Unit III - Queering the Complexities of Hip-Hop Gender Identity

We've discussed  A LOT over these past few weeks.  From "Do tha Homie!" to "4-inch f**k me heels," we had some eye-opening dialogues.  In essence, we have "queered" certain dimensions of hip-hop by interrogating gender normative behaviors.
 The question I'd like to pose is why do you think a lack of boundaries or restrictions is so disturbing to some in hip-hop discourse?  Should women listen to music that refers to them not as women, but b**ches and hoes?  If they do, are they hypocrites?  And, I think another question to complicate the issue is why is this so troubling for the hip-hop genre, and not other musical genres like funk, blues, or hard rock?  I look forward to your responses!

Unit II - The Embodiment of Economics & Politics within Hip-Hop

It's hard to believe that we begin this unit with Tricia Rose's, "Just Keepin' It Real" and initiated conversations interrogating "real," "truth," and "authenticity." 

TuPac and Luther Campbell

Moreover, we've delved into various taboo and mind boggling topics that continue questioning this "truth."  Several of you indicated that you were aware of many negatives perceptions of hip-hop, namely "trap music," but hadn't considered some of the uglier areas discussed.  While most agreed that hip-hop evokes some troubling images, I imagine several of you didn't recognize the political implications of hip-hop then and now, especially Luke's influences.  We've gone from rhetoric to revolutionary rhetoric - "new" sounds that "ain't" hip-hop to more recently sexual proclivities.  Our presentations on Monday suggested even more critical interpretations of hip-hop.  So, I'd like you to answer this - if, according to TuPac, the next revolution must take place in the streets of black communities, what role to do you think hip-hop should play?