User:Toni147467/sandbox

In 2015 Chin’s off broad way performance MotherStruck! Depicts her [http://motherstruck.com/ personal journey to motherhood as a single woman, lesbian and activist who does not have health insurance or a “serious, stable financial set up,” but wants to have a child. Told through Chin’s uniquely personal and poetic lens, this solo show explores how the process changed her life and how she makes peace with what she learns from this profound experience.]   “For many women of color, choosing to become a mother challenges institutional policies that encourage white, middle class women to produce and discourages and even penalize low income racial ethnic women of color from doing so. ” Choosing to have a child as a single Black lesbian revokes oppressive institutions such as capitalism, white supremacy, patriarchy and heterosexism which work to further maintain the subordinacy of women thus making the personal political.

As a feminist performer Chin displays autonomy by sharing the details of her life that differ from standard patriarchal Ideals. Her work speaks on her experience of being black queer and a woman simultaneously. More often than not Chin’s work embodies nuances of intersectional storytelling and stand point theory because it is based off of her real life experiences.

As a feminist performer Chin displays autonomy by sharing the details of her life that differ from standard patriarchal Ideals. Her work speaks on her experience of being black queer and a woman simultaneously. More often than not Chin’s work embodies nuances of intersectional storytelling and stand point theory because it is based off of her real life experiences. The black women's ability to forge the individual unarticulated, yet potentially powerful expressions of everyday consciousness into an articulated, self-defined, collective stand point, is a key to black women's survival. As Audre Lorde examines “it is axiomatic that if we do not define ourselves for ourselves, we will be defined by others.”

Outing In Hip Hop

Outing validates the overtly masculine nature that comes with hetero normative Black male performance in Hip hop. Within hip hop and black culture Black masculinity is exclusively bonded with hetero normative adherence. If a member of the Hip Hop community is suspected of indulging in activity that takes away from the masculine performance they are exiled and lose massive amounts of credibility. Lack of representation and the silenced experiences of non-normative Black bodies in hip hop further perpetuate homophobia in hip hop. Outing has been used as a tool in American gay rights movements during the 1970'S to increase the number of visible LGBTQ members in hopes of changing damaging narratives. The irony of homophobia in the hip hop community is LGBT members serve as the back bone to hip hop by supporting all of its needs in areas like Hair, makeup, back up dancers, backup singers, and stunt doubles.

'''why are these two sections here? the page is outing in hip hop right? ---> Homophobia in Hip Hop Masculine performance in hip hop'''

Wiki Page Annotated Bibliography

Brown, Joshua R. "Journal of Homosexuality." No Homo (2011): 299-314. Web. 04 Apr. 2016.

This piece explores the phrase “no homo” as obviously homophobic but also as a way to survive in our culture without suffering the marginalization that those that are homosexual experience. In order to not face this social harm you must prove you are not a homosexual, therefore the phrase “no homo” is a means of survival in the face of potential moments that could be accused as homosexual. Similarly we can relate the useage of the phase, and culture of “no homo,” in hip hop to outing in hip hop, by showing how outing someone in hip hop is an extension of homophobia in this “no homo” culture. “No homo” is used to identify straightness where outing in hip hop is used to declare homosexuality on others, whether true or not, to defame others, and continue a homophobic hip hop culture. good.

2. Kalama, Juba, and Tim'm West' Total Chaos the Art and Atheistic of Hip Hop. New York. Print. This book in the chapter “It’s All One” discusses the Homo Hop movement as not a separate movement at all but as a part of hip hop from the beginning. Gay people in hip hop are not new, as the chapter discusses, but were written out of hip hop when it fell into the mainstream when the singular straight, masculine, male brand of hip hop became popular. That like always the gay people were written out of history and their contribution exploited. Outting in Hip Hop is in the same extension of this patriarchy and homophobia in hip hop in the mainstream, how outing someone in hip hop is to bring down their brand and put them into the “bad” category of gay or part of category of “lesser” hip hop artists.

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3. King, Jamilah. "Eight Openly Queer Rappers Worth Your Headphones." Color Lines. Face Forward, 11 May 2011. Web. 4 Apr. 2017. . This article gives direct examples of rappers who are openly gay and the accomplishments they’ve made during their career. The article also supplies examples of eight artists who are worth listening to, regardless of their sexuality.

'''what does this have to do with outing? also this is a very short annotation'''

4. Wilson, D. Mark. "Social Justice." Post-Porno Hip-Hop Homos: Hip Hop Art, Gay Rappers, and Social Change (2007): 117-140. Web. 04 Apr. 2016. This article discusses the black gay men rap group the Deep Dick Collective. This article is a reference to notable out rappers in hip hop for our outing in hip hop page. It discusses the homo hop movement as homosexuals in hip hop who have been there since the beginning and how Deep Dick Collective fights against that stereotype and makes outing a celebration not a negative career ruining action Hip Hop culture is a culture around the masculine, straight, male, and homophobia and in outing someone you are playing this role but by openly gay and successful groups such as the Deep Dick Collective being present they are breaking this norm and making outing in hip hop no longer a negative.

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5. Means Coleman, Robin R. R., and Jasmine Cobb. "No Way of Seeing: Mainstreaming and Selling the Gaze of Homo-Thug Hip-Hop." 5.2 (2007): 89-108. Web.

where is the annotation?

6. Penney, Joel. "“We Don't Wear Tight Clothes”: Gay Panic and Queer Style in Contemporary Hip Hop." Popular Music and Society 35.3 (2012): 321-32. Web.

This Journal gives an analysis on the rifts between the increasing acceptance of queer-influenced style within the genre of hip hop and its simultaneous counter attack, mostly powered by those who continue to perpetuate a hyper-masculine black male standard. The journal goes into depth about the black male body and the way that queer influence, in fashion and hip-hop style, shatters images of assumed overt masculinity in hip-hop. Hip hop culture works hand and hand with the fashion industry ironically the same men that urge to maintain a hyper masculine performance have clothes lines and are the setting the performative terms.

when you use this be sure to connect it directly to outing.

7. Smith, Marquita R. "“Or A Real, Real Bad Lesbian”: Nicki Minaj And The Acknowledgement Of Queer Desire In Hip-Hop Culture." Popular Music & Society 37.3 (2014): 360-370. Academic Search Complete. Web. 4 Apr. 2016. http://eds.a.ebscohost.com.libdatabase.newpaltz.edu/ehost/detail/detail?sid=16d6959a-e85e-42ba-a095-8f50c3bf9837%40sessionmgr4003&vid=0&hid=4205&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#AN=95678696&db=a9h

This essay explores how female rapper Nicki Minaj baits queer desire as a mode of empowerment, self-objectification, and fantasy through an examination of her musical works and associated images. The author argues that her expressions of queerness reify both hetero- and homosexual desirability while addressing sexual desire and fulfillment in her music and contribute to creating space for varying possibilities of black female sexual subjectivities in an environment hostile to such exploration.

what does this have to do with outing?

8. Clay, Andreana. "Like An Old Soul Record: Black Feminism, Queer Sexuality, And The Hip-Hop Generation." Meridians: Feminism, Race, Transnationalism 8.1 (2008): 53-73. Academic Search Complete. Web. 4 Apr. 2016. http://eds.a.ebscohost.com.libdatabase.newpaltz.edu/ehost/detail/detail?sid=45fbab2a-242f-4262-9f39-360a237d077e%40sessionmgr4001&vid=0&hid=4205&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#AN=33415470&db=a9h

where is the annotation?

9. Brown, Ruth Nicole, and Chamara Jewel Kwakye. Wish to Live. New York: Peter Lang, n.d. Print. https://bbnewpaltz.sln.suny.edu/bbcswebdav/pid-1869009-dt-content-rid-2734137_2/courses/spring16_WOM393_02/Brown%20and%20Kwakye_Wish%20to%20Live%20excerpts.pdf

One of The authors from this reading discusses the intersection of her identity between black, lesbian, and a hip-hop feminist. The other authors also discuss being a queer member of the hip hop community, and how that affects people’s perception of them. “Our disappearance from Hip-Hop’s phallocentric history is not by happenstance but by the heteropatriarchy and the heteronormativity that insidiously surround Hip-Hop and structure our society.”

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10. "Homo Hop is dead, Queer hip hop is the real deal". 429 Magazine, March 11, 2013.

http://dot429.com/articles/1645-homo-hop-is-dead-queer-hip-hop-is-the-real-deal

where is the annotation?

'''I think this is going to be a great page, but you missed some obvious sources from class and the sources listed here are treated very unevenly. 5/7'''