Professional Documents
Culture Documents
Name:
Jon Gabso
Essay Title:
Thesis: Through their rampant misogyny and boastful displays of material wealth,
mainstream hip-hop artists display a false masculinity that reveals insecurity, femininity,
and a new beauty myth that’s impacting American males.
Motive: A set of surprising trends arises that should be of concern to the African-
American community as well as anyone that listens to or associates with anyone who
listens to hip-hop, seeing as hip-hop’s enormous market share in popular music today
could be speaking of political rectitude and enlightening its listeners rather than shaping a
highly reproducible and fabricated image.
The analysis I put in really has a strong voice and advances my argument a lot further.
I’m glad that I was able to stress placing analysis of every quote in on this revision.
My paragraph organization is still a bit cloudy at times, but I think I tethered the big
paragraph about homosexuality to the thesis fairly well. I’d say I was 80% successful.
Gabso 2
Jon Gabso
WP121P
Rebecca Hansen
Hip-hop has gone through some drastic transitions, from its invention in the late
70’s via the Sugar Hill Gang to the advent of gangsta rap in the early 90’s to the big-
money stars of pop hip-hop in the late 90’s like Mase, Puff Daddy, and Juvenile that lead
transitions, black culture has established two fronts of this art: the mainstream, and the
conscious. Artists like 50 Cent, whose subject matter is entirely focused on their own
worth in guns, money, cars, jewelry, and girls, have arisen as a consequence of this
dubious musical genre known as mainstream hip-hop, and believe it or not, its artists are
hiding beneath a thick veil of false identity meant to serve a new kind of beauty myth.
Also within the realm of mainstream hip-hop lies artists who make “booty music”, or
“crunk”, that objectifies women underneath a veil of energetic beats and includes
misogynists like the Ying-Yang Twins. Imani Perry maps out the sociopolitical issues of
these developments in her book Prophets of the Hood. A set of surprising trends arises
listens to or associates with anyone who listens to hip-hop, seeing as hip-hop’s enormous
market share in popular music today could be speaking of political rectitude and
enlightening its listeners rather than shaping a highly reproducible and fabricated image.
Through their rampant misogyny and boastful displays of material wealth, mainstream
Gabso 3
hip-hop artists display a false masculinity that reveals insecurity, femininity, and a new
Mainstream hip-hop has, in recent years, defined itself through the image of a
“pimp”, and its recent works have discussed issues of enormous material wealth with a
narcissistic bravado. Curtis Jackson entered the rap game in 1996 under the wing of Jam
Master Jay of hip-hop forefathers Run D.M.C. (Birchmeier) He would come to be known
later, with the arrival of his breakthrough record Get Rich Or Die Tryin’ in 2003, as 50
Cent. One of the biggest hits off that record is a track that serves as a bit of an anthem
that composes the quintessential mainstream hip-hop image, “P.I.M.P.” In this track, 50
discusses his infallibility: “I’m bout my money you see/girl you can holla at me/If you
fucking with me/I’m a P-I-M-P” (Jackson). The fact that 50 is about his money and must
warn women who are attracted to him that because of this he’d rather sell a woman then
love her establishes 50’s persona as someone who’s larger than life. This line is a
summary of what the song and mainstream hip-hop as a whole paints its subjects as on a
and anything that comes out of their mind falls under this general mindset. Houston MC
Mike Jones comments on how fame had brought him what apparently made him whole:
“Back then they didn’t want me/ Now I’m hot they all on me…Before I came up in this
game these hoes didn’t show no love…I bet they change they mind when them [1984
Cadillac Eldorado rims] come rollin’ up.” (Jones) Here Jones’ narcissism is shown
through the common Houston trend of heavily modified classic cars as a status symbol,
as he bluntly states that before he had nice cars he was unloved, but now that he does he
can have whatever woman he wants. Perry points out an aspect of 90s hip hop that helps
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shape today’s use of material self-entitlement into the context of modern society: “The
cars, the penitentiary, the blunt, and the struggle, all stand in as metonyms for hip-hop
heads…They represent signature features of the community.” (Perry 130) When 50 Cent
and Mike Jones rap, the “blunt” and the “penitentiary” appear scarcely and the “struggle”
doesn’t appear at all. However, “cars” remain as a key component of mainstream hip-hop,
extend the appeal of the music. Considering the mass appeal of today’s hip-hop across
race lines, the shift of these “metonyms” from race-specific issues like “the struggle” to
the simple surface motif of material possessions as power extends the metonym beyond
the black community and towards anybody who has or aspires to have material
possession in any capacity. Through this shift in focus, mainstream hip-hop finds a wider
audience through which to push its message. Whereas the message of hip-hop in years
past focused on more race-specific metonyms, appealing mostly to the black community
while facing pressing social issues, by phasing out the “struggle” mainstream hip-hop
stunts its focus on the black identity and focuses strictly on the wealth and entitlement
itself. However, this new focus that’s brought some MCs much higher sales is causing
The message that the new, more materially focused mainstream of hip-hop is
selling has an odd focus on the rapper’s self image. The egotism displayed by recent hip-
hop artists shows a narcissistic tone that is slightly self-conscious. The self-promotion of
50 Cent is particularly narcissistic, as both of his two previous album covers, the
aforementioned Get Rich… and The Massacre, have featured 50 standing with a stark
facial expression, staring straight into the eyes of the onlooker, shirtless, ripped like a
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to develop the grape-flavored Formula 50 for Glaceau Vitaminwater. [This] will help
spread the gospel about healthy hydration.” (Hein 5) Of course, a man so properly
preened with such a healthy lifestyle must also dress well, and this philospophy takes us
back into “P.I.M.P.”: “She got on Payless/Me I got on gator shoes/I’m shopping for
chinchillas/In the summer they cheaper.” (Jackson) For a man like 50 to focus so much
on his health and his personal appearance might suggest a self-consciousness that could
be trying to get in touch with a side of himself that’s secretly homosexual, but Edisol
Wayne Dotson comments on the state of men in music as such: “For male musical
performers to become and remain a success in today’s music industry, they must have the
body worthy of today’s rigid standards of male appearance.” (Dotson 83) 50’s self-
consciousness is not part of his own will, it’s actually a front meant to appease the needs
of his record label in satisfying different markets. Would 50’s elegant lifestyle, piles of
women surrounding him, and rough-n-tumble lyricism be read in the same way if he
weren’t a beefy, ripped, Herculean statue? The answer is most likely no, and those in
charge of mainstream hip-hop knew this while shaping Curtis Jackson into 50 Cent.
The situation that 50 Cent is trapped in with all of his forced material gloss and
vanity is part of a male beauty myth that pervades not only the actions of its artists but the
structure of the genre itself. Naomi Wolf defined the beauty myth as a value of “beauty”
that “objectively and universally exists.” (12) This suggests that there is a set of standards
that attribute to this particular value, standards that can easily be transcribed to the money
and cars of mainstream hip-hop. Although her book on the beauty myth focuses on
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women, she warns: “Helping women to take the myth apart is in men’s own interest on an
even deeper level: Their turn is next.” (288) The brand of the beauty myth included in
mainstream hip-hop is a strong indicator that Wolf’s foreshadowing has come to fruition.
objective and universal beauty, but it moves beyond just him into the entire infrastructure
of mainstream hip-hop. In the case of women, the idea of an “objective” and “universal”
beauty involved exclusion of women that didn’t meet the standards of this objective
beauty from many activities. In the case of hip-hop, this is exemplified through the idea
of animosity towards what many prominent MCs call the “bitch nigga”, someone who
doesn’t partake in the activities of mainstream hip-hop and thus must be inferior. Atlanta
group Trillville define this defensive mechanism in their song “Bitch Niggaz”: “You
always talking like a preacher/But you some of the bullshit…Let’s meet at the parking
lot…So then we can figure out who’s real and who’s fake.” (Edwards) Here someone that
is “preaching” is seen as someone who can’t defend themselves physically, and since this
anonymous person’s preaching is making Trillville feel inferior, they invite him to settle
the dispute in a way that is more suitable for them: with fists. The beauty myth is also
seen specifically in this song as a part of the same violent image that we see when 50
Cent flaunts his 9 bullet scars; the world seems to take a liking to a black man being
violent. In “Don’t Push Me”, 50 violently takes offense to someone who finds him to be
physically inferior: “Right now I’m on the edge…I aim straight for your head…Fill your
ass up with lead/So don’t push me/I got something for your ass, keep thinking I’m
swiftly reacting to a gentile desbasement of his fake character, but since violence is just
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so much more attractive than words, he quickly reaches for his gun as if it’s a reflex.
R.A.T. Judy explains the rationale of this black-on-black animosity as a “habit of thought
commodification is vital in the word’s inherent idea of objectification. From the original
idea of a lower-class black man as an object there stems a dehumanization within which
the figures involved establish their own caste of superiority to win acclaim from those
who are not commodified. In describing this hierarchy of toughness and blackness there
are terms and concepts used that directly parallel the female beauty myth. Women are
commodification of the violent black man. Within those who are dehumanized, there is “a
women, just as rappers use the hate of the intellectually superior “bitch nigga” to support
a defensive tone. (Wolf 30) Thus, within the structure of rivalry in the politics of
mainstream hip-hop, there are direct structural parallels to the female beauty myth,
Underneath the sound of this boldly violent music lies a subject that’s wriggling
its way into the adverse effects of hip-hop’s violence: homoeroticism. As Naomi Wolf
declares, “Using images from male homosexual subculture, advertising has begun to
portray the male body in a beauty myth of its own. As this imagery focuses more closely
on male sexuality, it will undermine the sexual self-esteem of men in general.” (Wolf
289) 50 Cent’s association with mainstream hip-hop’s own beauty myth structure and his
self-consciousness that arises as a collateral of his surface narcissism are two values that
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are mentioned by Wolf as side by side with a more literal beauty myth. The fact that 50
poses shirtless on his album covers presents a homoerotic side to his self promotion, and
the most striking part of this fact is that he has rapped about himself in a way that could
rock the boat/I’ll work the middle/I speed it up/straight beat it up.” (Jackson) It’s difficult
homosexual man, and thus there’s an open-endedness to his seduction that could even be
more likely to be geared towards himself as a narcissist rather than other people. Perhaps
50’s health-conscious image, flamboyant dress, and constant shirtlessness could be part
strive for. Nonetheless, even if it hides a lot underneath the surface, 50’s heavily-
marketed narcisissm fits in with how Judith Butler relates the ego to the idea of society’s
superego: “The ego ideal, what Freud calls the ‘measure’ against which the ego is judged
by the superego, is precisely the ideal of social rectitude defined over and against
homosexuality.” (29) One whose ego is healthy and viewed by the individual and
why this bravado exists could perhaps be not only to rouse a homosexual beauty myth
and make homosexual men feel inferior about their egos, but also to slyly refute that very
same homosexuality that is viewed by society as effeminate and against the ideal of
image that is crafted for them is the various opportunities they have to publicly bond with
their “homies”. Imani Perry points out that the possibility of homoerotic fraternalism in
Gabso 9
hip-hop is not to be ruled out: “Relationships between men in hip-hop, both hostile and
warm, have often been seen as manifestations of hypermasculinity…I also understand the
Nelson George have argued for a kind of homoeroticism in hip-hop.” (133) This
statement, deeming fraternalism “liberatory”, suggests that these rappers are trapped in
their own prison where their personality is not allowed to come out. The idea of hip-hop
crews, or “cliques”, is a kind of respite for hip-hop artists to safely shy away from
animosity for a moment and is also of interest to record execs due to the cross-promotion
opportunities involved with other artists. Hip-hop fraternalism is also a concept familiar
to 50, as seen by his quite chummy G-Unit collective, which includes himself, Young
Buck, Lloyd Banks, and Tony Yayo, and itself has its very own clothing line. G-Unit’s
lyrics are never homoerotic, but they do have an amplified focus on violence, drug deals,
and all around toughness that protects their rhetoric from veering into something actually
fraternal, which in turn protects them from naysayers claiming such a thing. This tactic of
protecting any homosexual aspect from being revealed is actually of great interest to
contradictory and would require a fan an extended period of time to come to terms with
the idea, a period of time far too long for a record label not to move the MCs units as
much. The public is comfortable with a brute, violent, heterosexual male image, so an
MC’s inner homosexual narcissism must remain concealed for the sake of sales.
appearances, rappers like 50 turn to one thing to try to prove once and for all that they are
indeed heterosexual: abusive misogyny. As Clarence Lusane noticed: “For many of the
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rap groups, their songs are one long extended sex party.” (Neal 360) The cooperation of
women to engage in a heterosexual sex act with rappers despite the fact they viciously
disrespect women is a system that tells the public that the rappers dislike women, but will
definitely show one a good time if they shut up and buy their scam of hypermasculinity.
50 Cent displays misogyny in “P.I.M.P”: “I could care less how she perform when she in
the bed/Bitch hit the track, catch a date, came and pay the kid.” Here he states blatantly
that he doesn’t care for sex with some women, but if she can get him money he’ll pay
some attention to her. The misogyny is also laid on thick in a cut off The Massacre called
“Get In My Car”: “My game fuck with a bitch brain till she think she wifey/Spent a life
savings in a day cos she likes me/Commitment for me? Aw naw not likely!” (Jackson) 50
will get with a girl for a short period of time to bolster his ego, but spending an extended
period of time with a woman is just unthinkable, and perhaps he would much rather
spend time with his G-Unit friends than a good, faithful woman. Imani Perry notices
widespread trends like these: “Too often, hip-hop portrays women as gold diggers
hypersexualized animals who shake their stuff for the camera” (Perry 128). The Atlanta
duo Ying Yang Twins is a specialist in the art of hip-hop misogyny. A part of the southern
“crunk” movement known for hiding strongly misogynistic messages under heavy and
energetic synth beats, the Ying Yang Twins are especially known for their whiny, drawl-
infused voices and an almost foreign slang vocabulary that even further obscure their
misogyny. They first met real controversy with their hit song “Wait” in which they stated
repeatedly their interest in “beating pussy up”, but it gets even worse in “Hoes”: “For real
bitch, don’t take the shit wrong/Thinkin I’m nice, I’ll break ya jawbone/Get the fuck
Gabso 11
dangerously narcissistic egos of these rappers and a forced need for the rappers to make
clear the fact that they are homosexual. Not only does misogyny in this case hide a man’s
true identity, but it also reveals a childishly angry reaction to this forced concealment of
the self.
Associated Press recently reported a dip in sales of 21 percent from 2005 to 2006 of all
“rap” albums. In the article, subjects complain of the identities of mainstream hip-hop
stars becoming diluted, with one Nicole Duncan-Smith complaining that she “can’t really
tell the difference between Young Jeezy and Yung Joc.”(AP) Also quoted in the report is
Southern rapper David Banner, whose marquee hit “Like A Pimp” is not unlike the songs
mentioned elsewhere: “Step into the club looking just like a pimp/We got cash/So we
screaming out ‘shake something bitch’.” (Banner) However, even this minor offender
remorsefully sees the world of mainstream hip-hop for what it is: “Look at the music that
things.” (AP) This latest development propels one to think about what a backlash on this
subversive beauty myth could lead to musically; we might someday see Common, Talib
Kweli, or even more surrealist MCs like MF Doom or Busdriver on urban radio airwaves.
However, it’s still clear that in the year 2007, hip-hop’s male beauty myth still rages on,
even if it’s in its last throes with rappers that carbon copy the style like Young Jeezy or
Yung Joc.
The fact that mainstream hip-hop has sold so much is one of the biggest tragedies
of popular culture, as it is not always the product of the black culture the artists are part
Gabso 12
of, but part of a major label-based, predominantly white power structure meant to debase
masculinity to a parade of meaningless wealth, perhaps to help out friends in the clothing,
jewelry, automotive, and even firearms industries. Conspiracy theories aside, the beats
and the rhymes that make hip-hop such an independently wonderful art have been
Works Cited
Berger, Maurice, Brian Wallis, and Simon Watson, eds. Constructing Masculinity. New
<http://www.allmusic.com>.
Dotson, Edisol Wayne. Behold The Man: The Hype and Selling of Male Beauty in Media
Edwards, Lawrence, et al. “Bitch Niggaz.” The King Of Crunk & BME Recordings
Forman, Murray, and Mark Anthony Neal, eds. That’s The Joint: The Hip-Hop Studies
<http://www.cnn.com/2007/SHOWBIZ/Music/03/05/music.rapbacklash.ap/index.
html>.
Hein, Kenneth. “50 Cent makes health hip, L.L. adds ‘Cool’ to category: rappers seek
5. InfoTrac OneFile. Thomson Gale. Emerson College Boston, MA. 18 Mar. 2007
<http://infotrac.galegroup.com/itweb/?db=ITOF>.
Jackson, Curtis. “Don’t Push Me.” Get Rich Or Die Tryin’. Interscope, 2003.
Jones, Kim, and Curtis Jackson. “Magic Stick.” La Bella Mafia. Atantic, 2003.
Jones, Michael. “Back Then.” Who Is Mike Jones? Warner Bros., 2005.
Perry, Imani. Prophets of the Hood: Politics and Poetics in Hip Hop. Durham: Duke
Wolf, Naomi. The Beauty Myth: How Images of Beauty Are Used Against Women. 1991.