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I noticed from the submissions I’ve received already that students are forgetting to include the reflection on the outreach in their digital media production assignment and I just wanted to remind everybody that you do have to do a reflection on your outreach in which you connect what your respondents said back to the readings that you used using quotes from your interviews/outreach as well as quotes from the readings and analysis of the readings. This should come after you include your proof of outreach and before your work cited page. This is worth a significant portion of the grade on the assignment so make sure that you complete that and submit it along with your digital media production part one. So that peer reviewers can see everything that you’ve written it is best to include everything as one document or to submit everything at the same time.

Could you also add

Additionally, be sure to include notes within the document itself that explain:

Which parts you are proud of & why

The parts where you struggled or were unsure & why

Which parts you want direct feedback about & why you want feedback about them

Questions you want to ask your peers as they review your work

Melany Beltran
Date: 7/13/2022
I can almost sense a new sensation in the air
I can hear them marching in the street
Rising up against a system unjust and unfair
It is a tough one to defeat
On the news they talk about gender equality
I really thought that deal was done
Luckily this mess has none at all to do with me,
So, I tend to believe,
I just turn my head and then it’s gone
I don’t disagree with their views
And I wish them all the best
But why do they constantly argue?
It makes me so depressed
I’ve been sitting here all life
Feeling good about myself
Cuz love is spoken so much more than its counterpart
But actions speak louder you know
I know I’m not the only one who’s walking down the street
And sees hate everywhere that I go
I’ve never been an ivory tower resident
I’ve experienced how the latter always seems to take the precedence
How many of you were bullied at school?
And people laughed rather than gather to your defense on real shit
Or how it’s accepted to say that some are defective
When you know damn well, they were born like this
And scorn like this
Keeps us torn like this
The silence, secrecy, partial self-chosen invisibility is visible1
Sexuality, the expression of it
Hidden deep beneath
Complexities arise when women,
Black and queer try to express in hip-hop nation language,2
The language we all speak and love
Yet we have devalued them
Shunned them to be forgotten
In the rise of the hip-hop nation
All in the name of sexuality indifference and race.
Lane, Nikki. “Black Women Queering the Mic: Missy Elliott Disturbing the Boundaries of
Racialized Sexuality and Gender.” Journal of Homosexuality 58, no. 6–7 (2011): 775–92.
Lane, Nikki. “Black Women Queering the Mic: Missy Elliott Disturbing the Boundaries of Racialized
Sexuality and Gender.” Journal of Homosexuality 58, no. 6–7 (2011): 775–92.
Missy Elliot champion of the shunned
Because of homophobia in the genre,
the acceptance of queer rappers seemed implausible,
through her music, conveying a queer aesthetic
let them know,
defy gender norms,
leading the action,
against the reaction,
of queer and gender discrimination,
In the hip-hop nation.
“Black Women Queering the Mic: Missy Elliott Disturbing the Boundaries of Racialized
Sexuality and Gender” is a very interesting journal article. She challenges gendered expectations
and assumes a position of authority, challenging the basic foundation that hip-hop culture is built
around. Because she is a “female rapper,” Missy upsets the mechanisms that want to keep her on
the periphery of hip-hop culture. Because Elliott is a woman and a great rapper, she challenges
the stereotype of what a rapper in the industry should be. Elliott also questions what a woman in
the profession should look like and act like. Elliott is involved in the “disruption and
reconstruction” of the feminine identity, both within and outside of hip-hop culture. Because
Elliott paved the path for female rappers and female artists in the hip hop business who want to
express their identities in a way that is not objectifying their bodies, her impact can be directly
attributed to contemporary musicians in the industry.
My lyrics dissect the challenges that queer black women face within the hip-hop nation. I
try to show how women, particularly black queer women in the industry were shunned and
neglected during the rise of the hip-hop genre. I feel that people are all up in arms against each
other over the issue. Rap and hip-hop should be an inclusive genre regardless of sexuality,
gender or race Characters such as Missy Elliot, fought against hip hop’s mainstream
objectification of women’s bodies. Elliot portrays a queen bee in the music video for “Work It,”
in which she is surrounded by hives of bees. As “Queen Bee” in Elliot’s music, she brings her
figurative role to reality in this video. Writing in a diary “Breaking Down Binaries: Redefining
Gender and Sexuality Through the Music Videos of Bjork and Missy Elliot, Ghia God free
writes, “The walls behind Missy Elliott mimic the structure of a giant honeycomb and the bees
fly around unperturbed as Missy Elliott “spins” or works the records back and forth in time with
the music.” When she performs, she does it as the DJ Queen Bee, complete with DJ throne and
worker bees buzzing all around her.”3 In Godfree’s video, Elliot is clearly not there for the female
gaze. Her body and appearance are under her control, not those of society, and she is not a sex
object for hip hop to profit from. Both in and out of the video, she uses her role as Queen Bee to
express her sense of self-worth.
Even now, some hip-hop musicians continue to dress in a way that reflects their
sexuality. Young Thug, a hip-hop musician from Atlanta, breaks gender stereotypes when it
comes to his appearance. Female bridal outfits and women’s clothes have been used by Thug to
pose for the camera while still maintaining his street persona. He wears a floral lace Gucci top
and a sheer tulle dress by Molly Goddard for a story in Dazed magazine. He wears a light pink
pleather hooded jacket and matching pants in the music video for “Best Friend.”
Going forward, though, it’s still not clear if a gay rap artist will ever get the full backing
of the genre. People like this seem to reject heterosexuality, which is based on women being
sexualized. Also, rap legend says that black gay rappers subvert Mark Anthony Neal’s “Strong
(heterosexual) Black Male,” which tells the story of a straight black man. So, right now, black
queer rappers are in a transitional state where they are neither fully accepted nor completely
Lane, Nikki. “Black Women Queering the Mic: Missy Elliott Disturbing the Boundaries of Racialized
Sexuality and Gender.” Journal of Homosexuality 58, no. 6–7 (2011): 775–92.

Question 1.
Do you believe hip-hop is a resilient space for queer rappers, especially queer rappers of color?
Question 2.
The word ratchet emerged in mainstream culture as a means of describing Black people,
particularly Black women, as loud, and hot-tempered. Do you think people create and consume
hip hop with a Black ratchet imagination lens? (Love, B., 2017. A Ratchet Lens: Black Queer
Youth, Agency, Hip Hop, and the Black Ratchet Imagination. [online] Bettinalove.com.
Available at: [Accessed 13 July
Question 3.
What in your opinion do you believe are the major queer contributions to hip-hop over the years
to the culture? (Youtube.com. 2021. [online] Available at:
[Accessed 13 July 2022].)
Question 4.
Write your opinion on the topic of why homophobia in hip-hip still exists in this modern age.
Question 5.
Gay rap shouldn’t be considered a sub-genre of rap. If a gay rapper decides to rap, he shouldn’t
be labeled as a “gay rapper”. Do you agree or disagree on the concept of labelling rap by a queer
person, “Gay Rap”?
Evidence of responses:
Responses to my survey:
Work Cited
Hill, Marc Lamont. “Scared Straight: Hip-Hop, Outing, and the Pedagogy of Queerness.”
Review of Education, Pedagogy, and Cultural Studies 31, no. 1 (2009): 29–54
Lane, Nikki. “Black Women Queering the Mic: Missy Elliott Disturbing the Boundaries of
Racialized Sexuality and Gender.” Journal of Homosexuality 58, no. 6–7 (2011): 775–92.
Guardian News and Media. (2014, May 24). Rude boys: From shanty town to savile row. The
Guardian. Retrieved July 14, 2022, from
YouTube. (2020). The story of trojan records . YouTube. Retrieved July 14, 2022, from

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