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Bitch is a pejorative slang word for a person, usually a woman. When applied to a woman or girl, it means someone who is belligerent, unreasonable, malicious, controlling, aggressive, or dominant. When applied to a man or boy, bitch reverses its meaning and is a derogatory term for being subordinate, weak, or cowardly. In gay speech the word bitch can refer approvingly to a man who is unusually assertive or has the characteristics used pejoratively of a woman.
Dana Elaine Owens, known professionally as Queen Latifah, is an American rapper, singer, and actress. She has received various accolades, including a Grammy Award, a Primetime Emmy Award, a Golden Globe Award, three Screen Actors Guild Awards, and two NAACP Image Awards, in addition to a nomination for an Academy Award. In 2006, she became the first hip hop artist to receive a star on the Hollywood Walk of Fame.
Hip hop music arrived in Cuba via radio and TV broadcasts from Miami. During the 1980s hip hop culture in Cuba was mainly centered on breakdancing. But by the 1990s, with the collapse of the Soviet Union and the onset of the Special Period, young raperos, exposed to foreign tourists whose wealth highlighted their struggle, turned to rapping to affirm their cubanidad and advocate for further revolutionary reforms.
A video vixen is a woman who models and appears in hip hop-oriented music videos. From the 1990s to the early 2010s, the video vixen image was a staple in popular music, particularly within the genre of hip hop. First appearing in the late 1980s, when hip-hop culture began to gain popularity. It was most popular in American pop culture during the 1990s and 2000s. Video vixens are aspiring actors, singers, dancers, or professional models. Artists and vixens have been criticized for allegedly contributing to the social degradation of black women and Latinas.
"How Many Licks?" is a song by American rapper Lil' Kim featuring vocals by American musician Sisqó from Lil' Kim's second studio album, The Notorious K.I.M. (2000). Mario Winans and Sean Combs produced the song, and wrote it with Lil' Kim and Sisqó. The hip hop song samples the Knight Rider theme song, with lyrics expressing a woman's desire for oral sex and her sexual relationships with a variety of men. The chorus is a reference to the advertising slogan for Tootsie Pops. A remix by the Neptunes has additional vocals from American artists Kelis, Lil' Cease, and Snoop Dogg. "How Many Licks?" was released as the second and final single from The Notorious K.I.M. on November 21, 2000, by Queen Bee Entertainment and Atlantic Records.
Stereotypes of African Americans are misleading beliefs about the culture of people with partial or total ancestry from any black racial groups of Africa whose ancestors resided in the United States since before 1865, largely connected to the racism and the discrimination to which African Americans are subjected. These beliefs date back to the slavery of black people during the colonial era and they have evolved within American society.
LGBT representation in hip hop music have existed since the birth of the genre even while enduring blatant discrimination. Due to its adjacency to disco, the earliest days of hip hop had a close relation to LGBT subcultures, and multiple LGBT DJs have played a role in popularizing hip hop. Despite this early involvement, hip hop has long been portrayed as one of the least LGBT-friendly genres of music, with a significant body of the genre containing homophobic views and anti-gay lyrics, with mainstream artists such as Eminem and Tyler, the Creator having used casual homophobia in their lyrics, including usages of the word faggot. Attitudes towards homosexuality in hip hop culture have historically been negative, with slang that uses homosexuality as a punchline such as "sus", "no homo", and "pause" being heard in hip hop lyrics from some of the industry's biggest artists. Since the early 2000s there has been a flourishing community of LGBTQ+ hip hop artists, activists, and performers breaking barriers in the mainstream music industry.
Sexuality in music videos has been evident since the 1980s.
Misogyny in rap music is defined as lyrics, videos, or other components of rap music that encourage, glorify, justify, or legitimize the objectification, exploitation, or victimization of women. It is an ideology that depicts women as objects for men to own, use, and abuse. It reduces women to expendable beings. It might include everything from innuendos to stereotypical characterizations and defamations.
"The Way You Love Me" is a song recorded by American R&B singer-songwriter Keri Hilson featuring rapper Rick Ross from the former's second studio album No Boys Allowed (2010). It was written by Stanley Benton, India Boodram, Paul Dawson, Hilson, Kesia Hollins, Jazmyn Michel as well as William Roberts, and was produced by Polow da Don. "The Way You Love Me" surfaced online on November 7, 2010; its explicit lyrics fueled controversy, with music critics accusing the singer of swerving into a racy lane. However, Hilson clarified in several interviews that the song was not just sexual but also had a message for empowerment of women. She added that "The Way You Love Me" was not a song "meant for children".
Examples of misogyny exist in many published forms, within multiple cultures and well-observed works. Technological advances in the modern era have contributed proficient means to media and marketing to the resultant mass media in the 21st century. The merging of misogyny and mass media has made numerous examples where studies have concluded correlations between misogynous messages, both obvious and subliminal. Corresponding physical appearance of violence and hateful conduct may be seen relative to exposure.
The exploitation of women in mass media is the use or portrayal of women in mass media such as television, film, music, and advertising as objects or sexual beings, in order to increase the appeal of media or a product to the detriment of the women being portrayed, and women in society. This process includes the presentation of women as sexual objects and the setting of feminine beauty ideals that women are expected to reflect. Sexual exploitation of women in the media dates back to 19th century Paris, in which ballerinas were exposed to harassment and objectification. The most often criticized aspect of the use of women in mass media is sexual objectification, but dismemberment can be a part of the objectification as well. The exploitation of women in mass media has been criticized by feminists and other advocates of women's rights, and is a topic of discussion in feminist studies and other fields of scholarship.
Hip hop feminism is a sub-set of black feminism that centers on intersectional subject positions involving race and gender in a way that acknowledges the contradictions in being a black feminist, such as black women's enjoyment in hip hop music and culture, rather than simply focusing on the victimization of black women in hip hop culture due to interlocking systems of oppressions involving race, class, and gender.
Misogynoir is a term referring to the combined force of anti-Black racism and misogyny directed towards black women. The term was coined by black feminist writer Moya Bailey in 2008 to address misogyny directed toward black transgender and cisgender women in American visual and popular culture. The concept of misogynoir is grounded in the theory of intersectionality, which analyzes how various social identities such as race, gender, class, age, ability, and sexual orientation interrelate in systems of oppression.
The principle of male as norm holds that grammatical and lexical devices such as the use of the suffix -ess specifically indicating the female form, the use of man to mean "human", and similar means strengthen the perceptions that the male category is the norm, and that corresponding female categories are derivations and thus less important. The idea was first clearly expressed by 19th-century thinkers who began deconstructing the English language to expose the products and footings of patriarchy.
Feminist activism in hip hop is a feminist movement based by hip hop artists. The activism movement involves doing work in graffiti, break dancing, and hip hop music. Hip hop has a history of being a genre that sexually objectifies and disrespects women ranging from the usage of video vixens to explicit rap lyrics. Within the subcultures of graffiti and breakdancing, sexism is more evident through the lack of representation of women participants. In a genre notorious for its sexualization of women, feminist groups and individual artists who identify as feminists have sought to change the perception and commodification of women in hip hop. This is also rooted in cultural implications of misogyny in rap music.
Raunch aesthetics is a term in feminist theory which describes the ways in which women in hip hop express their sexuality through the performance of lyrics, choreography, and staging. These aesthetics are performed by artists such as Rihanna, Beyoncé, Ciara, Nicki Minaj, Megan Thee Stallion and Miley Cyrus with the intention to embrace and take control over their own bodies and sexual identities through verbal and physical expression.
The lack of respect that black women received in the music industry gave rise to hip hop feminism, as singers such as Monie Love brought attention to the differences in acknowledgment that existed even for equal talent. The movement tackles problems arising from deindustrialization, racial wealth disparities, and conservative backlash. It was molded by the social environment of the 1980s and 1990s. Meshell Ndegeocello, an American rapper, singer and bassist and Angie Stone, a singer, are two artists that have shaped the conversation. Hip-hop feminism goes beyond gender issues to support the rights of women, African Americans, and LGBTQ+ people. Queen Latifah, a prominent figure in the genre, used "the politics of respectability" to promote women's rights and racial empowerment. Ndegeocello is one of the rising queer feminists of color who brings a nuanced viewpoint to problems like abortion and unjust beauty standards. Changes in perspectives are reflected in the transition from male-dominated hip hop music to women-centered hip hop soul, which allows for a diversity of narratives within black communities. The Grammy-winning song "U.N.I.T.Y." by Queen Latifah was a historic moment that validated the powerful voice of black women in a male-dominated field and sparked discussions about domestic abuse and the commodification of black women's sexuality. In the United States, the introduction of new styles of music came during the Transatlantic Slave Trade era. The genres of music include, but are not limited to, blues, rock, gospel music, jazz, bluegrass, and Hip-hop. African American women in the music industry have made significant contributions over the years.
The strong black woman schema, as defined by scholars, is an archetype of how the ideal Black woman should act. This has been characterized by three components: emotional restraint, independence, and caretaking. Strong black women must hold back their emotions to avoid appearing weak, portray themselves as strong and independent while being responsible for the problems of others, and take care of those problems as if they were their own. Stemming from stereotypes of enslaved Black women, the schema grew from the intersectional oppression Black women face from society's expectations. The notion that as women, they must uphold feminine standards, but as Black women, they must balance that with the responsibility of being emotionally and physically strong; this is also known as intersectionality.
Forbes magazine reported in 2017 that hip hop was the "dominant musical genre" in the U.S. music industry and, for the first time, outsold any other U.S. musical genre. With its cultural foundation in the South Bronx, hip hop has grown in popularity since its beginnings in 1979. Popular dominance of the genre coincided with the international #MeToo movement, which exposed the sexual misconduct of men in positions of power in the field of entertainment. Although women and men from all walks of life worldwide have shared their #MeToo stories, accounts in the music industry were few; the industry evaded public scrutiny, despite its dominance as broadcast and streaming media.
References
- ↑ Moody, M. "A rhetorical analysis of the meaning of the “independent woman'". American Communication Journal. Spring 2011.
- ↑ Moody, Mia. The meaning of "Independent Woman" in Music Archived 2021-09-28 at the Wayback Machine ". April 2011.
- ↑ James, Darrell. "Black in LA" Archived 2016-03-03 at the Wayback Machine . August 21, 2004. Retrieved July 31, 2012.
- ↑ Portis, T. (2010). The Deception of the Independent Woman. YouTube. Accessed February 1, 2010 from https://www.youtube.com/watch?v=JbUkGILIu5c
- ↑ The Independent Woman , PBS Video. October 30, 2011.