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Misogynistic Hip Hop Music Essay

502 Words3 Pages

The adoration that women receive from philogynistic hip-hop music emanates from artists who fully and confidently express their deepest feelings in songs. This contemporary form of expression evaluates the challenges and difficulties women face in a male dominated world and focuses on respecting and uplifting a women’s well being. Philogynyistic hip-hop artists most iconic moments arise when they’re recounting a story, painting a vivid picture about their past and current relationships. Even more, their most philogynyistic moments arise when spewing various emotions that feel tangible, making songs easily relatable and personal to anyone who has found or lost love. The closest hip-hop artist to express himself in a way that respects and uplifts …show more content…

Furthermore, by deteriorating misogynistic hip-hop boundaries, Drake also deconstructs the portrayal of black masculinity in hip-hop cultural. The plight of black males in hip-hop music is the stereotypical images placed upon them. Black males in hip-hop music are commonly viewed as criminals or unintelligent and are heavily criticized for promoting pernicious behavior. According to bell Hooks, “Negative stereotypes about the nature of black masculinity continue to over determine the identities black males are allowed to fashion for themselves” (bell Hooks 10). The preconception that engulfs black males as being violent and promiscuous in hip-hop music has limited their capabilities to address topics beyond violence, drugs and sex. The fact that a majority of hip-hop music addresses either violence, drugs or sex, black males are found at fault and loathed. Realistically, black males in hip-hop music only focus on crude topics because of the treatment they receive in this “white” world is crude. Essentially, the music artists’ produce are representations of the real world and byproducts of

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As anything connected with femininity becomes devalued, men who appear to relinquish their superior position in the gender order are also subject to ridicule” (2009). The homophobia found in gangsta rap also finds correlation in other spaces, including black institutions and the mainstream middle class, though N.W.A. and other hip hop acts are often the main targets in mainstream culture ("Gangsta Rap and American Culture,” p. 416, 2004). Because N.W.A. were main targets, their criticisms from the LGBT community would seem like a main conflict in Straight Outta Compton. But like the criticism faced by women on their misogynist lyrics, the issue again goes

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This music that once made visible the inner culture of America’s greatest social problem, its legacy of slavery, has taken the dream deferred to a global scale” (McBride, 3). McBride reveals how hip-hop talks about a nation’s social issues and makes people aware of them. This demonstrates that hip-hop is powerful because it educates people on both past and current issues that their nation has faced. Finally, hip-hop is stimulating and commanding because even though it has evolved, it still urges people to put an end to racial

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Chapter two of Cathy J. Cohen’s book Democracy Remixed focuses on the implications of the negativity surrounding rap genre music. In addition, Cohen discusses the effects that popular black media figures have when trying to address the issue of troublesome youth and the vulgarity of their self-expression. Cohen believes that the older generation of the black community demonizes aspects of black youth culture when there are other factors to take into account when discussing the lack of success among young black people. These factors include modern oppression, a privation of adequate educational systems, the absences of low-wage, low skill jobs, unfair incarceration systems etc. Moreover, Cohen makes an argument that it is not only rap, but the voices inside the black community that help to demean black youths.

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“Beyond Beats and Rhymes” Summary This movie was a broad discussion about hip-hop music (or more specifically gangster rap) and what kind of social issues the music not only showcases but seems to promote. The producer of this film, Byron Hunt, interviewed people involved in all aspects of the hip-hop industry, including famous rappers, to try to get to the bottom of this. Some of the most prominent issues discussed in the film were the over-sexualization of women, gun violence, and anti- homophobic attitudes. Hunt would ask those involved in the industry about why they think these themes are so prevalent.

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Stereotypically, hip-hop is “just talking over a beat”, or “is about misogynism”, or even “takes no effort”. These incorrect statements and its connection to African Americans have come to be connected to all young African Americans, even if they have no connection to the hip-hop scene whatsoever. These incorrect stereotypes have been used to generalize the whole African American population. Schloss delves into the stereotypes and misunderstandings about hip-hop and its culture. He mentions how the meaning of hip-hop has been distorted.

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Hip Hop is seen as something inspiring, but most people see it as a way to speak out the truth about a problem. As in “Hip Hop planet” being able say the truth can sometimes worsen any situation because sometimes what we say can promote violence and whatever happens after is not in our control. The essay is about how hip hop has changed into speaking out the issues that need to be taken care of in order to maintain a proper society. McBride talked about how rappers use violent lyrics to degrade women and gays and because of this it shows how the music has evolved into something entirely different that no one would have ever expected to have changed. In James McBride's essay “Hip Hop Planet,” he argues that hip hop has a negative influence on American Culture despite people thinking of it as inspirational and how people live through different experiences in life despite of your race.

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As an outcome, many listeners of rap music, especially females, have characterised the whole genre as negative (Tyree and Jones 54). Within rap, it is mostly Black women that are targeted by misogynistic lyrics from Black male rappers. Taking a look at rap’s history, it is detectable that women were either ignored or portrayed as object of male pleasure (Rose qtd. in Tyree and Jones 54). For scholars, music critics, and rap listeners, it is obvious that there is a connection between misogyny and rap music.

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Hip-hop culture has been the topic of various academic, social, and political discourses. Rap music, in particular, has made its way to mainstream media which is evident in the numerous films and movies that centers on what was once a part of an underground culture. Scholars explain that the popularity of hip-hop in both music and films are partly due to its potential to disseminate information, address an issue, and promote social change. Tinson and McBride (2013), for example, note that hip-hop is a “…form of critical education at the intersection of, and inseparable from political engagement” (1). Scholars further note that hip-hop’s current state “…requires frequent accounting of its engagement with the social, political, and cultural climate

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In her essay “hip hop’s betrayal of black women,” Jennifer McLune implies that “(h)ip-hop owes its success to the ideology of women-hating” (193). She does not agree with Kevin Powell’s article that hip-hop does not mean to “offend” black women, but instead artists are only letting out their temper throughout their music. McLune feels infuriated that many artists in hip hop (including black men) rap about their community and downgrade their own women. In the hip-hop genre, sexism is mainly used, not only by black men but also by many other race hip-hop artists. Artists assume that women-hating in their rap songs will be accepted by women, but do not realize that it is affecting all women.

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In the music industry, but mostly in the rap and hip-hop field, black women are seen as objects of sex. If women are too masculine within the rap field, they are not seen as being “profitable” yet if they are too feminine they are deemed too sexual. Within the rap genre black men "policed [whereas] black women rapper's central contestation is in the arena of sexual politics.” (Rose, 147) Along with this, due to western society's obsession with the “different,” black women are erotisized and sexualized within their own field of work.

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Likewise some youth are attracted to the message promoted by rap” (Elligan 28). Individual and even group rappers such as A Tribe Called Quest, Common, Kendrick Lamar, Mac Miller, Chance the Rapper, and Macklemore constantly address topics like sexism and racism, and discuss the need for positivity when dealing with today’s issues. Rap music is an useful way to freely express emotions and thoughts. Most that are not accustomed to rap may not see the various styles and genres of the music. “Political/Protest rap focuses on political issues, racism, sexism, equality, and ethnic identity.

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Despite these possible explanations about whether rap and hip hop artists use homophobic language as an attack against white men, homosexuality or as a way to affirm their masculinity, it does not change the fact that the use of this homophobic language is wrong and not a viable solution. However, there are artists who currently resist the masculine gender representation of rap, hip hop and even alternative R&B. In Frederik Dhaenens’ “Resistant masculinities in alternative R&B? Understanding Frank Ocean and The Weeknd’s representations of gender” he writes, “Hegemonic R&B and hip hop masculinity is grafted onto a history of racism and systematic oppression by White Americans of African-American men… the manhood of Black men has been constantly scrutinized, questioned and defied” (285). When black manhood is threatened oftentimes

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McBride begins his essay in high contrast to his intended purpose with an anecdotal discussion of his first encounters with Hip Hop music that inevitably represents black men as arrogant, aggressive, and poor. The introductory paragraph details McBride’s fear of his daughter marrying a black rapper that he describes as having “a mouthful of gold teeth, a do-rag on his head, muscles popping out of his arms, and a thug attitude” (McBride para. 1). This stereotypical description of a rapper, as well as the sense of fear McBride feels, contributes to his initial representation of black males as aggressive thugs that are unsuitable to become husbands.

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Many songs in the rap genre have an air of violence or sexism against women. Some of the artists who create this music sing about having sex with women, the bodies of women, violence against women, or the inability of a woman to be on her own. Women who listen to this music may find themselves believing what is said, and gaining an implicit bias against other women or men. They might begin to consider other women as ‘sluts,’ ‘whores,’ or ‘gold diggers,’ and men as ‘sexist pigs’ or ‘perverts.’ Also, when women believe what is said about them in any type of media, they may start to become somewhat like the women described in that media.

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It 's being portrayed that being a man equals violence, poorness, being from the hood, can not be a sucker or you 're going to be tested, have your game face all the time, showing no emotion, and when they pick up a microphone they are a totally different person than who they really are. It was once said, ¨We teach boys to be afraid of fear, of weakness, of vulnerability. We teach them to mask their true selves, because they have to be a hard man. ¨Men want to have so much power, but they don 't have any power at all. The hip hop artist just has physical power over their body and how they display themselves, so they dress certain ways to get respect to feel powerful which also is hypermasculinity.

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