay looks into the contradictions and complexities of Ndegeocello’s lyrics related to hip-hop feminism, noting that in her lyrics, she addresses issues of politics, sexuality, gender, race, class, and oppression. Clay argues the need for black queer visibility, pointing to the well known faces of white queer visibility in mainstream pop culture (Ellen, Rosie O’Donnell as two examples). Noted in the article is the academic examination of queerness in hip-hop as being fairly recent (late 2000’s); recognized as well is Ndegeocello’s impact of women in hip-hop and a generation of black feminists who remain unnoticed. The article notes, while many female artists, including Ndegeocello, Queen Latifah and Salt (from Salt N Pepa) may have feminism in their lyrics, these female artist chose to not be identified as feminist but as pro-woman, perhaps because the feminist movement was originally created by white women about white women. In conclusion, Clay argues that Ndegeocello helped make black queer identity visible for a generation, which is a much needed presence, while highlighting the absence of any other popular female hip-hop artist who has come out queer.
Source #2: We Don’t Wear Tight Clothes
Penney, Joel. ““We Don’t Wear Tight Clothes”: Gay Panic and Queer Style in Contemporary Hip Hop.” Popular Music & Society, vol. 35, no. 3, July 2012, pp. 321-332. EBSCOhost, libdatabase.newpaltz.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,url,uid,cookie&db=a9h&AN=77835114
In this article, Penney discusses queerness within hip-hop and the associated backlash which is experienced by those artists who continue to define hip-hop with a hyper masculine identity. The author analyzes two different hip-hop controversies that display a gay panic moment in hip-hop. The article connects black masculinity with a long history of homophobia within the African American culture. In 2008, a group called, Thug Slaughter Force, released a song called “Tight Clothes?!” which lyrics blast prominent male hip-hop performers for wearing form fitting clothing marking one’s appearance as feminine or queer. The lyrics in this song continued next to threaten beatings and death to those choosing to dress this way. In 2007, prominent rapper Beanie Sigel created a stir in the media when he criticized the image and clothing choices worn by both Pharrell Williams and Kanye West. Emphasized by the author is how violence is used to control and discipline the public display of the male Black body, rid any trace of homosexuality, and to guarantee the survival of the hard masculine image within hip-hop. The gay panic, as Penney defines, includes homophobia, violence and hate, laced into lyrics, and is about attempting to control the heterosexual Black male body and preserve its dominant position in the patriarchal gender hierarchy. Although there has been homophobic lyrics among a range of diverse hip-hop artists, the author argues that with the birth of movements such as hip-hop feminism, and homo-hop, perhaps hip-hop is progressing, demonstrated by a shifting in politics of gender and sexuality.
Source #3: The Adored Woman in Rap: An Analysis of the Presence of Philogyny in Rap Music
Tyree, Tia and Michelle Jones. “The Adored Woman in Rap: An Analysis of the Presence of Philogyny in Rap Music.” Women’s Studies, vol. 44, no. 1, Jan/Feb2015, pp. 54-83. EBSCOhost, libdatabase.newpaltz.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,url,uid,cookie&db=hus&AN=100826387
This article discusses how women are depicted in mainstream rap music as either ignored, commodities, objects of male pleasure, or as decoration. Mainstream rap has profited from degrading and over sexualizing women. Although, it is noted that mainstream rap is dominated by misogyny, not all rappers are degrading women in their lyrics; some are in fact, doing the opposite. Some rap artists, such as KRS One, De La Soul, Tupac, and A Tribe Called Quest are known for the opposite, speaking out against misogyny or violence against women in their music. The research of this article examined and considered the existence of an alternative image of Black women in rap. The article argues a need for hip-hop feminism to further the changes needed to be made. The research gathered for this article concludes that there is both misogyny and philogyny in rap music. The article notes that there is a safe space in rap music when it comes to mamas and baby mamas where allowances exist to express feelings of being emotional and vulnerable. The article notes that although in rap, the presence of misogyny still very much outweighs philogyny, philogyny has been slowly becoming more prevalent. The information in this article is important for the Hip-Hop Feminism Wikipedia page for many reasons, including a insightful perspective into the love and adoration towards women in mainstream rap music.
Summary:
In the three articles, the main themes discussed include hip-hop feminism, sexism, sexuality, and the presence of misogyny in mainstream hip-hop. Hip-hop feminism connects all three articles through ways at looking with a feminist perspective, recognizing the disadvantage of women, especially black and queer. The information in these three articles would make a significant contribution to the hip-hop Feminism Wikipedia page, giving new information discussing the presence, and contradicting lack of, queerness in hip-hop. In addition, violence and homophobia is discussed and the slow changes being made within the movement.
In the first article, queer sexuality is looked at within hip-hop. Artist Me’Shell Ndegeocello, described as hip-hop’s bisexual poster child is discussed in depth, and it is argued that she has a lack of presence and recognition within hip-hop feminism. Ndegeocello is dissected in this article, noting her lyrics address issues of sexuality, gender, race, class, politics, and oppression. The author notes that Ndegeocello helped influence women in hip-hop and a generation of black feminists. The article highlights the importance and need for black queer visibility and clarifies that it is lacking. In hip-hop, no other mainstream female artist has come out as queer. Clay notes the presence of white queer visibility, giving examples such as Ellen and Rosie O’Donnell, and the lack of Black queer visibility. Additionally, Clay notes how female artists with hip-hop infused into their lyrics, such as Ndegeocello, Queen Latifah, and Salt (from Salt N Pepa) all don’t identify as a feminist, but as pro-woman.
The ability to be able to identity as queer or as a feminist is a topic to be a discussed among hip-hop feminists. Ndegeocello and other’s presence and advocating for social justice and equal rights have paved a way for future generations. As individuals begin to feel comfortable coming out and more and out, others will be influenced to do the same encompassing and defining a new direction for gender identity within hip hop.
The second piece discusses querness within the hip-hop culture along with the backlash which has occurred towards individuals who continue to define hip-hop with a hyper masculine identity. In this article, two different controversies within hip-hop are discussed and analyzed that display a gay panic moment. In both controversies, hip-hop artists are homophobic towards other hip-hop artists for simply wearing tighter, more form fitting clothing. Both, the group Thug Slaughter Force, and artist Beanie Sigel, use violence and threats in their language and lyrics, attempting to control and discipline the male Black body, rid homosexuality, and feed the ideals of the hard masculine within hip-hop. The author notes that even though the male patriarch is the dominant force, movements like hip-hop feminism and homo-hop has emerged. These changes are examples of a shift in the politics of gender and sexuality within hip-hop.
The third and last article takes a close and analytical look at how women are depicted in mainstream rap music. The article recognizes how the mainstream rap industry has profited by either degrading or over sexualizing women. In the rap industry, generally, women are either ignored, used as commodities, decoration, or objects of pleasure for men. This article poses the question of if there is an alternative image of the Black women in rap. Although it is evident that mainstream rap is dominated by misogyny, the article states that not all rappers are degrading women in their lyrics and some are doing the opposite. Artists including KRS One, De La Soul, Tupac, and A Tribe Called Quest speak out against misogyny or violence against women in their music. The article defines philogyny as the love and admiration for women and notes it’s subtle, but evident, presence in rap. This article talks about a safe space in rap, allowing rappers to be vulnerable and emotional when it comes to their mamas and baby mamas. Although the presence of misogyny is the dominant force, the presence of philogyny in rap music is progress in hip-hop feminism.
In conclusion, the information in all three articles have overlapping information about how hip-hop culture is hyper masculine and misogynistic, although there has been changes slowly occurring over the last 20 years. All three articles have information that would be make important contributions to the Hip-Hop Feminism Wikipedia page. Each article gives a different perspective on mainstream hip-hop, looking at homophobia, movements like hip-hop feminism, the presence of Black queer women, and philogyny in rap music. All of these topics are important to Hip-hop feminism because the information focuses on intersectional issues pertaining to queer and non queer, women of color in hip-hop culture. It is important to have an alternative picture of the Black woman in hip-hop than what mainstream gives us. Let’s make this happen.