← ← MISOGYNY AND MYTH: THE PRESENCE OF ROMANTIC

← HOP CULTURE
LOVE IN HIP
←

←
A Senior Honors Thesis
←
by
←
ADORA ASONYE

Submitted to the Office of Honors Programs

& Academic
← Scholarships
Texas A&M University
In partial fulfillment of the requirements of the

UNIVERSITY UNDERGRADUATE
RESEARCH FELLOWS

April 2006

Major: Sociology
 ← MISOGYNY AND MYTH: THE PRESENCE OF ROMANTIC LOVE IN HIP

HOP CULTURE

A Senior Honors Thesis

by

ADORA ASONYE

Submitted to the Office of Honors Programs

& Academic Scholarships
Texas A&M University
In partial fulfillment for the designation of

UNIVERSITY UNDERGRADUATE
RESEARCH FELLOWS
Approved as to style and content by:

---------------------------------------------
------------------------------------------
Derrick Darby Edward A. Funkhouser
(Fellows Advisor) (Executive Director)

April 2006

Major: Sociology
 iii

ABSTRACT

Misogyny and Myth: The presence of Romantic Love in Hip Hop Culture (April 2006)

Adora Asonye
Department of Sociology
Texas A&M University

Fellows Advisor: Associate Professor Dr. Derrick Darby

Department of Philosophy

Although many use misogynistic, materialistic, and violent lyrics in attempt to

belie the notion that hip hop contains any manifestations of romantic love, I contend that

not only is romantic love present in hip hop, but the love exhibited does not deviate

substantially from common notions of romantic love in mainstream society. Using a

definition of romantic love derived by classic explorations in the subject, romantic love

will be explored in hip hop culture.

 iv

DEDICATION

I dedicate this thesis to my family. Many are not lucky enough to receive unending

support from family members; therefore, I thank my family for the support and God for

my family.
 v

ACKNOWLEDGEMENTS

I certainly thank my sponsoring professor Dr. Derrick Darby. Thanks for acting

as my sounding board for ideas and as motivation for my project.

I would also like to thank the Honors Program at Texas A&M University for

funding this project. Without the monetary support of the program, this piece would not

have been completed.

 vi

TABLE OF CONTENTS
Page
ABSTRACT………………………………………………………….. iii
DEDICATION………………………………………..…….………............. iv
ACKNOWLEDGEMENTS………………………………………..……………. v
TABLE OF CONTENTS…………………………………………..………… vi
INTRODUCTION………………………………………………................... 1
METHOD……….………………………………..…………………………… 3
BACKGROUND AND CONTEXT…………………………………………… 5
A DISCUSSION OF LOVE…………………………………………………… 9
CRITICS ………………………………………………………………………. 13
HIP HOP IN CONTEXT……………………………………………………….. 24
LOVE IN HIP HOP…………………………………………….…………….. 30

CONCLUSION……………………………………………………………….. 44

BIBLIOGRAPHY ………………………………………………………………. 45

CURRICULUM VITA……………………………………………………… 48
 1

INTRODUCTION1

Although many use misogynistic, materialistic, and violent lyrics in attempt to belie the notion

that hip hop contains any manifestations of romantic love, I contend that not only is romantic

love present in hip hop, but the love exhibited does not deviate substantially from common

notions of romantic love in mainstream society.

The aim of this paper is not to rationalize misogyny, materialism, or violence, (indeed,

hip hop culture is not above critique), but to debase assumptions that result in racist and classist

stereotypes about a segment of the population. The exploration of the presence of love in hip

hop, a culture commonly assumed to be devoid of it, derives its importance from the reality that

although the consumers of hip hop culture include white, middle class teenage males, the face

and conception of hip hop remains urban and primarily African American. Furthermore, those

that have the power to legislate over the lives of the individuals in this group are far removed

from the culture and people; therefore, the classist and racist assumptions made by them will

disproportionately affect African Americans. Contending that a group of people are “loveless” is

saying that they do not possess a basic human characteristic. Painting groups in a dehumanized

light facilitates the justification of racist and classist policies that negatively affect the group.

Historic examples lend credence to this notion, “in particular it was in relation to matters of the

1
This thesis follows the style and format of the Modern Language Association.
 2

heart, of care and love, that the colonizers drew examples to prove that black folk were

dehumanized, that we lacked the range of emotions accepted as a norm among civilized folk,”

(hooks, xix). This dehumanization provided justification for subsequent centuries of slavery and

segregation with ramifications that persist today.

In addition to preventing essentialist notions about hip hop culture from affecting the

African American community, the exploration of love in hip hop culture will reveal that rap

music is more than the gangsta rap monolith to which critics diminish hip hop. The rap music of

Will Smith differs substantially from the music produced by NWA. The content of rap songs

draw from myriad life experiences and situations. Despite this, the cultural critics of hip hop

reduced the “very diverse and complex world of hip hop…to a simple, one-dimensional art form

devoid of serious political analysis and substantive cultural observations or social responsibility,”

(Ogbar, 165). Simply put, hip hop is not all guns and violence.

METHOD
 3

I will examine hip hop productions that contains romantic love but to the cultural critic

may not be conceived as such. These cases will be evaluated against a definition of romantic

love; mainstream examples of romantic love that contain similar characteristics as the ones

deemed problematic in hip hop will also be discussed. The idea underlying this method is

simple- the cultural war waged against hip hop rests on indicting the culture for excessive

violence, misogyny, hedonism, and materialism, characteristics that pervade American society.

As Richardson and Scott state, “America for all her protests against violent rap lyrics has failed

to acknowledge her role in the creation of this relatively new art form” (175). Hip hop is a

subgenre of American culture that developed within the context of American society. The

characteristic of violence, misogyny, materialism, and hedonism used to describe and justify

censorship of hip hop culture exist in and pervade American society. Although similar in

characteristics, America has escaped the accusation of “lovelessness.” The intent of this research

method, therefore, is to draw parallels between cultural products that emerged under contexts

that developed around these similar social forces (misogyny, patriarchy, etc.). If love exists in

American society despite the presence of these flaws then the accusations that hip hop is devoid

of love because of the possession of the same flaws is not substantiated.

Exploring love in hip hop culture does not amass to rationalizing misogyny, violence or

any of the aforementioned characteristics; it is a rare exploration of the possessions of hip hop
 4

instead of an exploration of its shortcomings. There are problematic elements in hip hop culture,

as in any, and many scholars have extended this discussion to include the gender crises in the

African American youth culture; this study makes no attempt to address or minimize the

perceived problems. This essay contributes to the academy of hip hop specifically, and cultural

studies generally, by consciously attempting to illuminate the selective application of logic used

to assess the same concept in American society and its subcultures, that pervades the cultural

studies of minority populations.

 5

BACKGROUND AND CONTEXT

The success of “Rapper’s Delight” by the Sugar Hill Gang publicly announced the arrival

of hip hop- a culture that emerged from the streets of the Sough Bronx initially composed of

three components: graffiti, break dancing, and rap2, but its rapid commercialization broadened

the definition to include “verbal language, body language, attitude, style, and fashion” (Kitwana,

8). Hip hop is now a way of life.

Hip hop music’s roots travel back to the common 1970s block parties of the Bronx.

Dissatisfied with the disco music at the time, DJs found a way to extend the rhythm break beats,

the most exciting and danceable parts of a song, in order to maximize crowd appeal and

participation. “The man responsible for this strange phenomenon is a 26-year old mobile DJ

who is known in the Bronx as Kool Herc,” (Ford, 41), according to Robert Ford’s “B-beats

bombarding the Bronx.” According to Ford, Herc’s interest was stimulated by one record

“Bongo Rock” because of its excellent, but short, rhythm break; Herc, applied a technique that

was common to Jamaica’s “dub” music (Herc was of Jamaican descent) to extend the rhythm

break. Along with Herc spinning the wheels at these local block parties, were emcees who

would “rock the mic’ by chanting over the record. Herc was accompanied by his emcees the

Herculoids, one of the first emcee crews3. The simple chanting over the records, which emcees

2
This is according to Tricia Rose, author of Black Noise: Rap Music and Black Culture in
Contemporary America.
3
This is according to Davy D’s Hip hop corner.
 6

did initially, evolved into more complex lyrical flows where emcees rapped about their sexual

prowess or anything related to themselves to pump up the crowd. When talking about other DJs

of the time, specifically Eddie Cheeba and the Cheeba crew, Ford explains that “the rapping

craze grew out of a need for something more than records. ‘These people go to discos every

week and they need more than music to motivate them’” (Ford, 43). Emceeing evolved into

rapping.

Hip hop made great strides in the 80s. Hip hop received its first Grammy (DJ Jazzy Jeff

and the Fresh Prince), hip hop performers endorsed mainstream products, DJs became more

sophisticated and technologically advanced- Grandmaster Flash used the technique of scratching.

Grandmaster Flash also fathered “message rap” with his 1982 hit “The Message” and Run DMC

was hip hop’s first cross over success. It was not until 1989, because o f hip hop’s seeming

longevity4 and potential5, MTV launched “Yo! MTV Raps” and “black artists began to appear on

MTV regularly” (Rose, 8).

Context

Before examining a culture and how it performs romantic love, in addition to history, one

must explore the context that shaped the beginning years of hip hop culture. In the African

American community a generational divide exists between the hip hop and civil rights

4
Many companies dismissed hip hop as a passing fad.
5
It was finally discovered that hip hop was marketable to white teenagers.
 7

generation. Often frustrated with the hip hop generation, civil rights generationers feel that

followers of hip hop are not fulfilling the aims and goals that they fought for, primarily because

the two generations differ when it comes to philosophies and values. According to Kitwana,

there are six “major phenomena” that has informed the way the hip hop generation views the

world: pop culture and the visibility of black youth in it, globalization, persisting segregation in a

country that purports “democracy and inclusion,” public policy regarding criminal justice, media

representation of young Blacks, and the overall shift of the quality of life for young Black during

the 80s and 90s. Collectively, these six phenomena widened the gap between the rich and the

poor, criminalized black youth, and crystallized the contradictions of American society into the

minds of hip hop generationers6. When commenting on the emergence of gangsta rap, Eithne

Quinn, hip hop scholar, notes that “the diminishing prospects for black youth, the rise of music

enterprise out of south LA’s industrial ashes….was understandable and extraordinary” (Quinn

51). Post industrialization and the inability of the resulting service sector jobs to help one sustain

a family paved the way for various “survivalist”7 techniques, namely the drug economy and the

music business. This context informs much of the content found in hip hop music. Although all

6
The hip hop generation is defined by Kitwana as Black Americans born between 1965 and
1984.
7
Quinn uses Douglas Glasgow’s concept of survivalist culture.
 8

of hip hop is not about the streets, much of the culture of hip hop derived from the culture

produced by post-industrialization, for example, the glorification of an illicit economy.

 9

A DISCUSSION OF LOVE

The intent of this paper is to explore romantic love in hip hop culture. Concepts

like peace, hope, and specifically for the purposes of this paper, love, often escape tangible

definitions. Hip hop philosopher Tommie Shelby opens the discussion about romantic love in

hip hop in his article “Ain’t (Just) ‘bout da Booty: Funky Reflections on Love.” In his article,

Shelby uses Plato’s Symposium, one of the oldest discussions about the nature of love, to give

some perspective about different ideas about love, specifically romantic love. Hip hop is often

regarded as a rebellious culture devoid of mainstream values and beliefs. Specifically, the

culture’s perception as hyper-materialistic and misogynist, lead many to the conclusion that hip

hop generationers operate in the absence of romantic love. This assertion results from an

idealized view of romantic love, and shrewd generalizations about hip hop rap songs; Shelby’s

article paints love in a realistic light, revealing some of the drama that accompanies romantic

love.

The symposium was a drinking party at which many philosophers gathered. At this

symposium, the topic was love, and Pausanias spoke first. Pausanias contends, according to

Shelby, that love involves much more than sex; there are two types of love: vulgar- “where the

love seeks only the physical pleasure of another’s body” (Shelby 15), and spiritual, where one

possesses interest in the character of his or her beloved; of the two, the spiritual type is the more
 10

mature. Applying Pausanias’ point of view to heterosexual relationships in hip hop, Shelby

asserts that “love haters” abound in hip hop- apprehension about spiritual love and the denial of

its existence characterizes this group. Those who critique hip hop draw examples from these

“love haters” who usually exchange the vulnerabilities of love for mutually beneficial

relationships, for example, relationships that exchange sex for material possessions. These

mutually beneficial relationships abound in hip hop music but should not be confused as hip

hop’s definition of love. Furthermore, insofar as examples exist where these mutually beneficial

relationships do not replace love in hip hop, they should they should not serve as a representative

sample of the culture.

The view of the subsequent speaker, Aristophanes, states that until one finds love, he or

she is incomplete. His speech provides the explanation for why one is incomplete until they

have found love; furthermore, he says that this longing is for our “natural complement.” This

view only works for those who feel incomplete to begin with, according to Shelby. It provides

no explanation for why the skeptics who feel self-sufficient should long for or desire love. In

Shelby’s words, it does nothing for the “love haters.”

The infamous Socrates develops the discussion by contending that spiritual love consists

of, not a longing for completion, but for beauty. According to Socrates, “love is only

praiseworthy when the one who is loved is morally virtuous” (Shelby 19). Therefore, the act of
 11

loving, or the capacity of love embodies no positive or negative characteristic in itself, it is

totally contingent upon the object of the lover. Beauty, according to Socrates, is a criterion for

happiness. In Socrates’ critique of love, he introduces sex as a possible component “without

making the badunkadunk the central focus” (Shelby 21). Sex is desirable for the sole reason that

it facilitates the reproduction of beauty with the other being the reproduction of ideas. Socrates’

view sees the beloved solely as a way to get to beauty, not as a destination in itself. Therefore,

Shelby notes, according to logic, if one finds a better conduit, he or she should drop the current

one in favor of the better road to beauty. This eliminates irreplacability and exclusivity, two

characteristics Shelby deems important to the definition of romantic love. This realization is one

of the most important parts of Shelby’s analysis; it separates romantic love from other types, and

it leads one closer to a tangible definition or recognizable characteristics of romantic love.

The last speaker, Alcibiades, comments directly on the contours of romantic love.

According to him, love is not a bed of roses; in essence, love has drama. Alcibiades’ view

introduces the themes of reciprocity, possession, particularity, and idealization of the beloved as

characteristics of romantic love. Unlike his preceding speakers, Alcibiades’ view recognizes that

there are two independent actors in the quest for love. This is where the drama begins. In

romantic love relationships, love is reciprocal- one gives love with the expectation of receiving

love back. Unfulfilled expectations surface when one’s beloved does not reciprocate that love.
 12

Alcibiades offers his unreciprocated love for Socrates as an example. In recognition of the fact

that relationships have two autonomous agents, Alcibiades notes that the beloved can never be

fully possessed; therefore, vulnerability accompanies love. The idea of possession in love is

two-fold: possession in the sense of being in a trance or as many say “sprung,” and possession in

the sense of ownership (not in the sense of owning a commodity, however). Romantic love,

according to Alcibiades, also has some sense of particularity; the lover regards his or her beloved

as rare. Although the beloved may possess some characteristics similar to others, the lover

believes in the uniqueness of the beloved. The last concept introduced by this speaker,

according to Shelby, is idealization. In the lover’s eyes, the beloved is ideal; this idealization

allows the lover to forgive the flaws of the beloved. In summation, Alcibiades perspective is that

love is to regard one’s beloved as beautiful despite his or her flaws.

Shelby’s critique transforms the idealistic conception of love down to a pragmatic

conceptualization. Often times when love is discussed, an idealized, perfect view of the concept

is spoken of; however, love does not manifest itself in the same manner in reality. This is an

important point to mention because some of the misconceptions about love in hip hop can be

attributed to critics measuring hip hop by the standard of the blemish-free, idealized notion of

love that is not a reality for all of society, not just hip hop.
 13

CRITICS

But it ain’t no stoppin, I’m still poppin

Dre got some bitches from the city of Compton
To serve me, not with a cherry on top
Cause when I bust my nut, I’m raisin up off the cot
Don’t get upset girl, that’s just how it goes
I don’t love you hoes, I’m out the do’ 8

Hip hop grew to become a highly profitable art form which attracted the critics.

Politicians and activists took arms against hip hop. Time Warner was censured so severely that

after intense criticism, it announced that it sold 50 percent of its stock in Interscope Records, the

label perceived to promote gangsta rap the most. Members of the academy waged war on hip

hop culture as well. Because of its characterization as a highly misogynistic culture, black

feminist critics, specifically, bell hooks, sounded off against hip hop culture in the pages of their

magazines and books.

In bell hooks’ Salvation: Black People and Love, hooks identifies the causes of what she

deems as a lack of love in contemporary African American communities. According to hooks,

racism, materialism, and patriarchy precluded love in these communities; however, hooks fails to

identify why these factors that preceded contemporary African American communities have

produced the unique result of lovelessness that failed to materialize in older African American

8
Excerpt from “Gin and Juice” by Snoop Dogg.
 14

communities, or in society as a whole. I contend that these factors have contributed to the

understanding of love in these communities and therefore must be taken into account when

exploring how these communities act on these definitions of love.

hooks states that love, a fusion of care, respect, knowledge and responsibility, was

prevented by racism. In fact, hooks notes that “Slave narratives document the efforts individual

black people made to normalize life in abnormal circumstances” (20). The necessity of black

parents to teach their children behavior that will enable them to live in a racialized social system

required that they resort to extreme mechanisms, such as harsh punishments for deviant behavior.

hooks has determined this to be a distinct act of lovelessness. Contrarily, using hooks’ definition

of love as a guide, one would find these acts were in fact, done out of love. In normal

circumstances, deeds like breaking a child’s spirit would not be deemed a loving act; according

to hooks, contemporary psychologists call it “soul murder” (23); however, the abnormal

circumstances of slavery and the subsequent Black Codes and Jim Crow laws that followed

Emancipation, prevented normalized manifestations of love. The desire of Black parents to

ensure the safety of their children in this society drove them to implement harsh punishment to

complement the harsh consequences that may follow their children’s actions if they failed to

know their “place” in society. This required some degree of “respect”, “knowledge”, and

“responsibility” on the part of black parents. Skills such as masking and suppressing emotion
 15

proved necessary; unfortunately, they were not dropped when individuals returned to all black

settings, according to hooks. Consequently, these habits have affected black relationships. These

traits, as does racism, still persist today, not only as remnants of the past, but as a necessity for

the present in an age where racism is still a pervasive element in society. Black heterosexual

relationships must be examined in this context if one is to make valid and informed conclusions

about love in this community.

Concern for material survival impeded the development of love in African American

communities also, according to hooks. Although hooks recognizes why African Americans may

equate the notion of love with the ability to materially satiate the desires of one’s family, she still

dismisses the act as a failed attempt at expressing love. To illustrate her contention, hooks

directs the reader’s attention to a scene in Toni Morrison’s book Sula, where Eva’s daughter

Hannah asks her mother whether or not she loved her. Eva angrily responds, “You settin’ here

with your healthy-ass self and ax me did I love you? ....With you all coughin’ and me watchin’ so

TB wouldn’t take you off..” (Morrison, 68). Supposedly, this scene illustrates that materially

providing for someone is not love. But, within the context of the constraints of Black Americans

at the time, it served as a good indication. Embracing a world of racism daily to ensure the

physical safety of another person due to familial or emotional ties still complies with hooks’

definition of love manifesting under abnormal circumstances.

 16

hooks’ final realm of analysis focuses on patriarchy in the African American community.

hooks focuses on black male rage and its change in target from white men to Black women.

Patriarchy depends on a system of domination, and according to hooks, “it is impossible to truly

love someone and dominate them” (167). Patriarchy, however, is not a contemporary

phenomenon; it dates as far back as society itself. How does a community move from the

ability to possess the loving communities the contribute to hooks’ nostalgic memories within

patriarchal structures in the past to an inability to possess loving communities in the present

under the same conditions? The intent of this discussion is not to diminish the inherent ills of

this system of domination, but to illuminate the notion that concluding that African American

communities do not love one another on the basis of it, and not indict preexisting societies, is a

selective application of logic.

Some critics deem hip hop’s lack of love to be an illustration of the lack of love in the hip

hop generation. In The Hip Hop Generation Bikari Kitwana asks, “where did our love go?” In

this book, Kitwana explores what he deems as the “new war of the sexes.” He attributes much of

this antagonism to the negative economic changes that began to impact the hip hop generation in

the late 1980s. Along with the rise of the new genre in hip hop, “gangsta rap,” a feeling of

contempt toward Black women pervaded these communities. Kitwana argues that the issues

expressed in gangsta rap are essential to understanding the hip hop generation’s gender crisis;
 17

furthermore, “Black males sexist attitudes and gender conflicts have persisted as one of rap’s

dominant themes for more than a decade suggests the extent to which these issues resonate with

young Black men” (Kitwana 87).

Drawing on events that Kitwana deems to inform the way the hip hop generation

constructs its views on relationships, Kitwana begins with the publication of The Black Man’s

Guide to Understanding the Black Woman by Shahrazad Ali. This book offered advice to Black

men on how to keep their Black woman in place with techniques that included slapping a woman

in the mouth when she said something out of line. Although Ali is a baby boomer, Kitwana notes

that the debate sparked by this book, and the recurrence of the same themes during the Million

Man March, illustrate that “we are a generation torn between our modernness and the cultural

vestiges of the past” (89). Snoop Dogg’s 2005 single “Can you Control your Hoe” echoes some

of the same sentiments as Ali’s book and confirms Kitwana’s contention by advocating slapping

her in her face if she steps out of line. Sexist remarks during the Million Man March support

contentions that Black males harbor resentment toward Black women because of the notion that

Black women have not endured the blow of racism like Black men.

Just as Kitwana used the sexual assault cases against Tupac and Mike Tyson, the more

recent R Kelly sex scandal illustrated the same themes discovered by Kitwana: Black male group

loyalty is central to young Black male identity, hip hop generation men lack interest in or
 18

understanding of feminism, the objectification of women has intensified during our lifetime,

intense focus on materialism, seemingly outdated ideas still resonate with young people today,

and hip hop generationers are willing to disregard the negative side of icons. Bun B’s

proclamation that if one does not sleep with Pimp C then she will not sleep with him9 illustrate

that the idea of valuing one’s friendship over women is an important trait to men within the hip

hop generation; certainly the objectification of women continues to increase as Nelly slides a

credit card down the behind of a woman in his video while he exclaims that “it must be your ass

‘cuz it ain’t your face.”10 Most importantly, discussion about the problems of hip hop superstars

are precluded because fans are willing to disregard as Kitwana would state, “the dark side of

their heroes.” The R Kelly sex scandal serves as an example. Ordinarily, the accusation of

pedophilia elicits disgust, however R Kelly’s accusations elicited greater loyalty from some of

his fans who thought he was being attacked. Discussions abounded that blamed the alleged

young girl, her parents, etc. Many fans hid behind the notion that they can like his music without

particularly endorsing the artist.

Kitwana further analyzes the state of relationships in the hip hop generation by exploring

the impact of the importance of financial success on the generation’s view on love. He

concludes that although the gender antagonism is difficult to measure, there are four issues that

9
From UGK single “Let Me See It”
10
From Nelly single “Tip Drill”
 19

one must explore: how African Americans see themselves economically or politically, the

popularity of strip clubs and the further objectification of women, the manner in which men and

women talk to one another, and the rise of the child enforcement laws to illuminate this growing

divide.

These four issues, for Kitwana, serve as indicators of a strained relationship between

African American men and women. For example, the prospect of black marital relationships

remains strained, according to Kitwana, due to several economic factors that put Black men at a

disadvantage and thus makes them ineligible for compatibility with Black women who are rising

through the corporate ranks. Black women have been more successful, albeit not completely, at

closing the opportunity gaps between themselves and white women. Larry Dairs11 estimates that

there are five Black men for every ten Black women after factor such as unemployment,

disproportional education attainment, and Black men who are gay. Although some Black women

acknowledge racism as the source of this state of affairs, Kitwana notes that

in a climate where public debate continues to dismiss the legacy of

slavery in contemporary America, many have come to view Black

men as losers who too often use white racism as the excuse for

11
Author quoted in Kitwana’s Hip Hop Generation
 20

their failures in education, employment, business, housing and

financial stability (110).

This premise constitutes the core of Kitwana’s argument that the state of love in the hip hop

generation does not exist or is at best, strained.

Moving from a discussion of love in the hip hop generation generally, there is scholarship

that focuses on love in hip hop music specifically. Gwendolyn Pough’s Check It While I Wreck

It critiques concepts of love in hip hop music by exploring the “love that hate produced12.”

Pough examines love and its manifestation in hip hop culture within the context of its

production, noting that this love is produced by a racist and sexist society and consequently

embodies certain characteristics. From writing like those of Toni Morrison and Alice Walker, the

issue of Black love has always been discussed publicly; Pough continues this tradition by

chronicling the evolution of love raps, tracing their origins to musicians such as Barry White and

Isaac Hayes. According to Pough, hip hop’s conversation about love began with the answer/dis

raps made infamous by Roxanne Shante’ and Salt-n-Pepa. Today, this tradition continues with

artist such as Ashanti, Lauren Hill, and Keyshia Cole.

12
This is love that is fostered by a racist and sexist society and holds unique characteristics
because of it. (Pough, 169)
 21

Pough examines the disparity between the genders on notions of love. She explores the

expectations of the “hip hop soul diva13,” namely Mary J. Blige, and her notion of “real love”

and compares them to the descriptions of love given by rap artists like Biggie Smalls and Ja

Rule. Pough examines what kind of lover is desired and described in the hip hop soul diva’s love

song. Mary J. Blige often sings about a man who can offer “real love” and “satisfy her every

need.” For the discussion of love in hip hop, Pough provides accounts by different women that

illustrate that the desires of women in the hip hop community are no different from the

mainstream desires when it comes to love: “real love, being saved from a life of strife, a man at

home being a father and a lover, and living happily ever after” (Pough, 177).

After examining the gangsta rap lyrics of artists such as Snoop, Biggie Smalls, and Ja

Rule, Pough concludes that the hip hop rapper does not provide or claim to provide the love that

the hip hop soul diva needs. This is certainly not without merit, as rapper Jay Z chants that he

“thug ‘em, fuck ‘em, love ‘em, leave ‘em, ‘cuz I don’t fuckin’ need ‘em14” one certainly does not

get the picture of a man who wants to stick around for Blige’s ‘real lovin’.

Pough proceeds and makes an interesting point by noting that American society makes

fairy tales and love inseparable. Hip hop generationers have adapted this fairy tale; instead of a

13
According to Pough a hip hop soul diva is an artist that blends R&B and hip hop, has the
backing of a male rapper entourage, a rap record label, and the influence of men producers
known for their work in rap.
14
These are lyrics from Jay Z’s singly “Big Pimpin’”
 22

knight in shining armor showing up to rescue a young woman, a young woman fights alongside

this knight in whatever feat he takes on—legal or illegal—she may take the punishment, but

ultimately, she will ride out with him to paradise. America conceives love as this state of bliss,

free from pain and drama (although real life scenarios like the Kennedy and Clinton scandals

belie the notion); however, hip hop generationers have determined, in some respects, that “pain is

love,”15 therefore, partaking in the battles of one’s partner is a component of one’s relationship.

Particularly, Pough notes hip hop’s obsession with the Bonnie and Clyde theme (Ice Cube and

Yo-Yo’s “Bonnie and Clyde Theme” and “Bonnie and Clyde II,” Jay-Z and Beyonce’s “03

Bonnie and Clyde,” and the rendition by Ja Rule in “Down Ass Bitch” and “Down 4 U”) and

deems it characteristic of black youth. Lil’ Kim’s recent conviction for perjury and her

subsequent jail sentence has won her respect from many hip hop fans because she is as Ja Rule

would say “a down ass bitch.” “Count Down to Lock Down” is a series that airs on Black

Entertainment Television (BET) that follows Lil’ Kim around as she completes the business

around her new album before she goes to jail. Ironically, on this show Ja Rule appears and tells

her not to worry because she’s just going to “boot camp,” and therefore glorifies the notion of

going to jail.

15
Title of rapper Ja Rule’s debut album.
 23

One must not go without noting that Bonnie and Clyde are movie characters played by

young white actors displaying some director’s notion of love. It is incorrect to determine that the

Bonnie and Clyde theme is unique characteristic of hip hop or black relationships. The fact that

the two groups possess at least one common conception of love illustrates that hip hop notions of

love may not be as deviant as conceived.

 24

HIP HOP IN CONTEXT

Placing rap music within the context of violence, Jeanita Richardson and Kim Scott,

authors of “Rap Music and Its Violent Progeny: America’s culture of violence in Context” note

that “America for all her protests against violent rap lyrics has failed to acknowledge her role in

the creation of this relatively new artform” (175). This argument is not unique to the violence

found in rap music; it also applies its misogyny. Hip hop is a subculture of a larger American

culture, and therefore embodies many of the characteristics that pervade general societal

institutions.

Sexism is not uniquely a characteristic of hip hop culture, but a characteristic of

American society at large. Patriarchy and sexism are still pervasive forces under which

mainstream society operates. Although overt instances of sexism, much like racism, are not

common, indicators of sexism abound. According to the National Committee on Pay Equity in

“The Wage Gap: Myths and Facts”, women, just like men, work out of necessity; however,

presently, women only make 71.4 cents for every dollar earned by a man. In fact, Judith Howard

notes that “in the 35 years since the Equal Pay Act (1963) outlawed unequal pay for equal

worked, the pay gap declined by 10 cents” (548). In this society where equality is an important

political buzzword, the concept of equal pay for equal work escapes realization. Furthermore,

white men still remain disproportionately represented in the country’s most powerful positions
 25

In the mid-1990s, white men constitute 33% of the total U.S. population, yet

“They comprise 85% of tenured professors, 85% of partners in law firms, 80% of

the U.S. House of Representatives, 90% of the U.S. Senate, 95% of Fortune 500

CEOs, 97% of school superintendents, and 99.9% of athletic team owners”

(Howard, 547).

Sexism still maintains a stronghold on American society, not just on hip hop.

The internalization of difference among the sexes does not occur in adulthood but is

hammered into the heads of children through various social institutions. Myra and David Sadker

comment on how girls are mistreated in America’s classrooms in “Failing at Fairness: How

America’s schools cheat Girls.” Sadker notes that “teachers interact with males more frequently,

ask them better questions, and give them more precise and helpful feedback. Over the course of

years, the uneven distribution of teacher time, energy, attention, and talent, with boys getting the

lions share, takes its toll on girls” (503). Through extensive research in America’s classrooms,

Sadker realized that subtle sexist messages were being sent to and internalized by the young

children. Specifically, girls were inadvertently being taught to remain quiet and submissive and

disrupted behavior was interpreted as disobedience, while boys’ were encouraged to ask and

answer questions more and their disruptive behavior was encouraged and interpreted as curiosity.
 26

Sexist messages are transferred via other media, the most notable being television.

Women are not proportionately represented on television, and when represented, the character is

usually in a submissive, domestic role, or serving as a male’s object of sexual desire, with little

change in the past 50 years.16 Schmuley Boteach in “Hating Women” comments on the hit series

“Joe Millionaire” and “The Bachelor,” stating that they portray women in a negative light as gold

diggers. “Joe Millionaire” is based upon the assumption that the women on the show are

professing their love for the character solely because of the millions he claims to possess.

Ironically, he possesses no such millions; therefore the goal of the show is to see what the

winning “gold digger” will do once she finds out he is not a millionaire. “The Bachelor” places

a successful man among over two dozen women who remain at his disposal in hopes of

becoming his wife. The drama of the show heightens as each of these women shed tears over

and long for the bachelor. The Bachelor was such a success that in 2003 it was ranked the

number one show among adults from 18 to 29 years old; this season was the first time in 7 years

that ABC was ranked number one on a season opening Wednesday.17 These two shows

illuminate America’s fascination with television even though transmits sexist ideas. More

importantly, these two television shows in particular have men looking for love in these

situations; it is a prime illustration of love coexisting with sexism!

16
This was noted in “Sexism, Racism, and Establishmentism” by David Kowalewski, Judith
McIlwee, and Robin Prunty.
17
Statistics provided by TvRules.net.
 27

The print media uses women as objects to sell anything from cologne to cars. Scantily

clad women grace the pages of auto magazines and magazines for men. There is no such

magazine for women that feature endless pages of scantily clad men. Instead, there is an

overabundance of magazines that cater to the stereotypical house keeping woman, or the woman

whose purpose is to prepare herself for a man. In essence, patriarchy and sexism pervade

mainstream pop culture.

Violence is another reason given for concluding that hip hop is devoid of love. It is

unsurprising that the American subculture of hip hop contains violence; violence has been part of

the United States of America since its inception with the American Revolution, its expansion

during Manifest Destiny, and its solidification during the Civil War. Furthermore, America’s

current fascination with elaborate simulated murders on television shows and movies indicates

that violence has been ever present in America’s psyche to the degree that art serves as some

form of an imitation of life. Violence in society and the recurrence of violence in various art

forms has prompted concern; however the concern is historical.

Violence, specifically gun violence, raises a general concern in America. Richardson and

Scott note that firearms outnumber children in the US nearly 3:1. Between 1979 and 1998,

“gunfire killed 84,000 young people under the age of 18, which is 36,000 more than the total

number of American soldiers killed in the Vietnam conflict” (180). Furthermore, according to
 28

Richardson and Scott, youths of all races are most likely to dies by the gun- Caucasians by

suicide and African Americans and Hispanics by homicide. Gun violence obviously is a

pervasive problem in American society.

Violence also pervades American art and entertainment industries. Statistics illustrate

that the time an average child reaches the age of 18 years, they would have witnessed 16,000

simulated murders and 200,000 acts of violence.18 With these acts of violence persisting outside

of hip hop culture, the attack on hip hop on the premise of its violent substance is unwarranted.

Davarian Baldwin in his essay “Black Empires, White Desire” notes that hip hop can not be

singled out without scrutinizing George Bush’s endorsement of the violent and misogynistic

Arnold Schwarzenegger film True Lies as “friendly to families” (174). David Davis’ article

“Violence in American Literature” informs the reader that violence has been a part of American

society since its inception and accordingly a part of its literature. The sheer marketability of

violence is the cause, according to Davis. Some of the noted violent periods in American

literature are: romantic stories about the American Revolution, the Western Hero and his

conquests with American Indians, and white supremacy and American slavery.

The concern about violence in popular culture is not new. In fact, according to John

Cawelti, author of “Myths of Violence in American Popular Culture” it is cyclical. According to

18
Violence, America’s Progeny.
 29

him “the agitation usually reaches a peak in a time of considerable social upheaval and in

response to a new popular genre centering on violence and crime” (521), and this is followed by

subsequent studies that claim to show a causal relationship between media violence and actual

crime. Subjects of this cycle include the gangster film of the 1930s, horror comics of the 1950s,

and the concern with television violence in the 1960s (Cawelti, 522). Now hip hop is undergoing

the same attack.

 30

LOVE IN HIP HOP

Although highly violent and misogynistic hip hop indeed has something to say about

love. Recognizing that love coexists with the aforementioned characteristics in mainstream

society, it should come as no surprise that there is space for and the existence of romantic love in

hip hop culture; after all, “everybody needs somebody to love/ before its too late……don’t

nobody wanna grow old alone!”19 Romantic love that is characterized by reciprocity, possession,

particularity, idealization of the beloved, and the prospect of vulnerability and “drama” manifests

itself in hip hop culture in three ways: in its art, the audience’s love for the artist, and the artist’s

love for his or her music. Beyond the heterosexual relationships depicted in the art of hip hop

culture, romantic love manifests itself in ways that illustrate participants’ love for the culture.

One of the first to inquire about romantic love in hip hop was LL Cool J with his single “I

Need Love” from his Bigger and Deffer rap album released in 1987. “I Need Love” chronicles

LL’s realization that despite the games that he played with women by making a mockery of love,

he finally has developed a longing desire for “the warmth that is created by a girl and a boy.”

The defined characteristics of romantic love reside in this ballad. The element of particularity

emerges in the song as LL declares that he will “search the whole world for that special girl.”

Many rap songs contain boasts of a man’s sexual prowess that is defined by his desire and ability

19
Love Hater by Andre 3000
 31

to sexually satisfy many women; this, however, should not be confused with the culture’s

definition of romantic love. LL distinguishes between the “many hearts” that he played with and

his desire to be a one-woman man; the latter occurring, according to him, when he has found his

one true love. In the song, LL defines what he conceives to be characteristics of romantic love,

namely friendship, trust, honor, respect, and admiration. These characteristics are not congruent

with the typical male fantasy of juggling multiple women; these characterizations, in the context

of the song, imply a certain unique intimacy with one other individual.

One characteristic of romantic love described in “I Need Love” resonates throughout rap

music when it comes to romantic relationships- honor or loyalty. In the hip hop love song that is

characteristic of the hip hop relationship is Method Man and Mary J. Blige’s remake of the

Marvin Gaye and Tammie Terrell classic “You’re All I Need.” Method Man pledges his love and

appreciation for a woman who endured his trials and tribulations by making a “brother feel like

he was something.” Similar to LL Cool J’s “I Need Love” “You’re All I Need” contains the

desire for reciprocity, the idealization of the beloved, particularity, and in addition loyalty.

Method Man admires the fact that his woman is “down for whatever;” this expression of loyalty

incites the desire in him to reciprocate this love. Although he declares that one does not need a

ring to be his wife, this is not indicative of any desire to pursue other women; it is instead

indicative of the changing perception of marriage not just in hip hop culture, but in America.
 32

Some critics deny Method Man’s genuine love for the subject of his song; in fact, Gwendolyn

Pough in Check It While I Wreck It questions the depth of his love because it seems that he only

loves the lady for what she has done for him. But Method does indicate that there are

characteristics he admires, for instance, he loves the fact that “she has a mind of her own.” In

Method’s mind, there is no woman like her, and as long as she remains loyal to their love, he will

as Mary J. Blige sings in the chorus, dedicate his life to her.

To some critics of hip hop, these two cases may seem like anomalies. According to John

McWhorter when commenting on “conscious rap” we should not look at the marginal cases

when discussing a phenomenon. I contend, therefore, that among the discography of rappers that

are characterized as irredeemably misogynistic and popular, there are songs that express the

yearning for romantic love. 50 Cent in his hit single “In Da Club” proclaims that he is “into

having sex” and not into making love. This may indicate that love is not on his radar, however,

interpreters should not extract his statement from the context of his song; this is how he feels

when he is out for a night “in da club.” On the same album, Get Rich or Die Trying, 50 extends

the call for loyalty in “21 Questions.” The song is a series of questions asked to ascertain

whether or not the girl in question will love 50 Cent despite his circumstance. Furthermore, Jay

Z who like to “fuck ‘em, thug ‘em, love ‘em, leave ‘em” has rapped about love. In “Song Cry”

Jay Z gives us the drama and complexity that accompanies real life relationships. It is the
 33

familiar story of a woman who endures hardships with her man until he becomes successful and

searches for greener pastures. Throughout the song, Jay Z recounts nostalgic memories of the

two when they were together before the success; he chronicles his infidelities and his misplaced

confidence in the notion that his girlfriend would never leave; at the end of the song, he is

mourning the loss of his love. Another famous artist that received a lot of attention concerning

his lyrics and his general theme of “Money over Bitches” also has rapped about love. In “Can

You Get Away” Tupac is trying to lure a girl he is interested in from her abusive boyfriend. What

he wants with this girl is not about “sucking or touchin”; he genuinely wants to explore the

possibilities of a relationship with her because he believes she was meant to be his “destiny.”

Specifically, he desires this girl because he can tell that life with her would be “delicious.” He

has idealized and imagined his future with her in mind.

Hip hop does not only comment on romantic love in its music but also in its film. John

Singleton’s Baby Boy, starring singer Tyrese Gibson, speaks volumes about love. In this movie,

as Jody (Tyrese Gibson) learns from various people in his life that he is not just a “baby boy,” his

relationship with his girlfriend offers the viewer an opportunity to witness the drama of love first

hand. In this movie, Singleton illustrates the drama that is associated with romantic love.

Singleton contends, therefore adding another dimension to romantic love, one must be secure

with oneself as well as mature in order to embark on the journey of romantic love.
 34

To begin the analysis of Baby Boy, we will begin with examining the supporting

character Yvette before Jody because of the role each plays in the romantic relationship. When

the movie begins, the viewer is first confronted by Jody waiting for his girlfriend to emerge from

the abortion clinic. The first few scenes cast Jody as a hopelessly selfish boyfriend and Yvette as

the hopelessly in love girlfriend.

Yvette demonstrates the aspects of Alcibiades’ characteristics of love drama: she laments

the lack of reciprocity, possession, exclusivity, and idealization. In essence, much of the movie

demonstrates Yvette’s quest for exclusive, reciprocal love. The first real conversation about the

nature of love occurs when Yvette is complaining to Jody’s mother, Ms. Juanita, about how

selfish her son is in the relationship. At one point, Yvette feels so helpless that she calls herself

stupid, at this point, Ms. Juanita replies, “You’re not stupid, you’re just in love with a man.” In

essence, there is drama and pain to be expected in pursuit of romantic love. In this scene,

Singleton adds another dimension to romantic love that puts limits on tolerating a lack of

reciprocity. While explaining to Yvette that a man has the power to make a woman feel as high

or as low as he wishes, she states, “If you don’t have love for yourself, how are you going to

have it to give to him.” There is some threshold where love for the beloved is trumped by love

of self.
 35

Along with the problem of reciprocity, Yvette’s role as the lover shows her in the trance-

like state spoken of by Alcibiades; she idealizes her mate and looks past his flaws, i.e. the fact

that he is jobless and unfaithful. Throughout the movie, the viewer watches as Yvette is a

passive (passive in the sense that she may fuss but ultimately does not leave Jody) victim of

Jody’s selfishness and infidelity. Towards the end of the movie, Yvette does attempt to end the

relationship Jody, but her development from this move is stifled by her overbearing ex-boyfriend

who moves into her apartment, forcing her to long for Jody as soon as she lets him go.

Jody is the main character in this film about a young man who is having troubles because

of his lack of maturity, hence the movie title. In Singleton’s comment about romantic love, Jody

is the “ever elusive beloved”. He demands that Yvette only maintain a relationship with him and

no other man, however, he admittedly is not exclusive. In this movie, along with other things

that this “baby boy” is taught, Jody must learn that he must reciprocate Yvette’s love in the

relationship.

After Yvette breaks up with him due to their physical altercation, Jody is forced to

seriously reflect on their relationship. He expresses to his mother that although he is not faithful,

he is good to Yvette because of the fact the he materially provides for her and their son on

occasion. As with other things, Jody’s mom expresses to him that he is being selfish by forcing

him to examine the relationship from Yvette’s point of view. Throughout the movie of Yvette
 36

thinking about him (for example, providing him with a car because he needed one), this is the

first instance that Jody looks at the relationship from her perspective. His mother makes him

realize that she has good reason to be dissatisfied with the relationship.

During their time apart, Jody realizes how much he loves his girlfriend, when Yvette

expresses to him how her ex-boyfriend has taken over her house and attempted to rape her, his

pride yields to her pain as he exclaims that he will be there for her. He evokes Aristophanes’

philosophy of completion by telling Yvette, “You’re my rib. You heard of Adam’s rib. That’s

how God made Eve, baby.” Here Jody moves into a mutually dependent relationship, he loves

and shows love for her as she does for him. At the end of the movie, the Baby Boy has now

become a man, after understanding the contours of love. When we see him go to Yvette’s house,

he now has a key, as opposed to having to knock for entrance. The viewer sees the three, Yvette,

Jody, and their son Jojo as a fulfillment of the request by Yvette that she has a man by her side

willing to spend time with her. To end, throughout the credits, we see a pregnant Yvette spending

quality time in the park playing cards with her new fiancée Jody, who has finally grown into a

man.
 37

A relationship characterized by the attributes of romantic love exists in the form of the

audience’s love of artists. When expressing sentiments about favorite rap artists and icons,

audience members remain loyal to the rappers because of their particular syle or characteristics.

Artists are often idealized by their fans, even when they commit socially reprehensible acts, fans

overlook them and their love for the artist persists.

The legacies of rappers Tupac Shakur and Notorious B.I.G. serve as excellent examples

of artists who have cultivated and maintained, even after their deaths, relationships with their

audience members via the music they left behind. In an article by MTV News entitled “Biggie,

Jam Master Jay, Left Eye and their mothers honored at B.I.G. Night Out,” expressions from

those present revealed sentiments of romantic love. Although Notorious B.I.G. died on March 9,

1997 his “classic material is standing the test of time.” His Life After Death album is one of the

only two hip hop records to be certified 10 times platinum; this is an incredible feat even thought

it was released after his death. His loyal fan base continued to support his music, in essence,

giving it “life after death”. DJ Cipha Sounds, a dj interviewed in the article, can obviously attest

to the particularity of Notorious B.I.G. He noted that if B.I.G. were alive, he would not have

liked the CD Born Again because “he didn’t write to those beats.” This illustrates the fan

member’s recognition and appreciation of the unique sound of Notorious B.I.G.

 38

Tupac Shakur's legacy continues to live on past his death. MTV reports that the first

three albums after his untimely death in 1996 have sold 7 million copies, which is 2 million less

than what he sold while alive. Pricilla Ochoa comments in an MTV news article that she does

not listen to Nelly or Jay-Z because she can not relate to them, but “Tupac has songs that are

about being a player, but a lot of his songs are about life and what he went through, which is why

I think people can relate to him.” The styles of Tupac Shakur and Notorious B.I.G. have

garnered fans that have fallen in love with the artist and their music. Each artist’s fan base

remains loyal because of the particular style of the rapper. Although both artists contributed to

the bicoastal feud that split the hip hop nation, and is marginally the cause of their deaths, fans

have idealized theses artists and continue to honor their legacies beyond their death.

Eminem’s sings “Stan” chronicles the relationship between an audience member and an

artist. The fan writes a series of letters to Eminem expressing his sentiments for hip in order to

establish a relationship with Eminem. This fan idealizes Eminem, in fact he declares that “I

know you probably hear this every day, but I’m your biggest fan.” Stan, the fan, tells Eminem

that he’s heard all of his music and has been following his career. Although Eminem has not

answered his letters at this point in the song (the first verse), Stan gives him the benefit of the

doubt.
 39

In the second verse, Stan has been disillusioned by Eminem’s behavior outside of a

concert he attended. Stan is yearning for reciprocity in this relationship, a characteristic that, if

not fulfilled, may add to what Shelby terms some of the drama of love. Stan can relate to the

music of Eminem and is, as Shelby would characterize it, sprung. When he’s having a bad day,

he listens to Eminem’s music; Eminem is a character that he desires to be a permanent fixture in

his life, he writes “I even got a tattoo with your name across the chest” because he thinks they

“should be together too.” The characteristics of a relationship that has gone wrong culminate in

the third verse; Stan is about to commit suicide because of Eminem’s failure to call or write him.

One may deem this example as an artist’s hyperbolic illustration of the love a fan may have for

an artist. However, one only need research the incidents of stalking and the great lengths fans go

through for a chance to see their beloved artist for confirmation of this fact.
 40

Bikari Kitwana notes in Hip hop Generation that hip hop generationers often fail to see

the dark side of their heroes. Kitwana points to Tupac Shakur’s unmoved fan base despite his

sexual assault conviction. Kitwana states that “it may indicate that many hip hop generationers,

including young black women, believe that either Pac’s or Tyson’s accusers were lying or they

deserved it” (105). This situation repeats itself during the initial accusations of R. Kelly’s child

pornography and Lil’ Kim’s sentencing for perjury. During both of theses situations, the hip hop

generation embraced them more, despite their alleged offenses. The vilification of hip hop icons,

according to Kitwana, helps hip hop generationers relate to them. Looking past the faults of

these artists is the manifestation of the romantic love characteristic of particularity.

In sum, the relationship between an artist’s fan base and the artist possess characteristics

of romantic love. Particularity characterizes a fan’s admiration for a certain artist’s style; the fan

reciprocates the gesture for providing music by purchasing the music and remaining loyal to the

artists. Many hip hop generationers take possession of the artist and their ideals; for example,

many supported R. Kelly when he was being attacked for child pornography. Often times, hip

hop generationers idealize their favorite artist despite troubling behavior.

 41

The final manifestation of romantic love in hip hop is between the artist and his or her

love for the music. Although there are many artists that flood the radio and television airwaves

that express their love for the money that hip hop brings, the clearest illustration of romantic love

lies with the underground artist. Because they lack the creative restriction that accompanies the

support of a major record label, underground artists remain true to the hip hop music they love to

the point of investing money in the production of their unique sound with no promise of a return.

The elements of romantic love: reciprocity, possession, particularity, idealization, and loyalty

characterize these artists’ creative involvement with hip hop music.

Underground hip hop artists often pride themselves on remaining loyal to hip hop by

refusing to contaminate their music with the commercial influences that pervade popular hip hop

music. This characteristic warrants discussion because of the fact that these artists are often

sacrificing the potential of garnering cross over success and a lucrative music career in order to

remain an authentic hip hop artist who participates in the craft mostly for its sake. This is not to

contend that underground artists are above the desire to make money. In an interview with

Hiphopgame.com, underground artist R-mean comments “I’m all about the real shit, but don’t

get it twisted, I’m here to sell records. I just gotta do it the right way. I got to stay true to myself

and I feel I owe it to hip hop.” Exhibiting loyalty to the craft, R-mean notes that money is a

factor in his career, but it is not more important than remaining loyal to the art of hip hop.
 42

The same sentiments are echoed by underground group Asamov. They want to “go out of

the box… to bring that feeling back when you first heard KRS, or first hear “Halftime”…we’re

trying to go back to that and bring that good feeling back.” Asamov repeats the sentiment that

many “true” hip hop artists do not think that hip hop is like it was in the beginning. The

beginning of hip hop is often viewed as the epitome of hip hop and the standard to which all real

hip hop artists should aspire. “Back in the days,” states Asamov, “you had to be dope on the mic

to even speak. You had to be dope to spit a rhyme. Nowadays the bar is so low, anyone and their

mama can spit a rhyme.” Loyalty to the creative aspect of the origin of hip hop culture

characterizes the creative endeavors of many underground rap artists.

 43

The loyalty to hip hop culture persists despite the bleak future for earning potential.

Underground artists must independently distribute their music in order to develop and reach their

fan base. Sacrifice is the name of the game when one refuses to go mainstream. Granted, the

music business is a difficult field to break into, but it is even more difficult when one refuses to

conform to what is popular hip hop in order to make money. Underground hip hop artist Diego

Redd in his interview with Hiphopgame.com says that “When you’re independent you have to

sacrifice. You can’t always have the freshest car or the freshest shit. You have to give some shit

away in order o get something back.” Sacrifice is the counterpart to loyalty. Some opportunities

must be sacrificed in order to remain loyal to the specific task. In this case, it is one’s career and

hip hop culture.

Loyalty and sacrifice are made easy by each artist’s belief in the uniqueness, or

particularity of his or her hip hop style. While remaining true to hip hop music in general, and

being able to appreciate the particularity of other artists’ music, many artists believe in the rarity

of his or her sound, and that often drives their love affair with their music. Rap group Ill strip

expresses the uniqueness of their music, “We not following any trends and we don’t sound like

your favorite artist, north, south, east, or west. But we have a sound that could make us your

favorite artist.” This faith in their uniqueness and particularity is the driving force behind their

sale efforts.
 44

The particularity makes way for possession in this relationship between the artist and his

music. “I think I’m the first person to define what is sounds like coming from Fresno,”

Comments Diego Redd in his interview. “Out here, I get all the love,” he continues, “all the

shows are mine. No matter who comes to town, I’m the opening act.” The underground artist is

proud to possess the particular sound. Possession in the case of the underground artists is two-

fold as described in Shelby’s description of romantic love. It puts one in a trance-like state, or

makes one “feel good” as Asamov described hip hop. Secondly, the idea of possessing the object

of love, not in the sense of a commodity (if it was, these artists would go through great lengths

for commercialization), but the ability to express oneself in a unique way.

 45

CONCLUSION

In summation, the contention that hip hop does not contain romantic love because of the

presence of violence and misogyny in the culture is unsubstantiated. These characteristics

coexist with romantic love in the greater American society and therefore, do not preclude its

existence in hip hop culture. Critics have failed to establish why the characteristics of misogyny

and violence produce the unique result of love in hip hop culture. Further studies establish that

they do not.

Furthermore, although hip hop is characterized by misogyny, hip hop artists indeed

speak about love in an innumerable amount of songs, audience members express their love for

hip hop artists by remaining loyal, and hip hop artists exhibit love for the culture by their pursuit

of true hip hop even if it does not promise to be profitable. These are the three ways that

romantic love manifests itself in hip hop culture.

 46

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hooks, bell. All about love: New Visions. New York: Harper Perennial, 2001.

hooks, bell. Salvation: Black People and Love. New York: Harper Perennial, 2001.

Howard, Judith. “The More Things Change, the More They Stay the Same? Reflections on the
State of Sexism.” Sociological Forum 13 (1998): 545-554.
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Karl, Marlene. Women and Empowerment. New Jersey: Zed Books Ltd, 1995.

Kowalewski, David and Judit McIlwee and Robin Prunty. “Sexism, Racism, and
Establishmentism.” Journal of Black Studies 26 (1995): 201-215.

Light, Alan. "About a Salary or Reality?." That’s The Joint: A Hip Hop Studies Reader. Ed.
Murray Forman and Mark Anthony Neal. New York: Routledge, 2004. 137-145.

Morgan, Joan. When Chicken-heads Come Home to Roost. New York: Touchstone, 2000.

MTV.com. 1 March 2006 < http://www.mtv.com/index.jhtml?rd=home>.

Pough, Gwendolyn. Check It While I Wreck It. Michigan: Northeastern University Press, 2004.

Ramsey, Guthrie P. Race Music: Black Cultures from Bebop to Hip Hop. California:
University of California Press, 2003.

Richardson, Jeanita and Kim Scott. “Rap Music and Its Violent Progeny: America’s Culture of
Violence in Context.” Journal of Negro Education 71 (2002): 175-192.

Rothenberg, Paula. Race, Class, and Gender in the United States. New York: St. Martin’s Press,
1998.

Sadker, Myra and David Sadker and Susan Klein. “Abolishing Misperceptions About Sex
Equity in Education.” Sex Equity and Education 25 (1986): 219-226.

Shelby, Tommie. “Ain’t (just) ‘bout da Booty: Funky Reflections on Love.” Hip-Hop and
Philosophy : Rhyme 2 Reason. Ed. Derrick Darby and Tommie Shelby. New York: Open
Court Publishing, 2005.

Tuchman, Gaye. “Women’s Depiction by the Mass Media.” Journal of Women in Culture and
Society 4 (1979): 528-542.

Discography

2Pac. "Can U Get Away." All Eyez On Me. Death Row, 1996.

2Pac. “Ratha Be Ya N____.” All Eyez On Me. Death Row, 1996.

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50 Cent. “21 Questions.” Get Rich or Die Trying. Interscope, 2003.

Black Star. “Brown Skin Lady.” Black Star. Rawkus, 1998.

Common. Like Water for Chocolate. MCA, 2000.

Eminem. “Stan.” The Marshall Mathers LP. Inerscope, 2000.

Jay-Z. “99 Problems.” The Black Album. Def Jam/Roc-A-Fella, 2003.

Jay-Z. “Song Cry.” The Blueprint. Roc-A-Fella, 2001.

Lil’ Kim. “She Don’t Love You.” Notorious K.I.M. Atlantic, 2003.

LL Cool J. “I Need Love.” Bigger and Deffer. Def Jam, 1987.

Nas. “Getting Married.” Street’s Disciple. Sony Urban Music/Columbia, 2004.

Nas. “The Makings of a Perfect B****.” Street’s Disciple. Sony Urban Music/Columbia, 2004.

Outkast. The Love Below/Speakerboxx. LaFace, 2003.

Snoop Dogg. “Can U Control Yo Hoe.” R&G (Rhythm and Gangsta): The Masterpiece.
Geffen, 2004.

Snoop Dogg. “Girl Like You.” R&G (Rhythm and Gangsta): The Masterpiece. Geffen, 2004.

The Notorious B.I.G. “Me & my B*tch.” Ready to Die. Bad Boy, 1994.