Pass the Mic

As scholar Tricia Rose examined in her book Black Noise: Rap Music and Black Culture in Contemporary America (1994), most women rappers didn't get in the game because they saw themselves as feminist warriors – indeed, quite a few of those women consciously distanced themselves from even the perception that they might be feminist. Besides a basic desire for self expression, most female rappers where driven by the same thing that drives male rappers – they wanted to show that they could rock mic. But too often for the earliest generation of female rappers, the men and boys in ciphers weren't overly willing to pass the mic, so it's not surprising that the first commercially successful female rappers only got play by recording responses to their male peers. Twenty years after the release of Roxanne Shante's "Roxanne's Revenge" and Salt & Pepa's "Showstopper," for the most part women rappers and scholars are still struggling to be included in the cipher of hip hop culture. Taking a page from Jean Grae's Bootleg of the Bootleg EP, Gwendolyn Pough's new book Check It While I Wreck It: Black Womanhood, Hip-Hop Culture, and the Public Sphere (Northeastern University Press) is a bold attempt to grab the mic.

Though Tricia Rose's Black Noise is generally recognized as the first scholarly study of hip hop, the idea of the hip hop intellectual has largely been informed by black male scholars Michael Eric Dyson and Todd Boyd. Long before the publication of his book Holler If You Hear Me: In Search of Tupac Shakur, Dyson had established himself as the mainstream's favorite hip hop critic via books like Reflecting Black: African-American Cultural Criticism (1993) and From God to Gangsta Rap (1995). Boyd's expertise has been at mapping hip hop's influence on film and sports (he's a regular contributor to ESPN), particularly in books like Am I Black Enough For You? (1997) and the recent Young, Black, Rich, and Famous: The Rise of the NBA, The Hip Hop Invasion and the Transformation of American Culture.

Very often black women scholars and journalists were relegated to the margins of public discussions about hip hop (for example, it was only through an 11th hour intervention that Rose was included on a panel for Russell Simmons's first hip hop summit in 2001) unless of course the subject was about the culture's portrayal of women. As Pough notes "Much of the work currently being done by Black feminists and feminists on rap focuses on the sexism and misogyny of Black men rappers...the work of women rappers is being ignored." It is this tendency to ignore the narratives of women in hip hop that Pough challenges throughout Check It While I Wreck It. Pough cites a passage in Nelson George's Hip-Hop America, where he claims that hip hop has produced "no Bessie Smith, no Billie Holiday, no Aretha Franklin," arguing that if no "female artists had ever made a record, hip-hop's development would have been no different" as part of the inspiration for her book: "Those words have troubled me for some time, and I see this project as a way to correct these kinds of misguided statements. Hip-hop may be a uniquely testosterone-filled space, but to say that women have not contributed significantly to its development is false."

Pough links the ignoring and silencing of black women's voices in hip hop to larger societal issues. According to Pough, "Black women's speech and expressive culture have been limited in the public sphere due in part to circumstances...such as maintaining community, promoting Black manhood at the expense of Black womanhood, and constantly vindicating Black womanhood against misrepresentation." Pough adds that black women's voices have also been "limited because the places in which they have been allowed to thrive have been devalued." Pough's comments here challenge the conventional thinking that when black women get together in the beauty parlor or in the kitchen that it is simply a "bitch session" about trifling men and a chance to gossip.