Citation: Moody, M, (2011). The Meaning of “Independent Woman” In Music. ETC: A Review of General Semantics.
Acknowledgements: I would like to thank students; Courtney Webb, Jessica Foumena and Chelsea Quackenbush, for helping me research this important topic.
Using the concept of intersectionality, this essay combines feminist and critical cultural theories to analyze the meaning of “independent woman” as defined in rap music. Findings indicate lyrics often juxtapose images of the “independent woman” with those who only achieve financial success through successful men—hence the “gold digger” is pitted against “Miss Independent.” Such lyrics both empower and denigrate women as they discuss the importance of being independent while also emphasizing the necessity of material wealth, physical beauty and superwoman skills to truly achieve it.
Keywords: independent black woman, rap music, hip-hop, feminist theory, critical cultural studies.
Introduction
Rapper Roxanne Shanté debuted her rendition of “Independent Woman,” in 1989. Her lyrics explored relationships and admonished women not to buy into fairytale dreams or the idea that a man is going to take care of them. The tables have turned; however, today, mostly male rappers talk about “independence.” Such lyrics often juxtapose images of “independent black women” with “gold diggers,” or those who only achieve financial success through highly successful men.
Researchers have analyzed a variety of themes within rap music. Some scholars suggest rap music portrayals are negative often promoting violence, sex and materialism (Kubrin, 2005; Zillman et al., 1995), while others have accused it of being overly sexist, colorist and degrading toward women. However, there is a gap in the literature regarding the frequently used perception of “independence.”
Using the concept of intersectionality, this essay combines feminist and critical cultural theories to analyze the topic, its meaning in popular culture and the impact it may have on children. The author selected three rap songs, a R&B single and corresponding videos that discuss “independence” and analyzed them for overarching themes and cultural narratives.
An intersectional approach to analyzing the disempowerment of marginalized women attempts to capture the interaction between two or more forms of subordination. Such analyses, for example, address the manner in which racism; patriarchy, class oppression and other discriminatory systems create inequalities that structure the relative positions of women, races, ethnicities and classes etc. (Ludvig, 2006).
Review of the Literature
Popular culture is an important source of ideas that can shape people’s perceptions of themselves and other people (Collins, 2004). Although, mass media continue to belittle and represent rap music in a negative light, it is a large part of popular culture that scholars must continually analyze and explore for new messages and meanings (Pough, 2002). Rap music is particularly concerning because it is pervasive and very influential in the lives of children and teens. In the end, popular culture affects people’s expectations of themselves and society as communication through music is constantly producing and reproducing ideologies of social existence (Livingstone, 1998).
Traditionally, African American and Latino adolescents mainly utilized rap music as a form of opposition to attract attention toward social issues. Rap music serves as a means of reflection on poverty, police violence, discrimination, apartheid and hostility in their neighborhoods (Cheney, 2005). For example, a content analysis of ‘‘gangsta’’ rap by Kubrin found that this particular subtype of rap music focused on creating social order in which the use of violence is not only accepted but also seen as necessary to African-American life (Krohn and Suazo, 1995).
Echoing him, Krohn and Suazo (1995) found rap music videos placed an emphasis on more controversial themes — materialism and misogyny. Additionally, while male characters were significantly more likely to be associated with a variety of themes, female characters are more likely to be placed in positions of objectification. As a result, as a genre, rap music is often linked to black male identity, which may lead to an increase in themes of sexism and misogyny, which is hatred, or contempt, of women (Sommers-Flanagan, Sommers-Flanagan, & Davis, 1993; Conrad, Dixon, & Zhang, 2009). Misogyny is exemplified in lyrics that refer to woman as “bitches” and “whores” and boast about male dominance in relationships and sexual prowess. Rappers regularly use these words in songs to refer to a woman; the terms have become so popular, in fact, that people often refer to each other that way in everyday conversations.
Many rappers exercise what Michael Eric Dyson calls “Femiphobia,” the desire to assert black male subjectivity in rap music and that this sometimes does so at the expense of black female subjectivity and by suppressing women’s bodies (cited in Perry, 2003). According to Rose (1994, p. 15), such negative stories narrated in rap music “may serve to protect young men from the reality of female rejection; tales of sexual domination falsely relieve their lack of self-worth.” Social hierarchy also plays a role in the content of rap music. When one group, such as black men, is not completely empowered but has a stronger or higher position in the hierarchy, they are likely to attack or oppress the ones under them (Conrad, 2009; Krohn & Suazo, 1995).
Hooks (1992) adds that mass media in general institutionalize white and male supremacist ideologies, which produce “specific images, representations of race, of blackness that support and maintain the oppression, exploitation and overall domination of all black people” (p. 2). Hooks said these result in unappealing and dichotomous stereotypes of black women: for example, the sexually promiscuous black woman, also known as the “oversexed-black-Jezebel,” is an extreme opposite of the “mammy,” who is nurturing and passive, and the “welfare cheat” who lives lavishly off public assistance (diagram 1).
This study looks at such representations via interpretive analysis of lyrics from four songs and videos. The author seeks to get beneath the surface and to outline culture as a narrative in which particular texts consciously or unconsciously link themselves to larger stories at play in the society. To conduct textual analyses, Miles & Huberman (1994) instructed readers to immerse themselves in data, organize it into categories and ask other researchers and readers to look over their articles and gauge the validity of the categories.
Combining this approach with feminist theory provided a comprehensive look at: 1) the intersections of race, gender and cultural hierarchy in the 21st Century and 2) context and intent of “independent woman” narratives in rap music.
Overview
The definition of an “Independent Woman” in the Urban Dictionary, a predominantly African American written and defined website, states, “A woman who pays her own bills, buys her own things, and does not allow a man to affect her stability or self-confidence. She supports herself on her own entirely and is proud to be able to do so.” However, “independent woman” takes on different meanings depending on the person using it. For example in his blog, James (2004) writes that the phase “independent woman” has gone “excessively far, to the point where it is now inconsistent and in many ways cartoonish, mannish and just plain unattractive.” He adds:
In the quest for so-called “independence,” some women have given up substantial portions of their womanhood the very things that many men look for in a woman. Most of what remains in “women” is aggressiveness and negativity. It is not a problem for a woman to be assertive and ambitious, but it is not very attractive when a woman is aggressive (p. 1).
James’ definition is incredibly different from songwriters who often classify independent women as sexy, beautiful and skillful. It also differs from Shante’s vision of independent women mentioned at the beginning of this essay. These variances in opinion underscore the importance of studying the phenomena of the “independent black woman” in the 21st Century.
To investigate overarching themes in lyrics addressing “independent women,” this analysis looks at three rap songs and an R&B single released in the 2000s. Their links to Youtube videos are included:
· "Independent" by Lil’ Webbie appeared on his album, Savage Life, on December 8, 2007. http://www.youtube.com/watch?v=jCUiGArhW2M&ob=av2e
· "5 Star Chick" or "5 Star Bitch" was released May 20, 2009. It is the first single off Yo Gotti's fifth studio album, Live from the Kitchen. http://www.youtube.com/watch?v=Y_oRCTthGFg
· Drake’s "Fancy" was released on August 3, 2010. The song features T.I. and his co-producer Swizz Beatz. It is the fourth single from his debut album, Thank Me Later. http://www.youtube.com/watch?v=L3v0xE9aF6I (unofficial video).
· "Miss Independent" by pop/R&B singer Ne-Yo came out in 2009. It is the second single from his album Year of the Gentleman and was produced by Stargate. http://www.youtube.com/watch?v=k6M5C-oKw9k
Although Ne-Yo’s song is from the R&B genre it is insightful for this essay as it contains some of the same themes discussed in rap music.
Discussion
This analysis revealed three primary themes in rap music discussing independence “material wealth equals independence,” “beauty, perfection and independence are interconnected” and “women who are not independent are gold diggers.” Because of these dichotomous portrayals mentioned above, songs and accompanying videos about “independent women” often contain underlying mixed messages. For example, Lil’ Webbie’s video for
“Independent” on one hand, depicts “independent women” in various settings such as classrooms, offices and hospitals. It begins with girls studying and learning current events and dreaming about their futures. They are doctors, business executives, and even the first African-American female president. However, on the other hand, they wear short skirts, skimpy low-cut tops and high-heeled shoes throughout the video – even the teacher wears provocative clothing. The males, however, are dressed very comfortably in oversized jeans, T-shirts and baseball caps.
Similarly, the sleek, high quality video for R&B artist Ne-Yo’s “Independent Woman” includes well dressed, sophisticated corporate women accompanied by a very well-dressed Ne-Yo, the only male in the video. It begins with Ne-Yo walking through a corporate office in which all of the employees are beautiful model-like women with gorgeous bodies, long hair, false eyelashes and heavy makeup. Each woman is either wearing a low-cut top, a very short skirt, and high-heeled shoes. In addition, they behave inappropriately for the office setting, for example, sitting with their legs propped on desks, revealing long, shapely legs and ample cleavage. In the end, a female executive takes Neyo out on a date.
Beauty, Perfection and Independence Are Interconnected
The most prominent theme in rap music discussing independent women is perfection. For example, Drake’s single, “Fancy,” has a mixture of positive and negative messages that emphasize beauty. He addresses a woman maintaining a healthy body: Hit the gym step on the scales stare at the number/ You say you droppin’ ten pounds preparin’ for summer/ And you don’t do it for the man, men never notice/ You just do it for yourself you the f*** coldest (Drake, 2010). On one hand, he gives her respect for doing it for herself. On the other hand, he emphasizes that hitting the gym and physical beauty are important for a women.
Drake continues this thought throughout the single: Nails done, hair done, everything did / Nails done, hair done, everything d... / Oh you fancy huh / You gettin’ ready so I know we gon’ be here awhile/ In the bathroom flat irons and nail files/ Spendin’ hours in salons on your hairstyle / In the mall steady rackin’ up the air miles / (Drake, 2010). While he complements a woman, once again, the focus goes back to the physical appearance. These lyrics could lead to the idea that the only way a woman can be acceptable in a man’s eyes is if she is flawless.
Similarly, Drake speaks of the ideal women as intelligent, which is great; however, he says they have to have a little class and the confidence to “overlook my past ways,” which means he wants a women to excuse his imperfections. However, he appears to demand a flawless woman. For example, the singer speaks of his independent women as, “Independent with the demeanor of an R ‘N’ B singer / Naked ring finger (Check) / M3 Beamer (Check) Champagne Range/ Triple white Jag’/ Closet full of brand new clothes and hand bags / Alexander McQueen, Prada, Gucci, Chanel. He boasts of many name brand items owned by his ideal women.
Independence coupled with perfection is a common theme also found in Ne-Yo’s single “Miss Independent.” Ne-Yo, states: /Cause she walks like a boss, Talks like a boss,/ Manicured nails to set the pedicure off,/ She’s fly effortlessly. And she move like a boss, / Do what a boss do, She got me thinking’ about getting’ involved/ That’s the kind of girl I need oh… While he discusses women being the “boss,” his video has patriarchal undertones, in which he is the only man surrounded by many women. Even as the gender minority, he is doted on and treated like a king and waited on as if he is the “master.”
While not using the phrase, “independent women,” Yo Gotti speaks of one in 5 Star B, in which his lyrics discuss the ideal woman as having a perfect credit score in addition to being a churchgoer and a schoolteacher. Here, the songs remind men that they deserve a “perfect” woman – or “bitch” who will love them for “who they are,” even though the expectation is not reciprocated. Lyrics even specify that the ideal woman should go to church and in this case, teach Sunday school.
Image from http://i35.tinypic.com/2uraskw.jpg
The video begins with a woman wearing a very tight pair of jeans and a short T-shirt walking in front of several men who ogle at her as she switches by. The women in this video are depicted as well-rounded: beautiful, studious, sexy and maternal. From a patriarchal viewpoint, they are perfect in every way. However, the men in this video are average. They sit on a stoop all day dressed in T-shirts, sweats and baggy jeans. In fact, Yo Gotti alludes to perfect women should stick with not-so-perfect men, which he calls “gangsters.” He says, “She can cook and clean, she know how to treat a gangsta right.” Therefore, while the women in this song are professional and perfect, he matches them with men who are “gangsters.” In other words, even the lowliest gangster deserves a mate who is a 5-star woman or “bitch” as he calls her.
Similarly, Lil’ Webbie speaks of his ideal mate graduating from college and having material wealth. I-N-D-E-P-E-N-D-E-N-T Do You Know What That Mean? Baby Phat Jus Relax Front Ya Own Flat Screen. Back Rubs Cook Clean And Don’t Make Her Make Her Scene. This section shows that she is stylish as well as hard-working, on one hand. Yet, she is a devoted mate who works two jobs, cooks, cleans and always looks pleasurable to the male eye on the other. In other words, she is worth settling down with because she is not like the “others.” However, it appears that the ideal relationship is one in which the woman does everything while men do nothing.
The underlying message in all of these songs is that it is necessary for women to be outstanding in every area including work, cooking, looks and motherhood while men are not held to the same high standards. Perhaps many rap artists have images of gold diggers or “riders” in mind when they preach independence. Describing the gold digger frame, Yvonne Bynoe (2010) wrote in her blog, that in the world of R&B and hip-hop, women are rarely the bosses or shot-callers; they are usually depicted as “riders.”
The female rider supports the man in her life by providing good sex and eye candy AND by dealing with his infidelities and general foolishness. In exchange wifey, as she’s known, lives a lavish lifestyle—that is as long as the wealthy man is pleased with her. When he’s ready to move onto the next woman it’s hasta la vista baby (p. 1).
Echoing Bynoe, performing songwriter and female hip-hop/rap recording artist Shee states that today’s women don’t have leadership skills because the images they see of females in our culture portray black women as a man’s accessory, oversexed, materialistic and image obsessed (Andrews, 2006). She states:
Hip-Hop is filled with hoochies, eye-candy freaks, baby mommas, gold diggers and so on…women that do not accurately reflect what it means to be a young Black woman in urban America. I’m here to fill a void and share a perspective that everyone can relate to but its currently unaddressed in music. To have a culture with so many negative portrayals of woman and no counteraction leaves young ladies in a vulnerable and damaging position (p. 1).
This is relevant, according to the songs in my study, because materialism is the ultimate symbol of independence. Women who can pay for everything are the ideal.
Conclusions
Some readers might ask, “Is there anything wrong with teaching women and girls that being independent is good, regardless of one’s motive for doing so?” Indeed, the message of independence is great; however, it should not be packaged with ideas of beauty, materialism and unrealistic standards. In fact, one may argue that such songs actually do more harm than good as they remove a woman’s independent thought. For example, girls who listen to these songs may begin to believe they are supposed to be perfect, beautiful, physically fit and financially independent — but dependent on a man for love and affection as well a boost to the ego and self-esteem.
Future studies that may build on this research might focus on how young men receive these messages of misogyny in rap/hip hop music. This would flesh out Dyson’s theory that “sexism mediates black female and male relations, empirical evidence would be crucial to understand the boys’ negotiation of misogynistic lyrics.”
Another study that might be of interest is how young women personally identify themselves. In other words, what other words might be useful in describing women instead of “independent.” Finally, a study that looks at songs focusing on “independence” written by female rappers is long overdue. Of interest would be interpretations and differences in their lyrics compared to male rappers.
As this essay reveals there are many definitions and connotations of “independent woman.” Some are good and some are bad. It is hoped that listeners are able to choose their own meaning and not be duped into believing that they must fit someone else’s ideal of an “independent women” when, in fact, their own definition may be more fitting.
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