说唱被认为是一种音乐，它作为一种表达的方式，为那些在美国社会中感到疏远和愤怒的人有一定的原因。根据许多学者的嘻哈在美国起源于弱势社区，并作为一个声音的人缺乏后中学教育，并在新的后工业服务业经济的就业困难。在早期开始说唱艺术家畅谈了贫穷、种族歧视及不公。作为体裁的发展，饶舌歌手会寻找他们的每一个生活的其他方面的启示。男性/女性的关系将在他们的歌曲中作为一个共同的主题。在第一章讨论了女人的消息可以在说唱男很大一部分发现打。虽然说唱已被相关的主要领域的男性，女性对这一流派的贡献也显着。因此，它是值得研究他们的遗产如何贡献在美国的黑人女性形象。同样重要的是要注意他们的歌曲中的消息不同于那些说唱歌手的歌曲。在这一章中，我将重点放在黑人女性身份的主题，它贯穿了女性说唱歌曲的歌词，从20世纪80年代末开始，通过二十个世纪的开始。我将借鉴文学黑人嘻哈文化批评家如Tricia Rose，作品贝尔·胡克斯支持我的分析，Gwendolyn D. Pough或Cheryl L. Keyes。在这项研究中提出的研究结果将基于现有的研究主题，以及我的歌词解释的广告牌的热说唱年终排行榜。
Rap is considered to be a type of music which serves as a means of expression for those who feel alienated and outraged in American society for certain reasons. According to many scholars hip hop in America originated from disadvantaged neighborhoods and served as a voice for people of who lacked post secondary education and had difficulties in finding a job in the new post-industrial service sector economy. In the early beginning rap artists rapped about poverty, racism and injustice. As the genre was developing, rappers would look for inspiration in other aspects of their every life. Male/female relationships would appear as a common motif in their songs. As discussed in the first chapter misogynistic messages could be found in a great share of male rap hits. Although rap has been associated mainly as domain of men, female contribution to this genre is also significant. Hence it is worth to examine how their legacy contributed to the black female image in the United States. It is also important to note how the messages in their songs differed from those of male rap artists. In this chapter I am going to focus on the motifs of black female identity which permeated the lyrics of female rap hits starting from the late eighties through the beginning of the twenty first century. I will support my analysis by referring to the works of literary black hip hop culture critics such as Tricia Rose, bell hooks, Gwendolyn D. Pough or Cheryl L. Keyes. The findings presented in this study will be based on the existing researches on the subject as well as my lyric interpretation of Billboard’s Hot Rap Year End Charts.
One of the recognized social theorists, Patricia Hill Collins, set the theory that much of the contemporary social phenomena is understood and analyzed from the European, white male standpoint Moreover, by this approach black women in particular have been perceived as non-human, commodified and objectified. Needless to say it is important to counterbalance this approach by interpreting black women’s lives from their perspective. I find artistic works of female rappers, as well as their interviews to a be a great source for such a counter analysis. Female rap artists would oftentimes identify themselves as belonging to a certain “crew” or would use the words as “fly”, “attitude”, “queen”, “diva” while describing or referring to one another. Based on those self imposed labels Cheryl L. Keyes in her study distinguished four prevailing types of female rappers: “Queen Mother”, “Fly Girl”, “Sista with Attitude” and “Lesbian”. These categories reflect certain images, voices and ages of African American women. Interestingly enough rappers assigned to these groups marked their presence on the hip hop scene in this particular order but, as Keyes noted, they can swing between these teams or belong to a few concurrently.
一个公认的社会理论家，Patricia Hill Collins集，大部分的当代社会现象的理解和来自欧洲的白人男性的角度进行了理论分析，并通过这种方法黑人妇女尤其被视为非人，商品化和客观化。不用说，这是为了平衡这种方法从他们的视角解读黑人妇女生活的重要。我发现女歌手的艺术作品，以及他们的访谈，一是这种反分析的一个重要来源。女说唱艺人经常认定自己属于某个“船员”或将使用的词是“飞”、“态度”、“皇后”、“天后”在描述或指另一个。基于这些自我强加的标签，Cheryl L. Keyes在她的研究中区分了四类女性说唱歌手：“当时女王的母亲”、“飞女”，“Sista的态度”和“同性恋”。这些类别反映了非洲裔妇女的某些形象、声音和年龄。有趣的是说唱歌手分配给这些组明显在这个特定的顺序对嘻哈现场他们的存在，但是，正如凯斯所指出的，他们可以摆这些球队或属于少数同时之间。