User:Rone Bee/sandbox

Hip Hop Feminism (Evaluation)

• hip hop feminism link: Hip-hop feminism
• Is the article's content relevant to the topic? Yes, for the most part. I think it would be good to trim on some of the introduction so that it focuses on what the article is about. Are some areas under- or over-developed? An area that is overdeveloped is the section on female artists because these hip hop artists may or may not identify as hip hop feminists. However, the way the article is written suggests that female musical artists are/identify as hip hop feminists; if that isn't true, it would be best to remove information about the artists that can't be supported. Also, might have to review information about scholars and make sure to add/remove scholars in hip hop feminism that can be seen as making information interventions or sparking conversations in hip hop feminisms.
• Is it written neutrally? Kind of but not really since the article contains a lot of direct quotes, which could be seen as not neutrally written since it borrowing from the author's ideas and arguments rather than similar presenting information.
• Does each claim have a citation? Are the citations reliable? Yes for the most part but some of the citation source material may need to be reviewed, such as links to website articles, to see whether the article is using the information for actual content and/or just citing any images from the article.
• Does the article tackle one of Wikipedia's equity gaps (coverage of historically underrepresented or misrepresented populations or subjects)? It covers historically underrepresented/misrepresented population since hip hop feminism is one of the types of black feminisms.
• What can you add? Consider posting some of your ideas to the article's Talk page. N/A as of right now since haven't read a lot hip hop feminism scholarship yet. After reviewing this info and the source I have myself: Treva B. Lindsey, "Let Me Blow Your Mind: Hip Hop Feminist Futures in Theory and Praxis", will know...

Biblography (Draft)

• Joan Morgan, When Chickenheads Come Home to Roost: My Life as A Hip Hop Feminist (already on wiki article but need to check is only certain sections or entire book content is used in the article)
• Gwendolyn Plough, Check It While I Wreck It
• Jeffries, "Hip Hop Feminism & Failure"
• Treva B. Lindsey, "Let Me Blow Your Mind: Hip Hop Feminist Futures in Theory and Praxis"

Hip Hop Feminism (Draft)

Copied from article to be edited: italicized

Edited = Normal

added critiques of hip hop fem

needed

FIND: "Using [Living Hip-Hop] Feminism: Redefining an Answer (to) Rap", by Aisha Durham

remove info from root article/non-scholarly sources: section on citation #9; #19; #24: 36: #37; #44: #48, 49, 50.

also remove information about janelle monae, etc.

lead section

Hip Hop Feminism is a sub-set of black feminism that references to complicities of being a black feminist that prioritizes intersectional subject positions involving race and gender in a way that acknowledges the contradictions in being a black feminist, such as black women's enjoyment in (misogynistic) hip hop music, rather than simply focusing on the victimization of black women due to interlocking systems of oppressions involving race, class, and gender. Hip hop feminism was coined by Joan Morgan in her book When Chickenheads Come to Roost: A Hip Hop Feminist Break it Down to provide black women who grew up in post-Civil Rights Movements and Feminist Movement of the 1960s and 1970s. Morgan explains that hip hop feminist is a a self-defined name for black feminists that acknowledges black women's lived experiences as they identify with and enjoy hip hop culture along with supporting feminist issues and agendas where black women are marginalized by the the mainstream feminist movement because of their race or the black antiracist movements due to their gender.

Hip Hop feminism has various definitions and scholarly inventions to help understand how hip hop sensibilities influence not only music but also different forms of expressions and social justice movements.

definitions (section)

In When Chickenheads Come Home to Roost: A Hip Hop Feminist Breaks it Down, Joan Morgan (American author) explains that she coined the term hip hop feminism because she was unable to fully identify with the feminism without acknowledging and embracing how her enjoyment in misogynistic hip hop music. Morgan explains that the term hip-hop feminism is used express the ambiguities and contradictions of being a black feminist who still enjoys certain aspects of patriarchal and misogynistic society, such as enjoying hip hop music that reaffirms rather than challenges misogyny, which she calls "fucking with the greys" of being a feminist that enjoys misogynistic hip hop music, which is viewed as anti-feminist.

hip hop scholars/interventions + add to article (exercise) section

Michael P. Jefferies's "Hip Hop Feminism and Failure" makes an intervention in hip hop feminism scholarship by discussing how hip hop feminism being institutionalization within academia impacts the relationship between hip hop communities outside of academia within academic hip hop feminists because hip hop feminist scholarship loses its anti-establishment or radicalness nature by being institutionalized within the system it aims to critique. Another intervention Jefferies make is his claim that hop feminists must acknowledge inconsistencies concerning labeling various (often male) hip hop rappers as being either "socially conscious" and/or "commercial" based on the subject matter within their music given how "socially conscious" rappers are still capable of reproducing sexist or problematic societal behaviors within their music.Jefferies also explains that a stimulus-based inconsistency involves us feeling "a dope line" before "we know it" to explain how people's affective responses to listening to rap music with problematic lyrics cause them to ignore the problematic lyrics of the song because they enjoy the musical and sexual sensation and performance of the hip hop music.

In the chapter "My Cipher Keeps Movin' Like a Rolling Stone: Black Women's Expressive Cultures and Black Feminist Legacies" of Check It Wreck It: Black Womanhood, Hip Hop Culture, and the Public Sphere, Gwendolyn Plough explains that hip hop feminism is a subset of black feminisms that allows black feminist scholars to critique and expand Black feminist thought and critiques. Black feminist and third wave feminists that examined hip hop culture and rap through a feminist lens have taken various approaches to discussing rap and Black women. For instance, feminists may condone sexist rap music, provide critiques of how the cultural production and consumption of sexist rap music is shaped by larger society's perpetration and upholding of sexism, and/or discuss their enjoyment and love of rap despite its sexism in hip hop culture but also speak out against sexism and misogyny in rap. She also makes an intervention in hip hop feminist scholarship by stating that feminist scholars should also analyze Black female rappers' music because feminists have primarily focused on male rappers and male misogyny with their music. Plough states that examining Black women's rappers' work would provide feminist scholars the opportunity to analyze how women in hip hop challenge sexism within hip hop as well as within the larger society.

Treva B. Lindsey's "Let Me Blow Your Mind: Hip Hop Feminist Futures in Theory and Praxis" explains the importance of valuing Black girls, women, and queer folks, such as transgender Black folks, as hip hop subjects in hip hop discourse to provide a more gender-inclusive study of Black women and queer folks' involvement and expression in hip culture rather than focusing on cisgender Black boys and men as hip hop subjects. Additionally, Lindsey argues that focusing on the perceived absence of Black women and girls within hip hop culture erases how Black women and girls' lived experiences and contributions to hip hop culture, such as Double Dutch, childhood chants, and twerking, that are culturally recognizable in comparison to more traditional and masculine forms of expression in hip hop culture, such as "emceeing, deejaying, graffiti, and b-boying/b-girling."By acknowledging the value of Black girls, women, and queer folks within hip hop as consumers, innovators, and contributors, hip hop education will make marginalized non-men folks feel valued within the classroom and allows opportunities for studies of hip hop to be provide a praxis for gender-inclusive social justice work or acknowledgment of the lived experience of Blacks folks.

Tauya Saunders' "Towards a transnational hip hop feminist liberatory praxis: a view from the Americas" makes an intervention in U.S. hip hop feminism by explaining how an transnational approach of hip hop feminism would provide opportunities for international Black solidarity between Black folks within the U.S. and other non-English speaking countries throughout the Americas and empowerment of Black women throughout the Americas. (moved again)

feminism and elements of hip hop

Brittany Cooper's "Make I'll Be a Poet, Rapper": Hip-Hop Feminism and Literary Aesthetics in Push" examines the literary aesthetics of hip hop in street literature (or hip hop literature) by Black women authors, such as Sapphire's Push, to show black women authors of hip hop literature are able to show connections between other Black musical and literary texts, traditions, and histories as well as create works exploring Black female subjectivity with hip hop sensibilities.

Joan Morgan was to coin the term hip hop feminism and hip hop feminism to discuss how hip hop and feminism can be used to examine and analyze of the "grays" of social life, such as people enjoying hip hop but still supporting feminist and antiracist movements despite the misgynostic elements of hip hop, to think about how we can exist and continue the fight towards social change.

In "The Stage Hip Hop Feminism Built: A New Directions Essay," Aisha Durham, Brittany C. Cooper, and Susana M. Morris defines hip hop feminism as a form of black feminism rooted in the lived experiences of black feminists and members of the African Disapora along with the political prerogatives and aesthetics of hip hop culture that builds of a previous black feminist thought. Also, Durham, Cooper, and Morris stress the importance of black women and girls as well as women and girls of color being remaining central within analyses of hip hop culture.

Durham, Cooper, and Morris also argue that we should situate hip hop feminism within the Afrofuturism to understand how hip hop feminism operates both within and outside of academia as well as examines and critique the marginalized experiences of black people in past, present, and future in "The Stage Hip Hop Feminism Built: A New Directions Essay."

In "Growing Up Where 'No One Looked Like Me': Gender, Race, Hip Hop and Identity in Vancouver," Gillian Creese uses interviews from second generation African-Canadian men and women in her analysis of how the sociocultural understanding of blackness and hip hop influence the of African-Canadian youth growing up in communities where they are one of the few Black/African children within community. Creese found that Black/African-Canadian men's experiences differed from Black/African-Canadian women's experiences because of how hip hop in youth culture allows black men to be seen as "Cool Black" and have an easier time connecting and being popular in school due to the cultural view of Black masculinity as "cool" in comparison to the lack of "Cool Black" femininity in hip hop culture, where culturally Black women are seen as hypersexual, 'exotic,' or 'whitewashed' version of Black femininity.

In "A King named Nicki: strategic queerness and the black femmecee," Savaanah Shange argues that the illegibility of Nicki Minaj's performance as either homosexual or heterosexual a black female rapper employs an use of strategic queerness that disrupts the hegemonic racist, sexist, homophobic, and patriarchal scripts that try to capture or recognize her as "compliant" and authenic black female subject that embodies what it seen as properly feminine or queer. Also, Shange defines Nicki Minaj as a femmecee, which a femme emcee or rapper that stragetically performs queer femininity in the production of their lyrics that are also recieved by the audiences as such.