“I’m A Stripper, Ho": The Sonics of Cardi B’s Ratchet, Diasporic Feminism

Classified as probably not a substantial claim. May combine two claims.

Cardi B lyrically engages with issues of gender, class, and sexuality, proudly claiming her previous work as a stripper, thereby challenging respectability politics while demonstrating her lack of investment in an aspirational, teleological, progressive narrative of 'upliftment.'

“Cardi B lyrically engages with issues of gender, class, and sexuality, proudly claiming her previous work as a stripper and thereby challenging respectability politics while demonstrating her lack of investment in an aspirational, teleological, progressive narrative of “upliftment.””

Classified as probably not a substantial claim.

Morgan's hip-hop feminism refers to artists who demonstrate an investment in keeping it real while simultaneously reifying the binary of good/bad or respectable/vulgar.

“Morgan's hip-hop feminism, defined as “a feminism brave enough to fuck with the grays,” refers to artists who demonstrate an investment in keeping it real while simultaneously reifying the binary of good/bad or respectable/vulgar.”

• cites Morgan 2000Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S4 (based). May combine two claims.

Cardi B's lyrical braggadocio undergirds a track that does not include a melodic hook or familiar musical structure-there is no bass-while working to create a ratchet soundscape that enables her to lay claim to her own musical space.

“Cardi B's lyrical braggadocio undergirds a track that does not include a melodic hook or familiar musical structure-there is no bass, for example-while working to create a ratchet soundscape that enables her to lay claim to her own musical space.”

May combine two claims.

The lack of female producers results in a hierarchical relationship that fosters an environment where women must acquiesce and not call attention to the behaviours of men in power, even if it means complicity in maintaining the current power imbalance and possible denial of resources necessary for musical success.

“The lack of female producers results in a hierarchical relationship that fosters an environment where women must acquiesce and not call attention to the behaviours of men in power, such as Gunz, even if it means they become complicit in maintaining the current power imbalance and that they might still be denied access to the resources necessary for their musical success.”

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

Ratchet signifies modes of behaviour that challenge respectability politics, intentionally or not, and often operate as sites of resistance for people erased and/or objectified in representation, popular culture, and the public sphere.

“Ratchet signifies modes of behaviour that challenge respectability politics, intentionally or not, and often operate as sites of resistance for people erased and/or objectified in representation, popular culture, and the public sphere.”

Probably not a substantial claim: may not pass S4 (based). May combine two claims.

In 'Money,' Cardi B presents herself as object and subject, money and money maker, mother and stripper whose being eschews dichotomies such as mother/whore, client/stripper, commodified object/desiring subject.

“In”

Classified as probably not a substantial claim.

In acknowledging her work within the sex industry, Cardi B chronicles and grounds her current success in her strong work ethic and immigrant roots.

“Rather, in acknowledging her work within the sex industry, she chronicles and grounds her current success in her strong work ethic and immigrant roots.”

Probably not a substantial claim: may not pass S3 (load-bearing).

The Louboutin red bottoms, in conjunction with the line 'these is bloody shoes,' frame Cardi B's purchase as the result of hard work, with red blood adhering to the idiomatic expression of blood, sweat, and tears.

“The Louboutin red bottoms, in conjunction with the next line-“these is bloody shoes”frame her purchase as the result of hard work, the red blood adhering to the idiomatic expression of blood, sweat, and tears.”

Classified as probably not a substantial claim. May combine two claims.

Cardi B engages with hyper-capitalism while pushing the audience to understand how the money is earned and examine the economic underpinnings of social critiques judging those who perform labour that refuses adherence to politics of respectability.

“She engages with hyper-capitalism while pushing the audience to understand how the money is earned and examine the economic underpinnings of social critiques judging those who perform labour that refuses adherence to politics of respectability.”

May combine two claims.

Cardi B critically operates within hip-hop culture, drawing from its sexist stereotypes and tropes and working to dismantle and repurpose those tropes in her musical message and productions.

“Moreover, this interaction with Gunz evinces how Cardi B critically operates within hip-hop culture, drawing from its sexist stereotypes and tropes-the opportunistic woman who uses men for money, often presented as having no abilities beyond sex, and who deserves to be treated as a sidepieceand how she works to dismantle and repurpose those tropes in her musical message and productions.”

May combine two claims.

In 'Money,' Afrocentricity isn't really at work; Cardi B invokes Egypt not to position herself within Afrocentric ideologies of humanity's origins but to become a museum artifact similar to Michael Jackson's 'Do You Remember the Time?' or Beyoncé's Homecoming.

“Yet, in spite of her costuming, Afrocentricity isn't really at work here.Cardi B invokes Egypt not to position herself within Afrocentric ideologies of humanity's origins but to become a museum artifact similar to the Egyptology of Michael Jackson's”

Probably not a substantial claim: may not pass S2 (checkable).

A ratchet sound is disruptive, sonically challenging the limits of proper behaviour for women of colour through the interplay between sound, image, and message.

“A ratchet sound is disruptive, sonically challenging the limits of proper behaviour for women of colour through the interplay between sound, image, and message.”

• cites Love 2017 sourceNot checked — no full text of the source

May combine two claims.

In 2020, only 2 percent of the top 100 songs were produced by women, and women of colour were almost entirely excluded from this category; of 1,291 producer credits for the most popular songs in a 600-song subset since 2012, only nine were for women of color.

“where only 2 percent of the top 100 songs in 2020 were produced by women, yet women of colour were almost entirely excluded from this category, as evidenced by an examination “of the 1,291 producer credits for the most popular songs in a 600-song subset since 2012, [and] only nine of them were for women of color” (Sisario 2021).”

• cites Sisario 2021Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

May combine two claims.

Cardi B holding a baby in 'Money' is reminiscent of the Virgin Mary holding the baby Jesus, linking the Virgin Mary to the sex-negative, reserved behaviour demanded of women within the virgin/whore binary.

“For example, Cardi B holding a baby in the video proves reminiscent of the Virgin Mary holding the baby Jesus to her chest within Christian imagery.In turn, the Virgin Mary becomes linked to the sex-negative, reserved behaviour demanded of women when positioning them within the virgin/whore binary.”

May combine two claims.

Cardi B's version of feminism signifies on earlier versions of hip-hop feminism while challenging them, pushing hip-hop feminism to broaden its scope and sharpen its political alignments.

“Her version of feminism signifies on earlier versions of hip-hop feminism while simultaneously challenging them, pushing hip-hop feminism to broaden its scope and sharpen its political alignments.”

May combine two claims.

Instead of apologizing for her previous employment as a stripper, Cardi B celebrates it and uses monetary compensation and goods purchased, rather than class ascendancy, as evidence of her success.

“Instead of apologizing for her previous employment as a stripper, Cardi B celebrates it and uses the monetary compensation and goods purchased, rather than any form of class ascendancy, as evidence of her success.”

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

Latin trap began in New York City clubs by US-based Dominican singers and musicians, later migrating and enjoying wide reception and circulation to and from Puerto Rico.

“In “How New York Dominicans Helped Launch the Latin Trap Explosion,” Matthew Ishmael Ruiz discusses how Latin trap began in New York City clubs by USbased Dominican singers and musicians, later migrating and enjoying a wide reception and subsequent circulation to and from Puerto Rico.”

• cites Ruiz 2018Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

May combine two claims.

Cardi B repositions herself as a sex-positive, agentive symbol of motherhood while drawing on religious iconography.

“She repositions herself as a sex-positive, agentive symbol of motherhood while drawing on religious iconography.”

May combine two claims.

Cardi B's delivery of 'stupid' served as a chastisement of Gunz's behaviour and demonstrated her feminist solidarity with Pankey and Wallace.

“Her delivery of the word “stupid,” similar to her utterance of “babies,” served as a chastisement of Gunz's behaviour and demonstrated her feminist solidarity with Pankey and Wallace.”

May combine two claims.

An embrace of ratchetness operates as a rejection of respectability politics and an acknowledgment of how the politics of respectability have failed Black women, denying them the access it promises.

“I draw on Cooper's and Lane's critical interventions on ratchetness to underscore how an embrace of ratchetness operates as a rejection of respectability politics and an acknowledgment of how the politics of respectability have failed Black women, denying them the very access that it promises to provide.”

• cites CooperNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites LaneNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

May combine two claims.

The dancers' movements in 'La Modelo' are analogous to Cardi B's linguistic code-switching and shifting between rapping and singing, and these complementary flows create a sonics that situates the collaboration within Latin trap and frames Cardi B within a geographic and aural (Afro-)Caribbean diaspora.

“The dancers' movements are analogous to Cardi B's linguistic code-switching, her moving back and forth between English and Spanish, and her shifting between rapping and singing.These complementary flows work together to create a sonics that situates this musical collaboration within the genre of Latin trap, musically framing Cardi B within both a geographic and aural (Afro-) Caribbean diaspora.”

Classified as probably not a substantial claim. May combine two claims.

'Bodak Yellow' is a monolingual sensation where Cardi B raps entirely in English, and it serves as an anthem of feminist empowerment and an example of ratchet feminist sonics and melodies.

““Bodak Yellow,” a monolingual sensation where Cardi B raps entirely in English, serves as an anthem of feminist empowerment and an example of ratchet feminist sonics and melodies.”

May combine two claims.

Cardi B's declaration that she is a 'ho, a stripper ho' acknowledges and seeks to diffuse the stigma associated with sex work.

“Such brash avowal of sex work and sex-positive feminism relayed in a lighthearted manner both acknowledges and seeks to diffuse the stigma associated with sex work.”

Probably not a substantial claim: may not pass S4 (based). May combine two claims.

Cardi B has generally eschewed Morgan's 'grays' for staunch alignment; she defines herself as pro-Black, pro-woman, and a self-described Bernie Sanders supporter.

“Throughout her career, Cardi B has generally eschewed Morgan's “grays” for staunch alignment-she defines herself as pro-Black, pro-woman, and as a self-described Bernie Sanders supporter.”

Classified as probably not a substantial claim.

Cardi B narrates and embodies a diasporic and multivalent Black womanhood that links the stripper to the mother, to the treasured art object, to sequestered wealth.

“She narrates and embodies a diasporic and multivalent Black womanhood that links the stripper to the mother, to the treasured art object, to sequestered wealth.”

May combine two claims.

Cardi B's conflict with Gunz highlights the patriarchy and misogyny in the music industry, where men like Gunz can shame women for sex positivity while they enjoy and boast about random sex as celebrated hetero masculinity.

“Specifically, Cardi B's conflict with Gunz highlights the patriarchy and misogyny in the music industry, where men like Gunz can shame women for sex positivity while they enjoy and boast about random sex as an example of (hetero) masculinity that is celebrated and rewarded.”

May combine two claims.

In 'Money,' Cardi B functions as a museum object, and she reconfigures the dynamics of museum exhibits, sonically disrupting a museum etiquette predicated on hushed whispers, light tapping/clicking of shoes, and low classical music.

“Here, Cardi B functions as a museum object; as she leans back in the case, the camera zooms out to show many of her previously worn, recognizable outfits on display.The soundtrack for this moment includes the emphatic piano downbeat and Cardi B's staccato and forceful lyrical delivery.She reconfigures the dynamics of museum exhibits, sonically disrupting a museum etiquette predicated on hushed wh”

May combine two claims. The quote only partly states this claim.

Cardi B performs a sex-positive feminism grounded in hip-hop aesthetics and Caribeña ways of being, rejecting the relegation of women to sex objects and championing their sexual agency, pleasure, and frivolity.

“She expressed a sex-positive feminism grounded in hiphop aesthetics and Caribeña ways of being”

Classified as probably not a substantial claim.

Rose's assessment that this framework undermines what real respect for women requires-an active commitment to women's equality and justice-encapsulates Cardi B's response to Gunz.

“Rose's assessment that this framework “undermines what real respect for women requires: an active commitment to women's equality and justice” encapsulates Cardi B's response to Gunz”

• cites Rose 2008Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Classified as probably not a substantial claim.

Respect for women is part of an exchange that follows social codes and conventions including 'be respectful' and 'be modest.'

“Cardi B's confrontation with Gunz during the reunion highlights how, as Tricia Rose argues, respect for women is part of an exchange that follows social codes and conventions that include “be respectful” and “be modest” (2008, 119).”

• cites Rose 2008Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

May combine two claims.

In 'La Modelo,' the dancers operate as complementary to Cardi B and the action onscreen rather than as objects to be gazed at, refusing to be placed on display and objectified for male gratification.

“They operate as complementary to Cardi B and the action onscreen rather than as objects to be gazed at as they dance with fellow partygoers, refusing to be placed on display and objectified for male gratification.”

Probably not a substantial claim: may not pass S4 (based).

In 'Yo Perreo Sola,' Bad Bunny adopts the voice of a young woman who chooses to twerk alone rather than subject herself to the objectifying male gaze as an articulation of feminist resistance.

“In “Yo Perreo Sola,” Bad Bunny adopts the voice of a young woman who chooses to twerk alone rather than subject herself to the objectifying male gaze as an articulation of feminist resistance.”

May combine two claims.

Cardi B's reunion moment reflects her usage of sonic strategies of ratchetness: she unapologetically affirmed her sex positivity and did not sanitize or frame her interactions with men as anything but contractual, resisting erasure and objectification by fully inhabiting her positionality.

“This moment in the reunion reflects Cardi B's usage of the sonic strategies of ratchetness-she unapologetically affirmed her sex positivity and did not sanitize or frame her interactions with men as anything but contractual, subsequently resisting her erasure and objectification by fully inhabiting her positionality.”

May combine two claims.

Cardi B agrees to let a man perform cunnilingus only if he purchases Yves St. Laurent for her, lyrically articulating a feminist position that refuses facile categorization and disrupts the familiar virgin-whore duality used to frame comportment for women, especially women of colour.

“She agrees to let him perform cunnilingus, but only if he purchases Yves St. Laurent for her, lyrically articulating a feminist position that refuses facile categorization and disrupts the familiar virgin-whore duality used to frame comportment for women, and especially women of colour.”

Probably not a substantial claim: may not pass S3 (load-bearing).

Trap differs from rap in terms of production and reception, aesthetics and beats.

“Although similar to rap, trap differs in terms of production and reception, aesthetics and beats.”

Probably not a substantial claim: may not pass S4 (based). May combine two claims.

Cardi B's costuming in 'Money' enables her to position both herself and her wealth among iconic artistic/historic eras celebrated by white society and within a specifically Black musical legacy of greatness.

“Thus, Cardi B's costuming enables her to capaciously position both herself and her wealth among iconic artistic/historic eras celebrated by white society and within a specifically Black musical legacy of greatness.”

Classified as probably not a substantial claim. May combine two claims.

Cardi B's delivery of her catchphrases on The Tonight Show is playfully pedagogical while putting both Fallon and the audience on notice that her mode of speech is not going to change.

“Her delivery of these phrases is playfully pedagogical while putting both Fallon and the audience on notice-demure clothing aside, Cardi B is still Cardi B, and her mode of speech is not going to change.”

May combine two claims.

While Cardi B clarifies that she is no longer a stripper and is a successful hip-hop artist, she does not denigrate the exchange of money for titillation or sex.

“While she clarifies that she is no longer a stripper and that she is a successful hip-hop artist, she importantly does not denigrate the exchange of money for titillation or sex”

May combine two claims.

Cardi B challenges the aspirational logics imbricated in the politics of respectability, though leaving firmly in place the hyper-capitalist imperative of most commercial and successful hip-hop lyrics and artists.

“Here, Cardi B challenges the aspirational logics imbricated in the politics of respectability, though leaving firmly in place the hyper-capitalist imperative of most commercial and successful hip-hop lyrics and artists (Jay-Z, Kanye West, and Drake are well-known and theorized examples).”

May combine two claims.

Calling the women 'bad bitches' in 'Money' operates as an honorific, exalting their presence and agency, as Cardi B situates herself within an anti-sexist hip-hop legacy by redefining terms of sexist abjection to signify Black and Latina empowerment.

“Calling these women”

May combine two claims.

Cardi B's declaration operates as part of her rise to fame and ensconces her nascent musical career within the frame of ratchetness and a hood worldview that is also a sounding of diasporic feminism.

“Her declaration, in turn, operates as part and parcel of Cardi B's meteoric rise to fame and notoriety, ensconcing her nascent musical career within the frame of ratchetness and a hood worldview that, I argue, is also a sounding of diasporic feminism made anew”