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Rap Vocality and the Construction of Identity

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Rap Vocality and the Construction of Identity RAP VOCALITY AND THE CONSTRUCTION OF IDENTITY by Alyssa S. Woods A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Theory) in The University of Michigan 2009 Doctoral Committee: Associate Professor Nadine M. Hubbs, Chair Professor Marion A. Guck Professor Andrew W. Mead Assistant Professor Lori Brooks Assistant Professor Charles H. Garrett © Alyssa S. Woods __________________________________________ 2009 Acknowledgements This project would not have been possible without the support and encouragement of many people. I would like to thank my advisor, Nadine Hubbs, for guiding me through this process. Her support and mentorship has been invaluable. I would also like to thank my committee members; Charles Garrett, Lori Brooks, and particularly Marion Guck and Andrew Mead for supporting me throughout my entire doctoral degree. I would like to thank my colleagues at the University of Michigan for their friendship and encouragement, particularly Rene Daley, Daniel Stevens, Phil Duker, and Steve Reale. I would like to thank Lori Burns, Murray Dineen, Roxanne Prevost, and John Armstrong for their continued support throughout the years. I owe my sincerest gratitude to my friends who assisted with editorial comments: Karen Huang and Rajiv Bhola. I would also like to thank Lisa Miller for her assistance with musical examples. Thank you to my friends and family in Ottawa who have been a stronghold for me, both during my time in Michigan, as well as upon my return to Ottawa. And finally, I would like to thank my husband Rob for his patience, advice, and encouragement. I would not have completed this without you. ii Table of Contents Acknowledgements………………………………………………………………….….. ii List of Musical Examples………………………………………………………….….... iv List of Figures……………………………………………………………………….…....v Abstract…………………………………………………………………………….…….vi Introduction………………………………………………………………………….……1 Rap and Music Analysis……..……………………………………………………6 Terms and Language……………………………………………………………..13 Chapter Organization…………………………………………………………….15 Chapter 1. Rap Vocality…………………………………………………………………..18 Vocal Parameters…...……………………………………………………19 Interpretive Examples.…………………………………………………...27 2. Black Voices?: Rap Music and Race in America……………………………..45 Musical Blackness……………………………………………………….48 Black (male) vocal practice in rap…………………………………….…62 Black Authenticity: Creating a Link to the Past………………………....95 3. Performing Masculinity via Rap Vocality…………………………………...106 Gendered Positions in Rap: A Brief Introduction……………………....106 Masculinity: Definitions and Context……………………………..……108 Male Vocal Expression……………………………………………..…..122 Gendered Roles in Rap………………………………………………....125 Answer Raps: A Precedent for Male Rappers‘ Singing………………..132 Men's Singing in Rap…………………………………………………...137 Rap-Song Integration…………………………………………………...143 Competent Male Singing in Rap………………………………………..148 4. Conflicted Representations of Women in Rap: Locating Power in Conformity ………………………………………………………………......160 Black Female Identity in the Rap Sphere……………………………….161 Women‘s Vocal Expression in Rap………………………………….....168 Alternative Identities?...................................................………….……..186 5. White Rappers‘ Negotiation of Race and Identity……….…………………..192 Performing Whiteness………………………………………………..…196 White Skin, Black Voices?......................................................................216 Concluding Remarks……………………………………………………………………227 Discography………………………………………………………………………..…...229 Bibliography……………………………………………………………………………232 iii List of Musical Examples Example 1-1 Dr. Dre "Forgot About Dre," Verse 1 ........................................................ 29 Example 1-2 Dr. Dre featuring Eminem "Forgot About Dre," Chorus ........................... 32 Example 1-3 Dr. Dre featuring Eminem "Forgot About Dre," Verse 2 .......................... 34 Example 2-1 Busta Rhymes "Touch It," Verse 1, Lines 1-2 .......................................... 74 Example 2-2 Busta Rhymes "Touch It," Verse 1, Line 5 ............................................... 75 Example 2-3 "Step Yo Game Up," Lil Jon's Verse, mm. 1-4 ......................................... 82 Example 2-4 "Step Yo Game Up," Lil Jon's Verse, mm. 5-6 ......................................... 83 Example 2-5 "Step Yo Game Up," Lil Jon's Verse, mm. 9-12 ....................................... 83 Example 2-6 "Step Yo Game Up," Lil Jon's Verse, mm. 13-14 ..................................... 83 Example 2-7 Snoop Dogg "Step Yo Game Up," Verse 2 .............................................. 85 Example 2-8 "Step Yo Game Up," Trina's Verse (Verse 3) ............................................ 86 Example 2-9 T.I. "Porn Star," Verse 1 .......................................................................... 91 Example 2-10 T.I. "Whatever You Like, " Verse 1 ....................................................... 94 Example 2-11 T.I. "Whatever You Like," Hook ........................................................... 94 Example 2-12 Nas "Can't Forget About You" ............................................................. 103 Example 3-1 Kanye West "Heartless," Chorus ............................................................ 154 Example 3-2 Kanye West "Heartless," Verse 1 ........................................................... 155 Example 3-3 Kanye West "Heartless," Excerpt from bridge ........................................ 158 Example 4-1 Trina "Killing You Hoes," Chorus ......................................................... 175 Example 4-2 Trina "Killing You Hoes," Verse 1 ........................................................ 176 Example 4-3 Shawna "Shake Dat Shit," Verse 1 ......................................................... 182 Example 4-4 Shawna "Shake Dat Shit" ....................................................................... 182 Example 5-1 Eminem "Just Lose It," Verse 1 ............................................................. 204 Example 5-2 Bubba Sparxxx "Ugly," Verse 1 ............................................................. 219 Example 5-3 Paul Wall "They Don't Know," Verse 1 ................................................. 223 iv List of Figures Figure 3-1 50 Cent....................................................................................................... 116 Figure 3-2 LL Cool J ................................................................................................... 116 Figure 4-1 Lil' Kim (left) and Foxy Brown (right) ....................................................... 167 Figure 4-2 Trina, Still da Baddest ................................................................................ 171 Figure 4-3 Shawna, Worth tha Weight ......................................................................... 179 Figure 4-4 Missy Elliot, pre-weight loss ...................................................................... 188 Figure 4-5 Missy Elliot, newer image .......................................................................... 188 Figure 5-1 Lady Sovereign .......................................................................................... 209 v ABSTRACT RAP VOCALITY AND THE CONSTRUCTION OF IDENTITY by Alyssa S. Woods Chair: Nadine M. Hubbs This project fuses musical and socio-cultural perspectives in order to better understand how the voice participates in the construction of identities in rap music. Rap is an important site for the performance and negotiation of identity in the public sphere, and as rap has become increasingly entrenched in popular culture, many studies have been published on the importance of rap, its functions in identity formation, and its workings as a cultural discourse. My research contributes to this field by combining socio-cultural critique with discussion of the musical codes and conventions. Specifically, I explore the ways in which gender and race are performed vocally through musical and lyrical conventions. MCs‘ vocal production and performances are not only primary carriers of the lyrics, but also convey musical meanings through vocal nuance, declamation, and rhythmic delivery. The examination of MCs‘ vocality in relation to other aspects of rap production and reception provides insight into rap‘s gender roles and racial positions, which can illuminate constructions of gender and race in a larger social context. vi Chapter 1 outlines the vocal parameters used throughout the dissertation. Chapter 2 discusses the ways that musical and lyrical conventions in rap have been coded as black, as well as how MCs have linked themselves to an African-American musical lineage. Chapter 3 outlines the masculine attributes of rap and the various ways in which masculinity is performed through the voice in rap. I also discuss how the roles of singing and rapping have been gendered and interrogate the ways in which these roles have been interpreted in rap music. Chapter 4 discusses a sexually aggressive style of MCing that is common among women and the problematic implications of this type of representation. By analyzing the vocal strategies of several prominent MCs, I demonstrate the ways in which they simultaneously resist and reinforce the raced and gendered norms of the rap sphere. Chapter 5 explores how white MCs negotiate the raced boundaries of the rap sphere. I contend that many successful rappers have exaggerated their whiteness in order to gain credibility, thus acknowledging their position within this predominantly black musical style. vii 1 Introduction After presenting
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