A rhetorical analysis of the meaning of the “independent woman” in the lyrics and videos of male and female rapper

Moody, M. (2011). A rhetorical analysis of the meaning of the “independent woman” in the lyrics and videos of male and female rapper. American Communication Journal (ACJ) 2011; 13(1)

 

Mia Moody, Ph.D. is an assistant professor of journalism and media arts at Baylor University. She may be reached at Mia_MoodyHall@baylor.edu

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Abstract

Using the concept of intersectionality, this case study combines feminist and critical cultural theories to explore the meanings of the “independent black woman” in the lyrics and respective videos of male and female rappers. Findings indicate both groups use foul language to describe women and juxtapose images of independence with material wealth. However, male rappers are more likely to include messages of beautiful, overachieving women paired with average men while female rappers focus on their own sexual prowess. Also worth noting is while male rappers highlight domestic skills such as cooking and cleaning, female rappers do not mention them at all. Regarding viewer feedback, it appears audiences of these videos were more influenced by song lyrics than video imagery. Most viewers praise songwriters for their creative works and debate who the best rapper is. Very few explore the true meaning of independence and relationships.

Keywords: independent black woman, rap music, hip-hop, feminist theory, critical cultural studies.

 “Ladies listen up, I really hope you’re ready… So lend me your ears, dry up your tears and lets hear the cheers for the years of the independent woman.”

--Roxanne Shanté’s 1989

Introduction

The definition of an “independent woman” in the Urban Dictionary, a predominantly African American written and defined website is: “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.” Similarly, Roxanne Shanté’s 1989 rendition of “independent woman,” explored relationships and admonished women not to buy into the fairytale dream that a man will always take care of them. Conversely, some of today’s male rappers depict the “independent woman,” as having material wealth, beauty, brains, domestic skills and the ability to take care of her man.

Bloggers, YouTube viewers and feminists also have vastly different ideas about the “independent woman.” For example Darryl James, a blogger and author of “Bridging The Black Gender Gap,” asserts that the phrase “independent woman” has gone excessively far and its meaning is inconsistent and in many ways “cartoonish, mannish and just plain unattractive.” He adds that in the quest for so-called “independence,” some women have given up substantial portions of their womanhood, which has been detrimental to fostering meaningful relationships in the black community (James, 2010). Similarly, Tina Portis, an entrepreneur and former single mother of three, depicts independence as a natural part of adulthood, on one hand, and detrimental to relationships, on the other. Her 2010 video clip posted to YouTube has 15,387 views to date and hundreds of comments. In the video, she asserts that independent women do not need a pat on the back for doing what grown ups are supposed to do: pay their bills; buy houses and cars, etc. She adds that independence discourages relationships as people begin to believe they can do everything alone, so they do not need a mate.

Historically, Wallace (1979) asserted that the myth of the black superwoman essentially consists of stereotypes deeply rooted in slavery, or the idea that although “lazy,” black women are able to do more physical labor than the average woman, they consistently sacrifice themselves for others, have no emotion, and are really just “men.” She adds that the matriarchal structure of the black family led by a strong black woman during slavery is often credited for the emasculation of the black man and subsequently the dysfunctional nature of the black family. She writes: “Less of a woman in that she is less ‘feminine’ and helpless, she is really more of a woman in that she is the embodiment of Mother Earth, the quintessential mother with infinite sexual, life-giving, and nurturing reserves. In other words, she is a superwoman” (p. 107). These myths of the black superwoman have helped shape the negative perceptions of black women as a whole, which carries over to present day stereotypes found in imagery of the “independent” black woman.

This variance in viewpoints underscores the importance of studying the phenomena of the “independent woman” in the 21^st Century. I personally became interested in the topic at a concert during which an artist described his idea of an “independent woman.” I looked at the women in the audience praising the song, and I wondered how many of them, like me, were overworked single mothers struggling to pay bills while raising children alone and trying to look appealing. That was when I decided the glamorous “independent black woman” depicted in popular music is a misnomer. After looking at the lyrics of other songs, I found that rap lyrics are particularly interesting because they often juxtapose positive and negative portrayals of an “independent woman.”

There is much interest in how rap lyrics may contribute to sexism within the family, community, and society (Sommers-Flanagan, Sommers-Flanagan, & Davis, 1993; Conrad, Dixon, & Zhang, 2009; Kubrin, 2005; Zillman, 1995). Researchers have found rappers place an emphasis on controversial themes such as drugs, violence, materialism and misogyny (e.g. Krohn and Suazo, 1995; Conrad, Dixon, & Zhang, 2009; Kubrin, 2005). Additionally, rap songs are more likely to place female characters in positions of objectification than males.  However, these studies neglect to compare how male and female rappers differ in their messages. In addition, few studies have analyzed representations of “independence” in rap music. I hope to fill that gap with this essay.

Using the concept of intersectionality, I combine feminist and critical cultural theories to explore historical representations of “independent black women” and analyze their meanings in the lyrics and respective music videos of popular male and female rap artists: Yo Gotti, Webbie, Drake, Candi Redd, Trina and Nicki Minaj, who all had popular songs focusing on the subject in the late 2000s. I also looked at viewer comments to YouTube videos to assess audience feedback. This study is of significance because rap music is a large part of popular culture that scholars must continuously analyze for new messages and meanings (Pough, 2002). Furthermore, popular culture is an important source of ideas that can shape people’s perceptions of themselves and other people; and the content of popular music may have a great effect on adolescents as they employ it for self-identity formation (Collins, 2004; North, Hargreaves, O’Neill, 2000).

Theoretical framework

For feminist theorists, there is no dispute that media function ideologically with other social and cultural institutions to reflect, reinforce, and mediate existing power relations and ideas about how gender is and should be lived (e.g. hooks, 1992; Van Zoonen; 1994; Carter and Steiner, 2004). Feminist theorists have long asserted that mass media serve as instruments to transmit stereotypical, patriarchal and hegemonic values about women, which in turn make hierarchical and distorted sex-role stereotypes appear normal (e.g. Carter and Steiner, 2004). Van Zoonen (1994) summarized this “transmission model” as a media reflection on society’s dominant social values that symbolically belittle women, either by not showing them at all, or by depicting them in stereotypical roles (p. 17).

Ardener (1975) posits that women and men in patriarchal, capitalist societies tend to form two distinct circles of experience and interpretation, one overlapping the other (cited in Krolokke & Sorensen, 2006). The masculine circle converges with the norms of society, providing a masculine signature and overriding the feminine circle. Women can either try to translate their points of view into a masculine mode or try to separate alternate models of communication. Therefore, women’s perspectives are often not openly articulated. As a result, their expression is muted (e.g. Orbe, 1995; Collins, 2000; Wood, 1999). For example, muted group theory sees language as excluding and demeaning women based on several factors, including words to describe men and women. For example, “stud,” and “playboy” are popular words to depict promiscuous men. Conversely, less appealing words, such as “slut,” “hooker,” and “whore,” are used to describe women. Worth noting is that muting is not the same as silencing. It is successful only when the non-dominant group ceases to develop alternate communication styles to express their experiences and code their messages. Muting is relevant to this study, which compares male and female messages of “independence,” because it looks at whether songs by female rappers are successful in counteracting negative messages presented by their male counterparts.

While early feminist theorists emphasized the commonalities of women’s oppressions, they tended to neglect profound differences between women in terms of class, age, sexuality, religion and race. For instance, women of color experience sexism in the context of racism. Debates about the adequacy of gender as the central concern of feminist theory led to the useful concept of intersectionality, which emphasizes that women do not experience discrimination and other forms of human rights violations solely on the grounds of gender, but for many reasons, including age, ethnicity, class, and sexuality (Ludvig, 2006). An intersectional approach to analyzing the disempowerment of marginalized women attempts to capture the interaction between two or more forms of subordination such as race, ethnicity, and class.

Inserting texts into the system of culture where they are produced and distributed can help illuminate features and effects of the texts that textual analysis alone might miss or downplay. This study compares and contrasts perceptions of independence male and female rappers. I selected the sample via a YouTube search of songs containing the keywords “women” and independence.” The artists and songs studied are:

• Webbie released “Independent” on his album, Savage Life, on December 8, 2007. http://www.youtube.com/watch?v=jCUiGArhW2M&ob=av2e
• Yo Gotti released “5 Star Chick” or “5 Star Bitch” on May 20, 2009, on Yo Gotti's fifth studio album, Live from the Kitchen. http://www.youtube.com/watch?v=-mOspKPcw2o
• Drake released “Fancy” on his debut album, Thank Me Later, on August 3, 2010. The song features T. I. and his co-producer, Swizz Beatz. (No official video)
• Candi Redd Ft. Rasheeda & Kandi released “Independent Bitches (Remix)” on Jan. 12, 2010. http://www.youtube.com/watch?v=FfYyCEnwzCg
• Trina released “I’m Single Again” on April 1, 2008, on her fourth Album Still da Baddest. http://www.youtube.com/watch?v=tkOJnpai1MI&feature=related
• Nicki Minaj ft. Ne-Yo released “Miss Independent (Remix)” on September 22, 2008. (no official video)

This approach provides a look at: 1) a historical overview of independent women 2) depictions of independent women in songs and videos by male and female rap artists 3) viewer perspectives of these songs based on comments to YouTube videos 4) implications for black relationships and families.

Review of the Literature

Traditionally, African American youth mainly utilized rap music as a form of opposition to attract attention toward social issues. Rap music served as a means of reflection on poverty, police violence, discrimination, apartheid and hostility in their neighborhoods (Cheney, 2005). However, at some point rappers changed their focus. Some studies suggest rap songs promote violence, drug use, sex and materialism, while others have accused them of being overly sexist, and degrading toward women (Kubrin, 2005; Zillman, 1995). Colorism is also prevalent, according to Shaviro (2005) who found female beauty in rap videos is often portrayed as coming as close to whiteness as possible, without actually being white. Colorism is often an issue black people face whereby it is perceived that society gives individuals with lighter skin advantages over those with darker skin (Kubrin, 2005). Shaviro, 2005 stated: 

Hip hop videos today tend to value the same near-anorexic slimness as mainstream white culture does—together with light skin, and long, straight (fake as well as processed) hair. Most recently, there has also been a tendency to focus on women who are “multi-racial,” i.e. black and Asian. (p. 69)

As a result, scholars often link rap music to black male identity, which may lead to an increase in themes of sexism and misogyny, or hatred, or contempt, of women (Sommers-Flanagan, Sommers-Flanagan, & Davis, 1993; Conrad, Dixon, & Zhang, 2009). Examples of misogyny include lyrics that refer to woman as “bitches” and “whores” and spotlight male dominance in relationships and sexual prowess (hooks, 1992; Conrad, Dixon, & Zhang, 2009). Many rappers exercise what Michael Eric Dyson calls “Femiphobia,” the desire to assert black male subjectivity in rap music sometimes at the expense of black female subjectivity or by suppressing women’s bodies (cited in Perry, 2003). 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 groups under them (e.g. Rose, 1995; hooks, 1992; Krohn & Suazo, 1995).

Diagram 1: Common dichotomous cultural narratives and stereotypes of black women

According to Rose (1995, p. 15), the 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. hooks (1992) characterized rap music as a field that male rappers must intensely labor and maintain to sustain patriarchy. hooks (1992) mused “what better group to labor on this ‘plantation’ than young black men.” hooks adds that mass media in general institutionalize white and male supremacist ideologies, which produce “specific images, representations of race that support and maintain the oppression, exploitation and overall domination of all black people” (p. 2). This exploitation often results 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. In the end, certain qualities attached to black women allow people to justify their oppression (Collins, 2000.

Maintaining the invisibility of black women and their ideas has been critical in maintaining social inequalities. According to other researchers, for the most part, black women do not stand up against such messages. For example, in her studies of “superwomen,” Wallace (1979) suggests black men and women have partially accepted the myths about them, which contributes to the creation of sexual and racial barriers for them as a group. Smith (2000) adds that many black women are unwilling to jeopardize their racial credibility as defined by black men to address the realities of sexism.

Several scholars have speculated on why black women remain silent. For example, Terrelonge (1984) contends that African-Americans have withstood the long line of abuses perpetuated against them mainly because of black women’s fortitude, inner wisdom, and sheer ability to survive. In other words, black women play a critical role in keeping black families together, and they take it seriously. Collins (2000) adds that black women have placed women’s liberation, which might kill some of these negative perceptions, on the backburner because they believe the role of uniting all blacks is more important. Additionally, the black church and historically black colleges and universities, which could empower black women, often serve to subordinate them even further (Collins, 2000; Conrad, 2009; Krohn & Suazo, 1995). Armstead (2007) argues that while black female rappers attempt to build their female audience's self-esteem and raise consciousness level, they do not generally self-define as “feminists” and do not want to be seen as anti-black male. In addition, scholars often do not take their work seriously. For example, rapper Sister Souljah’s music as well as her autobiography No Disrespect (1994) focus on black women’s oppression, offer an important perspective on contemporary urban culture, and contribute to black feminist thought as critical social theory. However, scholars often dismiss her work in academia as being “nonfeminist” (Collins, 2000).

The Independent Woman Today

The archetype of the “independent woman” is particularly emphasized today in the hip-hop genre in which male rappers juxtapose independence with the idea that women only seek to achieve success and wealth through men. Describing the gold digger frame, Yvonne Bynoe, author of the Encyclopedia of Rap and Hip Hop Culture (2005), wrote in her blog, “Sophisticated Woman and Mama,” women are rarely the bosses or shot-callers; they are usually depicted as “riders” in the world of R&B and hip-hop.

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 (sophisticatedwomanandmama.com).

These ideas are reflected in the songs in this sample that portray the “independent” woman as the opposite of “gold diggers.” Songs by male rappers in this study present a somewhat positive representation of women, focusing on their superwoman skills and not drugs or violence; however, three problematic themes emerged “material wealth equals independence,” “beauty and independence are interconnected,” “average men, or thugs, deserve an independent woman who is domestic and perfect.” For example, Webbie’s 2007 rendition of “Independent” speaks of his ideal mate as a

Illustration 1: CD Covers for Yo Gotti and Webbie

Image from: http://i35.tinypic.com/2uraskw.jpg

Image from: http://www.mixmatters.com/hot/2008/images/Webbie_Independent.jpg

college graduate who is financially stable, has a perfect credit score, and is a churchgoer and a schoolteacher. These positive lyrics are far better than those that discuss women as sex objects. “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/” (Webbie, 2007). While he desires a woman to take care of him—even give him backrubs—it appears he wants her to have the financial means to take care of herself. Hence, not only is she domestic, hard working, willing to cater to his every whim, but also willing to pay her own bills, etc. Having an overachieving woman at his disposal perhaps elevates him in importance; however, such portrayals subordinate his female counterparts. They never mention reciprocity or the idea that a mate who is doing so many kind things is worth marrying or helping financially. Hence, they let men off the hook when it comes to playing the roles of father or husband and place the burden of fostering a stable family life on women.

Also worth noting is although Yo Gotti appears to demand an “independent” mate who is bright, perfect and beautiful; he alludes to the idea he is not. After listing his desires for a domestic woman, or “bitch,” who will love him unconditionally, he adds, “she knows how to treat a gangsta right” (Yo Gotti, 2009). Therefore, it appears he does not hold himself to the

Illustration 2: CD Cover for Drake

Image from: http://ecx.images-amazon.com/images/I/51RQPsUpAVL.jpg

same high standards as his vision of an “independent woman.” Similarly, Drake appears to demand an “independent” mate who is bright, perfect and beautiful. For example, his single, “Fancy,” has a mixture of positive and negative messages that emphasize perfection. 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 preparing’ for summer/And you don’t do it for the man, men never notice/ You just do it for yourself you the fucking coldest. Drake continues this train of thought throughout the single: Nails done, hair done, everything did/Nails done, hair done, everything d.../ /In the bathroom flat irons and nail files/Spending’ hours in salons on your hairstyle/In the mall steady racking’ up the air miles (Drake, 2010). While he compliments his ideal woman for getting fit, the primary focus is on her physical appearance and spending hours at the salon to gain perfection. Additionally, while he describes her as a flawless woman, he admits he is not perfect. He says his ideal mate must have a little class and the confidence to “overlook his past ways” (Drake, 2010).  This portrayal fosters the idea that men deserve a flawless woman who will love them for who they are, although they do not mirror the expectation.

Worth noting is the male artists in this sample may not really see themselves as thugs or gangsters. They are successful entertainers who have worked hard to foster successful careers. However, male listeners who are not as successful or hard working may also desire the same type of “independent” woman. In other words, these messages may encourage men to hold out for the “perfect” woman like those portrayed in these songs. One solution is to emphasize that this type of woman is scarce. Rappers might label such women as “phenomenal” rather than “independent.” Women who excel at cooking, cleaning, raising children, looking gorgeous, and still find time to dote on their mates, are remarkable, extraordinary and scarce—but not always “independent.”

Misogyny in Lyrics

Another interesting finding is male and female rappers in this sample praise “independent” women, on one hand, while using misogynistic terms to describe them, on the other. For example, Yo Gotti calls his independent woman a “Five-Star Bitch” or “Chick.” Although “chick” is less offensive than “bitch,” it is still not a respectable moniker for a woman. Similarly, Webbie compliments his ideal woman for her financial success, on one hand; he calls her a “broad,” on the other. According to the Urban Dictionary, a broad “is less respectable than lady but much more respectable than bitch.” By referring to his ideal independent woman as a “broad,” Webbie indicates that although his ideal woman is perfect in every way—educated, beautiful and domestic—she is still just a woman. Hence, emphasizing he is above her in social hierarchy.

Interestingly, female rappers also use words such as “bitch” and “chick” for women and “nigga” for men just like their male counterparts. For example, Candi Redd in “Independent Bitches” labels women  “bitches” and “chicks,” while Trina in her song, “I’m Single Again,” states, “You find another bitch let's agree to disagree/don't explain shit to me/I got my own money/there's nobody I need” (Trina, 2008). Their use of the words implies that women approve of them, which supports muted theory in which women’s ideas are omitted (e.g. Orbe, 1995; Collins, 2000; Wood, 1999). While the songs feature female rappers, only male perspectives are articulated as they contain similar messages as their male counterparts. The prevalence of derogatory words to describe women also supports findings by other scholars who conclude rap lyrics contain mysogonistic messages that present women in a negative light (e.g. Sommers-Flanagan, Sommers-Flanagan, & Davis, 1993; Conrad, Dixon, & Zhang, 2009). Consequently, while these songs contain positive ideas, they are overshadowed by negative messages that subordinate women based on gender. These ideas mirror hooks’ (1992) argument that rap music serves to keep black women in their place.

Portrayals of Independence by Female Rappers

Findings indicate, like male rappers, female rappers equate material wealth to independence. However, they disagree on the other characteristics of an independent woman. While male rappers focus on a woman’s domestic skills, female rappers clearly do not. Surprisingly, female rappers tend to present a more negative representation of women, focusing on their sexual prowess and willingness to let men support them although they are financially capable of taking care of themselves. They measure independence by sexual freedom, money

 Illustration 3: Candi Redd, Rasheeda and Kandi and Nicki Minaj

Image from: http://cdn.theboxhouston.com/files/2010/01/Candi-Redd-Remix.jpg

Image from: http://www.singersroom.com/news/pics/2010/08/nicki-minaj-08072010.jpg?__SQUARESPACE_CACHEVERSION=1283090267090

and other things such as travel. For example, in “Independent Bitches,” Rasheeda boasts she has traveled so much; she needs more pages in her passport. She describes herself as “independent like July 4…Independent bitch from my head to my ankles.” Female rap artists also claim to pay

for everything, on one hand, which is in line with the image portrayed by male rappers? On the other hand, they emphasize the importance of men spending money on them. In other words, while espousing “independence,” their lyrics make it clear that men must pay for a woman they desire. For example, in “Independent Bitches,” Redd discusses going to work early in the morning and “ain’t no man payin rent up on the first/gotta get this fucking money keep it in this Gucci purse.” (Redd, 2010). However, the hook, tells a different story. Redd says, “Independent bitches get up on the dance flo’/an if you dat chick make ‘em spend a grand on ya.” This line demonstrates that although she is independent, she expects men to spend money on her, in this case at least a grand.

Another key difference is lyrics by female rappers are more sexually explicit. For example, female rappers often brag about their skills in bed. For example, Rasheeda, exclaims she is the boss bitch and her “Dougie” is fresher than other women’s. She continues with her “nookie,” which is slang for intercourse, makes the fellas take a “down south tour,” which refers to oral sex. Miss Kandi is also explicit with this description of her vagina “They say it feel a little tighter get a little wetter/been told many times I’m the best ever/I asked your man and he said you betcha” (Redd, 2010).  Similarly, Nicki Minaj in her remix of “Miss Independence” with Ne-Yo focuses on oral intercourse. She states “You know they call me down town Julie Brown/I get a lot head/I get a lot of fades and I get lot dread/” (Minaj, 2010). She continues with “I’m looking for a king with some good ding a ling.” These lyrics are catchy and rhythmic, but they clearly focus mostly on a woman’s sexual ability more than anything else, which is not a positive portrayal of women, particularly “independent” ones.

The Obsession with Materialism

It appears that both male and female artists are obsessed with materialism, which supports findings by Krohn and Suazo (1995). Songs by male authors praise

Illustration 4: Trina’s Single Again

Image from http://i95.photobucket.com/albums/l121/cakeandice-cream/Pictures4/Trina-3.jpg

women who do not depend on a man financially. For example, Drake speaks of his independent woman 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” (Drake, 2010). Similarly, Webbie and Yo Gotti speak of their ideal mate’s taste for the finer things in life.

However, female rappers send mixed messages with their ideas of “independence.” Although they boast of buying things for themselves, their lyrics state otherwise. For instance, in “Independent Bitches,” Miss Kandi claims to have pioneered the independent chick movement and she demands respect from other women, designating herself as the head president. She describes herself as an “independent chick independently rich.” She continues with the assertion that she does not depend on men; however, it appears that if they want to be with her, they must buy her gifts. “He’ll spend a million for a taste of me/dey say a independent chick cookie even taste better.” Trina also equates independence with finances in her song, “I’m Single Again.” She tells her unfaithful former fiancé, “Don’t Explain Shit To Me/I Got My Own Money/There’s Nobody I Need/I Need My Own Space/I’m Single Again/” (Trina, 2008). She describes her ex fiancé’s financial problems, and states that although he has maxed out his credit cards, she is still doing well. Similarly, Trina states she has “20 G’s in the Prada bag/Got my own diamonds so I gave back the promise ring/hold up, wait a god damn minute/It ain’t over till’ I say we finished/till’ I get my half” (Trina, 2008). Minaj also fixates on material wealth in her rendition of “Miss Independent.” She discusses closing million dollar deals and her assets such as horses and a pink Porsche with custom-made plates. She warns, “You approach me/say boss because I paid the muthafuckin cost/I’m in the Porsche listening to Rick Ross/I am a muthafucking/that’s why I love me/ Miss Independent” (Minaj, 2010).

Portrayals of Independence in Videos

The videos featured in this study differ greatly in how they depict their ideals of an independent woman. As with lyrics, videos by male and female rap songs appear only partly positive. For example, Webbie’s video “Independent Woman” (directed by Chris Comeaux) includes vignettes of female students in various settings such as classrooms, offices and hospitals. Throughout the video, they study current events and dream about their futures as doctors, business executives, and even the first African-American female president. Their short skirts and tight jeans reveal long legs, curvaceous figures. They are slender, light-skinned or white and young, illustrating colorism as discussed by Shaviro (2005). Even the teacher is model-like in her tight white blouse, short black skirt and high-heeled shoes. Her conservative bun and black-rimmed glasses hide an attractive face. Webbie, on the other hand, is dressed very comfortably in oversized jeans, a jacket and tennis shoes. He stands center stage by himself as the word “INDEPENDENT” scrolls in large gold-plated letters behind him.

Yo Gotti’s “Five-Star Bitch” (directed by Rik Cordero) also contains fantasy imagery of average men and beautiful, perfect women. At the beginning of the video, the main character talks to his friends while standing in front of a house. Two of them shoot dice on the front porch, while another talks on his cell phone throughout the whole video. As if in a vision, a sexy young woman walks by wearing tight jeans and a revealing T-shirt tied in a knot at the small of her back, revealing a tiny waist accented by an ample bottom, which is the focus of the first part of the video. Her long, wavy hair accents her smooth light-brown skin, which is appealing to Yo Gotti who calls her a “yellow bone.” The main character in the video receives a handshake of approval from his friend who hungrily stares at her curves as she walks toward them.

Yo Gotti’s female lead appears ambitious as her day is spent studying, caring for her child and going to college. However, the male lead’s schedule consists of hanging out with his friends and chauffeuring her around in various fancy cars. The fantasy imagery continues, when he takes out a large stack of money that is stored in a plastic baggy in the kitchen cabinet and prepares to count it. An open cabinet door reveals several other plastic bags filled with crisp dollar bills. In another scene, he sits at the foot of the bed and describes a “Five-Star Bitch” while his oblivious love interest sleeps soundly next to him. Throughout the video, his occupation remains a mystery.

Similar to other videos by male artists in this study, Yo Gotti’s video contains fantasy imagery of a plethora of mixed-heritage women reading books on the grassy lawns of a college campus. Although studious and intelligent, they wear thigh-length skirts, high-heels and breast-revealing tops instead of jeans and T-shirts like traditional co-eds. They have long flowing hair, long eyelashes, and flawless skin and are considered exotic and sexy by mainstream standards because of their mixed-heritage.

Also worth noting is videos by female rap artists also include fantasy imagery in which rappers live a lavish lifestyle pampered by members of the opposite sex. Trina’s video “I’m Single Again” (directed by Billy Woodcuff) features scenes in which she is sitting on a beautiful pool side while muscular men give her massages and fan her with a big leaf. Worth noting, is Trina’s attire and her friends’ is tasteful throughout the video. Even her swimsuit is appropriate and she wears a cover-up on the deck. The men wear traditional swim trunks. In “Independent Bitches,” (directed by Mr. Boomtown) the first scene features Candi Redd cleaning up after her son who plays alone in their large mansion. She goes to work, and then hangs out with friends who are well manicured and dressed in designer fashions. Their lives look fun and picture perfect, as they are featured dancing together, getting their nails done and signing autographs. Even the child in the video plays nicely in the living room without making a mess or putting up a fight when she leaves him at home. Comments for “Independent Bitches” are mostly positive. However, a few people realize the irony of the lyrics, which promote independence, on one hand, dependence on men, on the other. One viewer of the “Independent Bitches” video on YouTube posted this comment, “These bitches are the farthest thing from independent I’ve ever heard of. Broke ass unemployed hookers bragging about teasing motherfuckers for money. Get a fucking job.”

Similarly, a few viewers focus on the irony featured in videos by male artists. For example, viewers of Yo Gotti’s video discuss the double standard in which imperfect men want a perfect woman. For example one person stated, “I notice there are women with size 2 waists and flawlessly made up faces on these videos...however I don’t see too many men giving as much effort to impress physically.” In the case of Webbie’s video for “Independent,” a few viewers assert the song may be self-serving or about a man looking for an independent woman to take care of him. Other viewers state the members of his group are only appealing to “gold diggers” because they are “ugly.” On the other hand, negative comments about Yo Gotti’s video frequently focus on the artists’ attire—particularly their baggy pants. One person commented that the artists are too old to dress like thugs. Another one stated if they knew the origins of the baggy pants trend—prison—they would abandon that style of dress.

Worth noting is colorism is not as prevalent in videos by female artists, which feature women and men of all shades and colors. For example, in Candi Redd’s “Independent Bitches” (2008) a fair-skinned female rapper wears cornrows perhaps to show allegiance to her black race. The others are various shades of brown. Surprisingly, because of the inclusion of women of all skin tones, comments about Trina’s video contained some negative feedback. In response to her video, a few viewers said they hate black people and dark skin. One person exclaimed, “Cause black people are dark while everything else is light and light looks good while black looks ugly as fuck.” In response, a viewer suggested, “You need to get some help. Go see a shrink ASAP Because you have seriously lost your mind… You said that you are black but you don’t like black people’s skin color that means you don’t like yourself…” Other viewers praised her for being inclusive.

Based on viewer feedback, it appears that the perception of independence is lost on most viewers of the videos in this study.  Rather than focusing on the topic, most center either on how much they love the song or how the artist ranks against other rappers. Also worth noting, is while comments on the videos of male rappers do not compare them to other artists, such assessments are very common in response to videos by female rappers

Relationships in Rap Music Emphasizing Independence

Rappers in this sample often link the idea of “independence” to a relationship. They express the fear that many adults—both men and women have—the loss of independence in exchange for a relationship and family life. It is difficult to be in a relationship while maintaining one’s independence. Female rappers do not present an ideal image of relationships. Instead, they present a power struggle in which women try to gain the upper hand using sex. Similarly, male rappers in this sample do not mention settling down with the independent woman they desire. Instead, they point out she does not weigh them down, question their previous actions, or beg for money like other women, which makes her ideal. Male rappers, many of whom deal with groupies on a daily basis, perhaps create the image of the self-sufficient woman in response to those who seek them out because of money. However, it appears that they place women in either one category or the other—gold-digger or independent. There is no happy medium.

These lyrics indicate while men desire women who are domestic, female rappers do not mention domestic characteristics at all. In fact, female rappers present mixed messages in their song in which they are independent, on one hand, but searching for money, on the other. The one song in this sample that may have presented a positive portrayal of marriage does not. Instead, Trina’s song, “I’m Single Again” (2008) emphasizes being single again after catching her fiancé cheating with another woman. It begins with her marching down the aisle of a beautiful outdoor wedding. Family and friends surround her, when one of her bridesmaids produces a cell phone with a video of her fiancé making out with another woman. She calls the wedding off and runs out. The next few scenes feature her having fun with her girl friends while her ex tries to get her back. The song vacillates from happy to sad as she discusses the fun times they shared, fanaticizing about a perfect relationship that she likens to Beyonce and Jayzee. She appears upbeat about being single, but she also says, “I thought it was perfect I don’t know how/ and I don’t care what your friends say what we had was like Jay and Beyonce/Or was it all a dream?” As if waking up from a dream, she says, he only wanted her for her body  and what they shared was not love at all. In other words, she was just a sex object. “You fell in love with my ass,” she exclaims. The song chronicles her healing process from the break up. It appears that while he wants to get back together, she tells him not to apologize and she does not want to get back together—she has changed her car and phone number and she has moved on. Perhaps as a slap in the face, she says she is now mingling with ball players.

Other rap artists also discuss the virtues of their ideal woman in their lyrics, but do not totally commit to her. Excuses include I would make her mine if I were not married to the “streets” or “microphone” (Plies, 2008). This perception does little to encourage black men to step up to the plate and take care of their responsibilities as husbands or fathers. Conversely, they portray black women as shouldering the burden alone. This may send the wrong idea to male adolescents and may encourage them to flee from their responsibilities as fathers/husbands as adults. While giving “independent women” a pat on the back for their efforts, they do very little to encourage black men to help them. As a single mother, I often felt alone with no one to depend on but myself.

Honing in on this misalignment in what black men and women desire in a relationship, rap artist Slim Thug said both genders need to change their ways of thinking about couples, in a June 7, 2010 Vibe.com article. Black women want black men to be good providers, etc.; however, they do not want to reciprocate by playing a domestic role.

Most single Black women feel like they don’t want to settle for less. Their standards are too high right now. They have to understand that successful Black men are kind of extinct. We’re important. It’s hard to find us so Black women have to bow down and let it be known that they gotta start working hard; they gotta start cooking and being down for they man more. They can’t just be running around with their head up in the air and passing all of us.

Slim Thug presents a compelling argument. Both men and women need to change their views about each other for the sake of a healthier black community. However, once, again, it appears that the ideal relationship is one in which the woman does everything such as paying the bills, cooking, cleaning and taking care of the children, while the male’s role remains a mystery. According to Wilson (2009), the breakdown of poor black families and fewer marriages are the major causes of negative perceptions of black women. He adds that existing social issues in black neighborhoods such as poverty and economic mobility perpetuate this trend. This breakdown of the family, according to Wilson, (2009) comes from the both the distrust between the two sexes and the collected behaviors associated with the portrayal of a cool, gangster lifestyle. He adds that black men tend to harbor resentment against black women due to female suspicions about male behavior and intentions, which are the result of existing black male stereotypes of unreliability. At the same time, according to Kitwana (2003) many black men feel that black women simply seek men for financial support, leading to names such as “gold-digger.”

In the end, lyrics for songs dealing with independence perhaps empower as well as frustrate women. Male rappers in this study discuss the importance of being independent, having material wealth and taking care of the home. However, they also emphasize the importance of looking good, wearing nice clothing, and getting one’s nails and hair done; perhaps placing too much pressure on women to reach high levels of perfection. I would like to hear more songs about “independent” black men who are going to work, paying their bills, taking care of their families, etc. At the very least, lyrics might discuss relationships that promote 50-50 partnership in which each person commits to the relationship and contributes equally and is faithful.

Female rappers in this study discuss sex as the main tool for obtaining independence. Their portrayal of “independence” does not focus on women actually making a conscious decision to be independent in order to better their family life and not to buy material goods or to control men with sex. I would like to hear more songs from female rappers that equate independence with being good role models who are valued for more than a sex object.

Conclusions

As this essay reveals there are many definitions and connotations of “independent woman” in the lyrics and videos of rap artists. Some of the songs featured in this study are a step in the right direction in improving the perception of rap lyrics. They do not focus on drugs or violence. However, I was surprised to find materialism, foul language and misogynistic messages in lyrics by both male and female rappers. Both genders include mixed messages about the true meaning of independence and misogynistic overtones in which they call women “bitches,” “broads” and “chicks” and portray materialism as the ultimate symbol of autonomy.

The biggest surprise was both genders define “independence” very differently. For example, songs by male rappers are more likely to include messages in which women are paying their bills, getting an education and cultivating a good home life. They might better define the portrayal as “phenomenal,” rather than “independent” as they also include flawless beauty, wealth and great superwoman domestic ability. The association of independence with beauty and wealth creates a shortcut to independence; i.e. getting hair, nails and toes done is just as good as obtaining an education or job.

Female rappers, on the other hand, mostly equate independence with sex. They discuss their skills in bed—getting and giving good sex—and the importance of men paying to be with them. There were very few portrayals of women relying on themselves and not men, although they have the financial means to do so. Worth noting is materialism and sex were not the focal point in Roxanne Shanté’s 1989 single “Independent Woman.” Shanté’s goal was to strengthen women without using images of materialism, and unkind words. It was strong and uplifting. Not only did she admonish women not to depend on men, she also encouraged them not to let men take advantage of them: “So wrapped up in fairytale dreams so naive that every male seems honest and loyal/ready to spoil Buying’ him gifts as if the boy’s loyal” (Shanté, 1989).

Based on comments posted in response to the videos in this study, it appears very few viewers discuss perceptions of independence instead focusing on superficial items such as how the singers dress. They also praise songwriters for their creative works. However, few viewers question sexist messages in videos by male rappers such as the idea that rappers are promoting messages of independence in order to get a woman to take care of them and males do not meet the same high standards as the women described as “independent.” Similarly, few viewers question female rappers’ ideals of “independence,” which equate it with sexual prowess.

Future studies on this important topic might compare rap lyrics dealing with independence to other genres of music such as R&B and Pop, to determine if the same themes exist. Such a study might provide insight into cultural narratives that differ based on an artist’s race, class and culture. Another study that might be of interest is how young women and men interpret the lyrics in such songs to assess if their viewpoints mirror my findings. I would also like to know how adolescents personally identify themselves, regarding independence. A future study might include a list of key words and let participants self-identify some words that might be useful in describing “independent” women.

This brings us to solutions for counteracting negative messages of “independence” in rap music. Educators and parents must realize that independence is an important topic to discuss with adolescents. Indeed, women should be ready, willing and able to be financially independent if the need arises; however, it is not always the ideal for single mothers. In addition, beauty, materialism and unrealistic domestic standards are not necessarily a part of the “independence” package. Each person should have his or her own standards of “independence” based on personal circumstances such as family life, cultural surroundings and available finances. In addition, it is important to put the concept of independence into proper context with regard to relationships: At some point, the attainment of independence may become secondary for people who desire a relationship and family.

In order for such ideals to change, black women must make it clear that “independence” as described in the songs featured in this study is not ideal for all women. Such portrayals not only negatively influence the lives of black women, but also men. They foster sexist and unrealistic expectations of women that are hard to uphold, and let men off the hook as fathers and husbands because women shoulder the brunt of the work. Ideally, listeners should be able to choose their own meaning of “independent” and not believe they must fit someone else’s ideal. Analyses such as this one are a step in the right direction in fostering debate on an important topic.

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Mia Moody, Ph.D. Baylor University

Contact information

Mia Moody, Ph.D.
Assistant Professor
Department of Journalism
Baylor University
P.O. Box 97353
Waco, Texas 76798-7353
fax (254) 710-3363
Phone: (254) 710-7247 (254) 666-7358

                                                                                            

Acknowledgements: I would like to thank students; Courtney Webb, Jessica Foumena and Chelsea Quackenbush, for helping me research this important topic.