Week 7 Notes - MUS 360
Week 7 Notes - MUS 360 MUS 360
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This 4 page Class Notes was uploaded by Alex Tucker on Monday November 30, 2015. The Class Notes belongs to MUS 360 at University of Oregon taught by Kajikawa L in Summer 2015. Since its upload, it has received 46 views. For similar materials see Hip-Hop: Hst, Cul, Aes >1 >AC in Music at University of Oregon.
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Date Created: 11/30/15
Misogyny, Masculinity, & Homophobia 11/9/15 & 11/11/15 (Days 13/14) - Basic Statistics - More than 700,000 women in US are sexually assaulted each year (1 every 45 seconds) - 1 in 5 female college students experience sexual assault - 1 in 4 black women are raped after age 18 - 35% more likely to be raped than white women - women make 79% as much as men (less if colored) - NWA, “A Bitch Iz A Bitch” (1988) - humorous; not meant to be taken literally - normalizing stereotypes of women - more effect when looking @ lyrics - double standards - difference between a bitch & slut = bitch doesn’t want to be w/ you - Misogyny in Rap lyrics - Related to older vernacular traditions - “The Lame and the Whore” (1966) - reassertion of male dominance in post-industrial context - ideology of male = breadwinner - fear of female sexuality - Jay-Z, “Can I Get A?” (1988) - Complex song - Males v. females - Questions: - Is sexually explicit content sexist? - How does context affect meaning? - In what ways does race factor into representations of gender & sexuality? - What spaces are or aren’t available for expressions of non- heterosexual desire in rap music? - The Showboys, “Drag Rap (Trigger Man)” (1986) - New York group - Record flopped in NYC, but … - One of most successful unsuccessful album - Bounce music - MC T Tucker & DJ Irv, “Where Dey At?” (1992) - New Orleans bounce music - Dance music, characterized by call-&-response chants - Repetitive grooves, drum machine, & synth beats - Le1f, “Wut” (2012) Misogyny, Masculinity, & Homophobia 11/9/15 & 11/11/15 (Days 13/14) - Gay rapper - Objectifying men instead of women - Big Freedia (Freddie Ross) - Bounce musician (subgenre “sissybounce”) - New Orleans drag queen named Katy Red (1998) - “Explode” (2014) - “When Freedia is singing super aggressive, sexual lyrics about bad boyfriend or whatever, there’s something about being able to be the ‘I’ in the sentence … It’s tough to sing along about bitches and hoes when you’re a girl. When you identify with Freedia, you’re the agent of all this aggressive sexuality instead of its object.” - Alison Fendsterstock (journalist) - “Beyond Beats & Rhymes” (2006) - narrowly defined masculine identity; aggressive, violent and sexualized - objectification of women as submissive & available - corporate control filters content & encourages certain traits - But … no discussion of how female rappers negotiate this male- dominated industry - Missy Elliot, “Gossip Folks” (2002) - Sampled chorus from Frankie Smith’s “Double Dutch Bus” (1981) - Presenting herself as “strong & assertive” - Kyra Gaunt - “games black girls play” - double dutch, handclapping games, dozens - funny & often profane songs from playground - “musical etudes” - flow & drum like rhythms - public vs. private spheres - prohibition on girls staying out late - socializing more w/ boys - Funky Four Plus One More (1976) - Sha Rock (born Sharon Green) - Other female emcees that are known: Lisa Lee, Debbie D, & Wanda D - “That’s The Joint” (1980) - Sugarhill Records - Wild Style, “Basketball Rap” (1982) - Cold Crush Brothers vs. Fantastic Freaks Misogyny, Masculinity, & Homophobia 11/9/15 & 11/11/15 (Days 13/14) - UTFO, “Roxanne Roxanne” (1984) - All male group releases song about girl refusing their advances - Kangol EMD - Roxanne Shanté, “Roxanne’s Revenge” (1984) - 14 y/o Lolita Shanté Gooden records improvised response w/ DJ Marly Marl - single sold over 250,000 copies & launched dozens of “answer records” - UTFO was not happy - UTFO, “The Real Roxanne” (1985) - Upset by popularity of “Roxanne’s Revenge”, UTFO made a song making fun of themselves - Roxanne Wars - Playful “war of the sexes” set to rap - Created momentary space for “answer” records featuring female MCs - As rap develops, however, women take on even more peripheral roles, often portrayed as submissive & sexually available - Cheryl Keyes, “Daughters of the Blues” - identifies different rap archetypes that female rappers assume when entering commercial rap industry - Fly Girl - Queen Mother - Sista With Attitude - Lesbian - Fly Girl - Salt-N-Pepa, “Push It” - Feminist - Dance related to double dutch & street dancing - Queen Mother - Queen Latifah, “U.N.I.T.Y.” (1993) - Female empowerment song - “stand up for yourself” - Sista With Attitude - MC Lyte, “Lyte As a Rock” - Wearing masculine clothes Misogyny, Masculinity, & Homophobia 11/9/15 & 11/11/15 (Days 13/14) - More Recent Archetypes - Lil Kim – queen bee (power over all other bees) - Foxy Brown - Missy Elliot - The Queen Bee - Lil Kim, “Work Bitch” (1996) - B-Girl Prankster - Missy Elliot, “Work It” (2002) - Nicki Minaj, “Playtime Is Over” (2007) - Trapped in a Barbie box - “Warning” - parody of BIG’s “Warning” (1994) - takes original track (being betrayed by drug dealers) & twists meaning to a woman trying to steal her boyfriend
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