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These artists challenge the hip-hop status quo, inserting confident, aggressive and authentic queer attitudes and stories into their artistry. It challenges the binaries of masculine, feminine, gay, straight, hyper-masculine, and femme, and acknowledges that gender and sexuality are not fixed, but are fluid and dynamic. “Fierceness” is an attitude that embraces difference, denotes quality, and is defiant, bold, and confident. In an attempt to avoid a reductionist approach through labelling, we instead employ the term “fierceness”, from an underground black and Latinx gay cultural movement called “Ball culture”, as an aesthetic at the core of these artists’ gender and sexuality performances. These identity performances necessitate considered distillations of theory around black masculinity, hip-hop culture, hip-hop homophobia, black gay culture, and queer theory. Through wildly different personae, their atypical gender performances destabilize normative gender and sexuality binaries, interrogating and presenting challenges to both homonormativity and heteronormativity within gay, black and mainstream cultures. This chapter explores the theoretical, musical and political contexts of four black gay American rappers: Cakes da Killa, Le1f, Mykki Blanco and Zebra Katz. A special thanks goes to professor Patricia Irwin (Swarthmore) for their insight on language stigmatization models and her course LING 41 Dialects of American English, as well professor Jane Chandlee (Haverford), Clare Hanlon (Swarthmore), and Jackson Ramsey (Swarthmore) for their outstanding feedback over the course of this thesis S completion. Ultimately, the unfair stigmatization of these artists will be made clear. Additionally, I will question the importance of intelligibility in hip-hop music by offering different means of extracting semantic value from an utterance. By using language stigmatization models, explanations for the misguided usage of the term and the criticisms of naysayers will be offered. I will show that Mumble Rap is not used to describe any sort of linguistic property and that this perception of so-called mumbling is simply a phonetic phenomenon that is fairly common throughout any given language. In doing so, I will attempt to refute the unfair criticisms of those that do not care for this new wave of hip-hop. However, today rap is fairly linked to an almost obsessive quest for money and success, having freedom and revolution ideals been nearly erased from its lyrics.ġ In this thesis I will argue that the term 'Mumble Rap' fails to function as an accurate descriptor ofa new generation of mainstream American hip-hop artists, instead being used to mainly disparage its artists, sounds, and ideologies. As a consequence, new musical styles were set up, till the most current – rap –, which originated as a music to express social protest and wishes to change, to freedom for the black population. With the passing of time, a blend between African and American cultures derived in what we know as African-American culture. Following that, there will be a discussion about whether the latter had any influence on the music of slaves in order for this to survive. After that, a study will be done about the ways that this kind of music lived with the one that predominated at that time among the inhabitants of the emerging United States of America – the majority of them being whites –, as it was deeply bound to religion. For this, characteristics of African music will be first reviewed. That is to say, if rap directly comes from the music that the first slaves to arrive in North American soil brought with them. The purpose of this thesis is to demonstrate, if possible, whether there is any relation between rap and African-American music.

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