Hip-Hop’s Politics of Sexuality: The Language of Black Masculinity and Same-Sex Desire
Author:
Robert De’Von Jiles
Degree Date:
May, 2011
Committee Chairperson:
Travis Gosa
Call Number:
Thesis DT 3.5 2011 J54
Description:
xiv, 114 leaves : col. Ill. ; cm.
Abstract:
This thesis considers the politics of sexuality in hip-hop culture. It is an intervention that seeks to contribute to discussions about gender, race, and sexuality in hip-hop culture. It provides an analysis of the representation of black masculinity in the language of mainstream hip-hop music and homo hop. I identify mainstream hip-hop as any music that forwards a heterosexist message. The homo hop movement began in the late 1990’s and consists of rappers who openly identify as LGBTQ [Lesbian, Gay, Bisexual, Transgender and Queer] people. Mainstream songs often contain lyrics that are overtly homophobic and lyrics that have homoerotic themes. I investigate the ways in which intragender power is established in the homoerotic language. I also discuss the use of “no homo” in the mainstream lyrics and what it means by asking questions such as, does the utterance of no homo hinder the politics of sexuality and black masculinity in hip-hop culture, and does the use of the popular phrase contribute to the advancement of progressive black masculinities. As a part of homo hop, black male rappers with same-sex desire create a space in hip-hop culture for various representations of black masculinity to be expressed. Questions guiding this portion of my thesis consider how language used by black male rappers freely expressing same-sex desire in their music define black masculinity and how their performances rearticulate myopic notions of black manhood and resist heteronormative policing in hip-hop culture, black culture, and dominant culture.