Tuesday, June 16, 2009
Thursday, June 11, 2009
Sister Souljah
Sister Souljah always drops jewels for us to marinate on. In the mid 90s she came by Oakland’s McClymonds High School for the Nommo Lecture series and gave us lots of mental food. This is an excerpt where she talks about the definition of an African woman trying to survive the storm of America..
Wednesday, June 10, 2009
African American Hip-Hop Culture
Rap and Misogyny: The Black Woman’s Albatross.
By: Gloria D. Brogdon
©2009
“The Sexist, misogynist, patriarchal ways of thinking and behavior that is glorified in gangsta rap are a reflection of the prevailing values in our society, values created and sustained by white supremacist capitalist patriarchy.” – Bell Hooks (6)
Bell Hooks sums up the objectification of African American women of hip-hop. Not only hip hop, but the objectification of African American women in general. Since the first Black women were brought to this country, they were identified as slaves, objects, subhuman beings, that were treated in the most vial manner. From rape to murder, Black women were not considered to be human.
My findings in researching women in hip hop culture revealed a continuation of this patriarchal mentality. A mentality that is still being perpetuated by the white supremacist capitalist patriarchy, through Black rappers.
From Aunt Jemima to the Video Vixens, African American women have been depicted negatively in the media for hundreds of years. Early depiction of African American women in the media were images of “The Tragic Mulatto”, and “The Mammy,” The objectification of African American women in the past 20 years has taken a different approach, with the onset of the Hip Hop culture, sexism and misogyny have become commonplace in society.
During the infancy of the evolution of Hip-Hop, the focus was mostly on music, the beats, clothing and style, “Life in the Hood,” and hanging out on the block. The presence of women existed, but in the background. Today, women are often the main visual element in music videos. The more recent lyrics and visuals reflect the objectification of Black women in American culture.
These women are often called “Video Hoes”. They are scantly clothed young women, dancing to the camera in a seductive manner. One such video “Tip Drill” (Rated XX) by Rapper Nelly, created a controversy in the music world, as well as with the students at Spelman College in Atlanta, Georgia. Spelman College is a private, “Historically Black” women’s college. The learning environment is one of empowerment of young women.
In 2004, Rapper Nelly, planned to visit Spelman for a charity event. The students protested his visit due to the release of his video “Tip Drill”, and the images of the women being sexually exploited in the video. Especially the final image in the video, of Nelly swiping a credit card down the behind of a woman.
These types of images send a two-fold message to young viewers. The first message for young males is, women can be treated in any manner you see fit. A woman’s sole purpose is to give sexual pleasure to a man. The second is the message for young women. This message is, in order get a man, you have to offer yourself as a sex object. You have to dress in provocative clothing, and carry yourself in a manner of a woman who is looking for sex and money.
These images and lyrics are the driving force in shaping the next generation of youth. Based on what this generation is absorbing, the Black woman will always be looked upon as an object. This is no different than what she was looked upon when she was abducted and brought to this country.
A Brief History Of Rap
African American “Hip Hop Culture” came in to existence in the early 1970’s. This was the time of post Civil Rights, Black Panthers, riots and racial unrest. It was also a time for African American youth to define their identity, based their own terms. A time for freedom, of sorts, to explore a world that many before them couldn’t. These new found freedoms allowed for creative expressions across genres.
African American music during the Sixties was steeped in blues and the “Motown Sound,” love ballads, and dance music. It was in the early Seventies that “disco soul” came into existence, followed by Rap also know as Hip Hop music. One of the earliest pioneers was Kool DJ Herc (a.k.a. Clive Campbell), a New York City DJ.
From the onset, Rap/Hip Hop was an avenue for inner city Black artist to express their feelings and views of the “world” they lived in. This self-expression was a refection of poor living conditions, drugs, and poverty.
The four major elements that distinguished rap in it’s infancy, and sill are distinguishing features are:
• Disc Jockeying or a DJ • Break dancing
• Emceeing or an MC • Graffiti art
Other early Rap artist included Grandmaster Flash, who was so nicknamed due to his speed on the turntable. He formed a group with five MCs called Grandmaster Flash and the Furious Five this included DJ Flash, Cowboy, Melle Mel (a.k.a. Melvin Glover), his brother Nathaniel (Kid Creole), Duke Bootee (Ed Fletcher), and Kurtis Blow. (1)
As Rap gained momentum and national attention, the message of inner city life became more graphic. The lyrics expressed not only the living conditions, it started to express sexual and “turf” messages as well. These messages created animosity between different segments of Urban Black communities across the country. Thus creating East Coast Rap and West Coast Rap.
Along with the segmentation of the communities, came distinct styles of Rap music. Gangsta Rap focuses on inner city youth and their struggles. Ice T, was the original gangsta rap artist with his song "Cold Winter Madness". When N.W.A (Niggers With an Attitude) came on the scene, they produced hard-core graphic lyrics. These lyrics were of violence, sex, and drugs.
As young African Americans across the country absorbed this genre of music, there came a change in the way they identified themselves. This was based on East Coast, West Coast style. Clothing style and rhythmic rap style distinguished the two.
Elements of East Coast Hip-Hop:
Unlike the simplistic rhyme pattern utilized in old school rap, or the call and response style present in crunk, east coast rap is almost synonymous with lyrical dexterity. More often than not, east coast rap is characterized by multi-syllabic rhymes, complex wordplay, a continuous free-flowing delivery, and intricate metaphors. (2).
Elements of West Coast Hip-Hop
G-funk, or gangsta funk, is a type of hip-hop music that emerged from West Coast gangsta rap in the early 1990s. G-funk (which uses funk music with artificially lowered tempos) incorporates multi-layered and melodic synthesizers, slow hypnotic grooves, a deep bass, background female vocals, the extensive sampling of p-funk tunes, and a high portamento sine wave keyboard lead -- a feature that became the genre’s notable trademark. (3)
Behind the Scenes of Hip Hop
What isn’t well known to the masses of people who digest a daily stream of hip-hop culture (The rap Industry) is who owns and controls this industry. Sony/BMG, Universal, EMI and Time Warner dominate 85% of the market when it comes to sales of Compact Discs. (5)
- Sony / BMG Corporation is a Japanese public company. It is owned by it shareholders.
- Universal Music Group - Timeline
- EMI – A London Owned Company
- Time Warner
Each of these major record companies also own smaller labels.
Black Entertainment Television (BET) one of the largest broadcasters of Black television programs tends to deceive the African American viewer. It gives the viewer the notion that it is African America owned, but it is owned by Time-Warner, and Ted Turner is the CEO.
Politics Of Rap
As previously stated, the Rap industry is owned primarily by the dominant culture, but gives the illusion to the masses, it is African American controlled. The artists, which are part of this illusion seem to have no choice in many of the decisions as to what type of message they want to convey, due to this lack of control.
It seems, Rap/Hip-Hop Culture has become the new tool to control African Americans. Just as the whip, chains, and illiteracy of our fore fathers, I see Rap as a means to keep this generation of Black youth crippled by ignorance, violence, and vulgarity.
Works Cited
1.Digital Day
Dreamshttp://music.firekarma.com/enc/history/show_history.php?id=44
2. Elements of East Coast Hip-Hop:
http://rap.about.com/od/genresstyles/p/EastCoastRap.htm
3. Elements of West Coast Hip Hop
http://www.answers.com/topic/g-funk
4.The Exploitation of Women in Hip-hop Culture
http://www.mysistahs.org/features/hiphop.htm
5. THE REAL DEAL (the truth about the music industry)
http://www.bombhiphop.com/newbomb/bombpages/linernotes.html
Books/Articles
Hooks, Bell. Outlaw Culture : Resisting Representations. New York: Routledge, 2006.
Method in the madness: Exploring the boundaries of identity in hip-hop
performativity. By: HOLMES SMITH, CHRISTOPHER, Social Identities, 13504630,
Oct97, Vol. 3, Issue 3
Rap and Misogyny: The Black Woman’s Albatross.
By: Gloria D. Brogdon
©2009
“The Sexist, misogynist, patriarchal ways of thinking and behavior that is glorified in gangsta rap are a reflection of the prevailing values in our society, values created and sustained by white supremacist capitalist patriarchy.” – Bell Hooks (6)
Bell Hooks sums up the objectification of African American women of hip-hop. Not only hip hop, but the objectification of African American women in general. Since the first Black women were brought to this country, they were identified as slaves, objects, subhuman beings, that were treated in the most vial manner. From rape to murder, Black women were not considered to be human.
My findings in researching women in hip hop culture revealed a continuation of this patriarchal mentality. A mentality that is still being perpetuated by the white supremacist capitalist patriarchy, through Black rappers.
From Aunt Jemima to the Video Vixens, African American women have been depicted negatively in the media for hundreds of years. Early depiction of African American women in the media were images of “The Tragic Mulatto”, and “The Mammy,” The objectification of African American women in the past 20 years has taken a different approach, with the onset of the Hip Hop culture, sexism and misogyny have become commonplace in society.
During the infancy of the evolution of Hip-Hop, the focus was mostly on music, the beats, clothing and style, “Life in the Hood,” and hanging out on the block. The presence of women existed, but in the background. Today, women are often the main visual element in music videos. The more recent lyrics and visuals reflect the objectification of Black women in American culture.
These women are often called “Video Hoes”. They are scantly clothed young women, dancing to the camera in a seductive manner. One such video “Tip Drill” (Rated XX) by Rapper Nelly, created a controversy in the music world, as well as with the students at Spelman College in Atlanta, Georgia. Spelman College is a private, “Historically Black” women’s college. The learning environment is one of empowerment of young women.
In 2004, Rapper Nelly, planned to visit Spelman for a charity event. The students protested his visit due to the release of his video “Tip Drill”, and the images of the women being sexually exploited in the video. Especially the final image in the video, of Nelly swiping a credit card down the behind of a woman.
These types of images send a two-fold message to young viewers. The first message for young males is, women can be treated in any manner you see fit. A woman’s sole purpose is to give sexual pleasure to a man. The second is the message for young women. This message is, in order get a man, you have to offer yourself as a sex object. You have to dress in provocative clothing, and carry yourself in a manner of a woman who is looking for sex and money.
These images and lyrics are the driving force in shaping the next generation of youth. Based on what this generation is absorbing, the Black woman will always be looked upon as an object. This is no different than what she was looked upon when she was abducted and brought to this country.
A Brief History Of Rap
African American “Hip Hop Culture” came in to existence in the early 1970’s. This was the time of post Civil Rights, Black Panthers, riots and racial unrest. It was also a time for African American youth to define their identity, based their own terms. A time for freedom, of sorts, to explore a world that many before them couldn’t. These new found freedoms allowed for creative expressions across genres.
African American music during the Sixties was steeped in blues and the “Motown Sound,” love ballads, and dance music. It was in the early Seventies that “disco soul” came into existence, followed by Rap also know as Hip Hop music. One of the earliest pioneers was Kool DJ Herc (a.k.a. Clive Campbell), a New York City DJ.
From the onset, Rap/Hip Hop was an avenue for inner city Black artist to express their feelings and views of the “world” they lived in. This self-expression was a refection of poor living conditions, drugs, and poverty.
The four major elements that distinguished rap in it’s infancy, and sill are distinguishing features are:
• Disc Jockeying or a DJ • Break dancing
• Emceeing or an MC • Graffiti art
Other early Rap artist included Grandmaster Flash, who was so nicknamed due to his speed on the turntable. He formed a group with five MCs called Grandmaster Flash and the Furious Five this included DJ Flash, Cowboy, Melle Mel (a.k.a. Melvin Glover), his brother Nathaniel (Kid Creole), Duke Bootee (Ed Fletcher), and Kurtis Blow. (1)
As Rap gained momentum and national attention, the message of inner city life became more graphic. The lyrics expressed not only the living conditions, it started to express sexual and “turf” messages as well. These messages created animosity between different segments of Urban Black communities across the country. Thus creating East Coast Rap and West Coast Rap.
Along with the segmentation of the communities, came distinct styles of Rap music. Gangsta Rap focuses on inner city youth and their struggles. Ice T, was the original gangsta rap artist with his song "Cold Winter Madness". When N.W.A (Niggers With an Attitude) came on the scene, they produced hard-core graphic lyrics. These lyrics were of violence, sex, and drugs.
As young African Americans across the country absorbed this genre of music, there came a change in the way they identified themselves. This was based on East Coast, West Coast style. Clothing style and rhythmic rap style distinguished the two.
Elements of East Coast Hip-Hop:
Unlike the simplistic rhyme pattern utilized in old school rap, or the call and response style present in crunk, east coast rap is almost synonymous with lyrical dexterity. More often than not, east coast rap is characterized by multi-syllabic rhymes, complex wordplay, a continuous free-flowing delivery, and intricate metaphors. (2).
Elements of West Coast Hip-Hop
G-funk, or gangsta funk, is a type of hip-hop music that emerged from West Coast gangsta rap in the early 1990s. G-funk (which uses funk music with artificially lowered tempos) incorporates multi-layered and melodic synthesizers, slow hypnotic grooves, a deep bass, background female vocals, the extensive sampling of p-funk tunes, and a high portamento sine wave keyboard lead -- a feature that became the genre’s notable trademark. (3)
Behind the Scenes of Hip Hop
What isn’t well known to the masses of people who digest a daily stream of hip-hop culture (The rap Industry) is who owns and controls this industry. Sony/BMG, Universal, EMI and Time Warner dominate 85% of the market when it comes to sales of Compact Discs. (5)
- Sony / BMG Corporation is a Japanese public company. It is owned by it shareholders.
- Universal Music Group - Timeline
- EMI – A London Owned Company
- Time Warner
Each of these major record companies also own smaller labels.
Black Entertainment Television (BET) one of the largest broadcasters of Black television programs tends to deceive the African American viewer. It gives the viewer the notion that it is African America owned, but it is owned by Time-Warner, and Ted Turner is the CEO.
Politics Of Rap
As previously stated, the Rap industry is owned primarily by the dominant culture, but gives the illusion to the masses, it is African American controlled. The artists, which are part of this illusion seem to have no choice in many of the decisions as to what type of message they want to convey, due to this lack of control.
It seems, Rap/Hip-Hop Culture has become the new tool to control African Americans. Just as the whip, chains, and illiteracy of our fore fathers, I see Rap as a means to keep this generation of Black youth crippled by ignorance, violence, and vulgarity.
Works Cited
1.Digital Day
Dreamshttp://music.firekarma.com/enc/history/show_history.php?id=44
2. Elements of East Coast Hip-Hop:
http://rap.about.com/od/genresstyles/p/EastCoastRap.htm
3. Elements of West Coast Hip Hop
http://www.answers.com/topic/g-funk
4.The Exploitation of Women in Hip-hop Culture
http://www.mysistahs.org/features/hiphop.htm
5. THE REAL DEAL (the truth about the music industry)
http://www.bombhiphop.com/newbomb/bombpages/linernotes.html
Books/Articles
Hooks, Bell. Outlaw Culture : Resisting Representations. New York: Routledge, 2006.
Method in the madness: Exploring the boundaries of identity in hip-hop
performativity. By: HOLMES SMITH, CHRISTOPHER, Social Identities, 13504630,
Oct97, Vol. 3, Issue 3
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