HipHop and Misogyny

From UBC Wiki

Introduction

There have been many critiques on the ways hip hop and rap music have directed hate and ownership toward women, especially those of colour, by way of its lyrics, music videos and culture. Although every genre of music has its own conflict with how women are represented, hip hop and rap are often singled out due to its vast popularity in mainstream culture. The commodification and degradation of women are common issues throughout the rap scene and are exemplified through the music and culture. While women play a crucial part of what constitutes rap music, there remains a lack of positive representation of them throughout the culture.

Definitions

Misogyny

Misogyny is defined as the dislike of, contempt for, or ingrained prejudice against women [1]. Misogyny is demonstrated throughout society in many different ways, including male privilege, violence against women, sexual objectification, and the overall belittling of women. It is an ideology that reduces women to objects for men’s ownership, use, or abuse [2]. While misogyny is found everywhere, there is clear use of it in music and media. Although every genre of music makes use of misogyny genres such as Hip Hop, Rap, and RnB in particular have been accredited reputations for using women as sexual objects throughout the musical lyrics, artwork and videos[3].

History of Hip Hop and Rap

Hip Hop and Rap originated during the late 1970’s in the South Bronx as a reaction to the political conservatism and economic downfall of the time [4]. This new genre of music acted as an apolitical expression for the inner-city black and Latino communities that were negatively affected by the white dominated political culture, which had left them silenced and overlooked. These disenfranchised minority groups created the genre as a way to exercise and secure a public voice [5]. The subject matter of the genre sought to speak on the oppressive situations the minorities experienced, and is therefore considered a strong socio-political innovation [6].

Misogyny in Hip Hop Music

While the genre has existed since the 1970's, it was not until the late 1980's that rap and hip hop introduced overtly misogynistic content to its listeners [7]. Since this time, rappers have been accused of objectifying and demeaning women, and promoting violence and sexual abuse. There have been countless instances where rappers and hip hop artists have been criticized for their objectifying lyrics. In his song titled "U.O.E.N.O", Rick Ross was put on the spot for including lyrics which spoke of drugging women and sexually assaulting them. Kanye West has a long standing reputation for producing music that actively hates women, and artists like Drake and 2 Chainz continue to use women in the background of their music videos as sexual props.[8] [9]

It is important to understand, however, that this is a double standard in music, because hip hop and rap culture has not been the first, nor will it be the last genre to use misogyny in its lyrics. Genres like punk, rock, heavy metal, and country have had their share of criticisms in regards to their treatment of women, but hip hop and rap is often highlighted due to its global popularity.[10] [11]

This double standard between hip hop and other genres of music when it comes to the use of misogyny stems from the origin of the genre itself. Because the genre was created by those who were of an ethnic minority, more attention is drawn to the offensive things that are said. But just because something degrading is said by a black person, doesn't mean that the offensive comment is made exclusively by black people. This works the same way with sexism in rap and hip hop. It is important to remember that the sexism seen in some hip hop is a reflection of the sexism that we see in society as a whole, not just of the behaviour of the people who make the music [12].

Feminism and Hip Hop

Feminism is defined as the “political movement and the mode of analysis aimed at addressing the social, political, and economic inequities that plague the lives of women and girls worldwide” [13] Within that umbrella term, there are many different sects of feminism. In relation to hip hop and how women of colour are treated, it seems that Black feminism is the one of most relevance. Black feminism is the action of African American women who seek to confront and control the images promoted by misogynistic and patriarchal institutions outside of the Black community. Black women seek to mitigate the images and stereotypes placed on them by hip hop culture by using literature and intellectualism to debunk their stigmas [14] From this wave of feminism, Hip Hop feminism was born.

Hip hop feminism is a gateway to empower young black females by allowing them to choose their own identities. This leads to women and girls to improve the genre through self-acceptance and identity, rather than emphasizing the negative aspects. When women and men who identify as hip hop feminists step up and speak out against gender exploitation in hip hop, the once derogatory and objectifying lyric and culture can be identified as self-expression and empowerment. It is important to recognize that hip hop feminists have not rejected the original Black feminism, rather it is creating a new path that inspires improvement and change for women in a music genre that tends to work against them [15]

Videos

The following are a few examples of how women are represented as either sexual objects, or as a stereotypical "crazy" girl, rather than a multidimensional person.

References:

  1. https://en.oxforddictionaries.com/definition/misogyny
  2. Adams, Terri M., and Douglas B. Fuller. 2006. “The Words Have Changed But the Ideology Remains the Same: Misogynistic Lyrics in Rap Music.” Journal of Black Studies 36 (6): 938–57.
  3. Iandoli, Kathy. 2017. “Hip-Hop Is Misogynistic—but so Is the Rest of the World.” Complex. Accessed July 19. http://ntrsctn.com/life/2016/02/hip-hop-misogyny.
  4. Rebollo-Gil, Guillermo, and Amanda Moras. 2012. “Black Women and Black Men in Hip Hop Music: Misogyny, Violence and the Negotiation of (White-Owned) Space.” The Journal of Popular Culture 45 (1): 118–32.
  5. Rebollo-Gil, Guillermo, and Amanda Moras. 2012. “Black Women and Black Men in Hip Hop Music: Misogyny, Violence and the Negotiation of (White-Owned) Space.” The Journal of Popular Culture 45 (1): 118–32.
  6. Gourdine, Ruby M., and Brianna P. Lemmons. 2011. “Perceptions of Misogyny in Hip Hop and Rap: What Do the Youths Think?” Journal of Human Behavior in the Social Environment 21 (1): 57–72. doi:10.1080/10911359.2011.533576.
  7. Gourdine, Ruby M., and Brianna P. Lemmons. 2011. “Perceptions of Misogyny in Hip Hop and Rap: What Do the Youths Think?” Journal of Human Behavior in the Social Environment 21 (1): 57–72.
  8. Blay, Zeba. 2015. “What We Forget When We Talk About Hip-Hop’s Women Problem.” HuffPost Canada. August 17. http://www.huffingtonpost.com/entry/hip-hop-misogyny-double-standard_us_55cdf7b9e4b07addcb42a7b8.
  9. Tyree, Tia, and Michelle Jones. 2015. “The Adored Woman in Rap: An Analysis of the Presence of Philogyny in Rap Music.” Women’s Studies 44 (1): 54–83. doi:10.1080/00497878.2014.971217.
  10. Blay, Zeba. 2015. “What We Forget When We Talk About Hip-Hop’s Women Problem.” HuffPost Canada. August 17. http://www.huffingtonpost.com/entry/hip-hop-misogyny-double-standard_us_55cdf7b9e4b07addcb42a7b8.
  11. Iandoli, Kathy. 2017. “Hip-Hop Is Misogynistic—but so Is the Rest of the World.” Complex. Accessed July 19. http://ntrsctn.com/life/2016/02/hip-hop-misogyny.
  12. Blay, Zeba. 2015. “What We Forget When We Talk About Hip-Hop’s Women Problem.” HuffPost Canada. August 17. http://www.huffingtonpost.com/entry/hip-hop-misogyny-double-standard_us_55cdf7b9e4b07addcb42a7b8.
  13. Tyree, Tia, and Michelle Jones. 2015. “The Adored Woman in Rap: An Analysis of the Presence of Philogyny in Rap Music.” Women’s Studies 44 (1): 54–83.
  14. Gourdine, Ruby M., and Brianna P. Lemmons. 2011. “Perceptions of Misogyny in Hip Hop and Rap: What Do the Youths Think?” Journal of Human Behavior in the Social Environment 21 (1): 57–72. doi:10.1080/10911359.2011.533576.
  15. Tyree, Tia, and Michelle Jones. 2015. “The Adored Woman in Rap: An Analysis of the Presence of Philogyny in Rap Music.” Women’s Studies 44 (1): 54–83.