'It seems a culture of fear is governing hip hop. And it’s about time we recognize it,' writes Taylor Crumpton.
is a music, pop culture, and politics writer from Dallas. In her work—which can be found in outlets like, The Guardian, NPR, and many other platforms—Crumpton writes about a range of topics from Black Queer advocacy to the underrepresented hip-hop scenes in the southern United States to pop analysis on releases like “WAP” and “Black Is King”assie Ventura is not the first survivor of hip-hop’s abuse. Unfortunately, she will not be the last.
Hip-hop and the people who support the industry have long used the harm and violence enacted on Black women as a way to promote their newest song for attention-grabbing headlines. But in the social and digital media age, that same harm and violence has turned into content. Only now, Black women aren’t the only ones subjugated to this type of harassment and mistreatment.
Oftentimes, in fact, men in hip-hop enforce strict boundaries around race, gender, and femininity through their music. From the homophobic first verse on “Dior” by Pop Smoke toof artist ILoveMakonnen by Drake’s record label OVO Sound because of his sexuality, homophobia and masculinity are strictly enforced by hip-hop’s gatekeepers.
So, what drives survivors to come forward? Why would Ventura, Jones, Liza Gardner, Joie Dickerson-Neal, and a woman who identified as Jane Doe break their silence at a point when Combs remains so powerful not just in hip-hop, but pop culture at large?
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