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Black ballin bitches present

Black ballin bitches present

Black ballin bitches present

Black ballin bitches present

Furthermore, this ideal man successfully negotiates his masculine identity, while he coincidentally hers. All of Black ballin bitches present components work together to construct an idealized real nigga masculine identity, while, at the same time, they work together to negate feminine identity to the point of invisibility. Essentially, the woman's fragmented body lacks agency and thus she is still left without any identity to ballln to attach. Both of these albums' peak position was 11 and respectively charted for 49 weeks and 22 weeks. In short, black identity is condensed into black masculine identity. Also, Rummens insists that identity is socially constructed.

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See I been around the world gettin' dollars Black cards and porn stars, holla Fuck him, you should be ridin' with me. You will get 3 free months if you haven't already used an Apple Music free trial. Type song title, artist or lyrics. Top lyrics Community Contribute Business. Sign in Sign up. Lyrics Get Dollaz Game , Tyrese. Last update on: July 21, No translations available. We detected some issues. Edit lyrics. Report a problem. Last activities. Last edit by Samuele Celli. Correct lyrics.

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Print Send Add Share. Notes Thesis: Thesis M. Humanities Bibliography: Includes bibliographical references leaves In particular, the identities in consideration are black masculine identity and black feminine identity. Reinforcing the notion that identity is both socially and situationally constructed, it is argued that these gendered black identities are situated in the urban ghetto. Furthermore, as a result of this situational black identity, black masculine identity is idealized while black feminine identity is rendered invisible.

Current research on rap music as it pertains to gendered black identity focuses on the reinforcement of stereotypes about black masculine identity and black feminine identity rather than considering them to be interdependent identities.

To determine how these gendered identities incidentally construct one another, a content analysis of the lyrics for 26 purposefully chosen songs, between the years , was employed. The content analysis identified nine themes pertaining to black masculine identity, black feminine identity, and the urban ghetto. The songs were first coded for content, based on the nine themes, and then they were analyzed to determine if the innuendos about black identity in rap music were manifest or latent.

Finally, the themes were analyzed as a means of displaying how rap lyrics contextualize gendered black identity Implications of the conclusions are discussed and further research is suggested. PAGE 5 This abstract accurately represents the contents of the candidate's thesis. I recommend its publication. Violence, Guns, and Black Men Alcohol, Marijuana, and Black Masculinity Money, Materialism, and Masculinity The medium in consideration for this project is rap music; more specifically rap lyrics.

In particular, rap music embraces a hyper-masculinized ideal in which black men are positioned as powerful, violent, dominating, and capable of instilling fear in others Pough, ; SharpleyWhiting, Accordingly, this idealized representation of masculinity allows no room for any congruent manifestation of femininity or feminine ideals Littlefield, This leaves women in a troubling position because they are criticized for being feminine, yet they are also prohibited from appropriating any 1 PAGE 9 masculine traits.

With that, black women are denied the opportunity to create any real sexualized identity for themselves independent of black masculine identity. And given that black women are devoid of any true sexualized identity, no positive sexualized image of black women is allowed in rap music. Black women are most often degraded and objectified as bitches and hoes when they assume a sexualized identity; however, in specific cases, black women can be empowered as down bitches where down bitches exist specifically to reinforce the ideal of masculine identity.

But, for the most part, black women are delegated to their hyper-sexualized role. Black men, on the other hand, occupy the dominant position; empowered physically, sexually, and financially, and men and women who embody femininity are dismissed as the disempowered Other. Either way, sexualized representations of black men and women are stereotypical in that their presented identity is an exaggeration of the very characteristics that have historically been ridiculed.

Furthermore, rap music situates these identities in a manner in which they cannot operate independently; rather, they gain meaning from one another. Black masculinity only has meaning because black femininity is the negated Other. Over the years, the terms rap and hip-hop have come to be used interchangeably, but rap is merely one of the four elements of hip-hop culture.

The four elements of hip-hop are rapping or MCing , DJing or spinning records , breaking or break dancing , and graffiti writing McLeod, Graffiti writing and break dancing have all but died out in the hip-hop culture, but rapping still remains popular. DJing is still associated with the performance aspect of rap music, but has all but died out as an art form in itself McLeod, Rapping can be characterized as spare instrumentation with rhythmically spoken rhymes performed over beats often sampled from other music styles McLeod, When rap broke onto the scene, it was largely an underground movement, but when it became mainstream, means 3 PAGE 11 of expression evolved and that evolution is evidenced in the hardcore or gangsta rap subgenre.

Gangsta rap became popular in the late s and coincidentally was heavily criticized. The West Coast is most often credited with creating gangsta rap; however, gangsta rap actually originated in the South Bronx, New York in mid s with hip-hop Abrams, Gangsta rap is highly controversial because of the sexist, misogynistic, homophobic, and violent lyrics that tell stories about life in America's black urban ghettos Abrams, What makes gangsta rap distinct is its descriptive storytelling, especially of hood life or street life.

This combination of sex, drugs, and violence in the urban ghetto is a common theme within gangsta rap because many of the pioneers of gangsta rap were gang members, drug dealers, pimps, and hustlers; thus, the stories that they tell mirror much of what actually goes on in urban ghettos Abrams, Gangsta rap has been criticized heavily over the years because of the intense exaggeration of the street life that it so mindlessly glorifies while, at the same time, impressing upon society the constituents of black identity.

Once rap music, gangsta rap in particular, became commercialized and gained exposure to a wider audience, the medium as a whole was criticized for many reasons, and 4 PAGE 12 consequently, the commercialization of rap music has contributed to the critique of rap music as a means of authentically articulating black identity through popular media.

Critiquing the Commercialization of Rap Thinking of rap music as a popular medium calls into question the authenticity of the identities constructed within the lyrics. Given that the majority of popular rap music is performed by black people, hip-hop culture, and black culture have come to be used synonymously, and thus the elements of rap music have become tied to black identity Kitwana, After rap music became commercialized within American society, it largely became difficult for rap listeners to distinguish between the elements of authentic black identity and the elements of rap music that construct a commercialized caricature of black identity.

Furthermore, as rap music and the elements of hip-hop culture increasingly became commercialized, they were viewed as a means of making money within America's capitalist economy. Rap artists, thus, were supposed to be marketable to the American public as a whole, and their rhymes were to remain an authentic articulation of black culture Kitwana, As Bakari Kitwana expresses, "Corporate America has preconceived notions of who black 5 PAGE 13 youth are and visions of who they should be and these images are represented" p.

As rap gained more commercial success, the avenues through which it was marketed became more diverse. Instead of being marketed solely by record companies, rap artists found themselves and their rhymes being marketed by mass communication companies.

These mass communication companies not only controlled the recording industry, but they also controlled media such as cable and network television as well as print media Kitwana, These companies essentially nurtured a market for rap music which they created by exploiting and reinforcing preconceived notions about black people and black culture Kitwana, The critique about commercialized rap is that rappers present images of themselves out of fashion, to keep up with the status quo, and they don't represent themselves authentically.

These rhymes, in essence, reinforce stereotypes of black people as violent, hyper-sexual, drug dealers and drug users within rap music Kitwana, This urban experience, however, is indeed a reality for many black individuals, but it is by no means the only the experience for all black people, thus, the commercialized and commodified 6 PAGE 14 black identity which is presented in rap music is a stereotypical representation of black identity. To understand how these representations of black identity manifest in rap music, it is crucial to understand how identity is constructed, negotiated, articulated, and situated with a specific social context.

Identity is not static; rather, it is ever changing, reflecting the contexts in which it is situated. Joanna Rummens' article Conceptualising Identity and Diversity, discusses how individuals construct and define their identity. People don't have one identity; rather, they have many which overlap and intersect to create a unique identity.

Rummens defines identity as "the distinctive character belonging to any given individual, or shared by all members of a particular social 8 PAGE 16 category" emphasizing "the sharing of a degree of sameness or oneness with others of a particular characteristic" p.

Also, Rummens insists that identity is socially constructed. The characteristics that allow individuals to identify with others are situated in a social or cultural context which essentially is what gives the identities meaning.

These characteristics are things such as age, sex, race, class, religion, and sexual orientation Rummens, Rummens suggests that instead of looking at identity as a "stacking" of all of the individual's identities, identity needs to be examined as an intersecting or enveloping of the various identities. The contexts of the identities vary in different societies thus identity is socially constructed. In other words, the same identity is given different meaning in different societies.

This intersection becomes potent when the intersecting identities are marginal identities, specifically identities such as race, class, and gender. As these marginal identities intersect, a new identity is created, and likewise, the intersection, or overlapping of various identities has no meaning outside of its societal context Rummens, All in all, identity is social, that is, it is a result of distinct identification processes contextualized within a given society; it is relational, meaning that it is dependent upon an individual's identification with or differentiation from other groups; and it is situational, which means that it is dependent upon the social, cultural, and historical context in which the identity is created; identity is fluid and flexible Rummens, When one constructs his or her identity, there are many factors to take into consideration.

The factors which create interference within intersecting identities are socially constructed. A given society has varying expectations for each different identity group, and as they intersect the expectations of said identities are ultimately undermined by interference from the other identities.

The problem that is created by the intersection of these identities is that identity is fluid and ever changing, so the expectations for these identities change as well, which is why defining each identity is quite difficult. Isis Settles' article, Use of an Intersectional Framework to Understand Black Women's Racial and Gender Identities, demonstrates how the 10 PAGE 18 intersection of two marginal identities, black and woman, ultimately creates one identity, black-woman, which is qualitatively different from either of the identities independently.

It is clear that both identities black and woman, in the United States, are marginal identities as Settles affirms, '"woman' and 'black person' are both considered to be lower status identities in the US.

The low position that black women occupy is related to the fact that they are in the position of being subjected to both racism and sexism" p. Settles proposes that the intersection of these identities creates feelings of ambiguity for the black-woman as she negotiates her identity between the group which identifies as woman and the group which identifies as black Settles, Furthermore, Settles argues, the black-woman will favor one identity over the other specifically her racial identity when she defines her own identity.

Contrary to this understanding, Settles found that the black-woman often perceives both identities as equally important. Each identity differentiates her from other in-groups, meaning that the intersection of these two identities effectively distinguishes her from women of other races, and also from black men.

Settles holds that black women don't view themselves "additively as black people and women," p. This is important because as these two identities intersect there are psychological factors that come into play as the identities interfere with one another.

These psychological factors have to do with feelings of self-worth and self-esteem. Settles found that interference with the woman identity from the black identity had no affect on the black woman's self-esteem, but interference with the black identity from the woman identity effectively caused lower self-esteem and higher levels of depression.

The black identity has a more interpersonal component to it, so being a woman often leaves black women to feel devalued as a member of the black person identity group, thereby leading to feelings of isolation and thus low self esteem and depression Settles, Overall, as the black woman negotiates her identity, she must secure both racial space and sexual space within each of the overlapping identity groups. And if she doesn't secure that space, then the intersection of these marginal identities will render her invisible.

Given how identity is constructed, it is unequivocally understood that these identities are not static and they have different meanings in different contexts. When individuals differentiate from those who they 12 PAGE 20 perceive to be unlike them, they have placed said individuals in the category of Other.

This Othering occurs when intersectional identities are undermined by other marginal identities. Moreover, just as the intersection of marginal identities allows for Othering, the negotiation of gender identity is often accomplished by embracing the principle of Othering.

Masculine and Feminine Identity Attempts to define masculinity and femininity are difficult because, as a society, we have not found a way to define these identities without relating them to one another, or without relating them to men and women.

But the problem with this definition is that there is no concrete understanding of what men and boys do because not all men and boys do the same thing.

There are stereotypical conceptions of what men and boys do, and this is what Paechter calls "hegemonic" or dominant masculinity p. Paechter cites the Connell study in defining hegemonic masculinity as something which allows for a gender practice in which men occupy the dominant position and women are subordinated. In particular, Connell defines hegemonic masculinity as "the 13 PAGE 21 configuration of gender practice which embodies the currently adopted answer to the problem of the legitimacy of patriarch, which guarantees or is taken as a guarantee the dominant position of men and the subordination of women" Furthermore, not only is femininity subordinated, but so are the masculinities that do not fall under the hegemonic conception of masculinity Connell, Hegemonic masculinity is how our society conceives of gender and is thus perpetuated in popular media.

Accepted conceptions of masculinity and femininity are exaggerated ways of "doing boy" or "doing girl" which, in essence, is hyper-masculinity and hyper femininity respectively. Though hegemonic masculinity is not empirically founded as a typical manifestation of "what men and boys do," it has become the ideal understanding of what masculinity is and its feminine converse is the ideal conception of what women and girls do Paechter,

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