Feminism In Rap Essay

In this book, Jeffrey Ogbar talks about the beginning of rap, where it started, some of the artists of this genre and some of the controversial topics the artists rap about. He also talks about the usage of the N word as well as men calling women the B word. In the first chapter of the book, Ogbar contextualizes the debate by talking about the history of the minstrel figure in American popular culture, relying mainly on the work of W. T. Lhamon and Patricia Hill Collins. He talks about how the earliest manifestations of hip-hop music in the 1970s came from the Black Power movement and often included direct rejections of minstrel tropes for example in the artist KRS-One’s song “My Philosophy”. Before going on a chronological study of the internal debates that many rappers have over their relationships with the minstrel trope, Ogbar finds the source of the debate in early twentieth-century black writers’, mainly W.E.B Du Bois, interest in elevating many portrayals of African Americans in the arts, versus Harlem Renaissance writers’ rejection of the emphasis on

The Hip Hop music industry is infamous for being controversial. In the article Hip Hop’s Betrayal of Black Women there’s a debate on whether the exploitation and constant verbal slander of women should be acceptable just because it sales records. It presents the question that why is it that male poverty breeds sexism? Even though women may have lived in the same environment males still see women as the enemy in their music in an effort to sell records.

In the essay, “Hip-Hop’s Betrayal Of Black Women”(221), by Jennifer McLune, she vents her feelings regarding hip-hop songs that are rhythmically diminishing the value of black women. She provides example on how the lyrics are being voiced and how hip-hop artists do not seem to care. Kevin Powell in “Notes of a Hip Hop Head” writes, “Indeed, like rock and roll, hip-hop sometimes makes you think we men don’t like women much at all, except to objectify them as trophy pieces or, as contemporary vernacular mandates, as baby mommas, chicken heads, or bitches” (221). There have been apologizes for what the rappers have said but nothing to resolve the dehumanization of black women. McLune informs the readers that hip-hop singers belittle black women and make them invisible. Jay-Z, a popular hip-hop artist is brought to center stage by McLune. The essay shows the example of a part of Jay-Z song that says, “I pimp hard on a trick, look Fuck if your leg broke bitch hop on your good foot” (222). This lyric is a perfect example of how hip-hop artist have no remorse in the words they sing. The hurt feelings and loss of self-esteem black women suffer, is of no concern to the rappers. McLune expresses that those who are underground hip-hop artist follow the footsteps on being sexist and using crude words in their lyrics just because they yearn and dream of being in the spotlight. Upcoming rappers want to be loved like Jay-Z and other famous notorious rappers.

Throughout history, women have been brushed aside as the inferiors of men. From the time of the Greeks to the modern day world, men have been the dominant beings. Mary Astell, an English feminist writer, says, “If all men are born free, how is it that all women are born slaves?” She questions the societal norm of women in predetermined constrictive roles. This theme of a submissive and obedient female pervades many literary works, specifically those by Ayn Rand. Rand’s portrayal of women in her novel Anthem further drives the female into a position of inferiority.

In her article “The Venus Hip Hop and the Pink Ghetto: Negotiating Spaces for Women,” Imani Perry argues that the objectification of women in the music industry is normalized in our society. Her purpose is to persuade us that most feminists who fight against the objectification and exploitation of women are ultimately colonized by the sexual fantasies of men. As a law professor at Rutgers Law School, Perry structures her text in a very effective manner. Using a general-to-specific organization scheme, she begins by outlining the recurring image of sexualized women in music videos, then presenting various cases of prominent feminist figures in the music industry.

Rap music in general has failed miserably in portraying the true worth of a woman. Women have a character that men cannot replace in any other way. “Behind every great man, there is a great woman,” and I strongly believe this because it is very applicable in my life as well. I can say that my mother plays an important role in my life, and she stood behind my success till now. Being an international student in this country takes a lot of courage, but the support and encouragement from my mother has helped me every step of the way. She is able to do things that a man cannot do; to be the nurturing, caring, patient, loving, and protective woman she can be to her children and her family.

Hip-hop appeals to an entire generation making it an important form of communication. In addition, Hip-hop can promote cultural awareness and the values of different people including genders. Many hip-hop artists promote their message through angry sounding music and lyrics. Latifah sends a unique message in hip-hop by promoting self-respect and dignity to women. Furthermore, Latifah’s song “U.N.I.T.Y” is free verse poetry that speaks out against the social injustice of violence towards women making it an important message in a time when violence and hatred seem acceptable.

In Joan Morgan’s article “Fly-Girls, Bitches and Hoes: Notes of a Hip Hop Feminist”, she shows the way rap music has changed through it popularity. The widespread appreciation of rap had negative impacts upon the black community. Morgan talks about this through her Feminist point of view. She focuses the topic on what rap music says about the African American culture in Hip Hop. Rap music and Hip Hop were invented through the pain of African Americans. Hip Hop and the Rap industry use sexism and machoism to express the long years of oppressive pain they went through by the hands of the white people. Especially for the black brothers who continue that oppression by using provocative words that degrade the black sisters. Morgan states that blame isn’t only on the brothers

With that being said, she is all for women’s political, economic, and social rights/equality. Readers who understand the definition of feminist may want to associate sexism and the degradation of women with feminism. Morgan intergrades her own personal views of hip hop along with her feminist and antisexism views to create a dramatic shift within the passage. One that draws in the readers in order to make them focus on one problem, she has with hip hop, then she interrupts that with the problem the hip hop industry as a whole as. Morgan goes on to say, “My decision to expose myself to the sexism of Dr. Dre, Ice Cube, Snoop Dogg, or the Notorious B.I.G is really my plea to my bothers to tell me who they are. I need to know why they are so angry at me”. (Morgan,456) The latter part of the quote truly stands out. Using ‘why are they so angry at me’ suggest degrading even one woman in not only lyrics but also music videos, is also degrading every single women and girl. Morgan looks beyond the artist by going to look beyond what the hip hop artist wants you to hear, see, or believe. Joan Morgan suggested the sexism in rap music is undoubtedly a complex mask African Americans wear to hide and express their pain, similar to what poets do within their works. Morgan is not as concerned with the name calling and degradation, her concern is mainly the failure to love women especially the black women. The author makes the

In “Hip Hop’s Betrayal of Black Women”, McLune addresses the influence of hip hop’s choice of words towards African American women and females. McLune’s article is written in response to Powell’s opinions in “Notes of a Hip Hop Head”, along with various other hip hop artists, that black females are the leading cause of poverty and racism why black men undertake racism and poverty, as if women do not face these struggles from day to day. McLune disagrees with this remark and states that this is just one of many excuses that men use. McLune addresses an audience that is well educated along with informed with the

During the documentary a scene was shot at BET’s Spring Bling and a young male pointed out that women are determined to be b****** or women by the way they dress. Sexism is an issue that to society is not seen as important compared to the large number of black males incarcerated. The issue should be just as important if not more because one in four African American women is raped after the age eighteen. Most women who are called a b**** or another demeaning name think that it wasn’t referred to them, and either way is still unacceptable. Hip Hop is not being represented by men, which is why the decision of their lyrics is said the way that they

I liked the lyrics and the fact that Madiha Bhatti was pointing out about objectifying women in rap or hip-hop songs. She was direct and honest about the real story of our today's music. I will call her a brave person who mentioned this fact because her honesty may have brought many aggressive criticism and insulations for her. Today's rap music can be known as an offender to objectify women in the music. Although, not all music have this characteristic and degrade women, yet many popular rap songs are in this criteria.

The author Jennifer McLune analyzes the standards of black women in hip hop and how the industry feeds of the degrading of women and women hating for their own personal success. She is trying to convince the fans of hip hop that this genre of music is sexist & degrading. McLune reasons for this is simple and that is to justify the fact that artists need to stop making songs like this and for women to take action against these songs, because the only thing these songs do is continue to give women a bad name. She continues to stress her point to the industry as well as acknowledging conscious artists by saying “they appear to care more about their own acceptance by mainstream artists than wanting to make positive changes in the culture” (McLune 222). But the

Like many historical movements in society and popular culture, males tend to be in the forefront, even though women typically maintain a presence or leadership position within the movement. In spite of women, being present at the start of Hip Hop culture and having such a monumental role in the musically inspired movement, women have always struggled to be respected, admired, and perceived as equal or greater than their male

Since the beginning of its art form rap music has been subject to scrutiny throughout its existence. In a Theresa Martinez reading from the semester, the author describes rap music as a resistance. She builds on a theory of oppositional culture that was composed by Bonnie Mitchell and Joe Feagin (1995). In this article, “POPULAR CULTURE AS OPPOSITIONAL CULTURE: Rap as Resistance”, Martinez explains how African Americans, American Indians, and Mexican Americans draw on their own cultural resources to resist oppression. She states that this very resistance to the dominate culture in