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Why Hip-Hop Is Queer: Using Queer Theory to Examine Identity Formation in Rap Music
Why Hip-Hop is Queer: Using Queer Theory to Examine Identity Formation in Rap Music Silvia Maria Galis-Menendez Advisor: Dr. Irene Mata Submitted in Partial Fulfillment of the Prerequisite for Honors in the Department of Women’s and Gender Studies May 2013 © Silvia Maria Galis-Menendez 2 Table of Contents Introduction 3 “These Are the Breaks:” Flow, Layering, Rupture, and the History of Hip-Hop 6 Hip-Hop Identity Interventions and My Project 12 “When Hip-Hop Lost Its Way, He Added a Fifth Element – Knowledge” 18 Chapter 1. “Baby I Ride with My Mic in My Bra:” Nicki Minaj, Azealia Banks and the Black Female Body as Resistance 23 “Super Bass:” Black Sexual Politics and Romantic Relationships in the Works of Nicki Minaj and Azealia Banks 28 “Hey, I’m the Liquorice Bitch:” Challenging Dominant Representations of the Black Female Body 39 Fierce: Affirmation and Appropriation of Queer Black and Latin@ Cultures 43 Chapter 2. “Vamo a Vence:” Las Krudas, Feminist Activism, and Hip-Hop Identities across Borders 50 El Hip-Hop Cubano 53 Las Krudas and Queer Cuban Feminist Activism 57 Chapter 3. Coming Out and Keepin’ It Real: Frank Ocean, Big Freedia, and Hip- Hop Performances 69 Big Freedia, Queen Diva: Twerking, Positionality, and Challenging the Gaze 79 Conclusion 88 Bibliography 95 3 Introduction In 1987 Onika Tanya Maraj immigrated to Queens, New York City from her native Trinidad and Tobago with her family. Maraj attended a performing arts high school in New York City and pursued an acting career. In addition to acting, Maraj had an interest in singing and rapping. -
Interview by Olivia Jasmine Singer Photography by Ronald Dick
tameka norris Interview by Olivia Jasmine Singer Photography by Ronald Dick 24 tameka Norris is a New orleans-based artist livia Jasmine Singer: How did you get into making art? More in line with theirs because you are similar on that tangible who deals with complex issues of race, gender Otameka Norris: When I was a little girl I would dress up and pretend to level… be Cindy Lauper or Michael Jackson: I would take on characters and Exactly. But on the other hand, if I stand up for ‘my people’ – and they’re all and economic inequality in her multidisciplinary wanted to navigate space within them. My mum was a radio DJ, and she my people, everybody’s my people, both sides are my people – but if I stand work. With pieces ranging from collage relating was a single mother so I would sleep at the radio station with her. She’d do up for the black community, the organisations are like, “well, we didn’t invite her job playing urban contemporary music and I would go into the empty you here to do that, we want you to fulfill our quota but still play by our rules.” to a home destroyed by hurricane Katrina booth, put a spotlight on and perform. then, when I was in my early 20s at It’s really complicated and it’s hurtful to see the politics of what is expected to hip-hop video-art and Drake remixes, her community college in Los Angeles, a girl walked up to me and told me she of me because of the position that I’m in and the opportunities that I have, wanted to photograph me. -
Understanding Black Feminism Through the Lens of Beyoncé’S Pop Culture Performance Kathryn M
Seattle aP cific nivU ersity Digital Commons @ SPU Honors Projects University Scholars Spring June 7th, 2018 I Got Hot Sauce In My Bag: Understanding Black Feminism Through The Lens of Beyoncé’s Pop Culture Performance Kathryn M. Butterworth Follow this and additional works at: https://digitalcommons.spu.edu/honorsprojects Part of the Feminist, Gender, and Sexuality Studies Commons, and the Race, Ethnicity and Post- Colonial Studies Commons Recommended Citation Butterworth, Kathryn M., "I Got Hot Sauce In My Bag: Understanding Black Feminism Through The Lens of Beyoncé’s Pop Culture Performance" (2018). Honors Projects. 81. https://digitalcommons.spu.edu/honorsprojects/81 This Honors Project is brought to you for free and open access by the University Scholars at Digital Commons @ SPU. It has been accepted for inclusion in Honors Projects by an authorized administrator of Digital Commons @ SPU. I GOT HOT SAUCE IN MY BAG: UNDERSTANDING BLACK FEMINISM THROUGH THE LENS OF BEYONCÉ’S POP CULTURE PREFORMANCE by KATHRYN BUTTERWORTH FACULTY ADVISOR, YELENA BAILEY SECOND READER, CHRISTINE CHANEY A project submitted in partial fulfillment of the requirements of the University Scholars Program Seattle Pacific University 2018 Approved_________________________________ Date____________________________________ Abstract In this paper I argue that Beyoncé’s visual album, Lemonade, functions as a textual hybrid between poetry, surrealist aesthetics and popular culture—challenging the accepted understanding of cultural production within academia. Furthermore, Lemonade centers black life while presenting mainstream audiences with poetry and avant-garde imagery that challenge dominant views of black womanhood. Using theorists bell hooks, Stuart Hall, Patricia Hill- Collins and Audre Lorde, among others, I argue that Beyoncé’s work challenges the understanding of artistic production while simultaneously fitting within a long tradition of black feminist cultural production. -
Beyoncé's Lemonade Collaborator Melo-X Gives First Interview on Making of the Album.” Pitchfork, 25 Apr
FACULTADE DE FILOLOXÍA DEPARTAMENTO DE FILOLOXÍA INGLESA GRAO EN INGLÉS: ESTUDOS LINGÜÍSTICOS E LITERARIOS Beyoncé’s Lemonade: “A winner don’t quit” ANDREA PATIÑO DE ARTAZA TFG 2017 Vº Bº COORDINADORA MARÍA FRÍAS RUDOLPHI Table of Contents Abstract 1. Introduction 3 2. Methodology 4 3. Beyonce's Lemonade (2016) 5 3.1 Denial: “Hold Up” 6 3.2 Accountability: “Daddy Lessons” 12 3.3 Hope: “Freedom” 21 3.4 Formation 33 4. Conclusion 44 5. Works Cited 46 Appendix 49 Abstract Beyoncé’s latest album has become an instant social phenomenon worldwide. Given its innovative poetic, visual, musical and socio-politic impact, the famous and controversial African American singer has taken an untraveled road—both personal and professional. The purpose of this essay is to provide a close reading of the poetry, music, lyrics and visuals in four sections from Beyoncé’s critically acclaimed Lemonade (2016). To this end, I have chosen what I believe are the most representative sections of Lemonade together with their respective songs. Thus, I focus on the song “Hold Up” from Denial; “Daddy Lessons” from Accountability, “Freedom” from Hope, and “Formation,” where Beyoncé addresses topics such as infidelity, racism, women’s representation, and racism and inequality. I analyse these topics through a close-reading and interpretation of Warsan Shire’s poetry (a source of inspiration), as well as Beyoncé’s own music, lyrics, and imagery. From this analysis, it is safe to say that Lemonade is a relevant work of art that will perdure in time, since it highlights positive representations of African-Americans, at the same time Beyoncé critically denounces the current racial unrest lived in the USA. -
Sundance Institute Announces Film and Music Lineup for Sundance
FOR IMMEDIATE RELEASE Media Contact: JULY 6, 2016 [email protected] Sundance Institute Announces Film and Music Lineup for Sundance NEXT FEST, Aug. 1214 FRIDAY: Lovesong + Shamir SATURDAY: Morris from America » White Girl » Goat + Sunflower Bean SUNDAY: Downtown & Dirty Shorts » Under the Shadow » The Greasy Strangler + Big Freedia Flying Lotus aka steve Makes Directorial Debut with World Premiere Short Film, Royal Tickets on Sale Tomorrow at sundance.org/next; Now on Presale for Institute Members (LR) Riley Keough and Jena Malone in Lovesong, courtesy Sundance Institute; Sundance NEXT FEST marquee, credit: Alberto E. Rodriguez; Shamir, credit: Matthew Parri Thomas Los Angeles, CA — The snowpacked gems of the Sundance Film Festival will thaw in the summer heat of downtown LA with Sundance NEXT FEST, August 1214 at The Theatre at Ace Hotel Downtown Los Angeles. The program, announced today, features some of the most talented new film and music artists on the verge of breaking out. Tickets ($1525) go on sale to Sundance Institute members today and all others tomorrow at sundance.org/next. Sundance NEXT FEST will present the Los Angeles premieres of six new independent films from the 2016 Sundance Film Festival in Park City, Utah, as well as a showcase of comedy short films. Each is paired with a music act, live performance or conversation with an icon of independent cinema. The festival kicks off Friday with the premiere of Lovesong, an offbeat love story starring Riley Keough and Jena Malone, and a performance by Shamir. Saturday’s lineup includes: comingofage comedy Morris from America and a local teen talent show, hosted by Craig Robinson; the edgy, New Yorkset White Girl; and the premiere of intense fraternity drama Goat, starring Nick Jonas and paired with Sunflower Bean, called “NYC's Coolest Young Band” by Rolling Stone. -
Nas Song Writting a Letter to His Friendin Jail
Nas Song Writting A Letter To His Friendin Jail Intern Claudio sometimes transfigure any smasher rases edifyingly. Is Gunter always unconstrainable and Brahmanical when expertizing some bannerol very deservedly and jollily? Bjorne remains reciprocative: she stage-managing her friendly gentles too epidemically? Structured as letters to a friend from prison Nas bridges the crank between senseless. Hill bought it for 30 and spent three month so what became pretty Town Road Wanting an anthemic song with viral appeal he crafted lyrics built. And garden news outlets, lack of this would keep the areas of independent voice, every lie here to a nas to his jail time or feather? Moses References in Rap Songs Ranked Alma Hey Alma. On fortune Love he updated the verb a bit ad-libbing We used to write letters to. Kane Brown was inspired to write Homesick while telling his. Redbone do have good then later friend into her Lil Wayne. To the 1994 hit a World is Yours by Nas and couldn't remember all love lyrics Sean. Songs featuring 2pac Lake County Fish & Game. In an era when a majority of hip-hop pain is working more than. How Prodigy Told His Life access The Ringer. As someone that's always on the fortunate of breaking out each song. 195 cuts scenes of its protagonist joining his friends in boys-will-be-boys. Through his lyrical prowess and social awareness his first flow that a magnificent piece for beats he's crafted some add the greatest songs of all time dimension as. With Nas about dad he wrote the advice and during violent lyrics in general own death might. -
From Bandannas to Berets: a Critical Analysis of Beyoncé's “Formation” Music Video by Kesha Shalyn James a Thesis Submit
From Bandannas to Berets: A Critical Analysis of Beyoncé’s “Formation” Music Video by Kesha Shalyn James A thesis submitted to the Graduate Faculty of Auburn University in partial fulfillment of the requirements for the Degree of Master of Arts in Communication Auburn, Alabama August 5, 2017 Keywords: Beyoncé, Formation, Black women, Black music, Black culture, media representations Copyright 2017 by Kesha Shalyn James Approved by Susan L. Brinson, Chair, Professor of Communication & Journalism George Plasketes, Professor of Communication & Journalism Kevin Smith, Associate Professor of Communication & Journalism Abstract The release of Beyoncé’s “Formation” music video as well as her debut performance of the song at the 2016 Super Bowl has incited debate and controversy across the United States. While some feel empowered and prideful, others are angered and outraged by the lyrical and visual messages Beyoncé communicates in this mediated text. Applying a critical/cultural studies perspective lens, this study explains how Beyoncé challenges the sexist and racist dominant ideology in the United States. Critically analyzing the visual and lyrical composition of “Formation,” this analysis interrogates the messages of both race and gender as well as the representation of Black Women. The findings indicate a direct challenge to white androcentric power as the visuals and lyrics re-appropriate stereotypical images of Black Women, thus demonstrating Black Women’s power and dominance in society. The implications of explaining the ways in which Beyoncé communicates what and how it means to be a Black Woman in “Formation” inform and explain the social, political, and economic reality of Black Women in the United States today, as mediated texts re-present everyday reality. -
Big Freedia, Known As the Queen of Bounce, Is a New Orleans-Based Rapper and Ambassador of Bounce Music
ABOUT Big Freedia, known as the Queen of Bounce, is a New Orleans-based rapper and ambassador of Bounce music. A vibrant twist on hip-hop, Bounce music is characterized by call-and-response lyrics over rapid-fire beats and booty-shaking. After running the New Orleans club scene for over two decades, Big Freedia is now bringing the Bounce movement to a world-wide stage with her hit reality show, Big Freedia Bounces Back on Fuse. The weekly docu-series, now in its sixth season, follows the life of a gay choirboy turned Bounce rapper and remains the highest rated original series on the network. In 2015, Freedia collaborated with Beyonce on the Grammy-nominated single, “Formation.” A collaboration with pop-vocalist Sia for “Eye of the Needle” was released in 2015 as part of the Adult Swim Series and Big Freedia’s single “I Heard” was released in February. Freedia’s first LP, “Just Be Free” was named one of the ‘best electronic releases of 2014’ by Rolling Stone and was critically acclaimed in outlets such as Pitchfork, SPIN, USA Today, and Consequence of Sound. In 2015, Big Freedia penned her first memoir, Big Freedia: God Save the Queen Diva! on Gallery Books/ Simon & Schuster. The book was hailed in the press by outlets from Rolling Stone and Pitchfork to Out and Bust. Big Freedia’s sophomore album will be released in 2017. HIGHLIGHTS • Season 6 of top rated TV show Big Freedia Bounces Back • Authored memoir God Save the Queen Diva! • Appeared on Jimmy Kimmel Live! • Appeared on Watch What Happens Live, Andy Cohen • Appeared on The Real • GLAAD -
Kylie Minogue, Tove Lo, Lizzo, and Big Freedia to Perform Live at NYC Pride’S Pride Island
Kylie Minogue, Tove Lo, Lizzo, and Big Freedia to Perform Live at NYC Pride’s Pride Island New York, NY (February 27, 2018) – NYC Pride’s Pride Island is back this year featuring top performances by Kylie Minogue, Tove Lo, Lizzo, and Big Freedia from Saturday, June 23 to Sunday, June 24, 2018 at a new location - Pier 97. “As we prepare to welcome a record number of attendees for Stonewall 50 / WorldPride 2019 NYC, our move to our new home on Pier 97 is just one of several new venues, new events, and new experiences we will launch in 2018 to prepare for next year’s massive crowd," said Chris Frederick, Managing Director of NYC Pride. Swedish pop star, Tove Lo, headlines the first day of Pride Island on Saturday. Tove Lo’s effortless steering between the worlds of love and sex on her second album Lady Wood, is sure to put fans on an emotional vibe. With hits spanning the Billboard charts like, “True Disaster,” “Talking Body,” and “Habits (Stay High),” Tove Lo’s raw and honest musical style brings fans on a journey. Known as the “Queen of Bounce,” Big Freedia is a staple in New Orleans’ energetic style. Commonly recognized as one of the infectious voices on Beyoncé’s infamous 2015 single, “Formation,” Freedia is sure to get those bodies moving. DJ Dawson will spin the best mixes in house music while Big Freedia takes spectators south to the “Big Easy.” Additionally, the Saturday edition of Pride Island welcomes a live performance from the “hair toss, check my nails,” rising star, Lizzo. -
Popular Music and Gays, Lesbians, Bisexuals, and Transgender People: an Annotated Bibliography and Discography
Page 1 of 35 Popular Music and Gays, Lesbians, Bisexuals, and Transgender People: An Annotated Bibliography and Discography. Compiled by Walt “Cat” Walker. Approved by the GLBTRT Resources Committee. Last revised January 12, 2017. TABLE OF CONTENTS Introduction 2 I. General Nonfiction 3 II. Memoirs & Biographies 9 III. Fiction 32 IV. Drama 33 V. Children & Teens 34 VI. DVDs 35 Page 2 of 35 Introduction Gays, lesbians, bisexuals, and transgender people have always participated in creating popular music. In recent years, the visibility of LGBTQ people in the music world has increased, and more popular music has been created that openly describes the LGBTQ experience. There has also been an increase in books and films related to LGBTQ visibility in popular music, both in fiction and nonfiction. This bibliography includes resources about gay men, lesbians, bisexuals, and transgender persons involved in the popular music field. The books have all been published in print, and many of them may also be found as e-books. Separate sections contain memoirs, novels, plays, and children’s and teen books. Several LGBT popular music-related DVDs are also listed. Each book and DVD has a link to the OCLC WorldCat record (when available) where you can see which libraries hold the item. Most of this resource is comprised of a discography of popular music recordings by LGBTQ artists. It is not meant to be complete, but many recordings still available in CD format for each artist are listed, and several are annotated. Many of these performers’ songs can now also be found on streaming music services and online digital music websites. -
Black Queer Youth, Agency, Hip Hop, and the Black Ratchet Imagination Bettina L
EDRXXX10.3102/0013189X17736520Educational ResearcherEducational Researcher 736520research-article2017 FEATURE ARTICLES A Ratchet Lens: Black Queer Youth, Agency, Hip Hop, and the Black Ratchet Imagination Bettina L. Love1 This article explores the utilization of the theory of a Black ratchet imagination as a methodological perspective to examine the multiple intersections of Black and queer identity constructions within the space of hip hop. In particular, I argue for the need of a methodological lens that recognizes, appreciates, and struggles with the fluidity, imagination, precarity, agency, and knowledge production of Black queer youth who create and consume hip hop. As an example, I apply a Black ratchet imagination methodological perspective to an examination of New Orleans’s bounce culture. I conclude the article by underscoring the need for humanizing, hyper-local, and messy theoretical frameworks that provide further context for research investigating Black queer youth whose identities are informed by the culture of hip hop. Keywords: arts education; Black education; cross-cultural studies; cultural analysis; diversity; gay/lesbian studies; gender studies; qualitative research Ratchet Binaries policed by dominant culture. She asks: “Are any of us winning in a scenario where respectable and ratchet are the only two The word ratchet has emerged in mainstream culture as a means options?” Cooper’s question provides a space for researchers to of describing Black people, particularly Black women, as loud, reclaim and reimagine the narrow and superficial binaries of hot-tempered, and promiscuous. This one-dimensional view of Black womanhood that complicate and humanize working-class Black women has sparked outrage and debate in social media, Black life and expand these complexities to queer youth of color historically Black college and university campuses, popular blogs who consume and create hip hop. -
Like Most Good New Orleans' Traditions, Bounce Music
NEW ORLEANS From Bienville to Bourbon Street to bounce. 300 moments that make New Orleans unique. WHAT HAPPENED The first 1718 ~ 2018 commercial recording of bounce music, “Where Dey At,” 300 was released TRICENTENNIAL in 1991. Like most good New Orleans’ traditions, bounce music came from the streets. A New Orleans-grown form of hip-hop, bounce came from second-line rhythms and Mardi Gras Indians’ call- and-response chants. Juvenile was one The music was popular at block parties beginning in of Cash Money records’ biggest the 1980s, but the first recording didn’t come until 1991, stars. with a cassette-only release of “Where Dey At,” by rapper T.Tucker and producer DJ Irv. A year later, teenage A copy of the first commercial “bounce” recording from 1991, ‘Where Dey At.’ rapper Juvenile was introduced and would later be- come a international celebrity with the release of his bounce single “Back that Azz Up” through Cash Sara Green of Money records, founded by brothers Bryan “Bird- New Orleans, center, twerks man” Williams and Ronald “Slim “ Williams. Cash to the sounds Money, now a multi-million business with artists of Big Freedia at the Central including Drake and Nicki Minaj, first produced lo- City Festival cal hip-hop, rap and bounce in the Birdman’s New in 2014. Orleans’ kitchen. Mystikal’s Juvenile and Lil’ Wayne, along first album with Turk, formed the Hot Boys, was released on New Or- Cash Money’s first big act. leans’ label, With sexual lyrics and dancing Big Boy featuring up and down butt-shaking Records.