Junglepussy's Song Analysis

With that being said, she is all for women’s political, economic, and social rights/equality. Readers who understand the definition of feminist may want to associate sexism and the degradation of women with feminism. Morgan intergrades her own personal views of hip hop along with her feminist and antisexism views to create a dramatic shift within the passage. One that draws in the readers in order to make them focus on one problem, she has with hip hop, then she interrupts that with the problem the hip hop industry as a whole as. Morgan goes on to say, “My decision to expose myself to the sexism of Dr. Dre, Ice Cube, Snoop Dogg, or the Notorious B.I.G is really my plea to my bothers to tell me who they are. I need to know why they are so angry at me”. (Morgan,456) The latter part of the quote truly stands out. Using ‘why are they so angry at me’ suggest degrading even one woman in not only lyrics but also music videos, is also degrading every single women and girl. Morgan looks beyond the artist by going to look beyond what the hip hop artist wants you to hear, see, or believe. Joan Morgan suggested the sexism in rap music is undoubtedly a complex mask African Americans wear to hide and express their pain, similar to what poets do within their works. Morgan is not as concerned with the name calling and degradation, her concern is mainly the failure to love women especially the black women. The author makes the

Beyonce, since infancy, has meticulously engineered her moniker to be adjacent to, in her respect, diety-like royalty. Seemingly injected with an air of sophistication since birth, many people are simply fascinated by the duality of her ipseity; she is aesthetically attractive and an activist for the women empowerment movement--more so evocative through her art rather than through her "off camera" life. But Beyonce possesses a rare magic every artist of color wishes they had which is her race is rarely a factor in people's decision to listen to her or not. In fact, not so long ago I found myself at a gathering with friends and a Beyonce song came on. Of course, commentary buzzed around the room, and I heard something that stuck out to me--someone said they forgot she was "black."

For nearly twenty years, Beyoncé has lived her life in the public eye yet she has always kept her cool, been submissive, and rather quiet when it came to her personal endeavors however after releasing the film “Lemonade”, we are able to see her in a vulnerable light. In Jeremy Helliger’s article: “Dear Beyhive: Stop Whining. Beyoncé Still Hasn’t Earned Her Album Of The Year Grammy” he addresses the idea that although Beyoncé was able to encourage black women to be proud and free, she also she missed the mark by adding raunchy, over the top content to her vulnerability.

Nearly two decades later, in her July, 2010 reflective article “A Bitch Ain’t One: Hip-Hop’s Gender Crossroads and Its Reluctance to Embrace the Feminine Creative Process” former hip-hop artist and multi-faceted career woman Hanifah Walidah mulls over the words of a misogynistic emcee. Walidah provides background into a past interview, the sole purpose for the drive of her article; she articulates her outrage in response to the chauvinistic views of an once applauded emcee, a man she looked up to, moreover noting the importance of Walidah’s interaction is crucial for her to shed light upon the way of men within the hip-hop spectrum.

In “Hip Hop’s Betrayal of Black Women”, McLune addresses the influence of hip hop’s choice of words towards African American women and females. McLune’s article is written in response to Powell’s opinions in “Notes of a Hip Hop Head”, along with various other hip hop artists, that black females are the leading cause of poverty and racism why black men undertake racism and poverty, as if women do not face these struggles from day to day. McLune disagrees with this remark and states that this is just one of many excuses that men use. McLune addresses an audience that is well educated along with informed with the

When a black woman lowers her life standard, she invites outsiders to pose judgement on the entire group. These unethical behaviors of black women is capitalized off of by mainstream media. Shows such as VH1’s Love and Hip Hop keeps the negative stereotypes of a black woman alive. The black woman who rises above all adversity gains value and respect amongst the

Patriarchy’s Scapegoat: Black womanhood and femininity – A critique of racism, gender inequality, anti-blackness, and historical exploitation of black women.

These visuals may reconstruct and confirm racist pigeon-holes that dub black buttocks with terms such as “junk,” “bubble,” or “cake,” linking its physicality and location to ideas of black ghettos, and dictating “its value and the spatial location for women who possess this body type” (Durham 41). However, within these stereotypes, along with Beyoncé’s self-representations, exists “classed femininity,” where “shared racial history is less useful when attempting to delineate within-group distinctions, such as class” (Durham 40-41). “Black ghetto” stereotypical depictions, such as hypersexuality, are often performed to maintain southern black authenticity in hypermasculine demeanors in order to gain respect from their black and white counterparts. This is done when Beyoncé’s lower half is utilized in her musical performances “to mark authentic blackness rooted in the American South” (Durham 43). These “hood” roots assist in creating respect and visibility for these otherwise demeaned, diminished, and silenced bodies, although, this practice can merely be a facade as “both the street and the strip club are hypermasculine spaces where Black girls and women are economically and sexually vulnerable” (Durham

Last year Nike made 34.3M dollars off of their brand. Shoe companies publish so many new shoes, so their “devoted consumers” can snatch it for a hefty expense. The Macklemore song Wing$, addresses the consumer mindset.

During the documentary a scene was shot at BET’s Spring Bling and a young male pointed out that women are determined to be b****** or women by the way they dress. Sexism is an issue that to society is not seen as important compared to the large number of black males incarcerated. The issue should be just as important if not more because one in four African American women is raped after the age eighteen. Most women who are called a b**** or another demeaning name think that it wasn’t referred to them, and either way is still unacceptable. Hip Hop is not being represented by men, which is why the decision of their lyrics is said the way that they

Alicia Keys is reiterating an identity that is universally accepted by most African-American women (Harris-Perry 184). This is the cultural identity of the Strong Black Woman (SBW): self-reliant, tough, and hardworking. Stuart Hall defines cultural identities as, “[A] sort of collective ‘one true self’, hiding inside the many other, more superficial or artificially imposed ‘selves’, which many people shared history and ancestry hold in common” (Hall 223). SBW is a self-construction manifested by black women in the Americas. It is used a coping mechanism in response to pervasive sexism and racism. The SBW construct dates back to slavery because the image projects traits of all three stereotypes established during the era of slavery: She looks like the Mammy but is loyal to the black community; She does not require physical and emotional security from men, thus, she resembles the Jezebel; She is angry, just like the Sapphire (Harris-Perry 187). This paper unveils the unfavorable impact of the Strong Black Woman (SBW) cultural identity in the Americas. The argument is centered on the effect of this cultural image on the private sphere, public sphere, and the health of black women. The paper also proposes

Avani Gupta African American Music Studies Dr. Walter 27 March 2024 "Certified Baddies": An Analysis of Black Female Sexuality in Megan Thee Stallion's Big Ol' Freak Megan Thee Stallions "Big Ol' Freak" is a spunky hip-hop ode to the unapologetically sexual, dominant, and empowered black woman who has mastered the lines between dominant and submissive and takes pride in stature as a sex goddess. The spicy lyrics of the song are accompanied by fiery hi-hats, trap beats, billowy reverb, and echoes of call-response embedded in the adlibs. It carries a sound that takes one across generations while creating a sense of dazzle, sexual energy, and the luscious but raunchy essence that Thee Stallion exudes. In her lyrics, the first half works to establish

It is indisputable that the media depiction of “strong black woman, angry black woman stereotypes [that are later developed in the paradigm that] that little black girls are often taught to keep their heads up to get through anything” (Patel, 4). The similar expectation is carried on in adulthood that women can “manage everything” (Patel, 4). Comparatively, Stacy-Ann Buchanan was a struggling actor who firmly believed that she was not going to see her 30th birthday as her struggle with depression was exhausting. “I always made sure my nails were done, my hair was perfect, skin was perfect because I knew inside I was dirty” (Patel, 1). This term ‘dirty’ is very disturbing, as it is difficult to escape the feeling of a lacerated

Many factors contribute to the displacement of black women. “Black women are seen as “hot in the pants,” tough and strong, able to withstand a lot of physical and emotional abuse, unfeeling... I find this to be demeaning, degrading, and unproven. Yet I find myself constantly trying to disprove them.” (Cecelia) Within our society black women lack unity with black me, recognition as being a female, and higher up advancement. Throughout this paper I will point out ways in which black women are still placed at a disadvantage. These placements are done through television, music videos, poverty, the work field and etc.

The song "The message" by Grandmaster Flash and The Furious Five depicts the struggle of young black adults growing up in society. The struggle to make it out of poverty can be compared to survival of the fittest in a jungle. Only the strong would survive and adapt to the changes to fit in. Trying their best to make a betterment with whatever little society offers. Being a young black African American in the early 1980's was not easy. It was easier to live the fast life and gain fast money by being part of the drug community. Drugs, guns, and money was glamorized and this is what the young adults looked at as a means of getting rich. In the songs, a young man talks about how he is trying hard to hold on to the little bit of sanity he has left in his soul. He talks about the struggle he endures while trying not to get pushed over the edge. He was born an innocent child who's blind to the ways of mind kind. Growing up he faced many challenges and had to fight