A look at issues of gender equity and stereotyping in the setting of hip hop music and culture.
Written in 2005; 5,300 words; 10 sources; APA; $ 131.95
Paper Summary:
This paper explores issues of how hip-hop culture, which includes not just rap music but beat-boxing, turntablism, break-dancing, krumping, and other manifestations, has been the focus of a great deal of negative attention due to what is widely perceived as a negative and debasing image or stereotype of women that is put forth in the culture.
"From an historical perspective, hip-hop music has not been around for very long, compared to other forms of music that have sparked societal debate, such as rock and roll and disco. Hip-hop music arguably began in the late seventies with artists like Grandmaster Flash and Electro, and focused on talking or rapping rather than singing, over a strong beat, often break-beat, and sampled instrumentation from other songs. Hip hop was male-dominated in its early days, as it continues to be today, and the lyrics for many hip-hop songs focused on presenting an idea of masculinity that was centered on the reality of life on the streets. As hip-hop gained in popularity through the 80s and even mainstream rock groups like Blondie and the Talking Heads dabbled in rap, this ethos was extended, expanded, and reinforced by groups like Public Enemy, Boogie Down Productions, and the Ultramagnetic MC's, who featured male lead rappers who were often dismissive of females and also often sought to stereotype women as being gold-diggers, bitches, and soap opera addicts. "Rap music has been around a little over 25 years now with hip-hop culture being slightly older. We now have generations of heads who grew or are growing up listening to rap. We are just beginning to see the long term effects and benefits of the imagery gleaned from videos and lyrical content; at this point it's safe to say that the effects are deep and long reaching" (Oshun, 2001). The 80s also saw the rise of so-called gangsta rap, which took the ethos of masculinity and mixed it with the myth of the outlaw or crime figure as rapper, supported by groups like N.W.A., Ice-T, and Geto Boyz."
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