Despite its increasing popularity, hip-hop music often implements misogynistic ideals by portraying women as sexual objects or as helpless beings in need of savior.
In his song “Tip Drill,” rapper Nelly is accompanied by the St. Lunatics relaying a theme of misogyny, portraying all women as pretentious and existing purely to satisfy men sexually. The song repeats the line: “it must be your ass cause it ain’t your face" throughout the entire song, referring to the woman as a “tip drill.” According to an online slang dictionary, the term “tip drill” is applicable to women with unattractive faces but large backsides, which is supposed to compensate for their unattractiveness. Because she is ugly, Nelly considers himself as doing her a favor by giving her money and having sex with her, suggesting her as desperate for sex and lesser than other women due to her looks. Sex has become a game, and this woman has become objectified to the point where he is not even sweet-talking her, but rather very plainly telling her that it is solely the size of her bum that makes her passable.
The song includes a female voice towards the end, inserting a female twist of the term “tip drill.” The woman continuously repeats: “it must be your money cause it ain’t your face” indicating that the male version of a “tip drill” is an unattractive yet wealthy man, willing to spend money to impress a woman. She states, “I got you paying my bills and buying automobiles.” This female voice is unfortunately the only feminine view of the entire song, generalizing the female population as predominantly gold diggers, or women willing to sleep with anyone for luxury items.
The music video for “Tip Drill” takes place in what is identifiable as a brothel, with scantil...
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...e and into Brown’s expensive car, rebelling from her father’s strict rule against meeting him. Brown sings to this woman, assimilating her exceptionality to an object: fine china. He sings, “You’re irreplaceable/A collectible/Just like fine china.” This analogy puts forth the notion that this woman is a trophy item—a piece of fine china that is beautiful, fragile, and treasured. There is the implication that, without Brown, this woman would be helpless. As he dances around her, she stands still, smiling. She does nothing, even on the dance floor where he takes her; she is a prize, merely to be looked at and flaunted rather than used to serve a purpose. Though the context of the video makes it seem as though Brown is saving her from the overprotectiveness of her father, the woman is thrust into another relationship where she is subject to unwarranted possessiveness.
To begin, the poem presents gender and their associated stereotype with items usually linked to one gender. As the poem opens Redel addresses her sons “scarlet nails” that are decked with “rings’ and “jewels.” As nail polish and jewelry are typically feminine items, one can sense the challenge in Redel’s tone as she describes her son wearing them. Additionally, Redel presents the items “a truck with a remote that revs” and “Hot wheels” to introduce items that generally young boys own. These toys are described since society would prefer her son to play with such toys rather than to “love the glitter.” Thus, gender stereotypes are presented in mundane items that typically the opposite sex does not experiment with. This interaction is looked down upon by others, but Redel is
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 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.
The very title of the song endorses the use of the expression “bad b*tches”. In the music industry, the used of the word “b*tch” is not uncommon. It is most commonly used by men as a means of degrading women. Female rappers, like Trina, try to change what is a degrading word and turn it into a compliment. Female rappers like herself use this “bad b*tch” persona as a defense mechanism. They call themselves these distasteful words before a man has the chance to do it. They see it as strength and rejoice in beating them to the punch. It is a dangerous game they are playing. Throughout Trina’s song “Da baddest b*tch” she referred to herself as a bad b*tch multiple times. “I'm representin' for the bitches/All eyes on your riches” Trina’s depiction of a “bad b*tch” in this song is a woman that is concerned with money and the possession of money; A woman that would do anything to make money no matter the cost. This message is a harmful one. The word “b*tch” is not empowering; it is demeaning. Women give men an excuse to refer to them as “b*tches” because women call themselves’ and other women “b*tches” and “bad b*tches”. Women need to wake up and really that they will not be respected by men or either other women with such behavior. Calling yourself a “b*tch” or “bad b*tch” is a welcome mat to disrespect. Women should resist the catchy lyrics and clever hooks of the songs both me...
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 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.
In ‘Gangsta Culture…’ bell hooks tells us that the ‘patriarchal ways of thinking…are glorified in gangsta rap’ (116) and I think she’s right. Although I do not think she is right in all that she says in this narrative. She also says that ‘young black males are forced to take the heat for encouraging via their music the hatred of and violence against women…’ (116), and this I do not believe it completely true. She believes that the black men of America have taken themselves to a new degree in order to make themselves ‘higher’ than black women – she believes that the black men should be equal to the black women and that the men should believe that as well. She talks about Calvin Broadus a.k.a. Snoop Doggy Dog (which he later changed to the current title ‘Snoop Dogg’) and his album Doggystyle. She tells us that the cover is degrading toward black women, which it is, but not just to black women, to all women.
In this music video the use of his soft tone voice, and the choice of clothing. are used to the subtly fool women into believing they “love” the them. Where as their only true intention is to have sexual intercourse with them. In reality it 's just another woman used for satisfaction, in plain English a player. It 's awkward to think that a genre with singers who have some of the most soft tone voices can be so derogatory. It 's a contradiction for sure, but I think this contradiction isn 't even a contradiction to begin with, they uses feminine strategies to attract woman, which only further proves their masculinity. Why? The soft voice easily attracts the women into falling for them, and once they have them in the palm of their hands that 's when the player mentality comes out. An article done by Kristie A. Ford speaks on how “fake masculinity can be used to achieve real masculine behavior” (Ford 13). In other words the fake masculinity which is the soft voice and the choice of clothing, are used to achieve real masculine desires which is sex. So even though Devor says that men are viewed as masculine by looking aggressive, intimidating who carry a heavy voice, R&B singers use tactics which contradict that masculinity Devor speaks of in order to achieve something regarded as much more masculine, Sexual intercourse with multiple women. Adding to this One article
Within the song Straight Outta Compton I would argue that it has some lyrics regarding gender. In the song women are referenced to in a derogatory way. MC Ren refers to women by using the words” pussy”, “bitch”, “slut”, and “dirty-ass hoe.” This derogatory way to reference a woman is very disrespectful. However, it appears that MC Ren is not the one to blame. Too Short is the one to blame because he made men know that the correct way to pronounce “woman” or “girl” was “bitch.” Although, if you cypher what MC Ren is saying about the women it is a different story. Mc Ren wouldn’t disrespect women only “bitches.” Through cyphering you would be able to understand that N.W.A was in no way calling the women “bitches,” but the conceited women who couldn’t understand the cyphers were the “bitches” in their songs. Meaning, they wouldn’t expect for black women to understand their cyphers at all or anyone else besides the black males. Another example within the song would be when Eazy – E is saying how he does not care if a “bitch” gets shot because he is no “sucker”. You may find it somewhat disturbing that if a woman was shot that Eazy – E doesn’t care. Although, you must remember that in Compton shots were fired all the time, it was a rough city. Secondly, he doesn’t care because the woman that is shot is not a woman in his eyes by reading into his cyphering.3 Nevertheless, the women were simply women, but those self-absorbed women were the “bitches” in
Nowadays, rappers became more popular because of visualization; it's not because of the music anymore. They used beautiful women and most of the time it was African women that would dance in music videos. The rappers would make the woman see that every woman with a good body can have everything in life and dancing was provocative. According to Sebastian, "As a Hip hop purist, I’ve always hated the fact that most commercial rap music promotes negative images and messages. Having used Hip Hop culture as a medium to empower youth for the last 15 years I’ve seen firsthand how mainstream rap impacts young impressionable minds." This quote states all people hear about hip hop is a negative impression of rap music because of the language and the image of women they produce in their videos. Music Rap was promoted to motive and influence positive
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)
Gender socialization is being reinforced for the music video showcases children being subjected to gender roles where the female is set to serve the male. Gender roles are being imposed onto the kids reinforcing the stereotype/norm that females primarily focus is to serve their partner, they fortify the breadwinner-house maker model where the stay at home mother is providing for the family through her house work while the male provides the finances of the household. The music video reinforces masculinity stereotypes, for she dismisses the suiters that do not showcase typical masculine behavior such as being strong, since she dismisses the male that cannot win her a prize at the carnival with his brute strength. White heterosexual hero stereotypes are being reinforced in the music video, since at the end of the she is saved from the torment that is dating by a heterosexual male. Gender roles are being challenges since the main character of the whole video is a women who is being presented to be superior to her male backup dancers, since they carry her around and listen to her instructions showcasing her as a worthy individual. She is also presented as a competent individual who is a rational decision maker defying hegemonic masculinity in that the hierarchy is being redefined and showcasing women as having equal power to men in the process of choosing a
The oppressive picture displaying the sexual objectification of women that most hip-hop artists paint while rapping can only be described as appalling. Many artists imply that a woman?s sole purpose is to gratify a man?s every sexual desire. For instance, ?Nelly?s ?Tip Drill? goes as far to portray scantily clad women as sexual appliances? (Weisstuch). Though Nelly is relatively mild when contrasted to other hip-hop artists, his actualization of women cannot be ignored. By calling women ?sexual appliances,? Nelly essentially promotes the idea that it is customary to view all women solely as sexual objects. Moreover, the generic ?sex appe...
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.
As one moves past the initial onslaught of rhythmic beats that calypso has to offer, it is difficult to miss the way in which it reverberates with negative and demoralizing images of women to their male counterparts. Whether it is within the lyrics of Sparrow’s “Drunk and Disorderly” or Square One’s “My Ding-a Ling”, an ample number of verses are often dedicated to making lewd comments about the female body and the suggestive body language described through thinly veiled rhymes and puns, can be offensive depending on the listener. The half naked models being displayed on the various album covers of calypso, soca and rap mix tapes further reinforces these negative connotations. This bandwagon has been jumped upon by many, including the rap genre in the last two decades, wanting to capitalize on a marketing strategy that generally purports to flag consumer attention, playing on their sense of eroticism. The sections titled “Music, Sex, Sexism” and “Woman Rising” within Peter Manuel’s text: Caribbean Currents, dive into the many issues surrounding gender within music as well as female portrayal specifically in calypso. Observations can be made simply by reading through the textual comparisons. Many aspects of this subject area allude to the fact that the issue of gender portrayal in music can be construed differently depending on who the critical listener happens to be. With the increased awareness and heightened sensitivity to the way in which females are portrayed in popular media, it is important to reflect on the impact these lyrics have on male-female relationships within the communities who most often enjoy this music genre.