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the past. Moreover, now the black female rappers’ discourse tends to be far from what may be treated as really feminist discourse oriented on the protection and promotion of rights of black females, in contrast sexuality and servile emphasis on the audience’s stereotypes are promoted and what is even worse new black female rappers choose such an image and use similar discourse over and over again.
As a result portraying controlling images, being ruinous for black female rappers as representatives of black feminist movement, are getting to be more and more popular and widely spread nowadays.

4、The dominant sexual and racial ideologies in American culture

A logical question that arises, when the situation with black female rappers is analysed, is the question concerning the reasons of such a discourse which obviously lacks feminists promotion and is rather subordinated to stereotypes. In addition to the reasons mentioned in previous chapter, it should be said that black female rappers willingly or not are a part of American culture and consequently they are subordinated to the dominant ideologies which are accepted by the vast majority of American society and which, in fact, they should change but currently they fail to.
It is an undeniable fact that the dominant sexual and racial ideologies in American culture are very discriminating in relation to black females and consequently black female rappers had to obey to these ideologies in order to gain popularity of the possibly wider audience but, on the other hand, it is necessary to realise that by doing so they can hardly gain real respect neither the audience at large nor black females in particular.
Speaking about the dominant ideologies it is necessary to clearly realise that they are developed and belong to white males and the changes that got started in American society are too slow to change the dominant ideology somehow. Naturally, in such a situation, black female rappers has a little choice to do and their choice in favour of popularity, even though it weakens dramatically black female movement, is quite pragmatic and natural. It is noteworthy to refer to George Nelson who estimated that “for much of hip-hop’s history, it has been a truism that the male rap consumer, white and black, simply won’t accept females” (1998, 185).
In fact rap has always been considered a private and male dominant space. This is why at the beginning it was extremely difficult for black female rappers to gain success and the breakthrough made in mid-1980s was particularly significant. Remarkably, this breakthrough coincided with the work of such a black female rapper as Queen Latifah who was probably the most eager rapper who strived for promotion of an image of a black female different from standardised and this image was obviously very successful for her as an artist but not in commercial aspect. However, such a position of Queen Latifah and to a certain extent similar to her MC Lyte led to their severe critique and “it is significant that the females who get the most respect in hip-hop’s primarily male domain – Queen Latifah and MC Lyte – are relentlessly dogged by rumours that they are lesbians. Whether these rumours are true or not, the message is evident: a female can’t be tough or strong or clear or exceptionally skilful at hip-hop unless she has sacrificed the thing that makes her a ‘real girl’” (Smith 1995, 127本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。