...Eboney Patterson English 102-Z2 Professor Lila Joy 1 September 2015 In the article “Hip-Hop’s Betrayal of Black Women” the author, Jennifer McLune responds to Kevin Powell’s article “Notes of Hip Hop Head.” McLune voices her opinion toward hip- hop male singers who disrespect black women in today’s society. The author states those who chose not to sing about ideology of women work harder. McLune then talks about how majority of hip-hop singers are sexist, materialistic, and speak negatively between the sexes. She provides examples on how lyrics are being expressed and how hip-hop artists do not seem to be concerned. They are apologetic for the words they say, but show no remorse. For example, she presented a lyric written by Jay-Z, a famous hip –hop artist which states, “I pump hard on a trick, look F*** if your leg is broke b****, hop up on your good leg.” Even women singers have turned to these ways of singing to keep themselves from being targeted and some even encourage this type of ignorant behavior. For the ones who stand up for themselves risk being disrespected. McLune states hip-hop will fail, as long as sexism is involved. Although, Kevin Powell excuses sexism because poverty, she feels any man, wealthy or flat broke, can be sexist toward a women. The author makes it very clear, by letting theses hip-hop artists continuously degrade and humiliated our black women, society is accepting this type of behavior to exist and to grow strong. Title: The title gives the...
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...Rhetorical Analysis The title of this article is “Hip hop’s betrayal of Black Women” which first appeared in 2006, and was written by Jennifer McLune a librarian, activist, and writer living in Washington D.C. Although, the author makes valid points in her response she does not demonstrate enough knowledge on the subject of hip hop culture. The author argues black women in today’s hip hop culture are unfairly made out to be inferior to their male counterparts. The article can be broken down into five divisions. The author writes in response to the “socioeconomic” (297) reasoning given for the current state of affairs. The author disagrees with Powell’s response calling it a way to silence feminist critiques of the culture. The author argues that hip hop owes its success to the ideology to women-hating and that poverty is argued to be an excuse of it. The author addresses a range of issues from contemporary artists being too inconsistent, to female artists not being as united when it comes to standing up for a change. For this reason “Hip hop’s betrayal of Black Women” should not be considered by PopMatters and the National Council of Teachers of English (NCTE) for the top prize for persuasiveness due the author’s use of rhetorical analysis and logical fallacy in addressing opposing viewpoints In “Hip-Hop’s Betrayal of Black Women” the author uses three kinds of rhetorical techniques in the article logos, pathos, and ethos. Logos is used to show facts, reasons, and statistics...
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...Dione Sibley English 106 16, September, 2014 Hip Hop’s Betrayal of Black Women Hip-hop has been around since the 1970s and has been listen to by many but some see it as a burden to society. Hip-hop is criticized for its content and the “appearance” artists but also on the conspiracy of black women. Women today are being degraded in hip hop songs that lyrically distinguish women through the lyrics of rappers. In Jennifer’s Mclune article “Hip Hop’s Betrayal of Black Women”, she addresses an audience with the different sexism opinions towards women in our society, though many men feel that some of their statements or opinions are not affecting women. Mclune uses ethos, pathos, and logos by giving the audience multiple reasons why hip-hop has become so negative over the years and also explains how some women do not make the situation any better by being ignorant. Within the reasons, the article begins to give very descriptive issues. Mclune’s article, “Hip-Hop’s Betrayal of Black Women”, which appeared in Z magazine in the July 2006 issue, is a response to Kevin Powell’s opinion in “Notes of a hip-hop head”, “socio-economic” explanation for the sexism in hip-hop. Powell states “just as it was unfair to demonize men of color in the 60’s solely as wild-eyed radicals when what they wanted, amidst their fury, was a little freedom and a little power, today it is wrong to categorically dismiss hip-hop without taking into consideration the socioeconomic condition...
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...Hip-Hop’s Betrayal of Black Women Analytical Summary In Hip-Hop’s Betrayal of Black Women published in Z Communications online magazine July 1, 2006, Jennifer Mclune responds to Kevin Powell’s Notes of a Hip Hop Head by vividly expressing to feminist and African American women that “Hip Hop owes its success to the ideology of woman hating. It creates, perpetuates, and reaps the rewards of objectification.” In Powell’s quote he begins to defend male artists by blaming their behavior on socioeconomic conditions, and by comparing their lyrics to that of how black men were looked at during the 1960’s. Mclune feels as though Powell is merely using his “socio-economic explanation for the sexism in hip hop” (Mclune 1) as a way to silence feminist critiques of the culture. Mclune feels as though Powell is turning a blind eye to the fact that women are also raised in poor and violent environments as well as men. Women “…have yet to produce the same negative and hateful representation of black men that male rappers are capable of making against against women” states Mclune (Mclune 1). As you get deeper into the article you find that not only does Mclune feel that there is a war between African American men in hip hop versus women, but also there is a war between the White man in hip hop versus the African American woman. “Yet we all know that wealthy white boys can create the same hateful and violent music as poor black boys” Mclune argues (Mclune...
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...September 25, 2013 Rough Draft After reading “Hip-Hop’s Betrayal of Black Women”, by Jennifer Mclune, an individual associated with some things stated would really think twice after reading. Jennifer gave her knowledge on how hip hop will fail if what is going on continues. The women grew up negative environments, and they don’t tear down the quality of men as they do to them.bbrown During the article, Mclune gives the audience multiple reasons why hip-hop has become so negative over the years. Also explained is how some women do not make the terrible situation any better to the culture in some cases. A ‘socio-economic” explanation is given y Kevin Powell, author of “Notes of a Hip-Hop Head.” Within a few statements, the article begins to give very descriptive issues. Hip-Hop has progressed overtime by using hatred towards women as a way of entertainment. Occasionally, women will show that there must not be any caring about the hatred. Jennifer Mclune provides and example saying “Hip-Hop owes it success to the ideology of women hating.”(Mclune 5) by saying that , she is letting the audience know that the only reason Hip-Hop has made it so far is because of their women hating lyrics. How does one top such a problem? Hip-Hop has came a long way from the way it was first begun. You would think that these “so-called conscious artists” would care about their acceptance into the music industry enough to not be so crucial. The women artists aren’t the ones abusing the qualities of...
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...Jennifer McLune proposes that hip-hop has betrayed black women by promoting sexism and dehumanizing black women, in her essay “Hip-Hop’s Betrayal of Black Women.” The essay begins with a lengthy quote from Kevin Powell, in which he uses socioeconomic reasoning to account for the sexist language of hip-hop. McLune suggests Powell’s ideas are merely a way to hush feminists and promote the current hip-hop conditions. She also explains in her essay, how hip-hop has made it big by way of women-hating and that some of the most famous artists notoriously spat out sexist lyrics. Even artists who are seen to be less misogynistic, continuously praise and defend their brothers who fuel this fire. McLune cites The Roots, Talib Kweli, and Common as artists...
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...Mclunes article, "Hip Hop Betrayal Of Black Women," she defends women both in Powell’s presented article and in hip hop music in general. Mclune starts by degrading Powell and his article saying that his explanation was basically an excuse for sexism. Mclune also calls Powell out on the fact that he justifies what these so called "men" are saying in the hip hop industry. Just because they grew up in poverty doesn’t justify what they are doing to be right. It is no different that the women that have grown up in poverty and violence, but yet they aren't producing this music that the men are. Mclune speaks about how the degrading of women is what keeps hip hop thriving, and the sad thing about it is that if that was to stop that the fans would be disappointed and they would probably end up losing interest in there music if they took that out. Basically that girls and women that like this kind of music and keep encouraging it are setting themselves up to be victims. Mclune also talks about how these companies that sign with hip hop artist and people who continue to be fans and buying the music are really almost encouraging them to act out in this way. Mclune also speaks of a woman that is a hip-hop artist, Eve. Her appearance and her actions encourage men to act this way, and that women artist can be just like the males in an aspect. Mclune finds it astonishing that no one has gone to greater levels or even tried to do something about the way women are degraded in hip hop music. Although...
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...How do I Connect to Hip Hop\ Rap music? The way I connect to hip hop music is not the same as the author article opinion of hip hop music and black females, Its a positive tool to me. This paper will explain my point of view as a black female that have lived and learned much of what the rappers are raping about, in this generation. The rhythm of the beat in Rap music is what I enjoy the most; When I began to feel the beat I become one with the music ; and notice that my body began to rock unconsciously. Some people many not enjoy the lyrics of rap music because they don't understand the message or the language that rappers speak. when people don't understand rap/ hiphop music they should not downgrade the artist or their music, before they educate themselves about the music, style and history of the artist....
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...Hip Hop: A Way of Thinking? Since the development of hip hop nearly three decades, it has become a ubiquitous form of music in the nation, influencing the youth with its edgy music and empathetic lyrics. First pioneered in the streets of New York as a response to the oppression of blacks during the civil rights movement, hip hop and its successful influence on its listeners, especially the black youth, was able to thrive due to its uncanny ability to adapt and respond to the problems that that era presents. From the socially and politically conscious hip hop (SPC hip hop) during the civil rights movements to the mainstream music we hear on the radio today, the difference in message projected by today’s modern, hyper-masculine hip hop onto society compared with that of SPC hip hop has become a controversial subject criticized by American media such as Byron Hurt’s movie “Hip Hop: Beyond Beats and Rhymes” and Tricia Rose’s article “There Are Bitches and Hoes.” With regards to the negatives that hip-hop music could have on society, the songs “Let Nas Down” by J. Cole, “Come Get Me” by Jay-Z and “Bitches Ain’t Shit” by YG each respectively complicate, exemplify and extend Hurt’s claims that hip hop artists solely produce generic, hyper masculine mainstream music for the production of records; glorify violence and negatively portray women as sexual objects in order to prove their man hood. When the song “Let Nas Down” by J. Cole is analyzed through a historical context and compared...
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...Gender specific violence impacts women in the United States and around the globe. Gender specific violence is a term used to capture violence that occurs as a result of the traditional role beliefs related to each gender, along with the imbalanced power relationships between the two genders, within the circumstance of a particular society. In America, there are certain crimes that are gender specific. For example, rape is a gender specific crime that is targeted primarily on women. Women are defined based on their relationship to men and their space in male hegemonic structures (Guy-Sheftall). Hegemonic masculinity is the perfectly created male and is class and race bound. Hegemonic masculinity is against femininity. Characteristic of hegemonic masculine...
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...Portrayal of Women in Rap and Music Videos :: 4 Works Cited Length: 1724 words (4.9 double-spaced pages) Rating: Blue Price: $24.95 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Misogyny and degradation of women is present in almost every genre of music, yet the one genre that completely revolves around demeaning women is rap. Over the years rap and rap music videos have continually become more sexual and degrading towards women. Rap has been criticized numerous times for this reason, and that is because rap is one of the most popular genres of music for the younger generations. It is more than a genre of music, it is a complete industry filled with clothing and other merchandise. The reason this constant demeaning of women exists is because rap as a genre that rewards the objectification of women. The excuses used to justify the misogyny in rap are incomplete and lack accurate support. The most effective way for this continuous cycle ends, is if the fight and protest comes from the women themselves. Men are the problem in the objectification of women but in order for it to stop, women need to step up and take control of the situation. Women need to act sooner rather than later because in recent years the rap industry has become more and more sexual. Ra... ... middle of paper ... ...Society 113 (2000): 255-69. JSTOR. 29 November 2009 . McLune, Jennifer. "Hip-Hop's Betrayal of Black Women." Perspective on Contemporary Issues. 5th...
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...centuries one of the nurturing wombs of America’s ruling class. When I was growing up in the fifties, I could never have imagined that one of Harvard’s most respected departments would be this one, the Department of Afro-American Studies and that I would teach here. I’m trying to get black history month to be every month. Most of the kids that we teach at places like this are the children of the middle class, the children of people like me. I mean, I am teaching my classmates’ children. Our experience at Harvard is just one instance of a much larger phenomenon. (Speaking in background) In the past few years, African Americans have been achieving in ways that no one, black or white, could ever had dreamed possible a generation ago. We now have African Americans at the heart of government, at the top of the world’s largest corporations, the military, education. Virtually anywhere you look, you will find black people at the highest levels in American society. Not enough black people but who can deny that progress has been made? And yet, and this is the kicker, one in three black children still live at or beneath the poverty line. Two distinct classes have emerged in America and they’re both black. MAN: We are sustaining power. (Helicopter blades spinning)...
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...HBR CASE STUDY Offered a lucrative deal to outfit consumer goods with RFID tags,a technology executive wonders: Would he be providing a valuable custonner service? Or committing a heinous invasion of privacy? None of Our Business? by Roberta A. Fusaro E S W THEM the moment he came A out of the parking garage. Across the street, about two dozen protesters crowded close to the main entrance of the exposition center, heckling conference goers as they streamed inside. Fired up with anger and caffeine (almost all clutched steaming cups of coffee-it was still early on a Friday morning), they shouted through bullhorns and waved placards with messages like "Get Off My Frequency!" and "Mind Your Own Business!"When two women in charcoal-gray suits walked out the center's doors, a protester broke away and followed them down the sidewalk, trying to press pamphlets into their hands. A police officer ordered the crowd to stay behind the barricades, but his commands were inaudible beneath the sounds of traffic and civil insurrection. Dante Sorelia shook his head. "How the hell did we reach this point?" he thought as the walk light beckoned him forward. As CEO of a technology firm, Dante was an old hand at privacy debates. Such intense, public hostility, however, was a fairly recent development. His Manhattan-based company, Raydar Electronics, was among the top five makers and integrators of radio frequency identification (RFID) tags and readers in...
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...greater number of total words, please write to South End Press for permission. INTRODUCTION Come Closer to Feminism 1. 2. Library of Congress Cataloging-in-Publication Data Hooks, Bell. Feminism is for everybody: passionate politics / Bell Hooks. p.cm. Includes bibliographical references and index. ISBN 0-89608-629-1 - ISBN 0-89608-628-3 (pbk.) 1. Feminist theory. 2. Feminism - Philosophy. 3. Feminism Political aspects. 4. Sex discrimination against women. 1. Title. FEMINIST POLITICS Where We Stand 1 CONSCIOUSNESS-RAISING A Constant Change of Heart 7 3. SISI:ERHOOD IS STILL POWERFUL 4. Vll 13 00-036589 South End Press, 7 Brookline Street, #1, Cambridge, MA 02139 06 05 04 7 8 9 Printed in Canada 19 OUR BODIES, OURSELVES Reproductive Rights 25 6. HQl190 .H67 2000 305.42'01 - dc21 FEMINIST EDUCATION FOR CRITICAL CONSCIOUSNESS BEAUTY WITHIN AND WITHOUT 31 7. FEMINIST CLASS STRUGGLE 37 8. GLOBAL FEMINISM 44 5. 9. WOMEN AT WORI( 48 10. RACE AND GENDER 55 11. ENDING VIOLENCE 61 12. FEMINIST MASCULINITY 67 13. FEMINIST PARENTING 72 14. LIBERATING MARRIAGE AND PARTNERSHIP 78 15. A FEMINIST SEXUAL POLITIC An Ethics of Mutual Freedom 85 16. TOTAL BLISS Lesbianism and Feminism 93 INTRODUCTION 17. TO LOVE AGAIN The Heart of Feminism 100 18. FEMINIST SPIRITUALITY 105 19. VISIONARY FEMINISM...
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...Resources for Teaching Prepared by Lynette Ledoux Copyright © 2007 by Bedford/St. Martin’s All rights reserved. Manufactured in the United States of America. 2 1 f e 0 9 d c 8 7 b a For information, write: Bedford/St. Martin’s, 75 Arlington Street, Boston, MA 02116 (617-399-4000) ISBN-10: 0–312–44705–1 ISBN-13: 978–0–312–44705–2 Instructors who have adopted Rereading America, Seventh Edition, as a textbook for a course are authorized to duplicate portions of this manual for their students. Preface This isn’t really a teacher’s manual, not, at least, in the sense of a catechism of questions and correct answers and interpretations. Because the questions provided after each selection in Rereading America are meant to stimulate dialogue and debate — to generate rather than terminate discourse — they rarely lend themselves to a single appropriate response. So, while we’ll try to clarify what we had in mind when framing a few of the knottier questions, we won’t be offering you a list of “right” answers. Instead, regard this manual as your personal support group. Since the publication of the first edition, we’ve had the chance to learn from the experiences of hundreds of instructors nationwide, and we’d like to use this manual as a forum where we can share some of their concerns, suggestions, experiments, and hints. We’ll begin with a roundtable on issues you’ll probably want to address before you meet your class. In the first section of this manual, we’ll discuss approaches to...
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