The Effects of Hip-Hop and Rap on Young Women in Academia
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The Effects of Hip-Hop and Rap on Young Women in Academia by Sandra C Zichermann A thesis submitted in conformity with the requirements for the degree of Doctor of Education Sociology in Education Ontario Institute for Studies in Education University of Toronto © Copyright by Sandra C Zichermann 2013 The Effects of Hip-Hop and Rap on Young Women in Academia Sandra C Zichermann Doctor of Education Sociology in Education University of Toronto 2013 Abstract This thesis investigates the rise of the cultures and music of hip-hop and rap in the West and its effects on its female listeners and fans, especially those in academia. The thesis consists of two parts. First I conducted a content analysis of 95 lyrics from the book, Hip-Hop & Rap: Complete Lyrics for 175 Songs (Spence, 2003). The songs I analyzed were performed by male artists whose lyrics repeated misogynist and sexist messages. Second, I conducted a focus group with young female university students who self-identify as fans of hip-hop and/or rap music. In consultation with my former thesis supervisor, I selected women enrolled in interdisciplinary programmes focused on gender and race because they are equipped with an academic understanding of the potential damage or negative effects of anti-female or negative political messaging in popular music. My study suggests that the impact of hip-hop and rap music on young women is both positive and negative, creating an overarching feeling of complexity for some young female listeners who enjoy music that is infused with some lyrical messages they revile. The attraction to hip-hop and rap music and cultures by young women in academia seems to be largely contingent upon an appreciation of the aesthetics of the genre and music, including its rhythmic flow, melodic structure and the general appeal of the artists. Therefore, even when the messaging comes across as antagonizing or antithetical to the well-being of the young female academic listener, her enjoyment of the music remains intact. ii By organizing a discussion group and candid dialogue between young academic women who are self-described hip-hop and/or rap fans, I was able to obtain an intimate understanding of their personal struggle between this appealing musical aesthetic and the sometimes-violent messages of hip-hop and rap. I also studied the writings of feminists, music historians and sociologists in order to better understand human attraction or acceptance of negative messages in order to feel connected to or a part of something the collective deems popular or “cool.” In my studies I learned that the drive to feel accepted by a popular group – even when, as is sometimes the case with some of the messages of hip-hop and/or rap, the group seems to intentionally marginalize itself from popular culture – supersedes any political, ethical or moral opinions about messaging. However, messages that are better aligned with the opinions of the listener are ultimately favoured. iii Acknowledgments I would like to thank those within my academic circle who have helped to guide this thesis to completion: Helen Lenskyji who helped to start this whole process in 2004. I am and always will be grateful for her great wisdom and flawless attention to detail. Thanks to the entire defense committee including Tara Goldstein for her enthusiastic ideas during the defense; Eve Haque for her thoughtful comments as the external advisor; Rinaldo Walcott for the contribution he gave and the passion he brought to the topic area; and Chairwoman Bonnie Burstow. In particular, my great thanks go out to my supervisor, Kari Dehli who has helped immeasurably to move this thesis forward and provide steady guidance as well as an ever-reassuring voice. I must thank the late great Roger Simon a mentor and a visionary. I would also like to profusely thank Joselin Linder, my editor extraordinaire who has helped to make this thesis what it is today. I am lucky to have an incredible family who never fail to amaze me: I thank my brilliant and super-supportive mom, Aggie, for being my rock throughout this whole process. She is an outstanding model for the kind of mom I aspire to be for my new son. I want to thank my dad, Alex, for his incredible support both emotionally and financially and for encouraging my “sweet tooth” over all these years! I would like to thank his partner David, for his incredible disposition and for taking amazing pictures. I want to thank my brother Gaby for being the most amazing brother a girl could have. I am so lucky he has always looked out for me and I am so proud of all of his many accomplishments, not to mention his knack for enjoying life – No one can whip up a gourmet meal at the drop of a hat like he can! I also want to thank my in-laws, Shirley Anne and Harvey for bringing Kevin into the world and for being a tremendous support system for me as I finished my thesis. I thank Mary, Izzy and the entire Fraizinger crew for being my second family and for always supporting my endeavours. Finally, I want to thank my boys: To my husband, Kevin, thank you for all your love and support during the grueling completion of this project. You are my light, my best friend, my life and my soul mate; And finally, to my sweet angel, my baby boy, Zachary Eli – You came into this world on May 24, 2012 and you have made my life so much better, sweeter and happier. I love you Zachszies, today, tomorrow and forever. iv Table of Contents Abstract ii Acknowledgments iv Table of Contents v Introduction: Setting the Stage 1 Chapter 1: Literature Review 5 Introduction 5 Understanding Youth Subculture 6 Identity Formation in Hip-Hop and Rap Cultures 10 Gangsta Rap 18 Gender Rap 19 Female Artists in Hip-Hop and/or Rap 20 Black Nationalism and Women 22 The Representation of Women in Hip-Hop Culture and Rap Music 24 Women Rappers and Black Female Stereotypes 28 The Commercialization of Hip-Hop and Rap in Popular Culture 34 Hip-Hop and Rap Capitalism 35 Theoretical Framework 38 v Chapter Two: Methodology 40 Introduction - Personal Investment 40 Hip-Hop and Rap Lyrics 41 The Five Themes 42 Rationale for the Creation of the Five Themes 43 Quantitative Methodology 47 The Focus Group 48 Rationale for Not Using Some Potential Participants 51 Structure of The Focus Group 52 Conclusion 56 Chapter Three: Content Analysis 58 Introduction 58 All These Calculations – Now What? 61 Sexual Exploitation and Disrespect Towards Women 61 Ostentatious Display of Wealth 69 Glamourization of Tobacco, Alcohol, Illegal Substances and Weapons 72 Establishing Territory 77 Inclusion of Derogatory and Racially Charged Terminology 79 Conclusion 82 vi Chapter Four: Focus Group Discussion 84 Introduction 84 Focus Group Themes / Sub-Themes and Concepts 86 Legitimacy 97 Lack of Agency/Voice 102 Contradictions 106 Pain vs. Pleasure 109 Virgin vs. Whore 111 Dis/empowerment 115 Focus Group Follow-Up Discussion 119 Analysis 126 Summary and Analysis of Focus Group Discussion 128 Chapter Five: Conclusion 130 The Hip-Hop and Rap Study 130 Weaknesses and Limitations 137 Concluding Reflections 139 Tables 140 Table 1: Content Analysis Worksheet 140 Table 2: Hip-Hop/Rap Lyrics (95) Songs Category/Theme (Percentage) 146 Calculations vii Table 3: Overall Rank/Order of the Five Themes Accompanied by Percentages 147 Table 4: Call For Participants 148 Table 5: Consent for Voluntary Participation 151 Table 6: Detailed Timeline/Structure for Focus Group 152 Table 7: Ethics Review Protocol Form 154 Works Cited 160 Primary Sources (Recordings and Videos) 160 Secondary Sources 160 viii Rap is what you do; hip hop is what you are. Rap is the act; hip-hop is the culture. (Boyd, 2002: 48). Our nation’s clothes, our language, our standards for entertainment, our sexuality, and our role models are just a few items that have been affected by hip hop’s existence. (George, 1999: 211). My passion lies in hip-hop but my struggle is trying to fit in hip-hop somewhere, and I think that for young women who are critically engaged, that’s the battle they face…Hip-hop music is mainstream and inescapable for young women. (Remy Ma, Focus Group Participant). ix 1 Introduction: Setting the Stage I became interested in hip-hop as well as rap music during my second year of high school, when I was searching to find my identity after learning that the two men in my immediate family were gay: My father and older brother. Suddenly consumed by a need to process this information, cope with a newly “broken” family, as well as deal with the fact that people I love were now a part of a marginalized and often misunderstood group, I looked for solace in popular culture. As I consumed television, magazines, movies and books in large quantities, I also came to find that music addressed my state of mind in ways no other medium could. It turned out that the angst and rage, as well as other aesthetic qualities of hip-hop best reflected my fifteen-year-old state of mind. I relied on the music of Salt-n-Pepa and Boyz II Men to sooth me and make me feel like I belonged. My family members’ homosexuality, while unrelated to the research I present here, helped drive my present understanding as well as my desire for further knowledge about hip-hop and rap music, in terms of the populations it marginalizes (specifically women, although also gays, minorities and even at times, white men) and its subsequent effects.