Talk:Homosexuality and hip hop culture

Wiki Education Foundation-supported course assignment
This article is or was the subject of a Wiki Education Foundation-supported course assignment. Further details are available on the course page. Student editor(s): Mjczq3.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 22:33, 17 January 2022 (UTC)

Possible additions
I'm removing much of this content from Hip-hop feminism, since it has no connection with that movement; with some major editing, though, some of it could likely be added here. Cheers, gnu 57 21:59, 20 August 2019 (UTC)

Heteronormativity is reinforced in everyday social settings and can be observed in the hip hop arena. Patriarchal masculinity adheres to expectations of heterosexuality. In mainstream hip hop, the reinforcement of masculinity and adherence to heterosexuality manifests itself in the form of homophobia, particularly in the mainstream. Blye Frank points out that gender obedience in coherence with heterosexuality and masculinity is a social product which is embedded in people's everyday lives. Frank claims that part of this gender obedience is expressed in the form of competition among men, which then often appears in the form of homophobia, discrimination and violence against men. The idea of gender obedience and adherence to masculinity which then produces homophobia, presented by Frank, can be identified in hip hop as a reoccurring theme. The use of homophobia in hip hop is then used as a tool to emphasize one's own masculinity and power. Terence Kumpf claims that gender and sex norms are recreated and reinforced in mainstream rap, while mainstream rap also uses homophobic and transphobic attitudes and lyrics to sell records. Lamont Hill describes lyrical outting as a practice in hip hop that promotes homophobia. Lyrical outting is a practice where MC's 'attack' another artist who is not queer or not openly queer, yet 'out' them by calling them gay or exposing them through the lyrics of a song or rap. The use of lyrical outting assumes queerness as a negative attribute for a person participating in the hip hop arena because of the pervasive expectations of upholding masculinity and heterosexuality. In addition to the way that lyrical outting maintains the mainstream narrative of heterosexuality in hip hop; Lamont Hill also claims that it is proof that queer identities do not comfortably fit into the hip hop world. Aside from homophobic attitudes, mainstream hip hop has had a primarily (and universal) heterosexual narrative as the messages portrayed in hip hop are often told from a heterosexual man's perspective. The domination of homophobic and heterosexual attitudes in hip hop which are still very much intact have resulted in resistance against these narratives by LGBTQ+ people who choose to participate in hip hop. These narratives have been replaced by LGBTQ+ hip hop artists that seek to empower queerness rather than shame it.

The homophobia in Hip-Hop is situated in the larger world as well and therefore, homophobia is not exclusive to Hip-Hop and is a reflection of the larger society. While homophobia in Hip-Hop exists, there is also queer representation in Hip-Hop and many Hip-Hop artists do fall under the LGBTQ+ spectrum. Artists such as Frank Ocean, Tyler, the Creator, Syd, Young M.A, Syia, and Kevin Abstract are Hip-Hop artists that are bringing queer identity to the forefront of popular music. iLoveMakonnen is an Atlanta, Georgia-based rapper who came out as gay in s series of tweets in early 2017. He continues to work with mainstream artists such as Rae Sremmurd and Santigold.

Tyler, the Creator is a contradictory representation of both homophobia and queerness in Hip-Hop. There has been controversy surrounding his sexuality because he has been largely accused of aggressive homophobia in his previous lyrics. In one particular lyric to a song released in 2009, he raps, "come take a stab at it faggot, I pre-ordered your casket." However, he published a tweet in 2015 referencing coming out of the closet and later on in the 2017 album Flower Boy he has explicitly homosexual lyrics rapping, "I been kissing white boys since 2004" in the track 'I Ain't Got Time.' This change from explicit homophobia to an admission of sexuality shows the complex nature of queer identity in Hip-Hop. Tyler also released Pride merchandise in his GOLF clothing line in 2015. Along with the release of the merchandise, he released a photo of him and another man holding hands wearing the Pride T-shirts on his Tumblr blog. Frank Ocean is an R&B artist well known in the hip-Hop world as a collaborator and public figure and is affiliated with Odd Future along with Tyler, the Creator. Ocean's bisexual identity is one that he both subtly and not-so-subtly discusses through his music. In a July 2012 emotional letter posted as a tumblr screenshot on his blog, he reveals that he was involved in a relationship with a boy, which was well received by the larger Hip-Hop community In his 2017 song "Chanel" he points towards his bisexuality in the following lines: "My guy pretty like a girl, and he got fight stories to tell. I see both sides like Chanel." Through these lyrics he is able to convey the image of men that are able to be pretty and feminine like girls, while also still holding what is considered traditionally aggressive masculine traits such as fighting. He conveys a subtle gender queerness that is not often talked about in Hip-Hop culture and challenges the hypermasculinity in Hip-Hop. These lines also further show his homosexuality and interest in men by claiming the guy he's talking about as his, using the metaphor of the Chanel symbol to discuss the duality in gender expression as well as his bisexuality. Aside from his own lyrics claiming his sexuality, Ocean has openly supported the LGBTQ+ community as well, singing: "I believe that marriage isn’t between a man and woman but between love and love" in his 2011 song "We All Try." Katorah Marrero, better known as Young M.A is a queer female artist that displays feminism in hip hop by challenging gender norms with her music, appearance, and behavior. In an interview with The Breakfast Club, a YouTube channel whose videos consist of celebrity interviews, Young M.A talks about her childhood and how she identified more with masculinity than with femininity. She used to play football and would cut the hair off of her Barbie Dolls in attempt to make them look more like boys. She also mentioned how it was difficult to come out at first, especially to her mother. Even when she first started getting noticed for her rapping, she agreed to rap about boys and even wear a dress if necessary. Yet, she never did this. She mentions how none of that was her; she wasn't that type of person so she wasn't going to pretend to be it. In an interview with Vogue Magazine she told them "...once I got that out of me, the music became easy" when referring to what it was like to disassociate herself from femininity in her career. By not conforming to heteronormative behaviors in hip-hop, Young M.A brings awareness to the queer community and the complexity of gender.

Macklemore, whose real name is Ben Haggerty, is a white, straight rapper that created one of hip hop's first mainstream anthems "Same Love" bringing attention to homophobia not only just in hip hop but across the world. Macklemore is from Seattle, Washington where politics are more liberal leaning. He was featured in OUT magazine where he talked about his upbringing. He states "Where I grew up, there were huge gay pride parades less than a mile away from me," Macklemore says. "My dad’s best friend was gay. My barber was gay. My uncles owned this restaurant that was a huge magnet for the gay community. My whole upbringing was around gay people." During the interview he talks about questioning his sexuality at a young age and wanting to join ballet to be in solidarity with a classmate that was being bullied. Macklemore has been accused of appropriation from both the Black community and the gay community but he says that the song is about equality. The song reached 89 on Billboard' s on Hot 100 which is a major achievement for bringing a broader awareness to the struggles of the LGBTQIA+ community.

Although homophobia is a significant part of Hip Hop, people within this music industry are doing what they can to combat that and instead being advocates for the queer community within Hip Hop. One particular group in Hip Hop is Cuban collective Las Krudas. Made up of Odalys Cuesta-Rousseaux, Odaymara Cuesta-Rousseaux and Olivia Prendes-Priverón. These women show society that they aren't afraid to push buttons and act not according to gender roles expected of them. Being women that don't look like "traditional females" in society, they are breaking boundaries and leading the way for other people to do what they love whether it's getting involved with Hip Hop or not. We see with Las Krudas, that empowerment we feel within our bodies is so important to how the world views us and how our actions affect other people. Because the women in Las Krudas appear comfortable in their own skin and confident doing what they do (which is breaking boundaries), this advocates for other people in the queer community to not be afraid to be themselves and get out their and accomplish their goals. Las Krudas encourages queer women and queer people alike to not let patriarchal systems and discrimination hold them back from doing what they love. Especially in Hip Hop, you think of women as the video girl or the side chick but really, women have so much more potential than that and society needs to recognize that image isn't the only image available for a woman in Hip Hop.

Marc Lamont Hill writes about the homophobia in hip-hop as something deeply layered. Lamont Hill notes that although there has been queer presence in hip-hop from the beginning, homophobia in mainstream hip-hip has sustained hyper masculinity. One of the most evident ways heterosexuality and homophobia is so embedded in hip-hop culture is the absence of queer artists in mainstream hip-hop. Within hip-hop culture, there is a practice called the politics of outing which is referring to when an artists outs another artists sexuality. The practice of outing comes in various forms such as in lyrics and name calling. Outing someone in hip-hop reinforces notion of heterosexuality and homophobia. While there is a strong presence of homophobia in hip-hop, there is an entire community within hip-hop known as the "homo-thug" which has helped bring queer individuals together. Overall, within hip-hop, there is a complex contradiction.

Why don't you acknowledge this homophobic line from Public Enemy?
Meet the G That Killed Me" features homophobic etiology and condemns homosexuality: "Man to man / I don't know if they can / From what I know / The parts don't fit".[9][46] — Preceding unsigned comment added by 2001:8004:2740:761C:79D7:BFD2:C76:BC8A (talk) 04:46, 8 June 2020 (UTC)