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The Black Feminist Perspective

Feminist Logo2Now that I have explained the Feminist Perceptive I�ll go slightly deeper and discuss the Black female perspective. How is it different you might ask? We struggle together with black men against racism but struggle with black men about sexism. Consider this, black woman are a minority within a minority. We bare on our shoulders the bias of other races and that of our own males. We have been conditioned to believe that we have to protect our �brothers�. This conditioning has led to black women being the second least group of women to report rape or abuse. (Latinas being the least likely) Black females have been attacked for being to strong, accused of castrating black men. We have been the scapegoats for our race at times. When the stereotypes of the weak black man are believed it us black women that are to blame . As a result of the backlash of black female empowerment and self-definition, the black feminist voice has been hushed. We are told we are Black before we are women and to voice our concerns about our communities or art is to betray our black men. No matter what rape myths say when black men rape it is not a white woman that is most likely the victim, it is us, black women. Not only are we less likely to report a rape by a black man but also as a group when we are assaulted by other groups we are the least likely to report the crime and when we do we are least likely to get a conviction and when there is a conviction the jail time the criminals get are three times less than our white counterparts. It seems that black women are losing their voices to the agendas of other causes. We are vilified, romanticized and over sexualized. Yet we stay in agonizing silence as everyone but ourselves defines us. The black feminist perspective is that that has concerns in our culture ,communities and the unifying struggle of all women.


The Black Feminist Perspective and Popular Culture

  • My Plea to Female Consumers of Sexist Materials.
  • The Ten Hip Hop Comandments - Reproduced with permission from Anti-Thug.com
  • Some examples of Gangsta Rap That I Am Reffering to.

    powerful black woman

    Now that I have explained the Feminist Perceptive I�ll go slightly deeper and discuss the Black female perspective. How is it different you might ask? We struggle together with black men against racism but struggle with black men about sexism. Consider this, black woman are a minority within a minority. We bare on our shoulders the bias of other races and that of our own males. We have been conditioned to believe that we have to protect our �brothers�. This conditioning has led to black women being the second least group of women to report rape or abuse. (Latinas being the least likely) Black females have been attacked for being to strong, accused of taking castrating black men. We have been the scapegoats for our race at times. When the stereotype of the weak black men are believed it us, black women, at fault. As a result there has been war waged on black female empowerment and self-definition, the black feminist voice has been hushed. We are told we are Black before we are women and to voice our concerns about our communities or art is to betray our black men. Despite rape myths when black men rape it is not a white woman that is most likely the victim it is we, black women. Not only are we less likely to report a rape by a black man but also as a group when we are assaulted by other groups we are the least likely to report the crime and when we do we are least likely to get a conviction and when there is a conviction the jail time the criminals get are three times less than our white counterparts. It seems that black women are losing their voices to the agendas of other causes. We are vilified, romanticized and over sexualized. Yet we stay in agonizing silence as everyone but ourselves defines us. The black feminist perspective is that that has concerns in our culture, communities and the unifying struggle of all women.

    The current Popular culture trends I think are a concern for black feminist. Hip-hop has become the dominant musical genre. Hip hop is a wonderful art form and I personally wouldn�t pick anything above it to shake my booty to but many of the mainstream �gangsta� rap artists are not helping the progression of the black community and especially not the black female. No this article will not be a rant about how rap is brining down society as we know , It is not it is merely a reflection of it. This is not a self-contained problem of the black community. I feel that is has it roots in white supremacist capitalist patriarchy. As Bell Hooks puts it �The sexist, misogynist, patriarchal ways of thinking and behaving that are glorified in gangsta rap are a reflection of the prevailing values in our society, values created and sustained by white supremacist capitalist patriarchy. As the crudest and most brutal expression of sexism, misogynistic attitudes tend to be portrayed by the dominant culture as an expression of male deviance. In reality they are part of a sexist continuum, necessary for the maintenance of patriarchal social order. While patriarchy and sexism continue to be the political and cultural norm in our society, feminist movement has created a climate where crude expressions of male domination are called into question, especially if they are made by men in power. It is useful to think of misogyny as a field that must be labored in and maintained both to sustain patriarchy but also to serve as an ideological anti-feminist backlash. And what better group to labor on this "plantation" than young black men.� (Used with permission.) I am in not way saying that black men cannot be held accountable for the music they produce they too are to blame as well as the females of all races that say nothing of the violent sexist overtones of the music. Yet, I want to make the case that the beliefs that are condoned in Gangsta rap are not just black male things. When most people critique gangsta rap the black male takes the heat for the same thinking that the overall patriarchy teaches all men. Most people that set out to vilify hip-hop as a whole never ask many important questions. Why are people in droves male and female of all races buying hip hop, especially the gangsta rap? What about the music is relative to the mostly white male consumers of it as well as the black female consumers? Where are the fantasies of violence and degradation coming from? They also do not think about the many people that green light albums, usually not black or even American. Many critics ignore those questions completely. I do not think that it is realistic to think that these artists are performing in a cultural vacuum where they stay alone; there is a market a large dominant market for their music. 50 Cent, a very popular rapper, says that he raps to put food on the table; he chooses lyrics that will put food on the table. He essentially is doing the things that sell, which would suggest that if non-violent, sexist content sold he would do that. But it does not.

    example of the degrading offensive images of black womenWhen I look at gangsta rap I do not look at it as a subdivision of the America culture but more of an outline of the norm. At the core of the problems with mainstream gangsta rap is the hedonistic materialism that perpetuate a very nihilist mentality that hurts our communities. The materialism that is praised in this music tears down communal and tribal traditions of the black communities. The village is no longer raising the child. The heartless acquisition of decorative trophies has over shadowed the need for public activism against racism and classism. It also has put a holt to the black bourgeoisie reaching into the more urban environments and helping those in need and trying to improve the image of blackness, instead they are focus on self promotion and acquiring more wealth. This market mentality turns culture into a commodity to be sold to the highest bidder. Along with the materialism is the animalistic misogyny; women are regulated to two categories �hoes� and housewives. Like the indefinable �slut� the distinction between a �hoe� and a good women is up to the male. I think, like Bell Hooks that Gangsta rap is a part of the anti-feminist backlash fueled by oppressive social structures. To quote her �When young black males labor in the plantations of misogyny and sexism to produce gangsta rap, their right to speak this violence and be materially rewarded is extended to them by white supremacist capitalist patriarchy.� This fuels it, by having such things come from our communities seems to justify the eroticisation of black people, we are still toiling in the same stereotypes of super machismo and sexual prowess to us being �closer to nature�. The rappers in their lyrics unapologetically act out numerous black stereotypes. The black criminal, the craver of non-black flesh, the black harlot that is there for the pleasure of men. These are the lessons of black youth today; they are fed images of themselves that are corrosive. When Black feminist lay silent against this it teaches the next generation of all who consume these commercial lyrics that it is okay to enjoy brutality in all it forms and to make erotic sexual violence.

    A Plea to Female Consumers and females in general

    Now that I have shown you the gangsta mentality should concern the black feminist and all feminist I offer this plea-

    STOP BUYING IT.

    Something that has always baffled me is that no matter how many times a I hear a lot of young women complain about the disrespectfulness in these lyrics and videos the continue to buy the cds and clothes that the artist put out. How can you protest something then support in monetarily? Why do you think it�s okay to buy something that calls us gold diggers, sluts and vilifies us? Not only do you buy it, you buy into it. If you complain about it don�t go and buy it. Also don�t go around calling other people sluts. Don�t sit there and say you want liberation and then rob others of their right to sexuality. And don�t go the other way and try to prove your liberation by just your sexuality, Women that do that aren�t helping either (Trina, Lil` Kim, Foxy Brown). Also don�t think that a rapper makes up for disrespecting women by making a love song. It�s not a check and balance system! It�s an either or baby. So Fat Joe, Jay Z or Fobolous (that's how he spells it) either you want to respect us or you don�t making one song to placate us is liken unto a putting a bow on a dog They have just shat on.

    WE WILL NOT BE PLACATED.

    Let�s take a page from James Baldwin�s THE FIRE NEXT TIME he basically was trying to warn America that a revolution (Civil Right Movement) was brewing basically he said, "If you keep calling me n*gger, n*gger is going to burn your house down", Well i say ladies you call me a B * T C H one more time B * T C H is going to burn down your house!!!
    (well we won�t actually burn down your house that really isn�t going to help , I mean this metaphorically)

    RISE UP BE HEARD YOU DON"T HAVE TO TAKE THIS IGNORANT GARBAGE ONE MORE DAY!!!!

    please do not i repeat do not kill people or burn down their houses if you feel like protesting that much send me a note and will help you learn how.[email protected]

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    Examples

    Examples of misogyny and negative black images in Mainstream hip-hop lyrics.

    I do not want to come off as a person that calls out things without any proof, I have selected a few artist that I feel personify my argument. Although this artist at times have violent misogynistic lyrics I think, it is also important to point out that they can have lyrics with some depth or that do not put down women. I also wanted an example of how female mainstream gangsta rappers fulfill the misogynistic woman whore archetype.Plese excuse the languge. It is crude and mysoginistic. Lyrics are from A-Z Lyrics Universe

    Jay-Z

    One of his greatest hits.

    Jay-Z one of the most popular artist today

    TRINA

    This song makes me lie awake at night wondering how a human being can utter such useless tripe. Can you see how her song complements Jay Z's

    Trina- one of the more sought after female rappers

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    The Ten Hip Hop Comandments

    I was writing a piece that would sum up the irreverence of main stream hip hop lyrics. I wanted to talk about the hypocricy of them, I wanted to express the dread i feel toward these lyric. My piece ended up a 6 page rant. Then I ran across this article it summed up my feelings in a more persise way and with a lot more humor than i ever could. This peice is part of an article on ANTI-THUG.com. It is reproduced with perission from the author.

    The Ten Hip Hop Comandments

    ... understand all rappers can t be Lauryn Hill, Mos Def, Common, or a member of Dead Prez. I also know that new artists are more likely to follow the more controversial hip hop icons than buck them. The more shocking, the more vile, the more graphic, the more violent, the more sexist... the more money, the more sales... the more bling, bling..... Right or wrong?

    I refuse to believe that our young people willfully set out to create songs to ridicule and embarrass their heritage, family and community. I refuse to believe that Jay-Z sat down with a pen and paper and wrote those lyrics on his own, and that those are his beliefs. Nor will I ever believe that Lil Kim wants sex without love, commitment and intimacy. I do not believe Dr. Dre hates his wife and children or wants to murder or die in a hail of bullets. I refuse to believe that many of our young brothers and sisters in the entertainment industry have little integrity, self-esteem and love.

    The more I think I about it, I am convinced there must be a hip hop constitution that mandates how rappers represent musically. The mandate, in the form of a recording contract, is actually a set of commandments authored by the "music establishment," otherwise known as the "industry," to ensure the artist s marketability in an already saturated genre.

    HIP HOP s (UNSPOKEN) TEN COMMANDMENTS

    Commandment I: Thou must dis black women. You are allowed to distinguish between b!tches, hoes and "real sisters" only during interviews when asked to clarify your statements. You must talk about beating a woman up at least once on your CD or demo. On at least four (4) but no more than five (5) singles/demos you must talk about having rough and unprotected sex with a woman. You must also refer to your girlfriend or wife as a "b!tch" in an endearing way. All music videos must reflect the aforementioned notions. You can talk about doing things to other people s mothers as acts of creative statement. You may also refer endearingly to an unplanned child as a "bastard," "shorty," "lil nigga," or "lil G." By honoring this commandment you vow to never rally behind black females or support a strong family bond. You see her only as an object for sex and to reap the repercussions of your rage. You also believe she is only out to get you.


    (Supplement for females) Thou must dis black men. Female rappers are
    allowed to distinguish against niggas, bustas, scrubs and punk. You
    must lyrically emasculate them in every way possible. On at least one
    (1) CD or demo you must destroy his character by either calling him a
    homosexual or talking about his lack of money. You are allowed to
    refer to your boyfriend or husband as your "nigga" in an endearing
    way. All music videos must reflect aforementioned notions. By
    honoring this Commandment you vow to never identify with the black
    male s struggle against white supremacy. You vow to never support a
    strong family bond. You also uphold the tenements that all of his
    problems are of his own doing. You see him as only an object for sex
    and money. You believe he is only out to get you.


    Commandment II: Thou must kill. You must "lyrically" take the life of at least one other black person in order to secure a hit CD. This law does not promote the physical killing of another person. However, it is not against the law to assassinate another person on record. You must only talk about killing your own kind, however, or other cultures may sue you for inciting racial violence. You must express pleasure in the kill. The kill must be graphic and extensive in detail. The consumer must always be left with the feeling that taking a person s life (lyrically) was justified. Most of the lyrical murders must be done by guns, however creativity allows for poisoning, stabbings, beatings, stompings, and suffocating. You do not distinguish between male or female kills. By keeping this Commandment you vow to never claim acts of genocide publicly even when you are a victim of violent repression yourself. You also agree to "lyrical" acts of black-on-black violence, as well as prolific incidents of brutality.


    Commandment III: Thou must covet. Thou must talk about lusting after things that do not belong to you. You must have an unusual craving for things that do not belong to you. Your desire must be so strong that you unwittingly uphold the second commandment. This law does not advocate you physically go after the material possessions of someone in your community. By keeping this commandment you vow to never promote a strong work ethic in your music or to speak against greed, lust and impulsive behavior. In fact, you now believe greed is healthy.


    Commandment IV: Thou must have a lot of sex. You must have no fewer than three (3) songs on your CD or demo that promote sexual intercourse with one or a group of individuals. You cannot express a deep sense of love or marriage. Thou shalt not talk about commitment, bonding, and intimacy. You can only talk about sex in its purest and rawest terms. Do not use "make love," or "provide pleasure," or "pro-create." You must never mention a sexually transmitted disease in the context of these records. You can however discuss the use of contraceptives, but only if you re referring to sexual intercourse with a hoe. (See first Commandment). If you are under age 16, you may substitute sex with the "flirting," and "fantasies about being intimate with your teacher, neighbor s child, or another rapper." You must be creative in your graphic detail of sexual intercourse so to leave nothing to the imagination. The details can be slightly skewered in order to circumvent radio censors. However, this does not excuse radio edits from removing references to sex. Therefore stay ahead of the game by using clever phrases with dual and triple meanings. By keeping this Commandment, you vow to never promote unconditional or agape love in your community; promote the black family in a positive light; or uplift male/female relationships.


    Commandment V: Thou must celebrate the drug culture. Thou must condone and identify with the proliferation of drugs in the black community. You should create endearing lyrical expressions to identify various narcotics and mind-altering substances. Though you are not to personally distribute or purchase illegal substances, you may allude to it lyrically. (To protect industry investment, we discourage musical confessions to crimes where the statue of limitations have not run out.) You may allude to a war on drugs, but only as justification to carry out the second commandment. You must continually suggest that selling drugs or "slangin " produces the only legitimate income for impoverished black people. All music videos must either glamorize this lifestyle by showing the "success" of the narcotic trade, or glamorize prison living. You should refer to drug addicted citizens in comical terms that illicit disgust, laughter, fear, pity or retribution. You are never to question U.S. drug policy. You can never promote healthy living and thinking. Nor can you advocate moderation in tobacco and liquor consumption. By keeping this commandment, you vow to never discuss the impact of drug addiction among people of color; its impact on the community s overall health; its impact on the prison industrial complex; or, its impact on the black family.


    Commandment VI: Thou must rarely talk about God and spirituality. You must lyrically condone atheism and a false belief system that negates the existences of a higher being. You must routinely question the existence of a god by lyrically challenging him/her/it to take your life or to grant you three wishes. You are to refer to yourself as a god who gives and takes life. You may lyrically create your own religion (see tenth commandment) based on a ghetto belief system. Thou shalt not talk about life and death as it relates to spirituality or a sense of purpose. You should never speak of scripture or religious texts. You are prohibited from acknowledging any spiritual beliefs that may have been instilled you by family. However, you may identify with a Jesus by wearing a large, diamond encrusted piece whereby you may brag about its costs. Under no circumstance are you to promote prayer, reflection, meditation, atonement, redemption, sacrifice, mercy or grace. The consumer fan base must identify with your lack of spiritual grounding by believing that the only gods are sex and money. By keeping this commandment you vow to limit your personal spiritual growth and development. You also vow to never been seen publicly in a church, synagogue, mosque, temple or other house of worship and reflection.


    Commandment VII: Thou must promote capitalism. On no fewer than four (4) singles or demo records you must talk about money as if it were a living, breathing thing. You must talk about making it, taking it and the love of it. Your lyrics must always place money over love, over women, over religion (see sixth commandment). You must never talking about savings and investing. Thou can, however, say the words "currency exchange," "welfare check," "first of the month," and "food stamps." You must never talk about pooling of resources. Thou can never equate capitalism with poverty. You must never mention the IMF, WTO or Federal Reserve. In fact never mention banking or the stock market at all. Do not mention technology. Do not discuss taxing. Do not discuss the federal budget. (See Commandment V). You must promote individual wealth over community wealth. You should talk about all of your purchases, specifically naming makers/distributors of expensive jewelry, cars, clothing and liquor. Once you become a successful entertainer you should purchase a very big house and no fewer than three (3) expensive cars. Publicly, you should live within a lavish lifestyle in order to please your consumer fan base that now lives vicariously through your music. Your lifestyle should include, but not be limited to: living in exclusive communities, catering to huge entourages, routinely eating at expensive restaurants, flying to Europe for fashion shows, purchasing designer clothing only, ordering platinum and diamond encrusted jewelry for your body and teeth, purchasing expensive weapons and devices, frequent partying and purchasing big quantities of expensive liquor and tobacco/cigars. Thou should consistently ridicule those who cannot afford the aforementioned items. By keeping this commandment you vow to always promote a consumer culture v. a producer culture.


    Commandment VIII: Thou cannot have a sense of history. Never ever refer to any historical event that may cause the consumer to think about his/her relation to history. Your role is to entertain, not educate. Thou art prohibited from speaking of the following: Trans-Atlantic slave trade; African holocaust: Reconstruction: the civil rights movement; the Black Power Movement; the "real" Harlem Renaissance, and so forth. You can never mention the following people: Martin Luther King Jr., Hannibal, Mansa Musa, Harriet Tubman, Sojourner Truth, David Walker, Nat Turner, George Jackson, El-hajj Malik Shabazz (Malcolm X), Jesse Jackson, Patrice Lumumba, Nelson Mandela, Winnie Mandela, Steve Biko, Louis Farrakhan, Booker T. Washington, W.E.B. DuBois, Huey Newton, Fred Hampton, Bobby Seale, Kwame Ture, Ida B. Wells, Assata Shakur....unless you are making fun of their names, causes or crusaders. (I.e., Rah Digga s Harriet Thugman). Do not mention Africa, Brazil, the Caribbean or Asia, unless to disparage. By keeping this commandment you vow to never promote a sense of awareness, a knowledge of self or the consumers global relationship to kindred spirits.


    Commandment IX: Thou must not advocate. Thou art prohibited from advocacy of anything of social redeeming value. Your lyrics must reflect a detachment from the social, political and economic reality of your community. Your lyrics can occasionally ridicule people who march, protest and advocate social causes. The consumer should never assume that thou reads newspapers, magazines or books. In other words it must appear that nothing that happens in the "real" non-entertainment world, has any personal affect on your thinking. Nor should the consumer of your CD or demo walk away with the belief that you care about anything other than the Commandments IV and VII. Never talk about the "industry." By keeping this commandment understand you must never appear at a non-entertainment-related event, unless of course you are entertaining. You must never donate money, resources or materials to needy organizations, families or causes. When questioned about this you must defend your position by claiming you are an entertainer and that s all. You can never participate in interviews discussing relevant social issues. Thou art not responsible for the behavior encouraged by your music because thou art not responsible for marketing and sales to minor, unstable individuals, or mentally ill citizens. You understand that you cannot attend rallies, sermons, marches, and picnics, festivals or workshops that have nothing to do with entertainment or the recording industry.


    Commandment X: Thou must promote all things ghetto. You may never define the word ghetto or discuss its creation. You must uphold its principals and create new creeds. You must lyrically create a fictional account of ghetto living that inspires comradeship and a sense of pride among its residents. Your lyrics must create a ghetto dweller that is proud to live in the ghetto and takes offense at others moving into it. You must celebrate ghetto life by reminiscing about days in poverty and your mothers on welfare and about your fathers who were not there. Additionally, your lyrics must offer the mainstream a rare glimpse inside a "socio-economic matrix" while allowing them psychologically off the hook for the ghetto s creation. You must celebrate ghetto language, ghetto living, ghetto housing, ghetto clothing, ghetto hairstyles, ghetto sexual habits, ghetto education, and ghetto economics and ghetto self-hatred. You must romanticize poverty with tales of sex, drugs, money, creed and fear. The ghetto must become a magical place. By keeping this commandment you vow to create and then instill pride in a false culture of poverty, crime, drugs, illegitimacy, ignorance and apathy. You also vow to attribute the ghetto only to Black people. You also vow to never leave the ghetto matrix psychologically, even when your economic status changes (see seventh commandment) In other words you will remember to "keep it real.."


    By keeping the aforementioned commandments we, "the industry,"
    guarantee the following:

    1. Unlimited marketing success and cross-over appeal.
    2. A guaranteed income
    3. Fame beyond your wildest dreams
    4. Unlimited (but recoupable) industry resources
    5. Several music awards, citations and honors
    6. Protection from community repercussions

    This sacred scroll must be handed to every potential and current Black hip hop artist in the nation. While some sign, many others I am sure others have refused, as there is circumstantial evidence that supports that. Occassionally a break through performer will offer lyrics that make us think, act and believe as if we have purpose and are loved in this life. Yet the majority of our youth must be forced to sign, recite and then internalize these commandments in order to guarantee their market success. I imagine if they do not sign the doctrine, they are relegated to doing poetry readings at open mics, working menial jobs, fading into relative obscurity and living in the "ghetto matrix." This must be the answer, because the truth is surely a lot more painful.


    stephanie mwandisi gadlin is a chicago-based writer who focuses on
    cultural and socio-political issue. in a past life she served as
    national press secretary to the reverend jesse jackson sr.
    mailto:[email protected]
    .

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