{"id":15919,"date":"2021-11-14T17:13:00","date_gmt":"2021-11-14T17:13:00","guid":{"rendered":"https:\/\/ethique-rlaroche.profweb.ca\/?p=15919"},"modified":"2022-01-19T16:57:57","modified_gmt":"2022-01-19T16:57:57","slug":"enquete-2-comment-se-constitut-lintersectionnalite-dans-le-hip-hop","status":"publish","type":"post","link":"https:\/\/www.ethique-rlaroche.philo-cvm.ca\/?p=15919","title":{"rendered":"Comment se constitue l&rsquo;intersectionnalit\u00e9 dans le Hip Hop?"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\">D\u00e9finitions de l&rsquo;intersectionnalit\u00e9<\/h2>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>Cumul de diff\u00e9rentes formes de domination ou de discrimination v\u00e9cues par une personne, fond\u00e9es notamment sur sa race, son sexe, son \u00e2ge, sa religion, son orientation sexuelle, sa classe sociale ou ses capacit\u00e9s physiques, qui entra\u00eene une augmentation des pr\u00e9judices subis.&nbsp;<\/p><cite>Source: http:\/\/gdt.oqlf.gouv.qc.ca\/ficheOqlf.aspx?Id_Fiche=26532478 <\/cite><\/blockquote>\n\n\n\n<p><\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>En 1989, Kimberl\u00e9 Crenshaw, inspir\u00e9e par une longue tradition f\u00e9ministe afro-am\u00e9ricaine, s\u2019int\u00e9resse \u00e0 comment la lutte des femmes afro-am\u00e9ricaines les place dans une position sp\u00e9cifique&nbsp;: les personnes noires sont invisibles dans les enjeux f\u00e9ministes et les femmes sont invisibles dans les mouvements d\u2019\u00e9galit\u00e9 raciale. <\/p><p>&nbsp;L\u2019intersectionnalit\u00e9 est une critique de l\u2019homog\u00e9n\u00e9isation de certaines cat\u00e9gories&nbsp;et de la tendance \u00e0 uniformiser les exp\u00e9riences v\u00e9cues&nbsp;: toutes les femmes ne sont pas \u00ab&nbsp;Blanches&nbsp;\u00bb et tous les \u00ab&nbsp;Noirs&nbsp;\u00bb ne sont pas des hommes.<\/p><cite>Source : https:\/\/liguedesdroits.ca\/lexique\/intersectionnalite\/ <\/cite><\/blockquote>\n\n\n\n<p><\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>Oppression intersectionnelle issue de la combinaison de diverses oppressions qui, ensemble, produisent quelque chose d\u2019unique et de diff\u00e9rent de toute forme de discrimination individuelle<\/p><cite>Source : M. Eaton, \u00ab&nbsp;Patently Confused, Complex Inequality and&nbsp;<em>Canada v. Mossop&nbsp;\u00bb,<\/em>&nbsp;<em>Revue d\u2019\u00e9tudes constitutionnelles<\/em>, vol.&nbsp;1 (1994), p. 203 \u00e0 229.<\/cite><\/blockquote>\n\n\n\n<p><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Can&rsquo;t Stop Won&rsquo;t Stop de Jeff Chang<\/h2>\n\n\n\n<p>Source : Site web du cours<\/p>\n\n\n\n<p>\u00ab\u00a0En 1953, on pouvait lire l\u2019avenir du Bronx dans la tranch\u00e9e artificielle de onze kilom\u00e8tres qui le coupait en deux. L\u00e0 o\u00f9 existait auparavant un continuum homog\u00e8ne de communaut\u00e9s diverses et soud\u00e9es,&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/www.philo-cvm.ca\/wp-content\/uploads\/2019\/09\/Cross-Bronx-Expressway.jpg\" target=\"_blank\">la tranch\u00e9e d\u00e9gageait d\u00e9sormais le terrain pour la Cross-Bronx Expressway<\/a>, une catastrophe moderniste de proportions gigantesques.\u00a0\u00bb<\/p>\n\n\n\n<p>\u00ab\u00a0Plus loin sur le trac\u00e9 de l\u2019Expressway, les familles irlandaises et juives qui occupaient auparavant des appartements modestes mais confortables, s\u2019\u00e9taient vu donner quelques mois pour se reloger, avec une mis\u00e9rable compensation de deux cents dollars par pi\u00e8ce. (&#8230;) Le responsable de tout cela s\u2019appelait Moses.&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.youtube.com\/watch?v=891YXWxaOyA\" target=\"_blank\">Robert Moses, le promoteur immobilier le plus puissant de tous les temps<\/a>, conduisit <strong>l\u2019exode des Blancs hors du Bronx.<\/strong> (&#8230;) il d\u00e9logea des commerces florissants et d\u00e9racina des familles pauvres afro-am\u00e9ricaines, portoricaines, et juives. Beaucoup n\u2019eurent d\u2019autre choix que de se rabattre sur des quartiers tels qu\u2019East Brooklyn et le South Bronx, o\u00f9 le logement social \u00e9tait en plein boum mais o\u00f9 les emplois avaient d\u00e9j\u00e0 disparu. \u00ab\u00a0<\/p>\n\n\n\n<p><span style=\"text-decoration: underline\">Conditions aggravant le ch\u00f4mage<\/span> : \u00ab\u00a0Ainsi se chiffrait la nouvelle configuration&nbsp;: le South Bronx avait perdu 600&nbsp;000 emplois dans l\u2019industrie. 40 % du secteur avait disparu. Au milieu des ann\u00e9es 70, le revenu annuel moyen par habitant avait chut\u00e9 \u00e0 2430 dollars la moiti\u00e9 seulement de la moyenne \u00e0 New York et 40 % de la moyenne nationale. Le taux officiel de ch\u00f4mage des jeunes s\u2019\u00e9levait \u00e0 60 %. Les d\u00e9fenseurs de la jeunesse affirmaient que dans certains quartiers le chiffre v\u00e9ritable \u00e9tait plus pr\u00e8s de 80 %. Si les conditions dans lesquelles la culture du blues s\u2019\u00e9tait d\u00e9velopp\u00e9e \u00e9taient celles du travail forc\u00e9 et instrument d\u2019oppression, celle du <strong>hip-hop devait \u00e9merger d\u2019un climat de ch\u00f4mage g\u00e9n\u00e9ralis\u00e9<\/strong>.\u00a0\u00bb\u00a0\u00bb&nbsp;\u00ab Il n\u2019y a tout simplement aucune raison d\u2019investir dans la construction ou la reconstruction de logements \u00e0 loyers raisonnables pour les banques, les compagnies d\u2019assurance ou n\u2019importe quel investisseur \u00bb, \u00e9crivirent-ils. \u00ab Dans l\u2019immobilier, le nec plus ultra du capitalisme, c\u2019est l\u2019incendie volontaire. \u00bb\u00a0\u00bb<\/p>\n\n\n\n<p><span style=\"text-decoration: underline\">\u00c9l\u00e9ment d\u00e9clencheur<\/span> : \u00a0\u00bb \u00abLe temps est peut-\u00eatre venu o\u00f9 une p\u00e9riode de \u00ablaisser-faire\u00bb pourrait \u00eatre profitable \u00e0 la question raciale \u00bb, \u00e9crivit-il dans une formule rest\u00e9e c\u00e9l\u00e8bre. Moynihan devait plus tard se plaindre d\u2019avoir \u00e9t\u00e9 mal compris, affirmant que le m\u00e9mo n\u2019aurait jamais d\u00fb atterrir entre les mains de la presse et qu\u2019il n\u2019avait jamais eu l\u2019intention de sugg\u00e9rer de priver la communaut\u00e9 noire de ses services sociaux. Mais, quelle qu\u2019ait \u00e9t\u00e9 son intention, le Pr\u00e9sident Nixon avait griffonn\u00e9 \u00ab Je suis d\u2019accord! \u00bb sur le m\u00e9mo et l\u2019avait fait passer \u00e0 son Cabinet.&nbsp;\u00ab\u00a0Les conditions sociales s&#8217;empirent: \u00a0\u00bb Durant la crise \u00e9conomique du milieu des ann\u00e9es 70, des milliers de pompiers volontaires et professionnels suppl\u00e9mentaires furent licenci\u00e9s. Ainsi que le formul\u00e8rent les \u00e9cologistes Deborah et Rodrick Wallace, il en r\u00e9sultat une \u00ab\u00e9pid\u00e9mie\u00bb d\u2019incendies. Moins d\u2019une d\u00e9cennie plus tard, le Bronx avait perdu 43&nbsp;000 logements, l\u2019\u00e9quivalent de quatre p\u00e2t\u00e9s de maison par semaine. Des milliers de terrains inoccup\u00e9s et d\u2019immeubles abandonn\u00e9s jalonnaient la circonscription. Entre 1973 et 1977, 30&nbsp;000 incendies se d\u00e9clench\u00e8rent dans le seul South Bronx. En 1975, lors d\u2019une longue et chaude journ\u00e9e de juin, quarante feux furent allum\u00e9s en l\u2019espace de trois heures. Ce n\u2019\u00e9tait pas les feux de col\u00e8re purificatrice qui avaient embras\u00e9 Watts ou une demi-douzaine d\u2019autres villes apr\u00e8s l\u2019assassinat de Martin Luther King Jr. C\u2019\u00e9taient les feux de l\u2019abandon.\u00a0\u00bb<\/p>\n\n\n\n<p><span style=\"text-decoration: underline\">\u00c9viction forc\u00e9e du South Bronx<\/span> : \u00ab\u00a0Embo\u00eetant le pas \u00e0 la Rand Corporation et au S\u00e9nateur Moynihan, Roger Starr, un fonctionnaire de la mairie, mit au point pour conclure une politique de \u00abretrait programm\u00e9\u00bb en vertu de laquelle les services de sant\u00e9, de lutte contre l\u2019incendie, de police, d\u2019assainissement et de transports seraient retir\u00e9s des quartiers d\u00e9sh\u00e9rit\u00e9s jusqu\u2019\u00e0 ce que toutes les personnes restantes soient oblig\u00e9es de partir \u00e0 leur tour \u2013 ou d\u2019\u00eatre abandonn\u00e9es. D\u00e9j\u00e0, des \u00e9coles avaient \u00e9t\u00e9 ferm\u00e9es et d\u00e9saffect\u00e9es, apr\u00e8s avoir \u00e9t\u00e9 pr\u00e9alablement priv\u00e9es de l\u2019enseignement artistique et musical, puis des mati\u00e8res \u00e9ducatives de base.\u00a0\u00bb <\/p>\n\n\n\n<p><strong>Ce que je retiens<\/strong> : Le Hip Hop est n\u00e9 dans la perspective masculine de l&rsquo;intersectionnalit\u00e9, o\u00f9 la lutte anti-raciale et la lutte des classes s&rsquo;interrelient. Comment se constitue cette intersectionnalit\u00e9? <\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>L&rsquo;exode raciste des blancs hors du Bronx = d\u00e9sir du capitalisme blanc de d\u00e9raciner les minorit\u00e9s ethniques vers les quartiers moins prolifique du point de vue \u00e9conomique (pour garder l&rsquo;\u00e9conomie aux blancs) = placement des minorit\u00e9s ethniques dans des conditions sociales moins favorables, moins d&#8217;emploi pour eux, donc ils s&rsquo;appauvrissent = l&rsquo;\u00c9tat ne voit pas l&rsquo;int\u00e9r\u00eat de bien desservir un endroit non-profitable (m\u00eame si c&rsquo;est cet \u00c9tat m\u00eame qui a permit les conditions qui ont influenc\u00e9 l&rsquo;appauvrissement de cette communaut\u00e9).<\/li><\/ul>\n\n\n\n<p><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Analyse du texte de Layli Phillips sur l&rsquo;intersectionnalit\u00e9 dans le Hip Hop<\/h2>\n\n\n\n<p>Source (pour le restant de l&rsquo;enqu\u00eate) : Phillips, Layli, et al. \u201cOppositional Consciousness within an Oppositional Realm: The Case of Feminism and Womanism in Rap and Hip Hop, 1976-2004.\u201d <em>The Journal of African American History<\/em>, vol. 90, no. 3, Association for the Study of African American Life and History, Inc., 2005, pp. 253\u201377, http:\/\/www.jstor.org\/stable\/20064000.<\/p>\n\n\n\n<p><a href=\"https:\/\/www.jstor.org\/stable\/20064000?read-now=1&amp;seq=1#page_scan_tab_contents\">https:\/\/www.jstor.org\/stable\/20064000?read-now=1&amp;seq=1#page_scan_tab_contents<\/a><\/p>\n\n\n\n<p>\u00ab\u00a0One thing that has not changed about Hip Hop, however, is that it continues to represent the voices and visions of the culturally, politically and economically marginal and disenfranchised.\u00a0\u00bb <\/p>\n\n\n\n<p>\u00ab\u00a0Second, a masculinist discursive strand is clearly identifiable in both rap music and its parent culture, Hip Hop. The numerical preponderance of men, combined with pre-existing masculinist scripts and sexist practices in virtually all occupational and commercial realms as well as the society at large, has ensured the greater visibility of men\u2019s prerogatives and perspectives relative to women\u2019s in both rap music and Hip Hop. Due largely to masculinist biases already in place in the domains of advertising and news reporting, the public face of both Hip Hop and rap is masculine and the mainstream discourse of rap as Hip Hop\u2019s mouthpiece is masculine.<\/p>\n\n\n\n<p>Third, both women and men have participated in Hip Hop culture and rap music in ways that have been both oppressive and liberatory for women. To assume that men\u2019s voice or influence in Hip Hop or rap music has been uniformly sexist and that women\u2019s has uniformly opposed this sexism is to accept a false dichotomy that misrepresents the complexity of Hip Hop and rap with respect to gender.\u00a0\u00bb<\/p>\n\n\n\n<p><span style=\"text-decoration: underline\">Pr\u00e9dispositions \u00e0 l&rsquo;\u00e9mergence de l&rsquo;intersectionnalit\u00e9 f\u00e9minine dans le Hip Hop<\/span> :<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Le discours masculin et les pratiques sexistes pr\u00e9pond\u00e9rants dans la soci\u00e9t\u00e9 en g\u00e9n\u00e9ral<\/li><li>La surrepr\u00e9sentation des hommes en tant que tel et de leur perspective des probl\u00e8mes soci\u00e9taux<\/li><li>L&rsquo;image masculine du Hip Hop d\u00e9j\u00e0 en place, m\u00eame dans les d\u00e9buts du Hip Hop<\/li><li>La dualit\u00e9 dans la libert\u00e9 que le Hip Hop a amen\u00e9 pour les femmes marginalis\u00e9es et l&rsquo;oppression qu&rsquo;elles en ont aussi ressorties : \u00ab\u00a0(\u2026) women in rap have maintained a dually oppositional stance within Hip Hop culture. On the one hand, this stance has allowed African American and Latino women to critique the sexism of men of their same race or ethnicity, using Hip Hop as a platform. On the other hand, this stance has enabled African American and Latino women to express solidarity with men of their same race or ethnicity in their critique of and struggle against mainstream society\u2019s racism, classism, and race-d sexism (which affects both women and men of color). One feature of the second aspect of women\u2019s oppositional stance in Hip Hop is that it has allowed \u201ceveryday\u201d women of color to critique and contest certain aspects of mainstream (including academic) feminism.\u00a0\u00bb<\/li><\/ul>\n\n\n\n<p><span style=\"text-decoration: underline\">Trois propositions majeures sur le sujet<\/span> : \u00ab\u00a0Hip Hop presents feminism and womanism at street level, women in rap and Hip Hop, through their engagement with street-level communities, redefine and expand the discursive territory covered by feminism and womanism; and by redefining and expanding the discursive territory covered by feminism and womanism, women in rap and Hip Hop co-construct the meaning for feminism and womanism for both women and men in the Hip Hop universe as well as for the entire culture, including academic feminists and womanists.\u00a0\u00bb<\/p>\n\n\n\n<p>= L&rsquo;intersectionnalit\u00e9 f\u00e9minine dans le Hip Hop a \u00e9norm\u00e9ment aid\u00e9 \u00e0 construire un f\u00e9minisme qui n&rsquo;\u00e9tait plus seulement un f\u00e9minisme blanc, fait par et pour des femmes blanches, mais bien un f\u00e9minisme inclusif de toutes et qui prend en compte l&rsquo;intersectionalit\u00e9 des luttes anti-sexisme avec celles d&rsquo;anti-racisme et d&rsquo;anti-classisme. <\/p>\n\n\n\n<p><span style=\"text-decoration: underline\">L&rsquo;utilit\u00e9 du rap pour le feminisme<\/span> : \u00ab\u00a0One purpose of women\u2019s rap is to educate women and to motivate or inspire women to succeed in the face of problems they are likely to encounter in their lives. (\u2026) In this realm, women support each other, critique each other, conscientize each other, challenge each other, and bear witness to each other. Another purpose of women\u2019s rap is to air women\u2019s concerns to men and provide a forum for discussion.\u00a0\u00bb <\/p>\n\n\n\n<p><span style=\"text-decoration: underline\">Th\u00e8mes discut\u00e9s par les femmes dans le rap et Hip Hop<\/span> : \u00ab\u00a0<\/p>\n\n\n\n<ol class=\"wp-block-list\"><li>talking back to men in defense of women and demanding respect for women;<\/li><li>women empowerment, self-help, and solidarity;<\/li><li>defense of black men against the larger society.\u00a0\u00bb<\/li><\/ol>\n\n\n\n<p>Exemples de chansons o\u00f9 les rappeuses  \u00ab\u00a0(are) talking back to men in defense of women and demanding respect for women\u00a0\u00bb :<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>\u00ab\u00a0Tramp\u00a0\u00bb de Salt-n-Pepa<\/li><li>\u00ab\u00a0Why You Tell Me That?\u00a0\u00bb de Ms Jade<\/li><li>\u00ab\u00a0Watch Yo Back.\u00a0\u00bb de Trina<\/li><li>\u00ab\u00a0Love is Blind\u00a0\u00bb the Eve<\/li><\/ul>\n\n\n\n<p>Ce qui est adress\u00e9 par ce genre de chansons : \u00ab\u00a0(\u2026) forms of disrespect, depreciation, negation, and violence that they experience in their everyday lives, typically at the hands of men in their own communities. Women attempt to change men\u2019s behavior (and, by extension, to dislodge patriarchy) in a number of ways, from \u201cdissing\u201d men, to confronting them, to threatening them.\u00a0\u00bb<\/p>\n\n\n\n<p>Exemple de chansons qui d\u00e9montrent du \u00ab\u00a0<span style=\"font-size: revert\">women empowerment, self-help, and solidarity<\/span>\u00a0\u00bb :<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>\u00ab\u00a0Girl, Don&rsquo;t Be No Fool\u00a0\u00bb de Yo-Yo<\/li><li>\u00ab\u00a0Ain&rsquo;t Nuthin&rsquo; but a She-Thing\u00a0\u00bb de Salt-n-Pepa, aussi la chanson \u00ab\u00a0Let&rsquo;s Talk about Sex\u00a0\u00bb <\/li><li> \u00ab\u00a0Hat 2 da Back\u00a0\u00bb et \u00ab\u00a0Unpretty\u00a0\u00bb de TLC<\/li><li>\u00ab\u00a0Ladies 1st\u00a0\u00bb de Queen Latifah<\/li><li>\u00ab\u00a0Doo Wop (That Thing)\u00a0\u00bb de Lauryn Hill<\/li><\/ul>\n\n\n\n<p>Takeaway: \u00ab\u00a0(\u2026) women rappers present not only sisterly messages of inspiration and encouragement, but also harsh critiques of one another designed to elicit a higher consciousness about women\u2019s oppression as well as women\u2019s inherent worth and dignity. These songs indicate women rapper\u2019s awareness of societal messages, from within communities of color as well as the white mainstream, that degrade, discourage, depress, and confuse women, and they show how many women rappers have taken the role of \u201cmy sister\u2019s keeper.\u201d\u00a0\u00bb <\/p>\n\n\n\n<p>Exemples de chansons qui d\u00e9montrent la \u00ab\u00a0<span style=\"font-size: revert\">defense of black men against the larger society<\/span>\u00a0\u00bb :<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>\u00ab\u00a0Whatta Man\u00a0\u00bb de Salt-n-Pepa<\/li><li>\u00ab\u00a0Other Side of the Game\u00a0\u00bb de Erykah Badu<\/li><li>\u00ab\u00a0The Sweetest Thing\u00a0\u00bb de Lauryn Hill<\/li><li>\u00ab\u00a0The Bonnie and Clyde Theme\u00a0\u00bb de Yo-Yo<\/li><li>\u00ab\u00a0Dog Match\u00a0\u00bb de DMX<\/li><li>\u00ab\u00a0Letter to the Firm (Holy Matrimony)\u00a0\u00bb de Foxy Brown<\/li><\/ul>\n\n\n\n<p>Takeaway: \u00ab\u00a0These songs recognize African American men&rsquo;s gendered vulnerability in a highly racialized society, sending a message to black men, as well as to the world-at-large in which they are frequently put down, that black women are black men&rsquo;s allies.\u00a0\u00bb <\/p>\n\n\n\n<p>Aussi: Ces chansons aident le sexisme racial qui affecte aussi les hommes noirs, pas juste les femmes noires.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>It is not, however, only racism that traumatised and criminalised black masculinities. Patriarchy and capitalism, too, in concert with racism, are not without reproach. Highlighting the imperative to (re)engage black men from the location of black and African feminism, Moya gestures to the necessity of engaging black men\u2019s apartheid humiliations with respect, yet stops short of thinking of the disgraces that welded themselves to black masculinities as arising also from patriarchal capitalist domination. His representation of black men is thus incomplete. Similar to, for example, Frantz Fanon (1986) and Steve Biko (1996), he is weighed down by the conditions of men as subjects of an almost fetishistic race sign. He fails to adequately consider his subjects as simultaneously fundamentally gendered and sexual, among other social forces. His absorption by the constitutive powers of racism closes him off to other social-psychological forces.<\/p><cite>Source:  Kopano Ratele (2013) Of what value is feminism to black men?, Communicatio: South<br>African Journal for Communication Theory and Research, 39:2, 256-270, DOI: 10.1080\/02500167.2013.804675 <\/cite><\/blockquote>\n\n\n\n<p><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Analyse de trois chansons en lien avec les th\u00e8mes expos\u00e9s par Layli Phillips<\/h2>\n\n\n\n<p>(Provenant du texte de Layli Phillips)<\/p>\n\n\n\n<p><span style=\"text-decoration: underline\">Analyse de la chanson \u00ab\u00a0Tramp\u00a0\u00bb de Salt-n-Pepa (sous le premier th\u00e8me<\/span>) :<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Salt &#039;n&#039; Pepa - Tramp\" width=\"525\" height=\"394\" src=\"https:\/\/www.youtube.com\/embed\/JnMbEA9YCqY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>\u00ab\u00a0In an era when women\u2019s sexual prerogatives were being re-negotiated in the larger social sphere, this song was a timely expression of women\u2019s demands for both sexual agency and respect. Salt-n-Pepa rap : \u201cHomegirls, attention you must pay, so listen close to what I say. Don\u2019t take this as a simple rhyme, cux this type of thing happens all the time. Now what would you do if a stranger says Hi? Would you dis him or would you reply? If you answer, there is a chance that you\u2019d become a victim of circumstance. Am I right fellas? Tell the truth -or else I\u2019m-a have to show and prove you are what you are, I am what I am. It just so happens that most men are\u2026 tramps.\u201d Later in the song, the rappers address a prospective \u201ctrampy\u201d male thus: \u201cYou\u2019s a sucker! Get your dirty mind out of the gutter. You ain\u2019t getting\u2019 paid, you ain\u2019t knocking boots, you ain\u2019t treating me like no prostitute!\u201d Returning their attention to their female audience, they say, \u201cThen I walked away, he called me a teaser. You\u2019re on a mission kid- yo, he\u2019s a.. tramp!\u201d This song functions not only as a wake-up call to women considering sugjugating themselves to get a man. But also to men who assumed their preying game was not transparent to women.\u00a0\u00bb<\/p>\n\n\n\n<p>Paroles de la chanson :<\/p>\n\n\n\n<p>Home girls, attention you must pay<br>So listen close to what I say<br>Don&rsquo;t take this a simple rhyme<br>&lsquo;Cause this type of thing happens all the time<br>Now what would you do if a stranger said hi?<br>Would you dis him or would you reply?<br>If you answer there is a chance<br>That you&rsquo;d become a victim of circumstance<br>Am I right, fellas? Tell the truth<br>Or else I&rsquo;m-a have to show and prove<br>You are what you are, I am what I am<br>It just so happens that most men areTramp (What&rsquo;d ya call me?)Have you ever seen a dude who&rsquo;s stupid and rude?<br>Whenever he&rsquo;s around he dogs your mood<br>I know a guy like that, girl<br>He thinks he&rsquo;s God&rsquo;s gift to the world<br>You know that kind, excited all the time<br>With nothing but sex on the mind<br>I&rsquo;m no stunt, on me he can&rsquo;t front<br>I know the real deal, I know what they want<br>It&rsquo;s me (Why?) Because I&rsquo;m so sexy<br>It&rsquo;s me (What?) Don&rsquo;t touch my body! (Boy!)<br>&lsquo;Cause you see I ain&rsquo;t no skeezer<br>But on a real tip I think he&rsquo;s aTramp (What&rsquo;d ya call me?)On the first date he thought I was a dummy<br>He had the nerve to tell me he loved me<br>But of course, I knew it was a lie, y&rsquo;all<br>He undressed me with his eyeballs<br>Trying to change the whole subject<br>&lsquo;Cause everything he said pertained to sex<br>So I dissed him, I said, \u00ab\u00a0You&rsquo;s a sucker!<br>Get your dirty mind out the gutter<br>You ain&rsquo;t gettin&rsquo; paid, you ain&rsquo;t knockin&rsquo; boots<br>You ain&rsquo;t treating me like no prostitute\u00a0\u00bb<br>Then I walked away, he called me a teaser<br>You&rsquo;re on a mission, kid yo, he&rsquo;s aTramp (What&rsquo;d ya call me?)<br>Tramp<\/p>\n\n\n\n<p><span style=\"text-decoration: underline\">Analyse de la chanson \u00ab\u00a0Ladies 1st\u00a0\u00bb de Queen Latifah (sous le deuxi\u00e8me th\u00e8me)<\/span> :<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Queen Latifah - Ladies First (feat. Monie Love) [Music Video]\" width=\"525\" height=\"394\" src=\"https:\/\/www.youtube.com\/embed\/8Qimg_q7LbQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>\u00a0\u00bb Queen Latifah offered a different kind of women\u2019s empowerment song, \u201cLadies 1<sup>st<\/sup>\u201d on her 1989 debut CD, <em>All Hail the Queen<\/em>. This CD, hailed in the Hip Hop community as a turning point in women\u2019s rap discourse, encapsulated an omnibus message of women\u2019s power. On this song, Latifah shared the microphone with black British rapper Monie Love, whose lines in the song contribute equally to the song\u2019s meaning and impact. Latifah rapped, \u201cA women can bear you, break you, take you; now it\u2019s time to rhyme \u2013 can you relate to a sister dope enough to make you holler and scream?\u201d Later, Monie Love embellishes this theme of women\u2019s power: \u201cStrong, stepping, strutting, moving on, rhyming, cutting, and not forgetting \u2013 We are the ones that give birth to the new generation of prophets, because it\u2019s \u201cLadies First.\u201d\u201d Latifah then rejoins (with Monie Love\u2019s back-up): \u201cI break into a lyrical freestyle, grab the mic, look at the crowd and see smiles, \u2018cause they see a woman standing up on her own two- sloppy slouching is something I won\u2019t do. Some think that we can\u2019t flow (can\u2019t flow)- stereotypes, they go to go, got to do. I\u2019m-a mess around and flip the scene into reverse (with what?)- with a little touch of \u2018Ladies First.\u2019\u201d To paint a picture of women\u2019s superiority, Latifah raps, \u201cI\u2019m divine and my mind expands through out the universe- a female rapper with the message to send: Queen Latifah is the perfect specimen!\u201d Later, she states, \u201cQueens of civilization are on the mic.\u201d This song, which clearly invokes the mythology of African queens, played well into, yet challenged, the environment of burgeoning Afrocentricity during the early 1990s. \u00ab\u00a0<\/p>\n\n\n\n<p>Paroles de la chanson:<\/p>\n\n\n\n<p>The ladies will kick it the rhyme that is wicked<br>Those that don&rsquo;t know how to be pros get evicted<br>A woman can bear you break you take you<br>Now it&rsquo;s time to rhyme can you relate to<br>A sister dope enough to make you holler and screamAyo let me take it from here Queen<br>Excuse me but I think I&rsquo;m about do<br>To get into precisely what I am about to do<br>I&rsquo;m conversating to the folks that have no whatsoever clue<br>So listen very carefully as I break it down for you<br>Merrily merrily merrily merrily hyper happy overjoyed<br>Pleased with all the beats and rhymes my sisters have employed<br>Slick and smooth throwing down the sound totally a yes<br>Let me state the position: Ladies first, yes? (Yes)Believe me when I say being a woman is great, you see<br>I know all the fellas out there will agree with me<br>Not for being one but for being with one<br>Because when it&rsquo;s time for loving it&rsquo;s the woman that gets some<br>Strong, stepping, strutting, moving on<br>Rhyming, cutting, and not forgetting<br>We are the ones that give birth<br>To the new generation of prophets because it&rsquo;s Ladies FirstI break into a lyrical freestyle<br>Grab the mic, look into the crowd and see smiles<br>Cause they see a woman standing up on her own two<br>Sloppy slouching is something I won&rsquo;t do<br>Some think that we can&rsquo;t flow (can&rsquo;t flow)<br>Stereotypes, they got to go (got to go)<br>I&rsquo;m a mess around and flip the scene into reverse<br>(With what?) With a little touch of \u00ab\u00a0Ladies First\u00a0\u00bbWho said the ladies couldn&rsquo;t make it, you must be blind<br>If you don&rsquo;t believe, well here, listen to this rhyme<br>Ladies first, there&rsquo;s no time to rehearse<br>I&rsquo;m divine and my mind expands throughout the universe<br>A female rapper with the message to send the<br>Queen Latifah is a perfect specimenMy sister, can I get some?Sure, Monie Love, grab the mic and get dumbYo, praise me not for simply being what I am<br>Born in L-O-N-D-O-N and sound American<br>You dig exactly where I&rsquo;m coming from<br>You want righteous rhyming, Imma give you some<br>To enable you to aid yourself and get paid<br>And the material that has no meaning I wish to slay<br>Pay me every bit of your attention<br>Like mother, like daughter, I would also like to mention<br>I wish for you to bring me to, bring me to the rhythm<br>Of which is now systematically given<br>Desperately stressing I&rsquo;m the daughter of a sister<br>Who&rsquo;s the mother of a brother who&rsquo;s the brother of another<br>Plus one more, all four<br>Have a job to do, we doing it<br>Respect due, to the mother who&rsquo;s the root of it<br>And next up is me, the M-O-N-I-E L-O-V-E<br>And I&rsquo;m first cause I&rsquo;m a L-A-D-I-EContact and in fact, the style, it gets harder<br>Cooling on the scene with my European partner<br>Laying down track after track, waiting for the climax<br>When I get there, that&rsquo;s when I tax<br>The next man, or the next woman<br>It doesn&rsquo;t make a difference, keep the competition coming<br>And I&rsquo;ll recite the chapter in verse<br>The title of this recital is \u00ab\u00a0Ladies First\u00a0\u00bbTraduire en fran\u00e7ais<\/p>\n\n\n\n<p> <span style=\"text-decoration: underline\">Analyse de la chanson \u00ab\u00a0The Sweetest Thing\u00a0\u00bb de Lauryn Hill (sous le troisi\u00e8me th\u00e8me)<\/span> : <\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Lauryn Hill-Sweetest Thing\" width=\"525\" height=\"394\" src=\"https:\/\/www.youtube.com\/embed\/y-Co5Kz2LuI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>\u00a0\u00bb Women in rap tend to show appreciation for men, rich or poor, from the black \u201cghetto\u201d, recognizing it as a complex of forces constraining life\u2019s options and cultivating a particular mix of hardness and vulnerability. An example of such a song is Lauryn Hill\u2019s tender and wistful ballad \u201cThe Sweetest Thing\u201d (1998), in which she extols her \u2018sweet prince of the ghetto\u2019 for \u2018the way you walk, your style of dress\u2019 and his \u2018precious, precious, precious, precious dark tone.\u2019 While as much is conveyed in the music of this song as the words, its overall message is one of appreciation for black men. \u00ab\u00a0<\/p>\n\n\n\n<p>Paroles de la chanson: <\/p>\n\n\n\n<p>The sweetest thing I&rsquo;ve ever known<br>Was like the kiss on the collarbone<br>The soft caress of happiness<br>The way you walk, your style of dress<br>I wish I didn&rsquo;t get so weak<br>Oooh, baby, just to hear you speak<br>Makes me argue just to see<br>How much you&rsquo;re in love with meSee like the queen, queen, upon her throne<br>It was the sweet, sweet, sweet, sweetest thing I&rsquo;ve known<br>It was the sweet, sweetest thing I&rsquo;ve knownI get mad when you walk away (don&rsquo;t walk away)<br>So I tell you leave, when I mean stay<br>Warm as the sun dipped in black<br>Fingertips on the small of my back<br>More valuable than all I own<br>Like your precious, precious, precious, precious, baby, baby, dark skin toneIt was the sweet, sweet, sweetest thing I&rsquo;ve known<br>It made me say, it made me say yoh uh-uh<br>I, I tried to explain<br>Ah&#8230; but baby, it&rsquo;s in vainIt was the sweet, sweet, sweet, sweet, sweetest thing I&rsquo;ve known<br>Told you it was the sweet, sweet, sweetest place I&rsquo;ve known<\/p>\n","protected":false},"excerpt":{"rendered":"<p>D\u00e9finitions de l&rsquo;intersectionnalit\u00e9 Cumul de diff\u00e9rentes formes de domination ou de discrimination v\u00e9cues par une personne, fond\u00e9es notamment sur sa race, son sexe, son \u00e2ge, &#8230;<\/p>\n","protected":false},"author":456,"featured_media":16644,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[240],"tags":[208,253,221,254],"class_list":["post-15919","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-automne-2021","tag-hiphop","tag-intersectionnalite","tag-racisme","tag-sexisme"],"_links":{"self":[{"href":"https:\/\/www.ethique-rlaroche.philo-cvm.ca\/index.php?rest_route=\/wp\/v2\/posts\/15919","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ethique-rlaroche.philo-cvm.ca\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ethique-rlaroche.philo-cvm.ca\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ethique-rlaroche.philo-cvm.ca\/index.php?rest_route=\/wp\/v2\/users\/456"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ethique-rlaroche.philo-cvm.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=15919"}],"version-history":[{"count":26,"href":"https:\/\/www.ethique-rlaroche.philo-cvm.ca\/index.php?rest_route=\/wp\/v2\/posts\/15919\/revisions"}],"predecessor-version":[{"id":16748,"href":"https:\/\/www.ethique-rlaroche.philo-cvm.ca\/index.php?rest_route=\/wp\/v2\/posts\/15919\/revisions\/16748"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ethique-rlaroche.philo-cvm.ca\/index.php?rest_route=\/wp\/v2\/media\/16644"}],"wp:attachment":[{"href":"https:\/\/www.ethique-rlaroche.philo-cvm.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=15919"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ethique-rlaroche.philo-cvm.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=15919"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ethique-rlaroche.philo-cvm.ca\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=15919"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}