It is perhaps here that the appearance of females, given dominant notions of gendered expectations for women, is most unexpected, in that femininity is widely associated with vulnerability and masculinity with dangerousness, which is often reflected in disjunctive levels of perceived threat. Not only do the women of gangsta rap engage in the discourse about violence that occurs in the narratives of their songs; they place themselves within those narratives and often at the heart of the violence (437).
Lines like “Titty out like what—I don’t give a fuck!” (“Notorious B.I.G.”) and “If you ain’t lickin’ no clits, we don’t want it, we don’t want it” (“We Don’t Need It”) are both assertions of aggressive personal sexuality and acceptance of a certain type of sexualized role within a genre that has narrow options for women. I don’t think Kim should be immediately written off as simply a product of a male environment; there is a considerable amount of agency in her work. At the same time, I think she is a really problematic figure in rap and gangsta rap. While on the one hand she promotes the gangsta rap status quo by representing gangsta rap norms fairly consistently in her music, she also pushes against them. If gangsta rap is viewed as a completely male environment where only men are violent and women there for only men’s sexual needs, Kim (sometimes) flips that script.