Exploring homophobia in the hip-hop world and men who live secretly as gay men

June 2, 2:14 AMDC Youth Issues ExaminerAisha Ali

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Do you think the hip-hop community can escape it's homophobic thinking?

There are a few reasons why I felt compelled to publish a story addressing the homophobic nature deeply embedded within the hip-hop industry. For one, I have friends with careers in media/entertainment who often divulge the latest inside buzz circulating around some of the biggest hip-hop male artists, living double lives as straight men by day and gay men by night. Most of the men revealed does not surprise me, for I had perceived them as “downlow” or “DL” brothers— males who do not openly identify as gay, posing as straight men publicly (having wives/girlfriends and children), but engage in sexual intercourse with other men, privately— while few exposed actually shocked me, as I would have never believed it had I not seen photographs. YES, photographs!

Nonetheless, no matter how much dirt my friends provide me with on these hip-hop male stars, no one wants his or her name attached to my next Examiner piece with enough evidence to confirm the public assumptions of who is living a secret life in the hip-hop industry. Why? Simply because he or she fears the professional backlash implemented by employers who will have endured fatal attacks from these alleged, “DL” hip-hop male artists, their attorneys and record labels, and every other individual who supports their clandestine love affairs.

Yet, the main reason I have decided to publish this piece is I have simply grown tired of the unnecessary bashing men, posing as straight hip-hop artists, engage in when concerning openly gay males belonging to the LGBT (lesbian, gay, bisexual, transgender) community, especially when many male hip-hop stars are secretly living as homosexuals, themselves. This behavior is reminiscent of blacks who have developed a form of self-hatred, desperately trying to assimilate into a white lifestyle because they have been conditioned to hate their darker skin and everything that coincides with it— culture and all. "DL" brothers within the hip-hop industry who gay bash because it is unacceptable to be gay, as it is a sign of “weakness” and “female-likeness,” is nothing more than a form of self-hatred. How could you speak of murdering homosexuals and male [expletive] when you secretly represent the very thing you claim to hate?

A few weeks ago, a small group of my friends and I were discussing what appears to be a bubonic plague running rampantly throughout the hip-hop community: the obsession male hip-hop artists have with appearing hardcore, disrespecting women and serving as puppets at the hands of many record labels who create, package, and deliver the gangster motif to mainstream hip-hop consumers.

Yet, judging by the reactions of my friends during our very lengthy discussion, many consumers have not only grown tired of the brain dead, “hardcore” lyrics, as rap record sales continue to plummet and have been plummeting since 2000— believe it or not— but also, the excessive gay bashing the hip-hop community engages in, especially when the hip-hop community exists of more homosexuals than a LGBT Pride Parade, is more than ponderous. Hasn’t the “traditional” diss of insulting a male’s manhood through calling him a [expletive] or homosexual been hackneyed?

However, homosexuality within the music industry is not a new phenomenon, for there have been rumors revolving around rappers since the 1970s and 1980s. In fact, although the sexual preference of men within the hip-hop industry may not be disclosed to the public, industry insiders have common knowledge of who is gay or straight. However, “straight” in this instance is relative, as many men pose as “straight” publicly, while actually preferring men, privately. In fact, many of my friends who work behind the scenes have informed me of how “DL” males in the hip-hop community belong to a secret society where exclusive gay parties are held, at which major hip-hop male artists openly sleep with other men, only to go home to their wives and girlfriends who never suspect a thing because they either think their men are “hanging out with the boys” or “working” and “attending career-oriented functions,” at which these women “have no place or would be disinterested in attending”.

One of my close male friends, who wishes to remain anonymous because he is still seeing a very popular hip-hop producer that has been deeply involved with a particular female for quite sometime, says how his “friend” is a “pro” at maintaining his double life:

“He has his home where his girl and kids stay, and then he has his condo in Miami where we sometimes hook up. He tells his girl he has to collaborate with an artist or has to travel on business; but he’s really spending time with me. I think she is beginning to catch on to him cheating— I mean, he’s done it before; but, I think she believes it’s always other women, never would she imagine that her man is gay. He hasn’t fully accepted being gay; he prefers ‘bisexual’.”

My friend then goes on to say:

“…But it’s true; many ‘DLs’ posing as 'heteros' hire women or ‘extras’ to distract the public. But, all the insiders know it’s just a ploy. Some of the women hired are sooo random and unbelievably paired with these men— it’s like almost done for shock value. You have to laugh sometimes...It’s so disastrously humorous [LOL]! You have to think where the publicists and management are coming from with some of the pairings— it’s like watching a train wreck unfold.”

Nevertheless, with all the gay parties and secret societies, being gay is still unacceptable, as homosexuality is very taboo within the black community. If it weren’t, there wouldn’t be so many black men living publicly as straight men, either married with children or involved “deeply and exclusively” with a female partner; yet, sleeping with men at exclusive parties and on rendezvous in Miami.

There are several external factors shaping the homophobic nature deeply embedded within the hip-hop community: the black church, the prejudice blacks have had to face, and the pressure black men experience that is greater than of white men to be “masculine” and “strong,” which is again, tied to race.

During slavery, blacks became even more religious or spiritual, as this is what helped enslaved blacks believe they would eventually be freed. Hence, religion or spirituality is all on which blacks relied to remain optimistic. Homosexuality to the devout black Christian is an aversion.

With the prejudice and racism blacks have endured, as blacks were told by slave masters they were destined for hell because God cursed them with dark skin, to live one’s black life as a homosexual is almost asking for ridicule and more extreme forms of brutal, inhumane treatment. In the black community, especially within the black church, blacks are to remain strong, chaste, and religious, as black culture was comprised of strong family values, morals, and a devotion to God, for if blacks had nothing else, the reliant was family, morals, and devoutness to God. However, homosexuality totally throws this notion out the window.

Sexuality, whether heterosexuality or homosexuality, is a topic least discussed or addressed in the black community. Additionally, if black, there is no time for tears, fears, or apprehensions because you have to remain strong against the opposition and crying or sensitivity is too often considered a weakness in the black community, especially when concerning black men.

Hip-hop has adopted this mentality, yet what determines manhood continues to metamorphose with the times in which we live, and what is currently reflected within the black community. When social awareness and empowerment were facets determining manhood in the black community, hip-hop artists assumed this role in their music. When a strong man meant being socially-conscious, a protector of and provider for his family, and intelligent, such groups as Public Enemy were relevant. Now that money, power, bling, and how many ho's one can acquire have become determinants for black manhood, rap acts like G-Unit have become more relevant. Thug appeal is critical to a male hip-hop artist’s image, and there is no room for a homosexual in hip-hop culture. Being a homosexual male is considered “soft”.

In 2006, Byron Hurt made a hip-hop documentary film, “Hip-hop: Beyond Beats and Rhymes,” which addresses the misogynistic, homophobic, and violent nature of hip-hop music. When Hurt asked Busta Rhymes about homophobia in hip-hop, a sudden awkward silence fills the room, as Rhymes eventually answers: “I can’t partake in that conversation.” “With all due respect, I ain’t trying to offend nobody….What I represent culturally doesn’t condone [homosexuality] whatsoever.”

When Hurt asked Rhymes if the day would ever come that a gay rapper would be accepted in hip-hop, Rhymes finally becomes so agitated, he walks out of the room on camera.

It was also in 2006, I remember reading an article of how Busta Rhymes, when in South Beach, Miami for the Winter Music Conference, cursed an effeminate youth male for tapping him on the shoulder to congratulate him of his comeback success. Rhymes' response to his fan’s appreciation for his music: “'Why the [expletive] you touchin' me, man? Get the [expletive] away from me . . .” Rhymes’ two bodyguards then proceeded to cause an even larger scene by shoving away the gay, male-youth fan. Afterwards, Rhymes whispered to his bodyguards, “I hate [expletive] fag----, man.”

There have even been hip-hop and “R&B thugs” who have assaulted interviewers for asking if rumors of them being gay were true or false.

Kanye West, a constant advocate for gay rights, frequently is called names relating to being homosexual, as a male in the hip-hop industry is not supposed to openly condone homosexual behavior. In his first attempt to defend homosexuals, West, in his MTV “All Eyes on Kanye West” interview, told the hip-hop community to stop gay bashing. Yet, before West could even complete his statement, he was cautioned from someone behind the camera to not mention anything about being accepting of homosexuals, as it could have damaging effects on his career. I can hear the person’s thoughts now: “Man, what are you doing? You don’t talk about gayness unless you’re bashing someone…then he tops it off with getting teary-eyed. Ahhhh man, this dude’s career is done! I gotta find another job. I wonder if that job I saw on Craigslist the other day is still open...hmmmm.”

Despite many male hip-hop artists’ public distaste for homosexuals, many of these same male hip-hop artists who gay bash are bisexual or homosexual. The hip-hop community works so diligently to hide its homosexual artists, it’s ridiculous. In order to get admitted into his desired hip-hop “clique,” a male artist is first tried and tested. Once vetted, the aspiring hip-hop male artist is then interviewed by a “sponsor,” the individual who will take the fall shall the artist ever be outed or chooses to expose himself. Then, there is an intricate system designed to upkeep the thuggish, straight persona created to yield record companies mega sales. Managers brief artists on image control, providing extensive media training on how to have "swagger," and both walk and talk like a gangster. Additionally, artists are taught how to either avoid or manipulate questions during interviews that may lead to exposing their true sexual preference. Publicists go to extreme lengths to devise their artists’ appearances. Producers consult with friends in the industry to find single females who are seeking publicity as they may be aspiring actresses, artists, or simply gold-diggers thirsty for the limelight, agreeing to attend red carpet events as “girlfriends” or out-of-the-blue fiancés. Throughout this methodically created machine, are welded individuals who have taken blood oaths to not reveal the underlying truth to media sources or friends of these artists being gay and if exposed, these women are expected to take the downfall for the artist and his record label to ensure the artist is never exposed.

The allegiance is so formidable that even the paparazzi— as unbelievable as it seems because the paparazzi stops at no end— will not even disclose sightings of these hip-hop male artists "cuddled up" with their male significant others or secret lovers, fearing if they were to expose these “DL” hip-hop artists, future access to valuable pictures would be forfeited. In the event of those fearless paparazzi that do attempt to out “DL” male hip-hop artists, many magazine editors will not buy these photos, fearing there will be lawsuits or professional backlash, if published. This was confirmed when Wendy Williams was fired from Hot 97 when she suggested a famous New York rapper was gay. Now, for all Wendy Williams’ fans, you know Williams simply “hinting” or “suggesting” is her being “nice,” as Williams was on almost every celebrity’s hit list as number one due to her impetuous comments. However, in the end, I suppose Williams had the last laugh, as her New York-based daytime talk show will be nationally syndicated this year.

Yet, the backlash Williams received was unsurprising. When outing a male hip-hop artist on the low, one has to be prepared if the artist is exposed: the artist, label, and every individual from the sponsor to his mother will form a huge lawsuit against the media outlet who had made such “accusations,” suing for liable and slander, defamation of character, amongst a host of other things.

The biggest irony is hip-hop music was founded on the notion of speaking truth and against injustices, rebelling against “powers that be”. Hip-hop music came from the underground voice of the urban underclass largely missing from mainstream radio; this is what made hip-hop music so interesting and alluring. It was a brash, bold sound no one had ever before heard from the urban underclass. Since politics have been omitted from much of mainstream hip-hop music, street credibility is no longer largely based on rebelling against authority or the "white man,” but more so endorsing street elitism: clothes, cars, bling, ho’s, and pimp-slapping [expletive], both males and females.

Nonetheless, a male who gay bashes and disrespects women is not qualified as a man, in my book.  Instead, a man who, whether heterosexual or homosexual, fights against injustices-- whether it be racial or sex/gender discrimination-- is a “real” man in my book. The “man” who poses as straight, but is really on the “DL,” while displaying self-hatred as he often gay bashes individuals of his likeness, receives no respect from me. Furthermore, "DL" brothers is a predominant factor for why HIV and AIDS is running rampantly throughout the black community, as AIDS is the number one killer of black women. It takes more courage to openly live as a gay male, than it does to live in the dark.

Many of my "straight" male friends have no problem with gay females, as they wish to fulfill their fantasies of engaging in intercourse with two hot lesbians; yet, to see two effeminate males kissing is disgusting to them. They often display their discomfort for effeminate males; meanwhile, the thuggish “DL"  brother is standing right beside them, oogling, but they disregard the "thug," as my male friends are too consumed with the “flaming divo (male diva)” stereotype of a gay male.

Males claiming to be straight, please stop acting freakishly. Just because a man is gay, it does not imply he wants you to hop into his bed, for my openly-gay male friends wouldn’t have 90 percent of you— LOL!

In the end, hip-hop male artists need to stop with all the gay bashing and self-hatred.  For the hip-hop male artist, there seems to be an internal struggle concerning not only selling out to maintain a fake thuggish persona to sell mega records, but also whether he should live his life potentially happy as an openly gay male or torn and troubled, continuously living in the closet. Ultimately, it’s your life; so do as you please. But, if you’re going to be on the “DL,” at least have the decency to protect all parties involved and wrap it up.

Here are my final hip-hop video selections.  Since this piece addresses how the male-dominated field of hip-hop exploits women, as well as homosexuals, I have decided to pick some old-school female hip-hop emcees I most admired while growing up.  I hope you enjoy the selections. 

Part three of a three-part series

(To read Part two of the hip-hop series click here, or click here to read Part one.)