Tina Marble Misogyny In HIP Hop culture refers to lyrics, videos, or other aspects of hip hop culture that support, glorify, Justify or normalize the objectification, exploitation or factorization of women. Misogyny in hip hop music instills and perpetuates negative stereotypes about women. It can range from innuendos to stereotypical characterizations and defamation’s. Overt misogyny in rap and hip hop music emerged in the late sass’s, and has since then been a feature of the music of numerous hip hop artists.

Hip hop has had a considerable influence on modern popular culture, saturating mass media through music, radio broadcasts and a variety of other mediums. Gangster rap, the most commercially successful submerge of hip hop, has been particularly criticized and associated with misogyny. Others, however, contest the societal emphasis of misogyny In hip hop music, noting that misogynist and sexist themes are prevalent wealth other forms of popular discourse. The constant reference of women as “blotches” and “hoes” can be Interpreted as offensive or derogatory to women.

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However, showing women In a negative light appears in many music genres. The fact that it regularly occurs in hip hop is a scapegoat conservatives use to discredit hip hop music. Studies show that other music genres, such as rock music, contain more negative images of women, according to some studies. This is nothing new, Just as marketing and advertising companies have used sex to increase market share and earnings, because to be blunt, sex sells. Misogyny has become a sign of authenticity for some rappers, who use misogynistic lyrics and depictions of violence against women to prove that they are authentic gangs.

Many artists view demeaning women as a way to assert their masculinity. Rappers are often considered “fake” if they distance themselves from hyper- masculine self-portrayals and hostile representations of women. Hip hop artists also use such lyrics to gain commercial success. Many lyrics have an Inherent distrust of women as a significant theme. Women are depicted as femme battles, “gold diggers”, and as lying about such things as their age or trying to get pregnant. Tuba Shaker’s “Hell 4 A Hustler” asks, “Why plant seeds in a dirty pitch, waiting’ to trick me? Not the life for me.

In addition, pimps are glorified and their ability to control and exploit women is praised. Authors also link the treatment of women in hip hop to troubled gender relations in inner-city Black and Hispanic communities. In an ethnographic study of inner-city Philadelphia neighborhood, a trend was evident of young men in such neighborhoods try to raise their social status and self-esteem by demeaning and exploiting women. Resulting from this study, it was also learned that, “In many cases the more the young man seems to exploit women, the higher Is his regard wealth the group”.

Welter and Suborn (2009) have identified five common monolinguals themes In lyrics are as follows: (a) Derogatory naming and shaming of women, (c) Legitimating of violence against women, (d) Distrust of women, and (e) Celebration of prostitution and pimping. Men are praised if they abuse and exploit women. These insults seek to degrade women and “keep them in their place”. Sexual objectification is the most common misogynistic theme in rap music, according to the analysis of Wittier and Kabuki. Women are portrayed as only good for sex. Dry. Drew raps, “Bitched anti sit but hoes ND tricks…

Get the buck out after you’re done… ” Violence is depicted as the most appropriate punishment for women who challenge male domination or simply disrespect men. Juvenile, for example, asks, “If she thinks you’re Joking’, is she going’ get a quick choking’? ” Physical violence and rape are considered fitting responses if women refuse sex or if they commit other “offenses”. Mine has also been criticized for his depictions of violence against women, “Slut, you think I won’t choke no where / ‘Till the vocal chords don’t work no more / Shut up slut, you’re causing’ too such chaos. In the sass’s audiences were endeared to and began to demand more violent and offensive lyrics and record executives were urging artists to write them. It is suggested that one of the reasons why artists use misogynistic lyrics in their music is that they have internalized the negative stereotypes about women that are prevalent in American society. African women were historically portrayed as annalistic sexual beasts and African males in a submissive role, giving in to wild instinct or bodily impulses. The initialization of such stereotypes may be a Seibel explanation of the hyper sexuality within certain hip hop music.

Various authors have argued that misogyny is merely an outgrowth of the cultural acceptance of misogyny at large. Misogyny is a tried and true American tradition from which hip hop derives its understanding of how men and women should behave. Critics argue that hip hop’s misogyny and promotion of traditional gender roles reflect mainstream American values. Feminists suggest that misogyny in hip hop culture is not a “black male thing”, but has its roots in a larger pattern of hostility award women in American culture.

Just listening to a track and hearing the word pitch continuously used, as in Jay G’s “99 Problems”, on the surface structure, it appears as if it is a woman he is free of having problems from, when in actuality, it is a female canine dog he is referring to as the pitch. This is one example of where the context in which certain words are used has a huge impact on their interpretation. It is this writer’s view that yes; hip hop music is misogynistic in nature and is a sexist enterprise. The majority of Hip Hop that comes out today is misogynist and terrestrials.

For the most part, Hip Hop and Rap began and has been a male- dominated genre (although there have been several successful female emcees like MS Late, Queen Latish, Ill Kim, etc. ) and has always had a “blind” element and been supported by urban clothing brands. I feel it is because Hip Hop and Rap music come from the streets, where the average person has nothing to look forward to but poverty and violence, which is why they dream for a better quality of life, (which in their minds) comes with cars, clothes, Jewelry, mansions, etc.

Misogynist lyrics are taffeta indeed, but they do not represent a new trend in Black popular culture, nor do they differ fundamentally from woman hating discourses that are common among has been identified with masculinity, female artists have traditionally faced many barriers in entering hip hop and have been marginalia as performers. Despite this, many women rappers have found ways to contest and resist the objectification and exploitation of women in hip hop culture. Salt-N-Peep was one of the first all- female rap acts to provide pro-woman messages and critique double standards and grading images in hip hop.

In her Grammar Award winning song “U. N. I. “, Queen Latish challenges male rappers who use the terms “pitch” and “ho” to refer to women. The question “Who you calling’ a pitch? ” ends each verse of the song. You-You has dedicated much of her career to condemning hip hop misogyny. Many other women rap and rap -soul artists such as Lauren Hill, Eureka Baud, Missy Elliot have adopted a persona which opposes misogynistic representations of women in hip hop. However, some female artists offer no resistance to negative portrayals of women, ND in some cases appears to defend male rappers’ misogyny.