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In requirements Cri for fulfillmentof the Master thedegreeArts partial in of of Biggie and Tupac: the and Biggie battle king and the performance Thug for thug of Submitted toCentralSubmitted European University Main Supervisor: Cerwonka Dr. Allaine SecondKepplova Reader: Zuzana DepartmentGender Studies of By Lauren Renee Lauren By Apple Budapest, Hungary Gender Studies 2013

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CEU eTD Collection Conclusion Hop HoodChapter Coast, 3.Coast toHood,Block to Saturation toBlock: Hip in Spatial Chapter 2.The Thug Family Chapter 1.Creating community withinhood the Slaughter,electrical tape 1.6. TheBegins Battle 1.5 Biggie &Tupac 1.4. Where got rap roots its 1.3. Whatscholars space to rapmusicrelation aresayingabout in 1.2. Structure ofthepaper 1.1. Why music? rap Introduction ofTable Contents Acknowledgements Abstract 3.6. Onlydie thehoodyoung 3.5. Tupac’s Campaign 3.4. Biggie’s Campaign 3.3.Thug Campaigns 3.2. Turning Hoods Thug the into Nation 3.1. Hood Roots 2.2. Women 2.1. The ThugTree Family Where1.1. Home is the ‘Hood is

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CEU eTD Collection Yuval T.Rose, (1994). Angie,(2003). Retri M. References Webpage links Webpage - Davis, N. (1997). Davis, N.

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CEU eTD Collection masculinityI “thug call them Thug through the ofKingdom rulers rightful as themselves legitimated rappers two these how expose to hope I space, political alternative this tracing By Nation. Thug entire the over primacy leaders. naturalized and mid the hip Coast Coast/West East the in contenders known well most the Tupac, of sphere that a authority establishing and for leadership platform a as functioned rap how survey will I Tupac, as to referred also 2pac, and Biggie, as known also B.I.G, Notorious The rappers, two the “T the of kings or leaders authentic imagined as themselvesassert and politics articulatea (men) cityAmerican innerincome, low black, of group specific a which through means or mechanism a as used is music wit authenticity asserting for processes the and space political alternative an offering for mechanism or forum a as explored is hop hip examination, this of case the In people. marginalized plaguing issues and struggles a msc stae i a hip a in situated music, Rap 1. Introduction - 1990’s, rap allowed for the creation of “imagined” kingdoms, kinship, territories, kinship, kingdoms, “imagined” of creation the for allowed rap 1990’s, 1. Why rap music?Why

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This became a cultural space in which black men battled for for battled men black which in space cultural a became This es of kinship, territory, and a particular performance of of performance particular a and territory, kinship, of es

is articulated through spatial imagery. For Biggie and and Biggie For imagery. spatial through articulated is hug Nation.” By looking at interviews and lyrics from from lyrics and interviews at looking By Nation.” hug - o cnet i context, hop - hin a hip a hin

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First I will align the Thug Nation with the notion of an “imagined community, “imagined an of notion the with Nation Thug the align will I First hip of field the within research this situating After 1.2. Structure the paper of

e throne. 2 - ifically at Biggie and Tupac is because of because is Tupac and Biggie at ifically

- hop battle began. I will not go in depth in go not will I began. battle hop hip o

- hop culture and afford a condensed a and afford hop culture ir standing as ruler. Also, I will will I Also, ruler. as standing ir - hop studies, I will provide a provide will I studies, hop der for the Thug Thug the for der ” CEU eTD Collection gradu the traced He constructed. being spaces of kinds specific the than Rose,Forman only saturation identify didnot thespatial inhip further step one it Taking 66). pg. 2000, (Forman constructed” are that places or spaces the both view to which hip of basis a form that discourses spatial and practices spatial of prioritization “the explores He culture.” hop hip within practice and meaning, value, of principles organizing “in plays space role important the highlighting crisis ofhowthat andstartsbe crisis can eradicated. adiscussion state the recognizes She 2008). (Rose, communities black city, inner hip on discourse is what of question tough the S pg.34). (1994, education and materials space, to access terrain, cultural hip among development creative for context the provided “which city,’ ‘postindustrial the to ties spatial raps highlights She implications. hip of roots the on background extensive Hip of field the to research and insight great provides Rose loca hip locate Both Forman. Murray and Rose Tricia are space to les and display the ways these spaces aid in shaping the identity of hip of identity the shaping in aid spaces these ways the display and les Murray Forman, also contributes to the notion of space and place in rap music, rap in place and space of notion the to contributes also Forman, Murray hip of study the to contributors influential most two The 1.3.

What scholars are saying about rap music about relationWhat scholars arein to space saying - hop is more often than not, essentializing and reflecting negatively on negatively reflecting and essentializing not, than often more is hop ways ht pcs n pae ae osrce ad the and constructed are places and spaces that really really being said when mainstream media and public public and media mainstream when said being - - hop culture and rap music and their political their and music rap and culture hop

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hop culture”… offering “a means through means “a offering culture”… hop - hop’s earliest innovators, shaping their their shaping innovators, earliest hop’s - hop within specific urban urban specific within hop - -

o Suis providing Studies, Hop hop and its relationship its and hop - hop, but he discussed hop, buthediscussed al shift in the late late the in shift al f hip of he also tackled tackled also he

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CEU eTD Collection “p a the from of speaking often role observer, the or narrator maintain often rappers 2). experience, personal pg. of 1994, voice (Rose, a with America” Speaking contemporary in life urban black of problems and b electronic and word, Combining spoken rhymes, lyrical cities. inner American in located culture youth black of expression an as black, inneritself inpositioning cityaimedtoits community at naturalizing ofconstruction aof Nation,” the“Thug relation the tropeformation thefamily to of in i lived life of experiences the addressing for space political alternative an offering for means a men ruler their leader of spaces.hip or This th authenticate opportunityto understand to order in interviews, and lyrics their of readings close providing Tupac, and Biggie of battle this What space. with relationship spacespg.(Forman 2000, ” 66). hip in 1980’s First emerging from the Bronx, in New York City, in the 1970’s, rap music began music rap 1970’s, the in City, York New in Bronx, the from emerging First 1.4. hip of history the to research critical provide Forman and Rose Both n specific, urban settings. Also, I will highlight the political benefits of using using of benefits political the highlight will I Also, settings. urban specific, n Whereroots rap gotits - hop that became more concerned with representing specific, moral local local moral specific, representing with concerned more became that hop how

these two men mad claims to space, which allowed them the the them allowed which space, to claims mad men two these eir masculine gender performance, in order to be considered considered be to order in performance, gender masculineeir

analysis seeks to do however, is trace the specific rap rap specific the trace is however, do to seeks analysis

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CEU eTD Collection their it. leadership within asserting thus and Nation Thug the to belonging their authenticating in crucial are show, of city the precisely, more California, Southern and label) signing (his Records Row Death coast, West the of symbol the was hand, other the on Tupac York. New Brooklyn, specifically, more and signed), was he c East the of representative a was Biggie Nation. Thug the to regards in leadership their assert they ways the consequently, and experiences life rappers both between difference distinct the as serve positioning spatial identities their construct experiences, life similar have to seem which rappers, two these that then is why So, other. each of months 6 within shootings by drive by killed way, same the died even men Both status. and sex and guns, mon industry: music rap the the in successful in became it or game,” “made they once experiences similar of rapped men Both city. inner tough the in survive to fighting of difficulties the and drugs, selling streets, the on up growing com with life, in on early faced they hardships the of a picture paint lyrics, their through men, Both lives. their in presence no to little had fathers their where homes city inner into born were black, both men, Both similar. as interpreted used in rap are music belonging toahip slang and phrases language, The 2). pg. 1994, (Rose, way” meaningful a in status social T and Biggie of careers and lives the view, generic a From &Tupac 1.5 Biggie

Compton. These ties to space, as the analysis will analysis the as space, to ties These Compton. - hop culture. hop culture. oast, Bad Boy Entertainment (the label to which which to label (the Entertainment Boy Bad oast, -

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differently? Their coastal ties and and ties coastal Their differently? ey and clothing, cars and and cars clothing, and ey o tee including: themes mon pc ol be could upac CEU eTD Collection In thesong, Boy, isBiggies song be to believed is Bad or Biggie what by confirmed never although Tupac, Inby made comments the to beforehand.retaliation him inform not did and shooting the about knew rapper York New the Biggie,claiming with dissatisfaction his expressed remembered representingBiggie tobeEast andTupac West. coast the the and battle.contenders main the later, decades two nearly However, rap coastal the of launch the as understood be can mecca rap’s of rootedness’ ‘up This 1991). (Bauder, Angeles Los specifically, more coast, West the by foreground York New that 1991, in said magazines, rap popular most of editors original the of one Shecter, John 1991). (Bauder, up” blows and out throws industry the that gangsters manufactured typically the [N.W.A] “They’re 199 a In “tough.” not are they claiming by credibility street their dissing group, rap based Angeles Los Compton, a Attitude), with (Niggas N.W.A the released Dog, Tim rapper, Bronx coast, East an when Slaughter, electrical tape around yourSlaughter,electricalaround tape daughter … HardBrooklyn tocreep them streets Seperate ob weakfrom the the ya? shot Who Tupac 1994, in club City York New a of out coming while shot being After be can feud rap coast West coast/ East any of signs first The 1.6.

The BattleThe Begins Biggie raps,

Who Shot Ya?

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Fuck Compton, Compton, Fuck Ready toDie.

competitors of this battle are battle this of competitors had been replaced as raps raps as replaced been had 1 interview, Dog said, said, Dog interview, 1

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The Notorious B.I.G, Who Shot Ya? Shot Who

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oklyn streets” can be interpreted as a warning to to warning a as interpreted be can streets” oklyn was the retribution the was York City shooter has not been identified within identified been not has shooter City York

7 Who shot ya? shot Who - rew. rew.

1995, Bad Boy Records for Tupac’s 1996 song 1996 Tupac’s for

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Then youNowI whenIcame biggie. was out, it about told just youWe'regonna allmother fuckers. kill … youNow 'bout wrath feel the to ofa menace yourBut finish punksdidn't me, shot Who … markSome ass bitches Biggie and Junior Smalls Mafia … Niggasfuck fo onBad bust We Boys yourIBut fucked wife You claim be to a player equippedCome with game when side West we ride youAnd the clique claim yourFirst off, bitch fuck … You know whothe is realist BadBoy Killers (Take Money) Side West

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CEU eTD Collection specific spaces,potential leadersauthenticityThug asserting thus as the their for Nation. of authenticity therapwithin scene. theme common Tupac reinforces realist,’ the ‘the Claimingcoast. tobe and West the East between boundaries the deepening further Entertainment, Boy Bad and coast East the of thr Tupac theme, battle the with Continuing Kim. Lil’ rapper, York New fellow girlfriend, rumored his and wife Biggie’s with sex had he notionthe alludingto songby throughoutthe once than more do to Tupacattemptedwhat w be to things as women involve frequently territory to claims These different. no is Tupac and Biggie between battle rap The cause. the to As central often quite are territories and land to claim battles, and wars military in As Tupac, youThen fuck too. youAnd if with BadwantBoy, be to down FuckBadBoyarecord staff, asas fucking amother andcrew. label, FuckBiggie, howwe is this gonna'Well dothis: the analysis will explore, space paid a crucial role in rooting the rappers to rappers the rooting in role crucial a paid space explore, will analysis the Hit Em

Up , 1996, Death Records , 1996, Row

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To be crowned king of the rap ga rap the of king crowned be To to claimed rappers both education “alternative” the meaning in, educated were they neighborhoods say I in position one simply have not do We identity. of aspect intersectional the of because so as “s” the add I re differentiating themselves, constructing their identity as members of a specific a of members as identity their constructing themselves, differentiating re osrcs f omnt, oe an home, community, of Constructs Chapter 1 ersn tesle ad hi cmuiis t sek n eaf f the of behalf on speak to communities, their and themselves represent - hop culture. culture. hop .

Creating community within the hood communityCreating within e. hi te t sae ter oa cmuiis ad hi lived their and communities, local their space, to ties Their ces.

Tupac, it was the coasts they represented, the cities they grew up grewup they cities the represented, theycoasts the was Tupac,it

me would entail a recognition of power, leadership, and skill in mapping mapping in skill and leadership, power, of recognition a entail would me

an not be disputed that our positioning(s) our that disputed be not an -

10 on.” For them, the education they needed to survive in survivein to needed they education the them, For on.” -

- insights from older ‘hustlers’ or men on the street street the on men or ‘hustlers’ older from insights d family all intersect to form varying varying form to intersect all family d

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- middle class America. For America. class middle 3 - .’ The opportunity to to opportunity The .’ old question of nature of question old 1

in the in CEU eTD Collection mostly other, or drugs, selling dominance, and activities. associated illegal,thug power show to streets, violence the of on acts credibility by obtaining obtained to is regards it in whether authentic himself proved has who man a or ‘gangsta’ a i works to refers ‘G’ A positioning. social born Biggie’s their of because simply life in pay to have and they prices and struggles Tupac both throughout theme common 4 in later belonging national concerning used discourse naturalizing the on depth in further nation. the to ‘naturally’ belonging not are who citizens include to seeking enforced by internal structures. power self is it that in sovereign is space different place whereinteractions nation social meaningful or playThe ways. outin common a be to has there nation, the of member a be To everyone. to available made na varying in traditions and regulations, practices rules, innumerable are There and nation. practices the of community state specific the maintain the ultimately maintain to order in defended, and enacted communities. other from demarcation the upon built is community of nature very the because limited being as community the explains Anderson sense, this In (6). sovereign” and limited inherently both as imagined 1.1. their G. a be gotta you and free, in get thugs where place only “th as seen Nation,’ ‘Thug the of citizens all were represented they people the them,

yis ae fo Tpcs og Tu Mnin fo hs 02 post 2002 his from Mansion” “Thug song Tupac’s from taken Lyrics Home is Whereis ‘Hood the

heritage, In this regard, we can understand the “Thug Nation” as that which is limited; not limited; is which that as Nation” “Thug the understand can we regard, this In to According their national interests thatneedednational tobegoverned for, and by fought Benedict Anderson (19 Anderson Benedict

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CEU eTD Collection home 5 many rap oftheir narratives. in seen is which from, came they hoods the of representation and with connections upon ba the for contenders become to able be to them ‘hoods the from, came they communities the on depended status citizen Nation” “Thug of acquisition Tupac’s and Biggie then, So nation. ac act citizen’s its ensure to Nation” “Thug the within done is policing internal result, a As nation. American overarching the of those from different conduct, of codes or “laws” of set own its has Nation” “Thug the rappers, both Iw because, as American is nation. That ofthe context the larger within exists nation this though even sovereign, is Nation” “Thug the Also, chapter. the

“Hood” refers to neighborhood, or the specific section of a city or town one came from or considers to be be to considers or from came one town or city a of section specific the or neighborhood, to refers “Hood” . naiat wie hwn rset o te utr i poie) s o a now is provides) required pra it nurture the for respect showing its and while territory inhabitants home the for profile broader a creating involves (which of the‘home,’ and thedua ‘hood the those

flow, subject matter, style and image must resonate meaningfully among among meaningfully resonate must image and style matter, subject flow, wher first, front home the on success achieve must rhythms and Lyrics Forman explains (1991)

who share common bonds to place, to the posse and to the ‘hood”…. the to and posse the to place, to bonds common share who

is, however, regularly constructed within the discursive framework framework discursive the within constructed regularly however, is, ctice among hard corectice amongacts rap

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(72 5 ttle of Rap King, they had to first build first to had they King, Rap of ttle ’ they grew up in. In order for either of either for order In in. up grew they ’ - 73).

cordingly and in benefit to the the to benefit in and cordingly ill show with lyrics from with lyrics from show ill e the the e CEU eTD Collection in the urgentissue and the American openlyforwithin addressneed changes sys social citizens city inner income, low these structural recognizethis andBiggie Tupac Bothsubordinated disadvantaged position. and keep to seem which society structu institutional American the of most to opposition in is tactic This mind. the in community, nation, the of interest best the keeping while them, about and for decisions make to authority the have and them, protect communities, their represent leadership, assertBoth tobeready tobementh thehad hood.to from they what like is it tooknow showing communities, their of people the with connect to had they communities, their of Promise me nationPromise indispute emancipation this fullofknowled dump With CallingI'm meacause madmanand bold strong youAnd now lookathowdangerous made me Never slavery gave but menothing mePromised freedom,education, equality Cause lady she liberty isahypocrite lied tome The American Dream wasn't meant KeptI my historyofmystery see butnow To deny ourus ofthenames rob future too To get upback upshot uslocked inchains Ain'tanother calculated nothing but schemes As real theAmerican asitseems Dream S o then, in order for Biggie and Tupac to be considered adequate representatives representatives adequate considered be to Tupac and Biggie for order in then, o ge of the lies youge ofthe lies told -

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CEU eTD Collection others, than positions whether gender, ethnicity, orage. thatrelates totheir writes Rose(2008) Tricia privileged more in people place that structures social greater ques to room not is there logic, this following By doing. their by was it wrong, did it obtain to striving person the something is it realized, not is ideal dream American this if Therefore, involved. individual the on responsibility the all places class, middle upper the among discourse common a is which thought, of line This it. achieve to enough hard work and enough bad it want is do to have they all life, secure financially Americ this obtain to wants really someone if that notion implied an is There achieve. to and ability opportunity the has everyone something being as culture American in discussed an dream, that is working hard to make a comfortable living and enjoy a safe and safe a enjoy and living comfortable a make to hard working is that dream, an In Time tochange now government the myWhen are sothey people canaround down screw us government'sBut theglad causeenjoyed they I'm now So I'mmad cause sitting hear unemployed aboutExcept lie aAnd Uncle dam me did thing Samnever for Theyanswer shackled upinslavery my kept Fathers our cared never me country of for youAll gavewas my ourpatience people

this song, Tupac recognizes the American dream that is more often than not, than often more is that dream American the recognizes Tupac song, this

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themselves are responsible for creating ghettos and for choosing to to choosing for and ghettos creating for responsible are themselves black that belief the andghetto existence black ofacceptanceeasy an

y in the creation and maintenance of them. Those who deny the deny who Those them. of maintenance and creation the in y unacceptable and unacceptable systematic racism or refuse to connect the worst of what hip what of worst the connect to refuse or racism systematic -

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CEU eTD Collection 6 wa nigga a since ever “Now Ballin,’ Still song his in says Tupac As out. seek actively they issues not with, deal to have they issues as discussion the into them brought and the used Tupac and Biggie lyrics, their through Instead, them. for apologize not did and ghetto the in life accompany that traits various these recognized They community. their in presence racialized such of results all are opportunities education limited and poverty, drugs, violence, knowing ghetto, the in living others and them upon imposed inequalities structural the understood able were Tupac and Biggie providethe creationof further detailghetto and concept on (1993) Massey and Denton hoods. and ghettos various in cities, American in location

Ghetto and hood can be conflated, both representing the stricken inner city. inner stricken representing both the conflated, canbe hood and Ghetto illiteracy,growing and despair, poverty, their for tool institutional isola an as importance greater even assumed has ghetto have socially adapted blacks poor as and worsened have ghetto the in conditions as Indeed, life. in embedded deeply are that practices and attitudes, institutions, of set a by today maintained is it and populations, black urban growing control and isolate to century the in earlier whites by manufactured pa a is ghetto The So then, by focusing on their everyday lived experiences in the ghetto or hood, or ghetto the in experiences lived everyday their on focusing by then, So se typically negative characteristics of the ghetto, including drugs and violence, violence, and drugs including ghetto, the of characteristics negative typically se ting theby structures. They never tried to deny these taboos or downplay their their downplay or taboos these deny to tried never They structures. - product ofracialproduct

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16 oppression: crime, drugs, violence, violence, drugs, crime, oppression: -

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- 78). jects, families are seen as building blocks of the nation. nation. the of blocks building as seen are families jects,

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“Traditional,” meaning hegemonic, white meaning hegemonic, “Traditional,” rus aimin groups for counterproductive be might outright it rejecting that States United the in cted through familyCollins, 1998,p.63) rhetoric” (Hill Family occupies such a prominent place in the language of public discourse discourse public of language the in place prominent a such occupies Family Nation, Thug the of conceptualization their in family of construct the Using of ideology The ily is seen as a guiding force, guiding a as seen is ily taig hm rm h traditional the from them ntiating

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23 -

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Both rappers have songs talking about their mothers their about talking songs have rappers Both codn t Bte, gne iett i a efraie accomplishment performative a is identity “gender Butler, to According s to battle and potentially die for the nation. To not follow these “naturalized” these follow not To nation. the for die potentially and battle to s though there are a few occasions where both Biggie and Tupac were more more were Tupac and Biggie both where occasions few a are there though o hw te rpes n ter rw ae fotn o “trippin,” or “frontin” are crews their and rappers other how now eiiig tes hl sseaial rifrig hi own their reinforcing systematically while others feminizing

ge Tpc n cutes te rpes ae hs cam for claims these make rappers other countless and Tupac ggie, - hop seeks to create a space for discourse concerning life in the in life concerning discourse for space a create to seeks hop rss sd o inf atetct ad ueir positioning superior and authenticity signify to used hrases

11 Ti msuiiy lo nlds euain of regulations includes also masculinity This . -

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12 Te naturalizati The .

means to dismiss them, or not consider them as authentic. authentic. them as not consider or dismissthem, meansto - political.’

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se promises of unity and authenticity within the the within authenticity and unity of promises se -

26 -

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CEU eTD Collection 16 “street.” 15 smoke. theymarijuana ofthe quality the and smoke muchthey howabout brag to able are whenrappers meansmakingit, of a and symbol status a isalso It “culture.” thug since marijuana of lot a must smoke thug a authenticity, and authority establishing of part 14 of notion mainstream the Undermining job.” only my That’s Wallace. Ms. of care take fee is do gotta I thing “Only saying, as quoted was Biggie magazine, XXL with interview 1996 a In him. by protected and after looked be to needs from the streets deepening the which private, the and home the family, the signifying blood, and public, representingthe is on obtained separate, is blood Money and divide. money public/private keeping suggesting by So ways. slingin’. successf be will he inferred is it thug, authentic an thug, a is he Since family. his for provide to earningmoney be must thug, of role familial the in Biggie, speaking, Ideologically masculinity. homophobic normative, a affirming ‘rules’ the to adhering by authenticity his asserting further reinforce as athug. hisauthenticity selli to resort hustlin’ and drugs dealing streets, the on experience entails thug real a being authenticity, to claims peo his to commandment and knowledge providing King, as Biggie with royalty, authenticity. to referring Biggie’s both of is Highness construction the in meaning double a suggests highness,” perfo to family

Slingin’ refers to selling street drugs. street selling to Slingin’refers 15 hip in the necessity integral and common a are drugs recreational other and Marijuana

Hustlin’ refers to the various ways to earn money in an ille inmoney an earn ways to various the Hustlin’to refers

By claiming, “Money and blood don't mix like two dicks and no bitch,” Biggie is Biggie bitch,” no and dicks two like mix don't blood and “Money claiming, By 16

This money, in thug standards, is generated on the street, obtained in illegal in obtained street, the on generated is standards, thug in money, This 15 ng drugs, he still used these experiences to root himself to the game and and game the to himself root to experiences these used still he drugs, ng .’ Although Biggie became successful in the rap game and no longer had to to hadlonger no andgame rap the in successful becameBiggie Although.’ mne n accord in rmance

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29 -

gal manner, often times in the context of the of the context manner, in times often gal

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Nigga nature can also be understood as thug understood be canalso nature Nigga cars phones in cell and as pagers such whentechnologies mid 1990’s to early inwas thisthe note Please

ThoughI dealcan sometimes, wi That'sa thug's nature youWhygangsta,time? all the gettinThugginand high life, Kissed the cry made girls, them nature,” “thug his of parts different the describes Tupac song, the Throughout Don't blame a blamemymomma, me nigg Blessed a nigga real withathug's heart...and live nature… Understand major ways, my livin 20

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g be o el ih h tu ntr. wl age a a eeoeul woman heterosexual a as argue, will I nature. thug the with deal to able ng The ones performing the thug the performing ones The ‘voice female The but that's athug's nature It's and relationship alove hate II'mrealize, that it feelin -

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igz aue Remix, Nature Niggaz 22 ’ or representation in this song openly admits to sometimes sometimes to admits openly song this in representation or ’

- political. According to Butler (1988), “the authors of of authors “the (1988), Butler to According political. -

ness, however, also attribute certain characteristic certain attribute also however, ness, 24 (522). Biggie and Tupac were so entrenched in entrenched so were Tupac and Biggie (522). -

32 -

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question 23

CEU eTD Collection man. froma 25 for menwithin thefamily. thug tricks wives include who partners, then respected, most the as top, the on remain would mothers pyramid, a as positioning(s) their visualize we If Nation. Thug the within positioning varied in them place that experiences lived similar share do women the the statuses, socioeconomic Althoughand ethnicity, backgrounds, rappers. the by family thug specific the the of within context enacted and constructed being are ‘women’ of roles the how for on identity an construct do they the for categories, and three these of outside themselves rappers women are there While hoes. and 2.2. the rapgame, make sureauthenticity had they to their of king become to communities, their represent to able be of to them notions for But authenticity. constructed falsely in seeped are politics, identity these thug, and gender the within innate something occurring, naturally as game hop hip the in positing their themselves, of spoke even they that authenticity, displayingtheir

Tricks refer to women who are viewed as deceitful in that they only want only they that in as deceitful viewed whowomenare to Tricksrefer Women 25 In the hip the In . One thing all these roles have in common is each provides some sort of capital of sort some provides each is common in have roles these all thing One .

- hop world, men talk about women in 3 major ways: mothers, partners, mothers, ways: major 3 in women about talk men world, hop

33 and girlfriends, and on the bottom, hoes or hoes bottom, the on and girlfriends, and -

purpose of this analysis, I will focus focus will I analysis, this of purpose was not doubtedor not was questioned. re are still intersections of their their of intersections still are re some sort of financial gain, gain, financial of sort some . hs auaiain of naturalization This m.

- CEU eTD Collection the him, raise to made she sacrifices difficulties shewentapologizes for through, andthestre the about talks He life. his throughout him for done has she all and Shakur, Afeni mother, his for esteem his shows Tupac Mama, str the running were they if even them, loved and rappers the supported who ones the are Mothers mothers. their about badlyspeak who artists hop hip male other any of know not do I Eminem, rapper Besides family. the within respect 2.2.1. Women as mothersWomen as You're in the kitchen tryin to fix usa hot plateYou're tofix inthe kitchen tryin IyouAnd home after could latecomin see work You areappreciated… youI that But show the planisto understand There'sIyou noway pay can back welfare,A poor singleon tel mother You always committed was fortryin a womana ain'traise it easy to man Ifinally understand You always ablackqueen, was mama Ain'tcould alivetake awoman mama's thatmy place… signifi of notion family, carries age As withthetraditional

34 l me how ya it l me how did

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- CEU eTD Collection betteringinto whileoften their times positioning focus put to men, of service the at be to required still is she family, thug the in respected well is mother the Although needed. when comfort feels he sure make and him, of care She it. needs he when life in him guide and side his by remain would mother his knew Tupac streets, the on get could life as tough and rough as For In this sense, Tupac is recognizing the vital role of the mother in the thug family. thug the in mother the of role vital the recognizing is Tupac sense, this In You neveralways asecret, kept real stayed You say getcan thewords meinfocus… back that And whenI'm seemshopeless it that Imycan onmama alwaysdepend Through drama the And mama madeevery miracles Thanksgivin… yoYa workin thescraps just with

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1995, Interscope 1995, 35

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CEU eTD Collection hip in often happens which context, 26 partner. bitch his and between him relationship the describes he song, Inthe himself. of side softer common, so not a shows rapper the Bitch, My & Me song Biggie’s In activities. and be to that saying illegal without goes It work. includesviolent this if even do, to chooses he whatever in him support and thug the for there be to ready and willing as understood be can down be To “down.” being are women sometimes, But women. t because thugs, to equals being as not constructed to degrading and misogynistic times often 2.2.3.

In this context, bitch is not meant to be a derogatory term, rather it is renegotiated and used inpositive a used and it isrenegotiated rather term, derogatory a meantbe to not isbitch context, Inthis Women aspartners Didn't toget life hesitate tosqueeze, my outofdanger Shemy helped me planoutrobberies enemies onmy guns me Totin as aslong just a glockWith as just strong as me A realII isall all bitch want, ever (yeah, had c'mon) Packin a gats,in Coach dime bags bag steamin Iwannaplaycelo,craps bitch thatlike to and t Moonlight with strolls is mothers, not are who women, surrounding discourse and lyrics of majority The

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- his masculinity based on penis size, and his usehis and size, penis on masculinitybased his

irculated and explored, comes their eternal eternal their comes explored, and irculated

result of their battle for leader of the the of leader for battle their of result ebody Kills You, You, Kills ebody -

h wy hy id which died, they way the - hop history. Both men men Both history. hop 1997, Bad Boy Boy Bad 1997,

CEU eTD Collection of thesocial thatcontribute structural thehood. issues toaspecificlivedexperience in hip Tupacused hood. the in on going are that things the to listening uncomfortable did Tupac and Biggie things hip other any been not has there deaths, is this argue would I artists. influential two these with connected somehow still are they that away, far so not are Tupac and Biggie that know to want (54 imagination” the of journeys grandiose and touching most the probably these gunshots (1991) Anderson suffered to According rapper lives. their each in resulting where wounds, spots the to flock still people fact, In words. their promoting still while them, support and them follow to them, in believe to want still to true remain hood the in life of told they stories the and people of lives the touching still are They on. live still politics their and influence, their legacies, their earth,

Although it has been over fifteen years since Biggie and Tupac have left this this left have Tupac and Biggie since years fifteen name over been has it Although my say legend, livin a be wanna I Affiliated mothe withthis die, I When

- hop as a platform and means to develop their politics and raise awareness raise and politics their develop to means and platform a as hop

rfuckin game, with no moregame,rfuckin pain. with no Raising issues, pushing buttons, making people feel feel people making buttons, pushing issues, Raising Tupac, - -

o atss h ee bgn o ak bu the about talk to begin even who artists hop 73 No MoreNo Pain, -

1996, Death Records 1996, Row

because since their their since because

Both Biggie and and Biggie Both plrmgs are “pilgrimages - day. People day. 55) People People 55)

CEU eTD Collection ness. thug calledI masculinityspecific performinga while nation the of ruler for campaigning and Biggie rootedness, and space, hood. their to rapper the anchor to order in music because i authenticity of notion This nation the of ruler for running the in and game rap the in positioning their authenticate better to order space that over T and Biggie demonstrating thus nation, American greater rules, own conduct, of codes its and regulations, Having Nation. Thug the of conceptualization the for block building maintained still they which family. the of in notion reclaimed their within hierarchies ways the demonstrated I hierarchies, institutional challengethese to sought theyAlthough hierarchicalstructures. challenge and themselves the used They hood. the being spaces those spaces certain in located people certain keep to tend structures these which bot hood. structures, social racialized the like is could life they what where on space narratives ‘authentic’ political construct alternative an offering for means the Tupac and hip and music rap which waysthe in explore to analysissought This

Conclusion ,

as I have shown, claims to being the ‘realest’ or ‘truest’ are necessary in hip necessaryare‘truest’ in or‘realest’ beingthe to claims Ishown, have as

Rooting themselves to specific locations was a tactic used by both by used tactic a was locations specific to themselves Rooting

rappers constructed narratives illuminating the ways in ways the illuminating narratives constructed rappers

the Thug Nation so Nation Thug the

Tupac were able to create a political political a create to able were Tupac -

74 strtd hogot h entire the throughout saturated s

- rp o famil of trope

So then, by using themes of family, of themes using by then, So ught to be autonomous f autonomous be to ught The family then, was used as the as used was then, family The upac’s expertise and authority and expertise upac’s a a a t authenticate to way a as y ekn t challenge to Seeking - hop provided Biggie Biggie provided hop -

platform; for them them for analysis rom the rom men - hop

in in -

CEU eTD Collection different. no been has industry today? t Nation, Thug the of leader become to apt so we men Both deaths. their in resulted it and this do to sought others. over privileges and opportunities, advantages, certain people the question not do people of majority The it. within people the and hood the surrounding discourse negative

The answerisno. Along with the monopoly of most all business within the United States, the music the States, United the within business all most of monopoly the with Along Indee conditions (5). g rappers’ to related meaningfully not and the hip of critics headed consider the theTomany larger social culpability context. of and political excessive The Today,as Where does Hip et; ahr te a they rather, hetto; d it is this common American notion of the hood that is seeped into into seeped is that hood the of notion American common this is it d

long Rose hat they risked their lives for it. But, is that still being done being still that is But, it. for lives their risked they hat - space and space term political ofeconomic, effects and social,

(2008) lm lvld t hip at leveled blame

- Hop Hop - hop, structural forms of deep racism, corporate influences, corporate racism, deep of forms structural hop,

has madehas e en s pof ta bak b black that “proof” as seen re location of hood or the social structures that gives certain gives that structures social the or hood of location go from here? Previously, the Previously, clear, h -

- alienated

way for crews or small small or crews for way ip - o i atnsig n t rfsl to refusal its in astonishing is hop - hop is in acrisis. hop is , angry stories stories angry , hvo cets ghetto creates ehavior

disempowerment are are disempowerment

Rose w Rose ige n Tupac and Biggie groups of rappers rappers of groups about life in the the in life about rites, in hip in

hot - - hop the the CEU eTD Collection not wantingresponsible tofeelpoliticallyanything. for hip of novelty the wanted simply people Many culture. black of exoticization its was masses the to music rap of appeal mainstream the Instead, rhymes. political these Hip When people made they real becauseand raw be to sought people They nervous. with well rest always not did Tupac and Biggie it argue to like far toargue depolit became also it mainstream, more popular, more became music rap as But communities. their plaguing issues the on awareness create and voice a have to cities inner America’s of members marginalized for space political new came 1990’s late owne locally individual their to regards in styles individual their promote to Indeed this is what has come of politically conscious rap music today and I would would I and todaymusic rap politicallyconscious of come has what is this Indeed thought andtoo“soft” ofaspolitical (3). too hip commercial be likely he’d an rapper believe conscious socially I a considered today, artist signed newly a were Shakur Tupac If - - hop became more commercial more became hop , hop’s most visible and highly regarded gangsta rappers) might even be be even might rappers) gangsta regarded highly and visible most hop’s

record is a strategic move on part of the music industry and also the government. government. the also and industry music the of part on move strategic a is

the

hip

labels sanitation - hop field. Tupac (who despite his despite (who Tupac field. hop . But, with the mainstream appeal of rap to the masses in the in masses the to rap of appeal mainstream the with But, .

of rap. Inherently, rap was rap Inherently, rap. of , , I argue people did not want to be engaged in in engaged be to want not did people argue I , - tell

76 ing the gritty details gritty the ing -

thus regulated to the margins of the of margins the to regulated thus

icized. Rose (2008) Rose icized.

death in 1996 remains one of one remains 1996 in death

used as a means to create a create to means a as used hoods

to the life in the hood. hood. the in life the to

was through was

even went as went even - hop, small but

CEU eTD Collection for marginalized people. space political alternative an as used be to States United the in rap for platform a longer as hierarchies with muted, struggles messageswherechange anyofpolitical or categories, these into rap keeping By it. surrounding negativity any to attention bring se States United the display,in rapon cultures “exotic”peoples putting England, France and rapper. successful a become t during masses. the to out go to has story the out, get really to word the For city. inner America's in life of struggles seek actively people they that eks to package the concept of the hood up in a pretty little package, making sure not to to not sure making package, little pretty a in up hood the of concept the package to eks not are narratives lyrical these today is problem The he time of Biggie and Tupac and Biggie of time he do not exist not do h wy hip way The in , but they are circulating are they but , g them out already know or at the very least have an idea ab idea an have least very the at or know already out them g

Like the humans zoos that were so popular in colonial colonial in popular so were that zoos humans the Like - o i big efre tdy is today performed being is hop . There is There . -

77 -

a mold one must fit into today in order to order in today into fit must one mold a

in an underground community where the where community underground an in political in any sense. any in political

more regulated than than regulated more there is no there isno

out the the out It's not not It's CEU eTD Collection 'Represent':Forman, and M.(2000). race, place space music. inrap Hypatia It's H.(1998). P. Collins, thefamily: allin Robesonian Bauder, D Angie,(2003). Retrieved from M. nationalism B.Anderson, (2006). . uid=70&uid=4&sid=21101454474337 http://www.jstor.or Music AJ&pg=4367,527985&dq=tim dog compton&hl=en. http://news.google.com/newspapers?id=uME_AAAAIBAJ&sjid=sVcMAAAAIB beef References , http://www.xxlmag.com/xxl 13 . (1991). Rapper fires up new york angeles fires Rapper rivalry.. (1991). upnew vs.los - (3), 62 . (Revised ed.). Edition Brooklyn: Books. Verso . Retrieved from in ,

- 19 unreleased (1), -

82. Retrieved from http://www.jstor.org/stable/3810699 from 82. Retrieved

Imagined com Imagined 65 - 90 - g/discover/10.2307/853712?uid=3738216&uid=2129&uid=2& 1996 . Retrieved from

munities: ontheandspread Reflections of origin - magazine/2012/03/notorious - Intersections ofgender,race, nation. and

- b

Popular -

i - g - speaks The

- on - 2pac -

CEU eTD Collection Yuval matters why it T.Rose, (1994). of the under (1993). A. N. Denton, & S., D. Massey, AnEssay Butler:Judith Acts “Performative andGender Constitution: on acts: of Thoughts Blackcultures. the politics Yor: on New Ta Serpent’s In Small kinship. It’sBlack tropea andculture affair: of familiar the Gilroy, (1993). Paul. - Davis, N. 519 Phenomenology Theory.”Feminist and

(2008). - class 531. . New Basic York: Books. Civitas

Black noise (1997). UnivPr . Harvard

The hip hop wars, what we talk about when we talk about hip hop hip about talk we when about talk we what wars, hop hip The

Gender &Gendernation . Middletown: Wesleyan. Middletown: University Press.

ress.

American apartheid, segregation and the making making the and segregation apartheid, American . London,. Ltd England: Sage Publications -

79 - Theatre Journal. Journal. Theatre

40.4 (1988):

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-- and and CEU eTD Collection http://www.vibe.com/page/biggie http://www.vibe.com/article/tupac http://www.mtv.com/bands/n/notorious_big/news_feature_070305/index2.jhtml http://www.youtube.com/watch? http://www.daveyd.com/pacwestin.html Webpage links

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