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Understanding the Role of Police Towards Abolitionism: On Black Death as an American Necessity, Abolition, Non-Violence, and Whiteness

{Photo credit: Ashley Landis/AP}

By Joshua Briond

In Blood In My Eye, the late great George Jackson writes: “the purpose of the chief repressive institutions within the totalitarian capitalist state is clearly to discourage and prohibit certain activity, and the prohibitions are aimed at very distinctly defined sectors of the class—and race— sensitized society. The ultimate expression of law is not order—it’s prison. There are hundreds upon thousands of laws, yet there is no social order, no social peace. Anglo-Saxon bourgeois law is tied firmly into economics[...]Bourgeois law protects property relations and not social relationships.”  And while thousands across the country take to the streets to protest state violence, in the aftermath of the public lynching of George Floyd, we have been seeing the structural reality the likes of George Jackson (amongst other Black political prisoners and revolutionaries) brilliantly and elegantly theorized on and experienced, once again holds true. 

In this moment, it is crucial to understand the role of the police at their core, as merely a hyper-militarized bottom of the barrel armed force of the ruling class. Our ruling class owned media tries to portray both state and federal level police as neutral actors enforcing public safety—when in fact their role has always served to disrupt (radical) political activity by any means necessary. The past few days have sprung speculation regarding the police and media conspiring and exporting counterinsurgency—which is clearly happening. But what if, instead, we saw policing under white supremacist capitalism as inherently and in a constant state of counterinsurgency—because such an act is how empire sustains itself—especially if we know that, historically, police have surveilled, repressed and infiltrated individuals, organizations, and political parties that they have deemed ideological enemies because their interests represent a legitimate threat to the capitalist white supremacist status quo. 

“Power responds to all threats. The response is repression. If the threat is a small one, the fascist tactic is to laugh it off, ignore it, isolate it with greater the corresponding violence from power. The only effective challenge to power is one that is broad enough to make isolation impossible, and intensive enough to cause repression to affect the normal lifestyle of as many members of the society as possible[...] Nothing can bend consciousness more effectively than a false arrest, a no-knock invasion, careless, panic-stricken gunfire.”

—George Jackson (Blood In My Eye)

The issue is not simply “police brutality.” But, the mere existence and functionality of the inherently anti-black, subservient to capital institution of polic[e/ing]. “Police brutality” like many liberalized frameworks, individualizes structural oppression and power. Such framing leaves space for reformism, as if there’s only certain aspects of policing that needs to be readdressed. It’s an undeniable fact that technically “not all cops kill” but instead of moral posturing, we can focus on the political and ideological functioning of policing in service of whiteness, capital(ism), and settler-colonialism, as being in direct contradiction of the lives and well-being of racialized, colonized, and working-class people. Focusing the problem on the mere existence of polic[e/ing], as an institutionalized direct descendant of chattel slavery previously branded ‘slave patrolling,’ we’re able to discuss the inherent (racialized & class-based) violences within the institution at-large. And it allows us to reckon with the entire institution instead of individual actors, their political or moral standing, as well as individualized notions of “justice” in the face of terror, violence, and death at the hands of the police. “Justice” under this racial capitalism, is an impossibility—an ideological liberal mystification. The scarcity in the realm of political imagination that [neo]liberalism champions leads to a reality in which many people’s analysis and understanding of “justice” is merely individualized imprisonment and tepid-at-best liberal reforms. Advancing our collective understanding beyond the individual “bad” or killer cop toward an understanding of structural violence, is crucial to building an abolitionist politic grounded in empathy and community.

We have been bombarded with dozens of videos and photos of cops kneeling, crying, giving impassioned speeches, and public displays of some of the most shallowest forms of performative solidarity—an age-old tactic wielded to “humanize” officers and neutralize the perceived threat in the protesters, while also attempting to control the media narrative —only for these same cops to turn around and within minutes unleash terror on the self-proclaimed “peaceful” protesters as they chant and march in-advocacy for the ending of Black terror and death at the hands of the police. If the mere pleading for the ruling class and its on-the-ground agents to stop massacring Black people with impunity is enough of a crime to be met with chemical warfare, “rubber” bullets, harassment, beatings, and mass imprisonment—what does that say about the functionality of these institutions? 

When we see agents of the ruling class in militarized “riot” gear, oftentimes comment sections filled with disapproval, American liberals claiming “they look like they’re in war,” and viral tweets from imperialist veterans not-so-subtly declaring that type of militancy should be preserved for Black and brown people and countries abroad—and not home. We must counter these liberal narratives by highlighting that there is no significant political, ideological, or moral difference between domestic police and the military. Both serve the same class and ideological apparatus and represent an occupying force wherever they’re stationed. The military predominantly operates as the global police of the world, or as George Jackson would call it the “international wing of repressive institutions.” But, when the domestic police are overwhelmed, they call in their big brother (US military) to help fight their battle—hand-and-hand as enemies of the people—in a mission to terrorize and politically repress racialized, colonized, and working class people. So when Trump says “when the looting starts, the shooting starts” and grants the military immunity to terrorize and shoot protesters that is nothing more than the head of empire simply carrying on the legacy of terrorists-in-chief before him, reaffirming the purpose of the mere existence of the military, as fascist enforcers of capitalist, colonial, and imperialist violence and their right to do what they already do to colonized and oppressed people in third world and global south countries. 

We must realize that we mustn’t give cops, in all forms, the benefit of the doubt or go out of our way to plead to their conscience—in which most, if not all of them lack—because their articulation of the situation at hand, as evidenced by their preparedness and tactics, is that of war. And in all of its possibly well-meaning glory, going into battle with the mindset of pleading to their (lack of) conscience or going out of your way to prove you’re one of the “good” and “peaceful” protesters—through chants and other means—won’t stop the terror of chemical warfare that will transpire when the political performance ends. The police are uncompromising in their belief in the current oppressive social order, they have legally, morally, and politically pledged their lives to it, and we must be uncompromising in our fight towards tearing it down and building anew. There’s a reason cops show up to even the most “peaceful” of protests with militarized riot gear prepared at any moment to immobilize activists, organizers, and journalists while conspiring with the media apparatus to demonize protests and all of its participants.

 “The political act is defined as criminal in order to discredit radical and revolutionary movements. A political event is reduced to a criminal event in order to affirm the absolute invulnerability of the existing order.”

 —Angela Davis (If They Come in the Morning)

The nearly non-materially existing dichotomy between “good protester” and “bad protester” or “non-violent” and “violent” are not only useless identifiers, but an unfortunate fundamental misunderstanding of the structural powers that be, at-large. The ideology of Black liberation is inherently violent to the forces of capital and white supremacy. We must move beyond the media fueled tropes rooted in colonial moral posturing, that serves no one but our ruling elites. History has shown us, it does not matter whether or not you’re a “good protester” or “bad protester,” “non-violent” or “violent,” and/or “innocent” or “guilty.” If you are for liberation for Black people, you are a threat to the interests of capitalism and white supremacy, and must be systemically repressed, by any means. To fight for the liberation of Black people, especially but not limited to the skin that has historically marked criminality, makes you an enemy of said nation who’s global economy is predicated on the terror and death of the colonial, namely Black, subject. Liberation, and the pursuit of it becomes a racialized affair under a system of colonial and imperialist domination in-which whiteness—a system of racial othering—is exclusively depicted as proximity to power and capital, which Black and other subjects of said domination have neither. It is crucial for the sustainment of this moment that we, first of all, not allow media political discourse to divide and conquer the wide variety of effective tactics that have been wielded by activists and organizers since the beginning of time; while also collectively understand the functionality of police and prisons as they are: inherently anti-Black politicized tools of the ruling elite to maintain their hegemony.

“The legal apparatus designates the Black liberation fighter a criminal, prompting Nixon, Agnew, Reagan et al. to proceed to mystify with their demagogy millions of Americans whose senses have been dulled and whose critical powers have been eroded by the continual onslaught of racist ideology. As the Black Liberation Movement and other progressive struggles increase in magnitude and intensity, the judicial system and its extension, the penal system, consequently become key weapons in the state’s fight to preserve the existing conditions of class domination, therefore racism, poverty and war.”

—Angela Davis (If They Come in the Morning)

Our understanding of non-violence should be that of an organized and meticulous tactical approach exercised by the oppressed, as opposed to a moral philosophy, endorsed and preferred by the ruling class and its agents. We never hear the ruling class, advocate for non-violence with their singular approach when they are hegemonizing and tyrannizing oppressed peoples across the globe, while being cheered on and thanked by many of its citizens. Non-violence, as a moral philosophy, in a society where violence against the marginalized is the norm—where millions are incarcerated, houseless, subjected to state sanctioned violence, and live in poverty—is, in and of itself just another form of colonial physical and ideological subjugation and therefore, violence. But, so much of non-violence is predicated on the premise of legality—despite its social and political limitations. Laws are only laws because we, whether knowingly or not, coercively consent to them. At any given time our government can utilize and maneuver the boundaries of legality and illegality as applicable to the material interests of the ruling class. What we’re seeing on live display is the state and all of its willing agents and participants are very much willing to terrorize and self-detonate than grant Black people even the slightest bit of freedom; and history has shown us it is not only appropriate but necessary to meet them with the only language that they understand. 

As Kwame Ture has noted, public pleas and non-violence only works when your opponent has a conscience, and the United States of America has none. Therefore, we must move beyond public outcries for vague calls for “love,” “unity,” and “peace,” waxing poetic, and pleading for our oppressors to somehow manage to adopt a conscience and do what goes against the very ideological and economic foundation of all their colonial institutions: stop terrorizing and killing us. We must move beyond the cycle of inaction and emotional appeals, through stagnantly and continuously debating the semantics of ‘Black Lives Matter’ and other moral and political posturing, when the reality of our situation is clear: Black lives can never truly matter under captivity of white supremacist capitalism and colonial patriarchy that directly and consequently begets Black oppression. How can it, when Black death is a necessity of racial capitalism and the institutions (such as policing and prisons) that exist to uphold it? So instead of public appeals to the ruling class and its agents to recognize the “humanity” in those relegated to slave; we recognized the reality in which racialized terror and violence is quite literally the point—as the mere existence of Black lives are in direct and inherent contradiction with the forces of capital—and a necessity for the continued maintenance of the current white supremacist capitalist, imperialist, (settler-)colonial order. It is crucial for us to remember that these institutions, namely policing and prisons, that continue to so violently persist, are merely an extension of European colonialism and slavery. 

“...with each reform, revolution became more remote[...]But if one were forced for the sake of clarity to define [fascism] in a word simple enough for all to understand, that word would be ‘reform.’” 

—George Jackson (Blood In My Eye)

The only realistic solution to a reality in which anti-Black terror, violence, and death is an inevitability to the functionality of a system, is abolition. Yet, ironically enough, the lack of political imagination, beyond the electoral strategy and reformism, and the inability to envision a world, or even country, devoid of police and prisons is rooted in (anti-Black), racialized colonial logics of the biologically determined criminal, slave, and savage. The notion that an (uncivilized) people must to be, at all times, patrolled and policed, or else chaos and violence would reign, has been used as a justification for countless structural violences on the part of European peoples since the origins of colonialism. If we know criminality is inherently racialized, one must ask themselves: when you envision the criminal and/or “evildoer,” what do you see? What do they look like? More than likely it is someone who is non-white and/or poor. This is something we have to seriously grapple with, even amongst abolitionist circles. The vast majority of people who, for whatever reason, are incapable of envisioning a world without police and prisons, are simply unwilling to interrogate the dominant ideological apparatus that we have all, in one way or another, internalized. 

Emphasizing the largely classed and gendered based nature of crime, is of the utmost importance. Crime is not an “inevitable” aspect of society, but an inevitable reaction to socio-economic and political structural forces at-large; specifically poverty being an inevitability of capitalism while sexual, gendered, and domestic violences are an inevitability of colonial patriarchy. If we combat the systems, we combat the social reactions. 

Another thing we’re witnessing is white people moralizing the looting, destruction of, and “violence” towards inanimate objects (despite the fact that white history is that of constant looting, destruction, and violence) as result of their moral, spiritual, and political ties to land, property, monuments, and capital built on genocide and slavery. Whiteness being so inextricable to the foundations of capital(ism) and ultimately property, inhibits white people’s ability to extend such an empathy to the lives of Black people. Property and capital, being so inextricable to the foundations of whiteness and the construction of race, as a whole, ushers in the reality in which they become God-like figures. White people’s existence on this planet and their understanding of the world makes so much more sense once you realize that, white people, globally, are the police. Whiteness allows and entails them the “monopoly on morality” to be such a thing. Whether it’s with foreign affairs, and their paternalistic analysis of non-white countries, which ultimately leads to the justifying the actions of their imperialist government—even from “socially conscious” white folks. Or, in the case of how they overwhelmingly believe they maintain the prerogative to dictate the ways subjects of white oppression retaliate against said oppression (though, to be fair, they technically do). But, the point is: the entire logic of whiteness, as a deliberately political and social invention, makes it such a construct that’s—under white supremacy—inseparable from the role of the state. therefore, white people assume these roles as agents of the state globally—whether subconsciously or not.

And, of course, this is why we have been subjected to countless imagery on social media of white people (and those aspiring to be white by-way-of proximity to capital, power, and “respectability”) putting their bodies and lives on the line to protect capital (and physical embodiments of it) and private property—in a way that they would never sacrifice their bodies or even time for Black lives and liberation. Such an imagery should serve as a spit in the face to not just Black people, but all persons concerned with our liberation from the chains of capital. If persons of the white race are willing to put their lives on the line for their god: property and capital, but wouldn’t bother doing such a thing for Black people: what does that say about how they see us? We’re beneath inanimate objects on the hierarchy of things worthy of protection. But, it also just goes to show that as much as the white American is willing to die for property relations and capital—by any means necessary—we must be willing to live and die for our collective liberation. Let this be a moment in which we’re reminded that if there’s ever scenario in which our ruling elites are ever in-need of more armed protectors of the white supremacist status quo there will be countless ordinary white people, at the front of the line, fully prepared to live out their white vigilante idealizations and sacrifice their lives and bodies to save settler capitalism.

How Many Types of "Good" Capitalism Are There?

By Shawgi Tell

It is no secret that capitalism has been in trouble for some time. This outmoded economic system constantly increases tragedies and inequalities of all kinds and cannot extricate itself from the perpetual crisis it finds itself in. It is thus no surprise that in the recent period many writers have produced books and articles that discuss alternatives to capitalism.

It is also unsurprising that, in an attempt to prettify, legitimize, and extend the life of this transient economic system, many capital-centered thinkers have put forward various types of “good” capitalisms to disinform the polity. These include:

1. accountable capitalism

2. managed capitalism

3. ethical capitalism

4. progressive capitalism

5. conscious capitalism

6. friendly capitalism

7. people’s capitalism

8. regulated capitalism

9. stable capitalism

10. fair Capitalism

11. sustainable capitalism

12. inclusive capitalism

In reality, these are oxymorons, irrational conceptions, false dichotomies, and apologies for the status quo. They are an attempt to portray capitalism as something other than capitalism - as something desirable and worth preserving. Such descriptors reveal an aversion to theory.

While capitalism has evolved and changed over time, it has always been about major owners of capital exploiting labor-power to maximize profit as fast as possible for themselves, resulting in economic and political power becoming more concentrated in the hands of fewer people. This is what is at the base of the capitalist mode of production. Capitalists cannot accumulate capital without exploiting labor-power, which is the only source of new value. Redistributing profits is not possible without new value produced in the productive sector, simply because what is not produced cannot be distributed.

While capitalists constantly invent new ways to counter the law of the falling rate of profit, there are no new economic models of capitalism per se. The laws of value, accumulation, and profitability all stand; they have not disappeared. Greater monopolization of economic sectors, more “financialization,” casino capitalism, disaster capitalism, and the rise of the so-called “rentier” economy are not new forms of capitalism as such, but direct products of the fundamental contradiction of capitalism between social production and private ownership. “Financialization,” irrational stock market speculations, printing phantom money, and toxic and exotic financial instruments that bear no relationship to the productive sector of the economy are natural expressions of capitalism at a particular stage of economic development, not aberrations or anomalies.

The aforementioned oxymorons and false dichotomies are largely ideological devices which strive to hide the fact that capitalism as a system is exhausted and cannot be “reset,” “renewed,” or “improved.” 

As the end draws nearer for capitalism, irrationalism, disinformation, parasitism, violence, and all manner of treachery will intensify. In futile attempts to save capitalism, bizarre ideas and arguments will increase. Twisted logic and absurd statements is all the ruling elite can offer in the final and highest stage of capitalism. The rich are compelled by inexorable circumstances to continue escalating disinformation about capitalism so as to convince people that there is no alternative to this outdated system that cannot provide for the needs of the people. Indeed, major owners of capital and their political and media representatives work hard every day to persuade everyone that, while capitalism is rotten in many ways, it is still “the best” history has to offer humanity. They want everyone to believe that capitalism is the only future for humanity. This is why it is easier for capitalists to imagine the end of the world than it is for them to imagine the end of capitalism. A good example of this retrogressive tendency is the work of  Branko Milanovic, a leading “expert” on inequality. Milanovic was a former chief economist at the World Bank. He recognizes that capitalism has serious problems but believes that the task at hand is to “improve” capitalism and make it “sustainable.” Milanovic has no interest in an alternative to capitalism and believes one does not exist.

To be sure, global, national, and local private interests are not going to cede power voluntarily and support an alternative to capitalism. They are not going to suddenly become enlightened and embrace democracy and affirm the rights of all, including the right of the working class and people to reorient the economy to serve society and the people. This is not how things work in class-divided societies filled with many forms of violence, chaos, and vicious rivalries. The rich are concerned only with their narrow egocentric financial interests, no matter the cost to society and the environment. They are opposed to a pro-social agenda that fosters social consciousness, unleashes the human factor, modernizes the human personality, and humanizes the natural and social environment.

In this dangerous context that keeps deteriorating, the working class and people need to become more vigilant, organized, and pro-active in order to fend off present and future attacks on their rights. The working class and people must use well-established methods, as well as new and creative ways to deprive the rich of the power to deprive everyone else of their rights. 

A society made up of an empowered polity directing the economy and all the affairs of society is urgently needed, a historical necessity. Decision-making power must not rest with the financial oligarchy if society is to move forward and human rights are to be affirmed. Major owners of capital are unfit to rule and care only about their own narrow economic interests.

The working class and people are not interested in this or that type of capitalism. It is not about “bad” capitalism versus “good” capitalism. The working class and people are the negation of this anachronistic economic system. 

People want and need an alternative to capitalism, an alternative to perpetual crisis and instability. At home and abroad, capitalism is certainly working for some people, but not the majority. The need for change that favors the people will intensify as a massive amount of social wealth and power becomes even more concentrated in the hands of a tiny ruling elite. History is demanding new pro-social, human-centered relations free of exploitation and injustice. 

Shawgi Tell, Ph.D., is author of the book, Charter School Report Card. He can be reached at stell5@naz.edu 

Now That's a Bad Bitch!: The State of Women in Hip Hop

By Asha Layne

The state of rap music has changed since its creation in the 1970s. Starting in Bronx, New York rap was always seen as an underground subculture that deviated from the social norms and patterns of the dominant culture. It was here that the expressions of young Black and Hispanic men were freely expressed and not criticized. Rap music is a cultural art form that consists of four elements: deejaying, break dancing, rapping, and graffiti. Having its historical roots in ancient African culture traditions, rap music can also be traced to countries that were part of the African diaspora. For example, Lliane Loots indicated that two elements of hip-hop culture have their roots in Brazil and Jamaica (2003, p.67). The art of rhyming culturally stems from West African tradition of the griots or story tellers that were part of the oral tradition of African culture. The Jamaican influence on hip-hop can be located in deejaying practices referred to as dub-mixing, utilized first by Jamaican immigrant Deejay Kool Herc.

Since its inception, rap music has evolved from an underground subcultural movement to a mainstream subcultural expression that profits from the ideology of dominant culture and vice versa. Rap music during the 1970s remained national commodity until the 1980s. During this time participants in this subculture were involved directly in one of the four elements (Hunter, 2011, p.16) in which young men and women of color were rapping at parties, tagging or creating graffiti on subway cars, or breaking (Nelson, 1998). The 1980s ushered in the idea that rap music could not only be popular in the United States but also in other countries. The market for rap music increased as capitalism expanded along with the industry. With the increased popularity of the genre, media sources became the main locus for rap music to not only become more mainstream, but to also increase their purchasing power under capitalism. In order to examine the purchasing power of rap music under capitalism it is important to talk briefly of the underpinnings of capitalism.


Rap and Capitalism

Capitalism can be defined as an economic system based on private ownership with the goal of making capital or profit for the owner. Under capitalism there exists a divergent economic relation between the laboring class (proletariat) and the ruling class (capitalist). Unlike the capitalist, the laborer becomes a commodity as their labor is sold to the purchaser. According to Rousseau, the relationship between the owners of production and the workers is inherently oppressive, as the goal of the capitalist to accrue wealth from the laboring working class (2009, p.20). As the laboring class becomes increasingly objectified in the market, the state represents the instrument of class rule. The state can be seen as an instrument of power because of its production of ideological hegemony of the ruling class, which not only legitimizes exploitation but maintains the ruling class ideals as described by Antonio Gramsci. The state produces ideas that control our behavior through various forms (i.e. the media).

Manning Marable argues that the logic of the ideological apparatuses of the racist/capitalist state leads inextricably to Black accommodation and accommodation into the status quo, a process of cultural genocide which assists the function of ever-expanding capital accumulation (1983, p.9). As capitalism moved from the industrial sector to financial, and from financial/corporate to global, capitalists are continuously seeking cheap labor power and methods of exploitation; and the rap industry is not immune. This buttresses Antonio Gramsci's argument that the capitalists can assert their power and control through the subordination of the working class by means of ideological hegemony. The ideological hegemony of the ruling class, therefore, prolongs the subordination of the working class and also legitimizes the power and control of the capitalist or owner.

As hip hop grew in popularity, capitalists found new ways to assert their control and power over the industry, which became more lucrative with neoliberal policies. According to Derek Ide, rap was born from the ashes of a community devastated by a capitalistic economic system and racist government officials (2013). Ide continues to express that it was not long before corporate capitalism impinged upon the culture's sovereignty and began the historically familiar process of exploitation (2013). As hip-hop transitioned from its unadulterated underground image to mainstream adulteration, the industry began to support the capitalist ideologies which spread rapidly as profits increased with the deregulation of the market.

As the rap industry expanded, many have argued that the image and state of rap worsened as rap became a keen marketing tool for corporations. Corporate giant, Viacom, which owns Black Entertainment Television (BET), VH1, and Music Television (MTV), has been influential in disseminating controversial messages and images to its audience and critics. Felicia Lee asserts that "protestors want media companies like Viacom to develop 'universal creative standards' for video and music including prohibitions on some language and images" (2007). Achieving this level of prohibition has not happened in recent years as images of scantily clad female rappers, misogynistic lyrics, and the negative portrayals of African culture continue to be exploited. The relationship between rap artists and corporations can be paralleled to that of slavery.

Solomon Comissong explained that the 1990s saw a corporate takeover and commodification of rap, which has made the music less diversified in various media forms (2009). This change has led to changes in lyrical content, style, and fashion as artists display themselves in the best way to expand their marketing power, which is directly influenced by capitalism. The hegemonic ideologies of the ruling class have been transferred into the beats, rhymes and imagery in the rap industry as artists continue to exploit themselves and culture for economic gain.

In 2007, Forbes magazine released its first annual "Hip Hop's Wealthiest Artists" list which measured the annual earnings of rappers. As stated by Greenburg, unlike traditional music genres like pop, rock, and country, whose artists generally make their money through touring and album sales, rappers like Jay Z, 50 Cent, Kanye West, and Sean "Diddy" Combs have become entrepreneurs who have parlayed their fame into lucrative entertainment empires (Goldman and Pain, 2007). More recently, Nicki Minaj became the first documented female rapper on Forbes "Hip-Hop's Cash Kings" list since its creation in 2007. Earning an estimated $29 million in 2012, Minaj has successfully beaten many boys at their own game. But at what cost?

This paper explores how the commodification and consumption of the black female body has given rise to the "bad bitch" phenomenon in rap culture. It is argued that the effects of being a bad bitch not only changes the state of rap but also the attitudes and behaviors of young black girls, and their interactions with the opposite sex. Also, the topic of whether or not the bad bitch phenomenon is a form of deviant behavior within African-American culture will be addressed.


Bad Bitch

The word "bitch" has morphed from a term of disrespect to a term of endearment that often takes on the meaning of empowerment. Once viewed as debilitating, the term has appropriated a new perspective within a subcultural context that is perceived as a term of empowerment. In examining this change, Aoron Celious explains that the term "is located in a society where sex and power are interrelated - men afford status and privilege over women because they are men, and women are relegated to a diminished status and restricted access to resources because they are women" (2002, p.91). The change in the meaning of the word thus subverts the tools of oppression used to dominate women to now empower them. This has been seen in the frequent usage of the word by many female rappers as rap music became commercially lucrative.

Although the word historically has been a long-noted negative stereotype against women, it has only added to many stereotypical orientations for women of color. Misogynistic orientations of Black women were not separate from the historical changes in the United States - "the imagery projected in rap has its roots in the development of the capitalistic patriarchal system based on the principles of White supremacy, elitism, racism, and sexism" (Adams and Fuller, 2006, p.942). During slavery - a form of capitalism - Black women were not only exploited for their labor power but also their reproductive power. The location of Black women under capitalism therefore is dually exploitative and profitable. The patriarchal attitudes seen against Black women today can be traced back to oppressive and exploitative control methods of the state and the economy.

The images of Black women historically have served the interests of the ruling class. Adams and Fuller further assert that the images of the "Saphire" are analogous to the "Mammy" image in that they both serve the entertainment needs of Whites (2006, p.944). In rap music, the word "bitch" can be linked to the stereotypical image of the Saphire, as a woman who de-emasculates her man by running the household and being financially independent, or as a woman who simply does not know her place. This sentiment has been shared by radical feminist Jo Freeman. In Freeman's The Bitch Manifesto, the word is used to describe a woman who "rudely violates conceptions of proper sex role behavior" (Buchanan, p.12). Among Generation Y, this word has been enhanced to compliment women who are sexy, smart and independent, thus justifying and perpetuating the commodification of the Black female body.

According to Stephane Dunn, in "Baad Bitches" and Sassy Supermamas: Black Power Action Films," the term "Baad Bitches" began with the sexploitation of Black female actors in the 1970s, as well as being products of contemporary dominant culture (2008). Scallen highlights Dunn's (2010) work by referencing the following:

The "Bad Bitch" suggests a black woman from working-class roots who goes beyond the boundaries of gender in a patriarchal domain and plays the game successfully as the boys by being in charge of her own sexual representation and manipulating it for celebrity and material gain" (2010, p. 27).

The role of black women in film is strikingly similar to the rap industry in that they both lucratively exploit black sexuality in different media outlets. The image of Foxy BrownCoffy, and Cleopatra Jones by Pam Grier embodies her super-womanhood and sexuality. Gwendolyn Pough (2004) states:

By exploiting Black women's bodies, the blaxploitation movies fall short of offering fulfilling and complete images of empowerment for Black women. However, the films do offer some interesting subversions and complications. If we really begin to critique and explore the genre, we can see the ways Black women such as Pam Grier have participated in the cultural processes of gender construction for Black women and turned some of those processes completely around. We will also be able to explore and critique contemporary reclamation of Grier's characters such as the ones offered by Foxy Brown and Lil Kim. They are bringing the big bad Black supermamas into the new millennium and using them to construct contemporary Black women's gender and sexuality (p. 67-68).

The portrayals of Black women in film, along with the music industry, have either classified Black women as Saphires, Mammys or Jezebels, also known as "hos". These various forms of imagery have continuously been accepted by White America and thus perpetuated into the social interactions and perceptions of Black women and men in the Black community. The depictions mentioned here are increasingly common as more and more consumers are not only buying, but are also emulating these negative stereotyped roles.


Black Feminist Thought

The inclusion of black feminist theory is essential in examining the exploitation of the Black female body in rap. Collins' Black Feminist Thought explains that race, gender, and class are oppressive factors that are bound together. In investigating the placement of the commodified Black female rappers in the industry, the role and location of Black women in the United States has to be examined. Since, central to this analysis, one may ask: Is the emergence of the bad bitch phenomenon foreign to the lives of Black women in this country? Collins highlights how the role of Black women always contradicted the traditional role of women in mainstream society. Collins poses the question, "if women are allegedly passive and fragile, then why are Black women treated as 'mules' and assigned heavy cleaning chores" (2000, p.11)? The placement of Black women as 'objects' and 'tools' for production has been and will always be embedded into American culture.

Black feminist thought places the standpoint of Black women at the forefront, which deviates from the general practices used under conventional feminist theories. According to Collins (2000), Black women in the United States can stimulate a distinctive consciousness concerning our own experiences and society overall (p.23-24). Collins understands this knowledge can be thoroughly attained from both women in academia and outside academia. The lyrics of some female rappers have taken a vocal stance displaying the issues and struggles faced particularly by Black women. These rappers have voiced their opinions on women's oppression in the industry as well as within their communities from the hypermasculinity of their male counterparts. For example, in Queen Latifah's U.N.I.T.Y., she writes:


But I don't want to see my kids getting beat down
By daddy smacking mommy all around
You say I'm nothing without ya, but I'm nothing with ya
This is my notice to the door, I'm not taking it no more
I'm not your personal whore, that's not what I'm here for
And nothing good gonna come to ya til you do right by me
Brother you wait and see, who you calling a bitch (1994)!!


Rap music has been used as a stage for both men and women from disadvantaged neighborhoods to express their experiences with oppression and also serve as a means for coping with that oppression. One main characteristic of oppression is the repressive nature it places on the individual that results in objectification of material wealth. Historically, the Black body has taken the form of material wealth in that it was aggressively commodified during the Trans-Atlantic slave trade, especially for women. The commodification of the Black female body has changed to meet the needs of the political economy in a particular society. The "bitch phenomenon" in rap culture is no different because it has been integrated into forms of the dominant culture to serve the needs of the dominant and ruling class.

Collins argues that the domination always attempts to objectify the subordinate group in which the ideas and one's own reality is not defined by members of the subordinate group (2000, p.71). This was clearly visible in the distinction between the figures of the "Mammy" and the matriarch. The Mammy symbolized something good by the dominant group whereas the matriarchal figure was deemed bad according to the same "standards". Collins references the Patrick Moynihan's report, The Negro Family: The Case for National Action, in locating the thesis for Black matriarchy. She writes:

…the Black matriarchy thesis argued that African-American women failed to fulfill their traditional "womanly" duties at home contributed to the social problems in Black civil society (Moynihan 1965). Spending too much time away from home, these working mothers ostensibly could not properly supervise their children failure at school. As overly aggressive, unfeminine women, Black matriarchs allegedly emasculated their lovers and husbands (2000, p.75).

Black feminist theory reminds us to never forget how race, class, and gender are central in understanding the development of the Mammy, matriarch, and the vast appearance of the "bad bitch" phenomenon.


Data and Methods

The "bad bitch" and Black feminist thought theses could be utilized to explain the manifestation of the "bad bitch" phenomenon. The bad bitch thesis explained by Dunn and Pough is a black woman who can be successful under a patriarchal system of control by defining success for herself and how she will go about achieving it. The limitations of the bad bitch thesis are considered by Collins through the use of Black feminist theory. This expansive theory examines how the intersection of race, class, and gender serves as a form of oppression for Black women under a patriarchal system.

To answer the question of how the bad bitch phenomenon continues to increase the commodification and consumption of the black female body, a content analysis of Nicki Minaj's songs will be reviewed. Nicki Minaj's work was selected because of her being the first female rap artist to make the Forbes list since its creation in 2007. It is argued that the effect of being a "bad bitch" not only affects the state of rap but also the attitudes and behaviors of Blacks. Also, it will be important to examine whether or not the bad bitch phenomenon is a form of deviant behavior within African American culture.


Pink Friday

The mentioning of women in rap music by men has been a largely demoralizing phenomenon, at which women are referred to as "gold-diggers," trifling, bitches, and hos. While it is easy to criticize male rap artists for demoralizing Black women, female rappers have not only participated in the gender politics but have also capitalized from these stereotypes in the rap industry. Born Onika Maraj, Minaj's popularity skyrocketed in 2010, with the releases of several mixtapes: Playtime is Over, Sucka Free, and Beam Me up Scotty, before her first major album Pink Friday in 2010. According to Caulfield, Minaj scored her second number one album on the Billboard 200 Chart in 2012 following the release of Pink Friday: Roman Reloaded with the hit single "Starships" (2012). Upon her growing album sales, Minaj's popularity further increased with various collaborations that widened her notoriety to other areas of music, beyond rap. In analyzing the content of Nicki Minaj's songs, the following themes appeared: reclamation of the words "bitch" and "ho"; female independence; and female masculinity.


Reclamation of the Words Bitch and Ho

One significant difference seen between male and female rappers is the usage of the words "bitch" and "ho". Despite the negative, literal meaning of the words, Minaj has used them to demand attention from her competitors. In her controversial song Stupid Ho, Minaj allegedly addresses fellow female rappers in the same misogynistic form of disrespect typically reserved for male rappers. In the song, she writes:


Bitch talking she the queen, when she looking like a lab rat
I'm Angelina, you Jennifer
Come on bitch, you see where Brad at
Ice my wrists and I piss on bitches
You can suck my diznik if you take this jizzes
You don't like them disses, give my ass some kisses
Yeah they know what this is, giving this the business
Cause I pull up and I'm stuntin' but I ain't a stuntman
Yes I'm rockin' Jordans but I ain't a jumpman
Bitches play the back cause they know I'm the front man
Put me on the dollar cause I'm who they trust in
Ayo SB, what's the fucks good?
We ship platinum, them bitches are shipping wood
Them nappy headed hoes but my kitchen good
I wish, I wish, I wish, I wish, I wish, I wish
A bitch would (2012).


In this example, the word "bitch" is used as: a form of address, form of disrespect; and distinction. Above, the word "bitch" is metaphorically used to address her competitors in a disrespectful manner traditionally used by male rappers to address women. It becomes self-evident that she is not on the same level as her competitors and refers to them in an unattractive manner as, "nappy headed hoes." The labeling of her female competitors as "nappy headed hoes" is even more destructive than the words bitch and ho, in that it brings about a new area of concern, which is beauty.


Female Independence

The establishment of female independence in rap has taken many forms. Black female identity by male rap artists has helped generate negative stereotypes of the Black female body or a male objectifying the female body. Female independence could also be seen as a woman objectifying her own body and image to gain financial independence. In her song Blow Ya Mind, Minaj writes:


She said her name is Nicki
She came to play and her body was sicken
She gets what she wants, so sexy when she talks
Oh, you know she gon' blow your mind
Okay, Nicki
Did these bitches fall and bump their little heads
I got 'em like, oh, which one of them I'ma dead
'Cause when they get sick, they start to cough bread
Body looks right, plus we crop heads
The Rolls Royce Phantom, yeah, the drop head
And that just goes to show I'm that bitch
I 26'inched the rims with black lips
Now this is the anthem, this is the anthem (x2)
In-ear, in-ear, all in your in-ear
Boy, I put this pussy on your chinny, chin, chin hair (2011).


In the above lyrics, Minaj demonstrates that her body allows her to get what she wants, which (according to her) makes her unique. Self-sexual exploitation can be seen here as a method in gaining financial freedom from the traditional methods.


Female Masculinity

The use of masculine rhetoric has been used by rap artists since the days of "battling", or battle rap, to gain popularity and to command respect from their fellow artists. The machismo attitude in rap music has been denoted by images of male rappers "acting hard", and having multiple women and material possessions, which have been expressed through misogynistic imagery and lyrics. However, female rappers have utilized this macho image as a tool of female empowerment despite its negative imagery. Nicki Minaj has continuously utilized masculine rhetoric in her lyrics as an act of empowerment which implies that, just like men, women could also be violent-so don't mess with me or else. In the song, I am your Leader Minaj writes:


Look sucker, this my gun butter
Street fighter bitches, this Is the up cutter
Nunchucka,' no time to ducka'
Sign of the cross, cause this is her last suppa'
Play with me, check who came with me
I brought a couple 9's, plus the k's with me
I breeze through Queens to check some bad bitches
I stunt so hard, assess the damage
Cause this that aw, this is that aw
And yes I body bitches go get the bandages
I hate a phony bitch that front that chunk chummy
I'm the top shotta' drop the top toppa
Big fat pussy with a icy watch (2012).


The aforementioned lyrics demonstrate how female rappers have perpetuated the repressive and oppressive nature of women in hip hop. It is important to note that the usage of negatively degrading words against women by women carries more weight and meaning. Within the subcultural context of rap, women disrespecting other women in the same manner as men solidify their "street" credibility therefore perpetuating the cultural acceptance of misogynistic lyrics, regardless of the gender of the artist.


Justifying the Commodification of a Bad Bitch

The role of female rappers in the rap industry has been manipulated to justify ongoing exploitation and repression of Black women. Examining the lyrical content alone does not clearly illustrate the role the media plays in justifying the commodification of a "bad bitch". Following the lyrical trend and imagery of female rappers in the industry, it is strikingly evident that the sexploitation of women has become more lucrative, thus legitimizing the bad bitch phenomenon. In making this connection, it is imperative to recognize how forms of media serve as tools of oppression by reproducing ideological hegemony. Gramsci saw that the ruling class maintained their power not by coercive actions, but through hegemony at which the ruled would accept the norms, belief systems, and culture of the ruling class without challenge.

The media, like the family, serve as an agent of socialization. Mass media is seen as a powerful agent of socialization in that it has been, and continues to be, used to manipulate the consciousness of others. For example, consumer research has shown that there is a correlation between mass media and the attitudes of consumers. In terms of music, Viacom Inc. owns the controlling interests of MTV, VH1, and BET. As a result, the interests of Viacom are not reflective of the 'ruled' class, but instead of the ruling class; which uses its platform to maintain its hegemonic control. The raunchy lyrics and depiction of female rapper Nick Minaj is largely supported by these capital investors who are benefiting off of an alternate form of labor: self-sexploitation.

The media is a tool of oppression that justifies and perpetuates the negative stereotypes of Black women. Therefore, support and acceptance of these negative stereotypes is measured lucratively by media giants. The three factors discussed: reclamation of the words "bitch" and "ho"; female independence; and female masculinity have been repackaged and sold to consumers in today's market. The popularity of mainstream rapper Nicki Minaj not only demonstrates cultural acceptance of the thesis of a bad bitch but approves of the notion that self exploitation and objectification is justified because women are defining it for themselves within a male-dominated framework.


Conclusion

The placement of Black women in the history of the United States has always deviated from the norms and standards of dominant culture. Black women's bodies have been both criticized and exploited by Whites for economic gains. These stereotypes have created images of Saphires, Jezebels, and the Mammy, which further pushed Black women's intelligence onto the periphery while mass media has largely capitalized on body and cultural images. The mainstream representation of these stereotypes, especially the Saphire or bad bitch, revisits how Black women have always been exploited and oppressed.

Attributes of the bad bitch phenomenon are not exclusive to Generation Y but can be traced back to sassy images and roles Black women coveted. The rap industry has served as a new locus for this type of Black female to dominate in. Adopting the bad bitch persona not only gives Black women the opportunity to survive economically and socially in a Eurocentric male-dominated society, but also provides them the freedom to assert their power under their own rules without apology. This essay indicates that the adoption and commercialization of the bad bitch phenomenon are not foreign to the history of the Black female body. One important difference is the rise in self-exploitation by Black women in the industry to attain money, power, and respect that is indicative of the transferring of a Eurocentric-based ideological hegemony onto an oppressed subcultural group.



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