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THE CONSTRUCTION OF THE SEXUALISED FEMALE IDENTITY IN HIP HOP, WITH REFERENCE TO RAPPER LIL KIM

'Lil Kim's mythology is about pussy, really: the power, pleasure and politics of it, the murky mixture of emotions and commerce that sex has become in popular culture' (Marriott, Vibe Magazine: 2000: 65)

Lil Kim, was born Kimberly Denise Jones in Brooklyn, NY, in 1975. Kim is from a working class black family who grew up in the projects. After her parents separated when Kim was nine she stayed with her father, until she became too wild for him to control. In her early teens she begins a life moving from one tumultuous relationship after another and even resorts to prostitution for a time in order to survive. In her late teens she is discovered by her mentor Christopher Smalls, (a.k.a. The Notorious B.I.G) and he schools her in rhyming skills and brings her in as the only female member of his rap crew Junior M.A.F.I.A. From that moment Kim's diminutive self (She's 4'11) had to roll with a crew of tough, angry, horny, young males and establish her right to be alongside them in the hip hop game. "She is, perhaps, the greatest public purveyor of the female hustle this side of Madonna, parlaying ghetto pain pomp and circumstances into mainstream fame and fortune" (Marriott, 2000, pp 186 Vibe magazine cited in Hill Collins, 2005pg 127) Kim's erotic power didn't tease or make attempts at conventional female sensuality.

Her rhymes are filled with raw, straight up sexually hardcore imagery. "[Lil Kim's] whole system of rhymes radically redistributes power, pleasure and privilege, always doing the unthinkable, embracing sexuality on her kind of terms." (Greg Thomas in Laksin, 2005) The reverse cover of her debut album, entitled Hardcore depicts Kim, sitting in her underwear with her legs spread open, whilst she sucks playfully on a strawberry. The poster of this image holds the record for being the most stolen poster ripped from the outside of tower records in New York. This is testimony to the successful proliferation of her image as a sexually desirable black woman. Lil Kim's critics tend to chide what they perceive as her shameless propagation of a mythological caricature of black female sexuality, whilst others suggest that she and her music contain a transgressiveness, which challenges dominating notions of black womanhood. There is an inherent contradiction in her image, as perhaps the construct of her sexuality exists to hide deeper levels of pain and insecurity felt as a result of her estranged relationship with her father and the death of her mentor Notorious B.I.G in March 1997. Kim has surgically changed the way she looks, and therefore how she is perceived. Her nose is thinner and more European, whilst her chest has ballooned and her skin has become a shade lighter.

If Kim does succeed in challenging the patriarchal system when it comes to how a black woman's sexuality is expressed, she is also subject to contradiction as she tries to fit into a European standard of beauty. Kim is not alone in this struggle, as millions of black woman throughout the world, struggle with the same dominating ideals. It is for this reason that Kim is so significant. An artist who wears her life on her sleeve for all to read, she shows us the toughness and defiance she's acquired from living and working in a male dominated world, yet she also shows her own fears and the influence that historical stereotypes can have on a modern black woman living in America. This research project seeks to understand the significance of historical depictions of black female sexuality and how this has influenced the Hip Hop culture, as reclamation of the "bad -girl/black bitch" persona worn by rappers like Lil Kim, helps to challenge male authority in society and in rap.

In chapter one I draw on the feminist theories of Patricia Hill Collins and K. Sue Jewel to help explain the formation of stereotypes surrounding black female sexuality in America. Hill Collins explores sexual politics within the black community and society at large, as she proposes a thesis that old forms of racism have been replaced by a new racism which still upholds the stereotypes of black bodies constructed during slavery. Jewel analyses how some of these stereotypes were developed in her work "From Mammy to Miss America." This chapter also looks at how modern black women have turned around stereotypes of "jezebel" and the "black bitch" and reclaimed them as positive qualities.

Chapter two further explores the construction of Lil Kim's sexuality and identifies some issues in the sexual politics prevalent in hip hop culture. A range of sources are consulted, amongst others, feminist hip hop writers, Tricia Rose, Joan Morgan, and Lori Tribbett-Williams. Male hip hop writer Nelson George also participates in my analysis of the varying critical responses to sexism and women in rap music. Bell Hooks, and Carolyn Cooper's work is consulted also. Bell Hooks for her insights into the reasons behind Lil Kim's social transformation, and Carolyn Cooper, for her suggestions that women are empowered by sexualising themselves in black cultural practices.

The third and final chapter provides a case study and textual analysis of some of the themes prevalent in the work of Lil Kim. The work of Rana Emerson, and Sheila Whitely are consulted for their insights into making analysis of narratives in music lyrics and music videos.

This work aims to provide a framework within which the work of Lil Kim can be analysed in relation to historical depictions of black female sexuality and the sexual politics within Hip Hop Culture. I aim to conclude that Lil Kim is a woman who negotiates a space between challenging dominant patriarchal constructs of black female sexuality, and being subject to these same dominant values as she appears to covet European standards of beauty. This contradiction is inevitable as modern black women in music must struggle against so many dominating systems, that of sexism, racism and patriarchy. More cultural analysis must be completed in order to establish how black women can shed these oppressing male standards of beauty, and carve their place in a world without contradictions.

JEZEBELS AND BITCHES - KEY DIMENSIONS IN THE CONSTRUCTION OF BLACK WOMEN AS "WILD" SEXUAL BEINGS.

The systemic exploitation of women of African descent began during the time of antebellum slavery. In order tomaintain a system of slavery in the face of moral and religious objections, the slave master generation sought to objectify the black body in a scientific manner as something which is sub-human. "Southern whites grew increasingly committed to their peculiar institution and took measures to defend it, [and] they also sought to demonstrate, both to themselves and to outside critics, its basic humaneness." (Kolchin, 1993, 94) The entire slavery operation depended upon black woman, for her important role as breeder to new generations of slaves. In order to justify the systematic raping and breeding of the black woman as if she were cattle, she had to become vilified as a wildly deviant sexual being. This type of racist teaching is characterised in the writings of former US President Thomas Jefferson in his observation that the male Orang-utan "prefers the black woman over those of his own species." (Jefferson, [1787] 1968, 51) cited in Emerson 2001, 893) This notion of notion of black women as beastly has progressed into modern stereotypes of black sexuality, as Black feminist writer Patricia Hill Collins remarks, "whether depicted as "freaks" of nature or as being the essence of nature itself, savage, untamed sexuality characterises Western representations of women and men of African descent." (Hill Collins, 2004, 27.) Although slave trade auction blocks sought to objectify the bodies of black men and women; women were inflicted with a special kind of torment and for this reason became the greater spectacle. The physical appearance of the black female body both titillated and fascinated whites, but white men in particular. The Hottentot Venus, is also known as Sarah Bartmann, native of the Khoi people of South Africa. Sarah was a slave living in South Africa when she was purchased by an English doctor, who secured her purchase and flew her to London in 1810 to become a living spectacle of African female anatomy. Sarah's body was typical of the Khoi women, with extraordinary large buttocks, and large drooping labia, resulting from the Khoi practice of genital manipulation. Sarah was paraded around rooms in London and Paris where scientists paid to poke and prod, whilst working class and upper class men alike paid to ogle and whistle. "She is displayed caged, rocking back and forth to emphasise her supposedly wild and dangerous nature (...) when ordered to do so, she leaves her cage and parades before the audience who seems fascinated by what they see as her most intriguing feature - her buttocks." (Hill Collins, 2004, 24.) Sarah Bartmann becomes widely known as a grand spectacle of hypersexualised black femininity which has according to black feminists led to the construction of modern stereotypes surrounding black sexuality and femininity. "Her treatment helped create modern Black sexual stereotypes of the jezebel, the mammy, and the welfare queen that, in the United States, helped uphold slavery, Jim Crow segregation, and racial ghettoisation." (Hill Collins, 2004, 28) Sarah Bartmann's existence as a sexualised exhibition continued after her death, as her private parts were dissected and displayed in jars in museums where patrons could continue to be fascinated by such baseness of sexuality. The tale of this one African woman, whose natural body was deemed as "Other" and "freakish" has become emblematic of all the unnatural stereotypes inflicted upon black women throughout history. As Black British feminist Heidi Safia Mirza explains "She [black woman] is without agency, without self-determination, a passive victim, waiting to be inscribed with meaning from those who wish to gaze upon her and name her. She is an object; not the subject of her story." (Mirza, 1997: 17) British feminist Simmonds claims that as a black woman, "my body cannot escape this history." (Simmonds, in Mirza, 1997: 292)

One of the most enduring myths relating to the black woman, is that of the "Jezebel," also interpreted as the 'bad black girl.' "The bad-black girl [jezebel] is depicted as alluring, sexually arousing and seductive (...) [She] reinforces cultural stereotypes regarding the hypersexuality of the African American female, who yearns for sexual encounters." (Jewell, 1993, 46.) As Jewell explains, Jezebel, is a woman with such wanton desire for sexual encounters that she cannot be raped in the eyes of men. This depiction of black women as "Eager, available and willing" was inextricably linked to her economic power, yet control of this power was denied to black women themselves. (Jewell, 1993, 37.) Patricia Hill Collins makes similar observations concerning this type of control.

"This representation [jezebel] redefined black woman's bodies as sites of wild, unrestrained sexuality that could be tamed but never completely subdued (...) Sexuality and fertility were neither designed for Black woman's pleasure nor subject to their control. The system was designed to stamp out agency and annex Black woman's bodies to a system of profit." (Hill Collins, 2004, 56.)

In her book, "Black Sexual Politics: African Americans, Gender and the New Racism," Hill Collins imparts a thesis that claims old normative racist values have evolved into a new form of racism. She suggests that African Americans suffer from "the profound influence of Western constructions of a deviant Black sexuality." She determines that African Americans must "develop a critical consciousness" when it comes to gender issues and sexual politics within the black community, which she claims help to uphold a system of white supremacy in America. She marks the contradiction of rich white teenagers driving their expensive cars into the parking lots of racially segregated schools, whilst playing the latest booming rap record laden with sexual and misogynistic imagery towards black women. This for Hill Collins is a prime example of the new racism. As long as society gives credence to the myths that surround notions of black sexuality through hip hop or other forms of media expression, then these stereotypes will continue to prevail. She also argues that America as a whole lives in "a sexually repressive culture" in spite of the appearance of a sexually liberated society which is presented through the media. In fact she claims that these prevailing stereotypes of black sexuality help to "construct a 'limited sexual system." (Hill Collins, 2004, 43.)

It is within this 'limited' framework that the media replicates stereotypes of the past by defeminising the image of the black women, and portraying her as aggressive and forceful. Feminist critics such as K. Sue Jewell have debated the significance of the persistence of these controlling images on the black woman's perception of her self. Jewell, whose work concentrates on the effect of cultural images on social policy concedes that whilst cultural imagery of African American woman have "undergone some modifications", she still sees the persistence of these "traditional cultural images" alongside modern interpretations of black womanhood. (Jewell, 1993, 46.) Whilst certain traditional cultural images, have negative connotations for the "privileged who have constructed them," Jewell argues that these same attributes are often embraced by black women as positive qualities. She notes that "because characteristics such as independence, aggressiveness and decisiveness are defined by those in power as qualities associated with masculinity, they are exaggerated and defined negatively when they are associated with images that symbolise African American women." (Jewell, 1993, 46.) There is cultural criticism, which Jewel makes reference to, which argues that the defeminisation of the black woman occurs because of her position as a threat to those in power.

One of the ways in which black women have been able to confound these bad-girl stereotypes is to adopt the distorted representation and reconfigure it in a positive light. This is most obviously seen in popular culture with the use of the word "bitch" as a form of self-empowerment, rather than as a derogatory insult. The general consensus among young black people and feminist critics alike has been that there are two ways that the word bitch can be viewed. One such way is as a term of derision, which applies to any representation of a black woman as aggressive, loud, rude, pushy and/or ignorant. This is the standard normal interpretation of the word bitch. "The term bitch is designed to put a woman in her place." (Hill Collins, 2004: 123.) However, when the word is turned around, much like the word nigger has been turned around in the black community, it signifies a woman who is not passive aggressive, but actively so, confrontational, demanding, and even determined. It is worn as a badge of pride in working class black communities where being a "bad bitch" is an act of self-determination.
As rapper Lil Kim declares on one of fellow rapper Missy Elliot's albums:

"I got a problem wit all y'all mutha'fucka's out there
That got a problem wit' us callin' ourselves a bitch
Yeah, that's right, I said it mutha'fucka
BITCH, what
You see bitch is a strong word
And only strong bitches can use that mutha'fuckin' terminology
Bitch
I mean, if you can't wear the name
Don't try to use it, shucks"

Lil Kim Throw your hands up- interlude
Lil Kim evidently finds the use of the word liberating, yet she is still aware of the power and gravity behind the word itself. She defends her right to use the word against herself because she is "strong" enough to use it and therefore can "wear" it also. Lil Kim feels indignant towards those who criticise her given right to use the word "bitch." She ladens her point with even stronger explicit language (mutha'fucka) to illustrate her defiance of the critics of her vocabulary. Different writers have assessed the arguments surrounding the reclamation of negative terminology and contribute varying opinions to the discourse. Hip hop academician Gwendolyn D. Plough describes the reclamation of "bitch" as "empowering" and claims it can "exude a sense of power" (Plough, 2004/5, 183.) Whilst Hill Collins is more suspicious of the reworking of negative terms to signal progress in the struggle against racism and sexism. "On one level, freak, nigger, bitch, and faggot are just words. But on another level, these terms are situated at an ideological crossroads that both replicates and resists intersecting oppressions." (Hill Collins, 2004: 121.) These ideologies are "internally inconsistent" and subject to ever changing experiences and opinions. It is for this reason that Hill Collins expects the struggle to end racism and sexism to continue for the foreseeable future. Hip hop feminist writer Joan Morgan sees the word bitch as something that has come from men as a derogatory statement, and in spite of females energised use of the word to describe themselves, she feels it is men who are responsible for it's repeated usage in Hip Hop culture. In her impassioned plea to Hip Hop in a letter, personified as a man, Joan Morgan asks tentatively "How did we go from fly girls to bitches and hos in our brothers eyes?" (Morgan, 2000: 70.)

One of the first media representations of a "bad ass bitch" or the modern Jezebel is that of the characters played by actress Pam Grier in Blaxploitation films such as Coffy and Foxy Brown. Pam Grier played virtually the same character in different movies, and although her name and the scenario changed she was always an alluring, beautiful, sexually liberated, strong woman with violent tendencies towards anyone who tried to exploit her. Grier's iconic status as a "bitch" that could get what she desired using her sexuality and power over men, has served to influence and inspire the style of modern female rappers. Lil Kim likens herself to Pam Grier, "This rap Pam Grier's here..." (Lil Kim, Queen Bitch lyrics), whilst one of her contemporaries even adopts Grier's screen character as a rap persona (Rap artist Foxy Brown.) These rap artists govern their image around the "sexualised bitch" which acts as a modern version of the Jezebel stereotype. "One sign of a "Bitch's" power is her manipulation of her own sexuality for her own gain. Bitches control men, or at least try to, using their bodies as weapons." (Hill Collins, 2004: 126.) These rappers seek to control their own life by reclaiming the inherent power of their sexuality for themselves. Instead of being used for sexual purposes by men, they will only give their bodies in exchange for their own pleasure or for material gain, but never in a submissive role. In the next chapter, we will explore the sexual politics in rap music and analyse the conflicting responses to Lil Kim's brand as a hyper-sexualised, bad black "bitch!" I will discuss whether she is presenting a liberating image of black female sexuality or whether she is in fact upholding negative stereotypes of black femininity which help maintain a system of white patriarchy in America.

"I'MA STAY DAT BITCH" - LIL KIM'S RHETORIC AND CRITICAL RESPONSES TO SEXUALISED POLITICS IN HIP HOP

Hip Hop music has always been a genre which is saturated with dominant male values. For this reason sexual politics in rap music is a complicated issue and no discussion of how a female rapper navigates this terrain could be complete without first looking at some of the critical responses to females and sexism in rap music. Renowned Hip Hop critic Nelson George believes that there is "a lack of significantly contributing female Hip Hop artists," which he explains as the result of Hip Hop's overwhelming masochism and "adolescent" quality. "Hip Hop's typical narrator is a young, angry, horny male who is often disdainful of or at least uninterested in commitments of any kind." (George, 1998: 185) George is aware of the historical sexual politics involved which may have contributed to what he perceives as a lack of persistent roles for women in Hip Hop. "Hip Hop has spiritually and financially empowered African American Males [but] has boxed young women into stereotypes and weakened their sense of worth." (George, 1998: 185-6) George makes interesting analysis of sexism in rap but it is telling that he appears to suggest that this is a female responsibility as he writes; "It is one thing to be sexually assertive; it is another to buy into men's negative language about yourself." (George, 1998: 187) George does not suggest that male rappers must take responsibility for this conflict and makes no reference to historical constructions of female identity. Tricia Rose in Black Noise (2004) criticises what she sees as Nelson George's own form of sexism, as he seems to fear that the proliferation of females in hip hop will lead to "emasculation" of the culture." (Rose, 1994: 152) Rose agrees however that female rappers are not always willing to criticise their male counterparts for any misogyny or sexism in their music. "Cognizant that they were being constructed in the mainstream press as a progressive response to regressive male rappers, these female rappers felt that they were being used as a political baton to beat male rappers over the head," (Rose, 1994: 150) Some writers dispute the so-called prevailing influence of sexism in rap music. Joan Morgan, the hip hop feminist, suggests that women who listen to and are involved in Hip Hop aren't necessarily so offended or oppressed by the sexist dialogue proliferated in hip hop. "Sexism may be a very real part of my life but so is the unwavering belief that there is no dream I can't pursue and achieve because "I'm a woman (...) and how come no one ever admits that a part of the reason women love hip hop - as sexist as it is - is 'cuz all that in-yo-face-testosterone makes our nipples hard?" (Morgan, 1999: 58-59) Rose contributes to this argument by suggesting; "sexism in rap has been gravely exaggerated by the mainstream press." Female rappers she argues, "Have quite a handle on what they are doing." (Rose in Forman et al (Eds.) 2004: 291)

Carolyn Cooper, in her analysis of the sexualised female image in the dancehall music scene has seen parallels between the black music form of Dancehall and that of Rap. She addresses issues of female participation in music forms that objectify them by arguing; "Women's unrestrained participation in [black music cultures] as fans, performers, producers, and managers may signify not so much their mindless complicity in subjugation to dominating male discourses as their self conscious celebration of the power of the female sexuality to command submissive male attention." (Cooper, 2004: 173) Cooper does concede however that, "the line between celebration and exploitation of the Black female body is rather thin." (Cooper, 2004: 174) Cooper suggests that the objectification of women in rap and dancehall music in a misogynistic and sexist way does not necessarily indicate a weakened notion of black woman, but rather an insecure and fearful black man. Cooper puts forward an argument that perhaps, "this aggressive verbalisation of male dominance may, in fact, be the impotent manifestation of a diminished masculinity seeking to exercise control in the only way it can.

The recurring metaphor of the penis as gun in both rap and ragga lyrics is instructive." (Cooper, Carolyn, 2004: 159) Rose agrees that "sexist raps articulate the profound fear of female sexuality felt by these young rappers and by many young men." (Rose in Forman et al (Eds.) 2004: 295.) These young black men are insecure because of the already inherent racism which exists in Western society but also because they buy into the myths and gender constructions surrounding the black woman. This type of male insecurity is seen in the cultures surrounding other forms of music also, as Robert Walser demonstrates in his critical account of how masculinity is 'forged' through metal music. He describes metal's fans as typically "young, male [and] lacking in social, physical and economic power." If we apply his theory to Hip Hop then we must accept that the majority of Hip Hop's young disempowered male artists and fans connect with hip hop's "imaginary resolutions of real anxieties." (Walser, 1993: 109.) Barbara Omolade simply sees the increasingly violent and sexist discourse in hip hop as highly dangerous when it comes to the construction of not only how young Black men view women but also how women might begin to view themselves. "Vulgar rap has become a form of pornography passed off as Black male rage and free speech which contributes to the abusive behaviour of young Black men towards young women." (Omolade, Barbara, 1994: 237)

Feminist writer Joan Morgan believes that there isn't enough concern about the social anxieties that young black women suffer from; "Few were willing to believe that black girls growing up in the same violent, materialistic, and economically and spiritually impoverished environments were likely to suffer their own pathologies. " (Morgan, Essence, March 1997.) Women rappers in order to be taken seriously have to be powerful, strong and in the modern era, sexually liberated, in order to stand on a level playing field with the men. It is almost no wonder that female rappers appear so hard and tough. "Contemporary black women are forced to negotiate the traces left by these contaminated constructions of black female sexuality." (Byrd, 2004: 3)

Some critics argue that the proliferation of the Jezebel figure in Hip Hop is a result of young working class black women growing up in a society that only presents mythological and distorted representations of black women. "[Black] women whose identities were (...) constructed in compliance with the status quo were more inclined to absorb these images and make these representations and stereotypes of heterosexual black female sexuality as their own." (Byrd, 2004: 2) This could be highly dangerous for young females growing up, if they have no representation of black women in the media that is not subject to historical distortions. It could lead to the type of low self esteem, which Bell Hooks attributes to Lil Kim as an explanation for her hypersexualised public persona. Hooks writes;

"Here is this black girl from a dysfunctional working class family and if she plays
her cards right she may be a multi-millionaire by the time she's thirty. She may have all matter of things, but all she can say when it comes to love is
'What's that?' And then a few years later she's wearing a blonde wig looking like a
cartoon character letting the medical industry cut up her breasts. And we say what's love got to do with it?" (Hooks, Rock My Soul, 2003:13)


There are many critics who would perhaps say Lil Kim is simply living up to a destructive construction of black female sexuality. "The new generation of rappers through their x-rated lyrics and fashions, breathe new life into Jezebel, a mythical caricature and distorted representation of African American womanhood." (Tribbett-Williams, 2000 168) There are others however who would argue that Kim is simply harnessing the power of her raw sexuality over men. In her pictures she spreads her legs in provocation as if to say, yes this is what you want isn't it? But it is she who holds the power over who she gives it to. Rapper Queen Latifah comments on Kim's method of empowerment; "Kim sees her power in a different way than I see my power and she may feel that she's working her power to the best of her ability - instead of letting someone else pimp that power. The bottom line is pussy is a powerful thing, and I've come to recognise that some women can use it to gain things for themselves because they see it as their greatest strength." (Morgan, 1999: 218) Anaya Byrd claims artists like Lil Kim are challenging conventional constructions of female sexuality by asserting their "desire and sexual wants in a culture where female sexuality is not typically linked with the pursuit of pleasure." (Byrd, 2004: 3)

Kim may appear to challenge society's notions of a black woman's sexuality for some, but there is also merit to Bell Hook's declaration that Kim may have no sense of self-worth. Kim's repeated plastic surgery, alleged skin lightening treatments, and trademark blue contact lenses suggest that she is herself uncomfortable with an Afro-centred concept of beauty. Her more European look has seen her rise to iconic status and enabled her to work in Hollywood. The media often ridicule her persona as if she were a living caricature, yet she didn't receive half as much coverage when she had brown eyes and black hair. 'In the treacherous world of glamour, where the rules change and racism is in the details, Kim's blond wigs and nose contouring give stylists, photographers, and editor's permission to erase race from her equation. It's the unspoken price of entry" (Marriott, Sept 2001, Vibe Magazine p. 132). This is a type of institutionalised racism present within the media that allows propagation of black female representations if they are flawed, troubled or in any way contradictory. Critical commentary surrounding the implication of Kim's brand of "pussy power" is also highly contradictory. She is held up by some as the archetype for feminist expression in hip hop. Greg Thomas, the professor in charge of the first college course dedicated to the life and works of Lil Kim is convinced of her power and authority as a model for a modern construction of female sexuality; "It's about her lyricism and the lyrical persona...new notions of sexual consciousness, sexual politics in her rhymes, how she deals with societies based on male domination in her rhymes, and societies based on rigid gender categories and constructs. Her lyrical artistry is nothing short of revolutionary." (Greg Thomas in Laksin, 2005) This lyrical artistry is also perceived as being part of the wider problem of constructing or representing regressive stereotypes of black people in hip hop. Dr William C. Bankfield attacks artists who perpetuate destructive stereotypes in their music, "The only thing they seem to care about is what comes into their bank accounts. They are the biggest Black sell-outs of all time because they allow the White media structure to lessen the potential of a balanced picture of Black people in contemporary American cultural projection." (Keels, 2005) It is Kim who will ultimately have the last word, as it is she who holds the attention of Hip Hops fans and protagonists. Joan Morgan suggests that perhaps Kim

can be a feminist icon in spite of the disdain she receives from those who feel she is bound by a system of racism, sexism and patriarchy. "Whether we like it or not [Lil Kim is a] creature of [her] own design who exercises the same creative rights as [her] male counterparts (...) now that women are no longer restricted to the boundaries of gender expectations, there will be those who choose to empower themselves by making less than womanist choices - and they are free to do so." (Morgan, 1997, Essence) Isn't that what feminism is all about after all? A woman has the right and ability to choice her own path even if it is her desire to use her sexual power in order to attain material wealth. Kim challenges men through her music by declaring that her own wants and desires come before theirs. In this way she establishes her own liberty from western patriarchy. As Tricia Rose notes, "Black women rappers resist patterns of sexual objectification at the hands of Black men and of cultural invisibility at the hands of dominant American culture." (Rose, 1994: 170) In the next chapter I will explore a range of Lil Kim's controversial lyrics and several of her music videos in order to analyse how she rejects popular notions of black female sexuality through cultural expression.

Chapter Three: Case Study of Lil Kim?s Lyrical Artistry and Music Videos.

The representation of black women in music videos is a huge field of analysis, but in this research report, will simply pick a selection of two Lil Kim Videos from different stages in her career. Rana Emerson, notes the significance of music video analysis in order to determine the constructions of black female sexuality portrayed in the popular media. "The medium of the music video, the primary promotional vehicle for the recording industry today, is an essentially rich space to explore the ways in which race, gender, class and sexuality intersect in the construction and proliferation of ideologies of black womanhood in the mass media and popular culture." (Emerson, Feb 2002: 116) Subjective analysis of music video alongside lyrics and of the song itself is often necessary in order to discover which preferred meaning is implied.

Sheila Whitely suggests that there is a strong relationship between the visual and the implied meaning behind the music. "Pop videos impose a visual interpretation of the song, so that the preferred meaning is largely weighted in favour of the image." (Whitely, 1997: 259) In this brief analysis, I will look at two of Lil Kim's videos and asses whether the meaning implied in the songs itself is translated into the video. The two videos are LIGHTERS UP and HOW MANY LICKS. Two of Lil Kim's songs will be analysed on their own, in order to determine how Kim establishes her persona through her music. These songs are QUEEN BITCH and SUCK MY DICK. The full lyrics of each song analysed is available in the appendix.

QUEEN BITCH

The song Queen Bitch, which was one of her first lyrically acclaimed rhymes, aims to establish Kim's mode of operation in the world of Hip Hop. Queen Bitch it is claimed, was ghost written by Kim's mentor, as the tongue twisting metaphors she uses in this rhyme are typical of his own style and flow. Although Kim denies that B.I.G wrote any of her songs, we see a marked difference in the style of this rap and that of her later material.

'If peter piper pecked em , I betcha biggie bust em
probably tried to fuck him, I told him not to trust em
Lyrically, I dust em, off like Pledge
Hit hard like sledge-hammers, bitch with that platinum grammar
I am a diamond cluster hustler
Queen bitch, supreme bitch
Kill a nigga for my nigga by any means bitch
Murder scene bitch Clean bitch, disease free bitch"

Kim begins this rhyme asserting the power of her mentor Notorious B.I.G also known as "Biggie," by betting that he can "bust" any competition, whilst she presents an image of herself that is hard and uncompromising. She tells us that she's not a female figure who will at home keeping her home clean for her man, instead she will "lyrically dust em [her rap competition] off like pledge." She is hard and tough and reigns supreme as "Queen Bitch." Whilst she won't be at home with the pledge out and a duster, she will support her man by being his partner in crime and defending him by any means necessary. She presents herself as desirable female companion for tough young black youth by establishing that she will even kill for her man, and rejecting assumptions that sexually liberated black women will be "dirty" or "disease ridden."

Roll with the M.A.F.I.A. remember them?
Tell em when I used to mess with gentlemen
Straight up apostles, now strictly niggaz that jostle
Kill a nigga for the figure, how you figure?
Your cheddar would be better, Beretta inside of Beretta
nobody do it better

Kim goes on to gives us an insight in the reasons why she's become a "gangsta" chick, and the perks of that lifestyle. She tells us she only rolls wit her "M.A.F.I.A" crew now, although she remembers when she used to hang around with "gentlemen" who are presented as being morally higher through her description of them as apostles. Yet she is uninterested, and berates these "gentlemen" who aren't willing to kill, rob or steal to get her money or "cheddar". Only her crew with their armoury will be able to keep her satisfied. "While you struggle and strive, we pick which Benz to drive." This type of materialism by any means necessary is emblematic of young impoverished black youth who covet the victories of consumerism which are presented all around them as assets of real power. Kim goes on to brag about her sexual desirability;

Bet cha I wet cha like hurricanes and typhoons
Got buffoons eatin my pussy while I watch cartoons

This is the area in which Lil Kim challenges even her male rap counterparts, when it comes to verbalising the sexual wants and desires of women. She discusses sex on her terms, and demands that men keep her sexually satisfied. In this way Kim's persona differs from that of the "video hos" which proliferate male rappers videos, whom only appear in order to appease male sexual urges. At the end of Queen Bitch Kim explains why she's going to "stay that bitch."

Flossin my rolex I'm rich
Shit, I'ma stay that bitch

She has no desire to change her lifestyle or conform to conventional notions of how a woman is supposed to behave, because quite simple her persona has made her rich and given her power of those in society who may seek to exploit her.

SUCK MY DICK

In this song Kim does her bit for attacking male rappers for their treatment and misogyny of women. Kim challenges them by saying, "Imagine if I was a dude hittin' cats from the back with no strings attached. Yeah niggas picture that! I'll treat ya like y'all treat us." She attacks men for their behaviour in female relationships, and defies the type of dynamics where she is being used for her body, by using men for her own pleasure. She is in effect turning the table around. This song is controversial, but it is also undeniably powerful. Kim continually attacks male rappers obsession with demanding sexual pleasure from women, or using sexual imagery as an insult. The chorus is rhythmic and repetitive, which lends power to the message behind it. Kim is having an argument with a man who is challenging her dominance.

Kim: "Nigga Fuck you!
Man: (no Fuck You Bitch!)
Kim: Who you talkin to?
Man: (Why you actin' like a bitch?)Kim: Coz y'all niggas ain't shit and
if I was a dude I'd tell ya Suck My
Dick!!!(repeat)"

Her use of imagery is more powerful than if she were to simply say "suck my clit for example." By telling men to "suck her dick" it becomes a much more powerful imagery in a community where homophobia is rife, and fear of sexual encounters with other men is displayed in a highly aggressive manner. Kim explains that she is not bound to men, because she doesn't require love from, them. "He asked me did I love him, I said what came to mind, Like niggas be doin'" It appears than Kim has no faith in a man's ability to love, she perceives a male admission of emotions as simply being the first lie that came into their head. She feels that men "niggas ain't shit", but admits that in spite of this they still have the ability to "pimp" a woman's power, and so it is for this reason that Kim puts her own sexual pleasure before theirs. She doesn't wish to be controlled by men or by their perceptions of her.

"Niggas ain't shit but they still can trick
All they can do for me is suck my clit
I'm jumpin up and up after I come
Thinkin they gon' get some pussy but they gets none"

It is Kim who holds onto the power of her "pussy" by defying men's expectations of having her sexually. She will make sure she receives her pleasure first, and then she'll leave. In this video and song Kim continues her theme of placing her own sexual pleasure and power over that of men. The chorus is sung by RnB singer Sisko, who does not appear in the video. He sings, "How many licks does it take till you get, To the center of the (Tell me, huh)." This is repeated throughout the song and makes reference to the source of female sexual power, which men have to keep trying to get to the centre of. The video opens with a serious of slogans appearing on the screen such as, "Back By Popular Demand, The Original, Fully Edible, Candy Kim." As these words flash up, we see a futuristic setting where a female body parts are being constructed together. The final piece is the head of a blonde haired Lil Kim. This personification of Kim as a living doll is continued throughout the song, as we see three different stylistic representations of Kim, including, "Pin Up Kim", and "Knight-Rider Kim." We see Kim walking confidently down what appears to be a never-ending catwalk as invisible photographer's cameras flash repeatedly. She asserts her version of sexuality as she raps.

"Ah, hell I even f***ed with different races
A white dude, his name was John
He had a "Queen Bee Rules" tattoo on his arm."

Kim continues to describe her different sexual exploits with different races of men, which shows how far reaching she believes the power of her sexuality is to attract men. We see her in a series of different sexual poses with different men. In this video the men appear as her subjects and she revels in her control over them. By displaying herself as multidimensional she declares her ability to connect with different men in different circles. She is essentially defying western societies sexual boundaries by moving in circles black women are not traditionally seen in.

"Some niggas even put me on their grocery lists
Right next to the whip cream and box of chocolates
Designer pussy, my shit come in flavors
High-class taste, niggas got to spend paper
Lick it right the first time or you gotta do it over"

Kim's sexual desires must be fulfilled by anyone who desires to be with her. This is epitomised as she raps "Lick it right the first time or you gotta do it over." At this point in the video, Kim pulls over in a car and an attractive young man gets in. On the screen it flashes She doesn't Satisfy YOU. YOU Satisfy her.

LIGHTERS UP

Lighters up is the most recent music video from Lil Kim, and we see a transition in her style. The song borrows from Damian Marley's "Welcome To Jamrock" and like that song proclaims some of the problems and inequalities faced by those who grow up in the ghetto. Kim suggests that social problems are to blame for the excess drug selling and crime in the black community. "Niggas only grind cause we have to Money is power, sling crack, weed and powder, Fiends come through every hour" The video sees Kim on the streets of Brooklyn surrounded by the people from her community. Kim situates herself as being very much a part of that community struggle which seems to be never-ending;

"S'all about that dollar and we nuh deal with cowards, Weak lambs get devoured devoured by the lion In the concrete jungle, the strong stand and rumble The weak fold and crumble, it's the land of trouble"

In this video Kim presents an image of herself that is more demure and grown up. Her sexuality is not thrown into our faces even as she rhymes; "I'm the hottest bitch on the planet, Biggest sex symbol since Janet." She appears to have evolved and is now presenting an image of black womanhood that is not simply defined by her sexual identity, but as a female who is concerned about the state of her community. She declares that she will bring the discussion of the issues, "Back to the block" and she is highly concerned about issues such as "12 year olds prostitutin', Hitmen hired for execution there's no solution." Kim in this song and video is presenting a stronger representation of black female identity by tackling the issues which affected her life as she grew up. In spite of her more europeanised physical appearance, Kim has developed a consciousness about the issues that affect working class black communities in America, starting with her own.

CONCLUSION

Lil Kim is an artist who has challenged and upheld conventional stereotypes surrounding black female sexual identity. Kim fights her male counterparts in the hip hop industry on a hypothetical sexual battlefield, by using the same language they have used to control women sexually, against them. She challenges their notions of a woman's sexual pleasure and determines what will please her through her music. Kim is also heavily criticised for her blonde hair extensions and her blue contact lenses, which are seen as attempts to hide her blackness and her lack of self-worth. In reality, Kim is also a victim of the constructions of black female sexuality that have been developed by white patriarchal America for over 300 years. In modern day America, Kim receives the spotlight when she plays up to her European image, which has in turn made her the most visible female star of the hip hop generation. She has made a huge success from her life after humble beginnings, and in this way has managed to escape the ghetto life, and the prostitution she found herself drawn to as a young girl. As she has grown older, she has drawn attention to this lifestyle and begun to question how society deals with the realities of life in modern black communities. Constructions of black female sexuality are everywhere in modern hip hop videos, 'shakin their thang' in the most minimal of clothing, in order to make the male rappers feel powerful and in control. Lil Kim is fearless in her creation of a different persona, which doesn't exist for male objectification, but places her own sexual pleasure and monetary needs over those of the men in her life. It is my opinion that Lil Kim embodies the very contradictions which exist in society when it comes to constructions of black female sexual identity. This contradiction is inevitable as modern black women in music must struggle against so many dominating systems, that of sexism, racism and patriarchy. Whilst black feminist writers and hip hop cultural critics have begun to analyse this dichotomy, more study and inquiry must be completed in order to establish how black women can shed these oppressing male standards of beauty, and carve their place in a world without contradictions.

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