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Stereotypes about women in media
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Misogyny is defined as the hate or dislike for women or girls. The act can be presented in many ways such as violence against women, sexual objectification of women, and sexual discrimination. Misogyny is often a principal foundation for the persecution of females in male-dominated societies. Misogyny is certainly alive in America and in entertainment all around the world. Women are represented negatively in many songs and videos, because men believe it is okay to use words like “b*tch” and “h*” to refer to a female; and in other words treat them as objects. This problem is not only prevalent in rap music, it is also present in genres such as metal, hard rock, and even country music. Subsequently, the Rap/Hip-Hop genre catches most of the back lash. Why? Well, people tend to overlook the fact that Rap/Hip-Hop is composed of more lyrical content. The Hip-Hop genre also reaches a much wider audience. Misogyny is even prevalent in the daily lives of many people, in our justice systems and even the movies we watch. There may be a rigid dichotomy between each sector, but the effect on youth is the same.
“Sexy B*tch” by dance-pop artist David Guetta peaked in the Bill Board Hot 100 as his first hit in the United States. The song is composed of lyrics such as, “The way that booty movin’, I can’t take no more, have to stop what I’m doin’ so I can pull up close, I’m tryna find the words to describe this girl, without being disrespectful, D*mn, girl, D*mn, you’re a sexy b*tch, a sexy b*tch, …”. This generation of young women have only been exposed to music with lyrics as such, for such a long period of time; that will become the view they have of themselves or women practically. This generation of young women and men believe conducting th...
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... models or video vixens on television; imagine how she feels? Or what she thinks. Seeing those images constantly, imprinting this picture in her mind of what she’s “supposed” to look like.
Works Cited
Guidicelli, Claire. "The Representation of Women in Hiphop and Rap Videos." Web log post.Word Press. Claire Guidicelli, 21 Oct. 2012. Web.
Taylor, Diane. "Girls Stand Up to Hip Hop." N.p., n.d. Web.
"Negative Portrayal of Women in Rap Music." Web log post. Blogspot. Nicole Flyer, 18 Nov. 2012. Web. 19 Nov. 2013.
"Misogyny Is Killing My Generation." Thenation.com. Kevin Xiong, 2 Dec. 2011. Web. 23 Nov. 2013.
"Misogyny Runs so Deep in This Society, It Is Even Used against Abused Children." Theguardian.com. Polly Toynbee, 7 Aug. 2013. Web. 23 Nov. 2013. .
In his most recent album, Kanye West raps, “Now if I fuck this model/ And she just bleached her asshole/ And I get bleach on my T-shirt/ I 'mma feel like an asshole.” He suggests that it is the girl’s fault for getting bleach on his tee shirt, which she only did to make herself more sexually appealing. This misogyny in hip-hop culture is recognized to bring about problems. For instance, the women around these rappers believe they can only do well in life if they submit themselves to the men and allow themselves to be cared for in exchange for physical pleasure. In her essay, “From Fly-Girls to Bitches and Hoes”, Joan Morgan argues that the same rap music that dehumanizes women can be a powerful platform for gender equality if implemented correctly.
In the article “ From Fly to Bitches and Hoes” by Joan Morgan, she often speaks about the positive and negative ideas associated with hip-hop music. Black men display their manhood with full on violence, crime, hidden guilt, and secret escapes through drugs and alcohol. Joan Morgan’s article views the root causes of the advantage of misogyny in rap music lyrics. In the beginning of the incitement her desires shift to focus on from rap culture condemnation to a deeper analysis of the root causes. She shows the hidden causes of unpleasant sexism in rap music and argues that we need to look deeper into understanding misogyny. I agree with Joan Morgan with the stance that black men show their emotions in a different way that is seen a different perspective.
The song is set around Chief keef being on the phone and talking to a woman, he refers to the woman on the song as a bitch, hoe, and thottie. The word thottie is derived from the word thot, which is an acronym for “that hoe over there”. The song states “You wanna Glo up, baby, Keef got you/You's a gold bottle, these hoes pink Moscato/Baby I'm the owner, you can be my castle”. This line right here compares the woman to other women by saying she is a better bottle of liquor than other women and calls her his property when he says you can be my castle. Then he goes on to say in the song “ Baby cause I like you/Only reason I text you and why I Skype you/I just wanna fuck on you, I don't wanna wife you/But you gotta brush your teeth and do what I say though/(Hello?)/Bitch can you hear me?/Keep your pussy in park, no 360... I don't wanna smell you/Cause I'ma cut/you off, quicker than I met you/I'ma swipe your name up off my schedule/And if smoke this blunt, girl, I'm gon' forget you”. The lyrics basically says the women is just there for his sexual pressure and he does not plan on making her more than that; he also tells the women that he has to be the one in control if she wants to continue this relationship; then he tells her, he will completely stop communicating/seeing her, if she does not do what he wants her to do and she can be
In The Venus Hip Hop and the Pink Ghetto, Imani Perry argues that the over-sexualized, unattainable bodies of black women in popular culture will lead to the breakdown of feminism and the positive body image of the everyday black women. As hip hop music continues to become more popular, the sexist messages presented in lyrics and music videos are becoming more common to the everyday public, including young black girls developing a self-image. Instead of these girls being exposed to healthy, positive role models who encourage individuality and that there is more to a woman than her body they are given hip hop video models whose only purpose is to look sensual on screen. The strong women that do exist in the hip hop genre are pushed to sexualize themselves or their lyrics to sell records or stay relatively unknown. Although Perry’s arguments are logical, I believe that she is creating a slippery slope of logic. A genre of music cannot destroy the self-image of black women that has existed for generations.
When looking at the landscape of Hip-Hop among African Americans, from the spawn of gangsta rap in the mid 1980s to current day, masculinity and an idea of hardness is central to their image and performance. Stereotypical to Black masculinity, the idea of a strong Black male - one who keeps it real, and is defiant to the point of violence - is prevalent in the genre. This resistant, or even compensatory masculinity, encompasses: the hyper masculinity rife in the Western world, misogyny, and homophobia, all noticeable in their lyrics, which is in part a result of their containment within the Black community. The link of masculinity and rap music was established due to this containment, early innovators remaking public spaces in their segregated neighbourhoods. A notion of authentic masculinity arose from the resistant nature of the genre, but the move to the mainstream in the 90s created a contradiction to their very image - resistance. Ultimately, this in part led to the construction of the masculinity defined earlier, one that prides itself on its authenticity. I’ll be exploring how gender is constructed and performed in Hip Hop, beginning with a historical framework, with the caveat of showing that differing masculine identities in the genre, including artists
In the lyrics of male R&B/Hip-Hop artists in the early 1980’s, there is a noticeable shift in the language used to portray women and then themselves. The language shift is in choosing words that are filled with love and emotion to overbearing words that aim to separate men and women by social status. During the 1980’s, many of the popular songs by male hip-hop artist tend to focus on the relationship aspect of male and female interactions. This observation is similar to Frith’s (1986) finding, where most successful pop songs centers around being “happy in love”, “frustrated in love” as well as having sex interests. The “happy in love” factor that Frith notices in pop songs is seen in early R&B/Hip-Hop music. Instead of using derogatory terms
Wood, Joann. "Rap Music." Nova Online. C.T. Evans and J. Wood., Apr. 2004. Web. 3 May 2014.
Women have consistently been perceived as second-class citizens. Even now, in times when a social conscience is present in most individuals, in an era where an atmosphere of gender equality 'supposedly' exists, it is blatantly apparent that the objectification and marginalization of women is still a major social issue. In reality, progression in terms of reducing female exploitation has been stagnant at best. Not only is the degradation of women a major problem that to date has not been eradicated, but it is actually being endorsed by some music celebrities. There are a growing number of people who purchase rap albums that support the fallacy that women are mere objects and should be treated as such. As the popularity of rap continues to climb at unprecedented rates, so too does its influence on the perception of women. In the vast majority of hip-hop songs, the depiction of women as sexual objects, the extreme violence directed towards them and the overall negative influence these lyrics have on the average adolescent's perception of women make rap the absolute epitome of female exploitation.
Hip Hop a grass movement started in 1974 in the South Bronx in New York City. Created to end gang violence, a voice for the underrepresented minority. Rap music is critical to understanding the hip hop generation’s gender crisis, a crisis between sexes that allows African American males to blatantly disrespect African American women for the sake of the culture. The consistent referencing of African American women as ‘bitches’ and ‘hos’ and the hyper sexualization of their bodies is harmful to the African American community. These images instill that it is alright to represent black women in this nature, and harmful to the young girls who are intaking all these negative images. Harmful to both the perspective of young men and women Hip-Hop is like a pillar in the African American culture. It represents how each generation views themselves in this society and how they internalized these narratives. In this essay I will summarize the main arguments in Chapter 7 of Gender talk , discuss the creation and deconstruction on views
These lyrics from one of the first hip hop women band in United State introduce clearly our subject. Usually when the people think about women in Hip Hop culture, they think about sex, they think about women half nude in music videos, we just have to remember the conteoversial music video of Nelly for his song Tip Drill (2003). Women's studies students protest against misogyny in this video who shows women as sexuel object simulating sexuel acts and men throwing money on women's breats. This case is common in Hip Hop culture, specially in Gangsta Rap in videos of 2pac, Notorious Big, 50 Cents, etc. Patricia Hill Collins, Tricia Rose and bell hooks (Hill Collins Patricia : 1991, Rose Tricia : 1994, hell hooks : 2003) spoke about the perverse effect of women's nudity in Hip Hop culture and compare Hip Hop to pronography. They all agree to say that the Hip Hop culture is a male and machist world, where women are used to reinforce the apparent masculinity of rappers. These authors studie rap music through the gender and the race in United State, because women in video music are always black, almost the same happens in France not really with rap but R&B which is a part of the Hip Hop Culture. All the singers of R&B in France have arabian origins, whereas american R&B is more heterogenic. The quetsion is why all the women are black in american video rap music ? And why all the R&B french singers are arabian ? Can we see a postolonial and esclavagist heritage ? These two image, black female seen as a "bitch" and the arabian woman called the "beurette" in France show two different feminities, but how these "myths" involved in the development of a group identity? And what they reveal about the society ?
Misogyny and degradation of women is present in almost every genre of music, yet the one genre that completely revolves around demeaning women is rap. Over the years rap and rap music videos have continually become more sexual and degrading towards women. Rap has been criticized numerous times for this reason, and that is because rap is one of the most popular genres of music for the younger generations. It is more than a genre of music, it is a complete industry filled with clothing and other merchandise. The reason this constant demeaning of women exists is because rap as a genre that rewards the objectification of women. The excuses used to justify the misogyny in rap are incomplete and lack accurate support. The most effective way for this continuous cycle ends, is if the fight and protest comes from the women themselves. Men are the problem in the objectification of women but in order for it to stop, women need to step up and take control of the situation.
Hip-hop and rap music are commonly criticized for its anti-feminist lyrics and degrading exploitation of women in music and music videos. (Sharpley-Whiting ) Many feminists have taken action against the music industry, which produces these messages in the music they release. However, in the hip-hop genre there are plenty of successful female rappers promoting feminist views, artist such as Queen Latifah and Mary J. Blige have made the choice to condemn the derogatory culture towards women. (Oliver, 382–384)
Why and how have mass media and consumerism made hip-hop a cultural phenomenon? Are hip-hop lyrics and depictions accurate representations of youth/black people’s values? What is the general image of women and men perpetuated in hip-hop culture? Who are the main hip-hop artists in control of popular culture influence? Why is Kanye West important in hip-hop and popular culture? Has the impact hip-hop culture brought people of different races, gender, sexualities, classes and beliefs together? Does hip-hop culture welcome all types of people? Why do white kids like hip-hop? What in hip-hop allures to white youths? Which race is hip-hop's primary listening audience? Is there a cultural appropriation issue in hip-hop against white rapper? Does hip-hop belong to belong to only black people? What are the marketing strategies used in hip-hop in selling to its consumers? What is the movement or expression behind the hip-hop dance ‘Krumping’? Do rappers use hip-hop as a platform to
Feminist.com 15 March 2014.Feminist.com Hicks, Jeffrey National Center.org December 2013.national center.org 15 March 2014 National Center.org Idolator.com/ hip-hop master rankers 15 March 2014. Idolator.com. Meara, Paul.Complex.com. June 2012 Complex.com 15 March 2014 Complex.com Dave, Miranda. Springer:‘’ Rap and Hip-Hop Genres Today’’ April 2004.
The negative perception of women throughout popular culture in the form of music has greatly impacted the portrayal of women on today’s society. This study involves on examination of sexist ideologies in dancehall lyrics that portray women in stereotypical and negative manner. This particular king of music explored in the study is dancehall music, a popular genre in Jamaican culture today. The primarily focus is on the effect of popular songs have on women in society, as well as how song lyrics can cause objectification of women and how are the roles of men and women reflected.