Portrayal Of Women In Hip Hop Songs English Literature Essay
Disrespecting and Violent Attitude toward Women. It has been around three decennaries since hip hop emerged on the American cultural scene. The music genres which are associated with hip hop cultural phenomenon, particularly gangsta blame and R & A ; B are believed to specify “ street ” youth civilization. These two hip hop music subgenres seem to be more influential than the other as there is more accent put on lyrical content than the music itself. The copiousness of expressed words and messages in the vocals makes them besides controversial. Before listening to gangsta rap vocals, one must be prepared most of all to hear highly expressed linguistic communication. The great figure of derogatory footings embedded in the vocal wordss is particularly upseting as they are greatly addressed to adult females – adult females of coloring material in peculiar. Most of the instances involve name naming and violent attitude directed more likely at adult females in general than a peculiar individual. Womans in those vocals are largely placed in a sexual context and called e.g. , bitch, prostitute, hoochie, slattern. Promoting violent sex subject was good documented in the Kubrin and Weizer ‘s research on the sample of 403 Amercian hip hop vocals produced throughout the 1992-2000 but besides noted in other articles/books etc. on the vocals from the period 1987 – 1993.[ 1 ]The bookmans have found that the chief intent of such vocals is to warrant force against adult females and do it a legitimate tool of societal control.[ 2 ]In such a position hip hop music promotes a set of gendered norms and enforces countenances for those who do non stay those set up regulations. Eminem ‘s vocal Kill You,[ 3 ]for illustration, describes adult females as “ vile, deadly, volatile bitches ” . Many other popular rappers, like Redman, Outcast, degrade adult females to being a “ chickenhead ” – coined by association with giving unwritten sex. Whilst such footings are normally perceived as dyslogistic, there are cases they may sound slightly positive. One of the most successful rappers, Ludacris, in his hit vocal Pimpin ‘ All Over the World blame: “ I used to believe that it was manner excessively cold, til I went to Canada and saw some beautiful hoesaˆ¦ ”[ 4 ]And harmonizing to Ja Rule “ every hood needs a down buttocks bitch ”[ 5 ], i.e. a miss who is tough, and demonstrates her solidarity with her adult male and the pack they belong to. While these footings may non transport derogative intensions in these vocals, adult females are still positioned here within the sexual position. Interesting to notice is a fact that violative footings aimed towards work forces are normally words with feminine intension ( bitch, cunt ) : “ I ‘m slick and slippery/ On a high-velocity pursuit all the manner to the triumph. / Y’all niggaz is stone cold enigmas. / Too weak, ca n’t stand in the ring with me. / Put a cunt back in his topographic point, straightlaced. ”[ 6 ]It besides seems like to mortify adult females goes manus in manus with acquiring regard from the other work forces. Work force are referred to be “ procurers ” who can acquire a batch of “ hoes ” . ( aˆ¦ ) Legalize pimpin for all the pleyas, puttin ‘ all right buttocks bitches in the streets and the goon. ”[ 7 ]While in most of the vocals degrading adult females motives would look indiscriminately throughout the vocal, there are besides instances in which that would be the chief subject. The best illustration is Too $ hort ‘s Ai n’t Nothing Like Pimpin ‘ : “ Ai n’t nil like a female parent sleep togethering bitch! / You nasty, one time a month hemorrhage, female parent screw, awful buttocks, female parent sleep togethering bitch! / I hate your female parent sleep togethering buttocks. ” To warrant their attitude towards adult females, many rappers give many grounds for making so, such as adult females being excessively shallow: “ We could n’t acquire no drama from the ladies. / With seven niggers in a Nav [ Navigator ] is you brainsick? / So we all said “ screw you bitch ” and kept turn overing. ”[ 8 ]
Sometimes verbal disrespecting turns into violent threatening. Harmonizing to Kubrin and Weizer aggression towards adult females appeared in about 18 per centum of the hip hop vocals analyzed by them.[ 9 ]Extreme ill will towards adult females represent the vocals of Eminem ‘s where he attacks his relations, particularly his female parent and antique married woman in Under the Influence: “ all bitches is hoes, even my stinkin ‘ buttocks ma ” .[ 10 ]He even threatens to kill them: “ Bitch I’ma kill you! / You do n’t wan na screw with me. / Girls leave – you ai n’t nuttin but a slattern to me. ” He besides seems to be absolutely cognizant of the fact his wordss cause contention. In the same vocal he admits to that: “ Oh, now he ‘s ravishing his ain mother/abusing a prostitute, snorting coke/ and we gave him the Rolling Stone screen? ” ( Eminem, Kill you )[ 11 ]
Portrayal Of Women In Hip Hop Songs English Literature Essay Essay Example
Violence covers a wide spectrum in hip hop. Not merely is it perceived as a legitimate tool of use between work forces but besides serves as an reply for noncompliance of adult females. Such insubordination is interpreted in many ways. Harmonizing to the rapper Dr. Dre: “ snobby-ass bitches get slapped out of malice ” .[ 12 ]Another popular performing artist – Mase warns his possible sex victims to acquire tested on sexually transmitted diseases beforehand or else: “ If she make my nuts scabies, I kill that slattern bitch ” .[ 13 ]Eminem seems to hold issues with adult females in general and promotes force as the lone communicating agencies between work forces and adult females. Assuming and presuming power on adult females in hip hop vocals are frequently represented by descriptions of unsmooth sex: “ Hit you with the gumshoe, do your kidneys shift/ I ‘m guaranteed to sleep together her boulder clay her nose bleed. ”[ 14 ]Kubrin and Weizer noted four repeating cases of force in the American gangsta blame vocals. Rappers pride themselves on sex Acts of the Apostless that are harmful to adult females. They justify other Acts of the Apostless of force and threaten adult females who try to withstand male domination. They besides seem to promote other work forces to fall back to violence Acts of the Apostless whenever they find it suited. Violence seems to be the most appropriate response to adult females who abuse such gendered protocol, i.e. do n’t “ cognize their topographic point ” .
Womans as Sexual Objects
The impression of sexual objectification means that a individual is perceived through the prism of physical attraction with neglect to the individual ‘s rational abilities.[ 15 ]Kubrin and Weizer, in their paper on the misogynism in blame music stated that sexual objectification of adult females was noted in 67 per centum of the vocals analyzed.[ 16 ]The chief decision drawn from these wordss is that adult females are merely good to fulfill work forces ‘s sexual pleasances. The rubric of one of the N.W.A vocals, “ Findum, Fuckum, and Flee. ” may function as credo of the street codification, harmonizing to which work forces ‘s end would be chase of pleasance and sexual development of adult females.[ 17 ]Puff Daddy ‘s purposes are brazenly blazing in: “ Name me Sean if you suck, name me gone when I nut. / That ‘s the terminal of us, acquire your friend to sleep together ”[ 18 ]. While his fellow rapper, Too $ hort, candidly admits the lone thing he would seek to acquire from adult females is sex without strings attached: “ I ai n’t Romeo, Prince Charming, or a knight in reflecting armor./ I ‘m merely out to sleep together a bitch, fuck tryin ‘ to capture her. I treat a all right buttocks bitch like dirt./ No money in her bag, a screw is all it ‘s worth./ ‘Cause Short Dawg ‘ll ne’er provide to you hoes./ And if you ai n’t fuckin, ‘ I say “ subsequently ” to you hoes. ”[ 19 ]
A pretty distressing fact surfaced in this Xzibit ‘s vocal. Judgment by the wordss, adult females are considered to be work forces ‘s belongings: You got breasts and ass./ But I got a gumshoe and some cash./You ai n’t talkin turn shit./ Then I’ma knock, bitch./ On three, on me, bitch, you my belongings. ”[ 20 ]This brings back to life one of the atrociousnesss of bondage, when black adult females were frequently forced to maintain exploitative sexual dealingss with their slave Masterss in exchange for better intervention, nutrient, or merely to fulfill the oppressors ‘ impulse.[ 21 ]It seems that even though the American society has come a long manner from the times of bondage, black adult females are nowhere near to being treated as free, independent persons. As the American civilization critic – bell hooks points in her book Ai n’t I a Woman: Black Women and Feminism, that black adult females in America have been oppressed from the 17th century boulder clay today by white work forces, black work forces every bit good as white adult females. She argues that adult females of coloring materials have been omitted by the white feminist motion every bit good as the civil rights motion. The writer perceives feminist motion as being a white center and upper category battle which showed no involvement in issues of adult females of coloring material. Black adult females found themselves trapped into confines both gender and race. Therefore, they have ne’er been liberated from the institutionalised sexism – patriarchate, and racism. Additionally, in bell maulerss ‘ sentiment the Black Power motion was both patriarchal, misogynous. Equally much as it aimed to get the better of racial divisions it besides sought to reenforce the male chauvinist 1s.[ 22 ]Black male attitude towards their female opposite numbers presented in figure of hip hop vocals manifests their chase to maintain adult females subordinate. Nowadays many rappers frequently express how they would set adult females in the right topographic point, as Too $ hort: “ Hoes be nothin ‘ but slaves for me, / ready to travel to their Gravess for me. ” ( Too $ hort, Pimp Me )[ 23 ], or Xzibit: “ ( aˆ¦ ) I ‘m difficult on my hoes that ‘s how it goes./ Bitch, acquire up off your toes, and acquire my six-four [ Chevrolet ] ” ( Xibit, Pussy Pop ) .[ 24 ]
Daniel Patrick Moynihan, an American politician and sociologist, in his study The Negro Family: The Case for National Action, besides known as Moynihan Report, released in 1965 analyzed the information from the U.S. section of labour and drew a decision that black adult females had important advantages over the black work forces to be employed therefore they could supply for the household more efficaciously. He besides suggested that the traditional African American family is ruled by the matriarchal and castrating adult females, an archetypal Mammy, which would connote that black work forces were symbolically castrated by their female opposite numbers. In order to halt debasement of the Negro household, black work forces need to seek the ways to reconstruct their manhood.[ 25 ]The wordss of modern-day hip hop vocals suggest that by degrading adult females, rappers may seek to recover their manhood. They suggest that the lone desirable image of a black adult female is the promiscuous and highly-sexed one as in Redman ‘s: “ I turn an independent adult female back into a hoochie.[ 26 ]Ill-famed B.I.G. humiliates educated misss: “ I like ’em educated, so I can break off on their spectacless ” .[ 27 ]These stereotyped images have their roots in the times of bondage in America. Southern white males would see black work forces and particularly adult females as possessed by their hypersexuality. The ground for such guess might be cultural differences between Western Europe and Africa of the clip. European travellers who visited Africa were frequently stunned to see semi bare native black adult females and normally accepted polygamy. Nakedness in that clip was perceived as a manifestation of indecency. The travellers embraced such a flooring experience by presuming that all black adult females are promiscuous by nature. They contrast between the clad Victorian ladies and bare native African adult females may hold prompted premises that white adult females, on the contrary to black adult females, are civilized and sexually pure. Hence the symbol of black adult females reinforced by such word picture was “ Jezebel ” .[ 28 ]It seems that African American adult females could non get away from the image of an instinctively promiscuous Jezebel assigned to them back in the bondage epoch. Stereotypes that were set at that clip still affect black adult females today. What is more, the stereotype of a seductive and obscene black adult female has been perpetuated by their male opposite numbers. As the Jezebel image applied to black slave adult females might hold been a manner to warrant ill-treatment they were given, such logical thinking applies besides today.[ 29 ]Another justification for disrespecting adult females may be a ferocious equal force per unit area on immature work forces in ghettos. Male promiscuousness is extremely valued at that place.[ 30 ]Casual sex with no committedness gets a adult male proud spot of a participant, proves of his maleness and helps to acquire regard from the others: ” I had niggas doing stakes like, did he sleep together her yet? / Ask her did he touch her bandeau, when I say nah they say ahh / So tomorrow I use that force per unit area to discase her. ”[ 31 ]The Kubrin ‘s research shows that boasting about sexual accomplishments was present in 58 per centum of the vocals.[ 32 ]Most of it implied how easy for a participant is to speak a miss into holding sex: You see I order one bottle, so I fuck with one model/ Then I order more bottles, now I/ got more models/ I ‘m from that metropolis where them niggaz do n’t play mayn/ I take a biddy to my/ room like caveman/ So inquire your girlfriend my name ( aˆ¦ ) .[ 33 ]
Womans are besides treated as a symbol of accomplishment. Having a batch of insouciant sex proves that you are either a participant or have a batch of money. As these seem to be the lone agencies of acquiring a miss into sexual intercourse in the ghetto: “ Say Canis familiaris, what kinda nigga be on top of the universe? /Million dollar position got me on top of ya miss. ”[ 34 ]Ability to sexually delight a miss is perceived as a symbol of your high position. Below there is an illustration of how the rappers fondle their self-importance in that affair: “ While your bitch be shouting “ delight do n’t halt ” . . . I fuck her like I know you won’t./ If that ‘s your bitch, homeboy you ‘d break maintain her ‘Cause she wo n’t remain off my pager. ”[ 35 ]The female is used here merely to partake in a sexual competition between work forces. Womans can non be granted any regard from the rappers, as they are described to be every bit much interested in heavy imbibing, sex, and money as work forces. The lone difference here is that a adult male will be positively referred to as a “ participant ” or a “ procurer ” but a miss will be ever called a “ bitch ” . Lyrics imply that if a miss is being promiscuous and greedy it besides justifies the ill-treatment she receives from work forces as in hit vocal The Gangsta, the Killa, and the Dope Dealer: “ All on the grass [ marijuana ] , every bitch passed [ out ] / A foremost non last, when we all hit the buttocks. ”[ 36 ]Womans are treated as a trade good which can be consumed, used, passed to person else and given out: “ I know the cunt ‘s mines, I’ma fuck a twosome more times/ And so I ‘m through with it, there ‘s nil else to make with it./ Pass it to the homie, now you hit it/ Cause she ai n’t nuthin but a bitch to me. ”[ 37 ]
Prostitutes are the authoritative illustration of sexual objectification and development. Such image of a adult female is to be expected in hip hop music since it has emerged out of ghetto scene. This subject has been found present in fifth part of the vocals analyzed by Kubrin and Weizer.[ 38 ]Prostitution and pimping are celebrated by rappers and classified as a justifiable agency of economic accomplishment.[ 39 ]These subjects do non look to be taken into consideration by any other music genre. Some rappers to acquire more credibleness claim to hold been a existent life procurers ( Ice- T, Snoop Dogg, Jay-Z, K-Luv ) . Pandering has a broader significance in hip hop than merely pull offing cocottes. To “ pander ” something can intend to patronize it or to accessorize it. The term procurer is frequently used as a replacement for “ participant, ” a adult male who mastered in scoring adult females or streetwalkers who show off with their nouveau riche assets[ 40 ]. This sort of a procurer smart imagination is a popular subject among rappers. Some even devote the whole vocals to romanticize such life styles: “ The fancy autos, the adult females and the caviar. /You know who we are/’cuz we ‘re pimpin all over the universe. ”[ 41 ]There is besides a figure of rap vocals in which we can happen a batch of mentions to the “ standard ” definition of a procurer – adult male who headhunts and employs cocottes. Kubrin ‘s research takes into history this standard definition and notes that this subject was detected in 20 per centum of the misogynous vocals.[ 42 ]Most of them contain the same message that adult females are good merely to sell sex and work forces can assume the right to entree to their organic structures:
No demand for remainder haven these hoes
Let ‘s demo ’em what they pussy made field-grade officer ‘
Let ‘s me and you lay in these hoes
And demo ’em what they pussy made fo’aˆ¦ .
Let ‘s go forth without payin ‘ these hoes
And demo ’em what they pussy made field-grade officer ‘ .[ 43 ]
Such images are present even in R’N’B which is supposed to be focused more on the beat and music than less abundant in expressed lyrical content: “ Ace mizzy acquire all the hoes. / Gon na learn them shit they want to cognize. / Like screw that purulent buttocks 9-4 girl./ Make that pail a pot of gold ” .[ 44 ]These wordss convey highly upseting misogynous messages particularly that hip hop aspires to be considered as a true voice of the urban ghetto. In that instance, judgment by the wordss, the ghetto seems to populate procurers, procurers in preparation and cocottes. While adult females are being described as sexual objects, work forces get the message to care for the life of a procurer. Women seem to be “ painted with the same coppice ” and non considered as an single human existences. The lone interaction between these two parties boils down to a scenario of what a procurer would make to a cocotte.
Womans Not to Be Trusted
Another piece of advice, repeating in many hip hop vocals, is the 1 that a adult male has to be careful of whom they put trust in. And adult females seem to be the least trusty. Harmonizing to Kubrin and Weizer about half of the misogynous vocals exposed such attitude of distrust towards adult females.[ 45 ]Another fact worth detecting here is that the deficiency of trust is directed at all adult females with no exclusion. All adult females in general are considered slippery evil animals. For some rappers a inquiry “ How could you swear a Ho? ”[ 46 ]is instead a rhetorical one. Others unveil specific grounds why they “ ca n’t trust’em ” . In a vocal byaˆ¦ a immature miss is non merely promiscuous but besides will certainly lie to you about her age which will acquire you in problem and most likely put you in prison: “ See nowadays adult male you got to cognize these bitches age/ ‘Cause they ass be existent fast when they be goin ‘ through that stage. / You fuck a miss that ‘s immature, and you gon na stop up in the coop. ”[ 47 ]Women solidarity is criticized. There will be no point in supporting yourself as the female parent will be on her small miss ‘s side: “ ‘Cause her ma ai n’t tryin ‘ to hear that you ne’er knew her age. ”[ 48 ]Not merely do adult females stand up for one another but will besides seek to acquire some material compensation from you. Some rappers, like Nas, warn that it is a bad thought to coerce adult females into holding sex, non because of the atrociousness of this act, but colza accusal that may follow: “ Do n’t take the cunt, if she fightin’/ ‘Cause you saw what happened to Tupac and Mike Tyson./ ‘Specially if you big [ celebrated ] , some hoes is trife [ petit larceny ] / Get you on a colza charge, have you servin ‘ your life. ”[ 49 ]Despite being convicted of colza, a legendary pugilist Mike Tyson and rapper Tupac Shakur, were considered as the most famed heroes of the hip hop coevals in 1990s. This fact good illustrates the gender struggle of that coevals. During and after the test, many black male church leaders defended Tyson claiming that the whole procedure was an effort of the white supremacist to destruct a well-known black adult male. The president of the National Baptist convention in USA was suspected for offering a payoff to the Tyson ‘s plaintiff. For a significant back male portion of the society the issue was non about gender but about racism.[ 50 ]This illustration proves of an utmost solidarity within African American male society. Countless hip hop wordss strongly reinforce the thought of confederacy theory that is purportedly drawn by the evil system and adult females. Tyson was accused and sentenced for a day of the month colza on 18- year-old Miss Black Road Island. Tupac Shakur heard the same charges from his groupie whom he forced to hold a group sexual intercourse with. These two events may hold influenced a figure of hip hop creative persons who thirstily express a batch of misgiving in beautiful adult females. Such attitude against beautiful adult females permeates throughout many hip hop vocals. It seems to be more than certain these ladies will seek to lead on you with their expressions and take advantage of you in no clip. They are considered by the rappers to be steerers for set up. There are figure of vocals which describe such process: “ You know they [ adult females ] might be the one to put me up. / Wan na acquire they little brother to wet [ kill ] me upaˆ¦/ Bitches be schemin ‘ , I kid ya non. / That ‘s why I keep my Windowss locked and my Glock cocked. ”[ 51 ]
Another manner for adult females to put work forces up is to acquire pregnant. This seems to be non merely the concern of the rappers, but besides a common bias among the male in ghetto vicinities. Anderson states that to claim a kid is against the street codification of “ hit and run ”[ 52 ]. The rappers warn their male audience: “ Why works seeds in a soiled bitch, waitin ‘ to flim-flam me? / Not the life for me. ”[ 53 ]Owning up to gestation means non merely rear of barrel of the codification but besides committedness which is condemned by the equals. But the greatest concern of work forces would be paying child support: “ I ai n’t lettin ‘ nothin ‘ leak cause if things leak, so I ‘m a get caught/ And I ca n’t acquire caught cause you know how they do it about that kid support./ Shit, bitches is cold on a nigger who ai n’t got his game tight/ Geting 18.5 per centum [ child support payments ] half your life. ”[ 54 ]By and large talking, aggregation of child support is a job in the times of crisis, particularly for unqualified Afro-american workers. A tough pick has to be made, whether to provide for your ain demands or your kid ‘s. As the money for the kids upbringing goes to their female parents ‘ pockets, the male defeat and bitterness towards adult females grows. Bing broke does non fit the image of the self-proclaimed procurer or a participant.
“ No more participant, no Shorty the Pimp
I get paid, deviate a cheque and acquire 40 per centum.
All the homies talkin ‘ bad, hair down, walkin ‘ sad
Got the wide livin ‘ with me, baby sayin ‘ “ Dad! “ aˆ¦
I could seek to mack once more but the bitches wo n’t desire me
‘Cause I ‘m all washed up, broke, fat, and funky.
I lost everything that I worked to be
Never thought I ‘d be a fast one, payin ‘ hoes to function me. ”[ 55 ]
The wordss make it obvious that adult females can non be trusted because they are a jeopardy to work forces – “ procurers ” . If they do non acquire you in prison or ridicule you in forepart of your equals and impede your image of a hood, they well certainly run out your pocket. And this is what rappers seem to be the most dying about. Geting rich ( “ aˆ¦or dice seeking ” by 50Cent )[ 56 ]seems to be the largely frequent motivation of all. And the streets seem to be filled with “ gold diggers ” on the prowl merely interested in you because of your money: “ Watch the honeys look into your style/ Worthless, when they worship, what you purchase./They merely see ice [ diamonds ] , non me, under the surface/What ‘s the intent? ”[ 57 ]“ Gold Digger ” by Kanye West may function as the best illustration of a vocal that describes a seductive, yet avaricious adult female who takes advantage of work forces.[ 58 ]This type of a adult female is largely feared by those work forces who climbed up the societal ladder, became business communities, or famous persons and like to demo off their late acquired wealth. They ( who? ) are considered to be the easiest marks as they feel no bounds for distributing money and self-praise about their richness. She ( who is she? ) is described as a really slippery “ cutie the bomb ” . Once she has set her sight on her super rich male mark, the first thing she will seek to make is capture him by her gorgeous expressions, and seduce him. She will seek to intermix in his elect circle to acquire to him. In no clip she will do him pass money on her and her friends and he will make it merely to affect her. And if you expect to acquire a opportunity with her you would break comply with the regulations of her game. Her chief end is to procure her life with her quarry ‘s money. If she fails to drag his pess down the aisle, she will acquire pregnant merely to acquire procure her life with his money anyhow. Oftentimes it happens that after 18 old ages of paying the kid support the babe turns out to be non his. Whilst work forces in hip hop vocals do non see anything incorrect in taking advantage of adult females, they seem to fear of acquiring such “ favour ” returned by them. Their concern is besides non to acquire ridiculed in forepart of other work forces. If that happens, Kanye West gives them a self explanatory reply back: “ she ai n’t messin ‘ humor no broke niggaz. ”[ 59 ]There is besides a message to black adult females in general in the last stanza of this vocal. No affair if you are a gilded digger or you are being a down to earth misss and stick to your adult male regardless of his stuff position, there is a bad stoping for you anyhow. If he is ambitious plenty, he will acquire rich Oklahoman or subsequently. However when it happens, he will: “ go forth your buttocks for a white miss ” . This suggests that white adult females are ranked higher than black adult females in the hip hop societal hierarchy. Harmonizing to the findings of the survey on the he consequence of images of African American adult females in hop hop on striplings sleek hair texture and lighter tegument tone would be considered as the chief determiners of female attraction[ 60 ]. These traits would be most sought for by both male and female who participated in the study. Besides historically these characteristics were used as steps of societal, political and economic significance for African Americans. Those who resembled European Americans would be located higher in the American societal strata.[ 61 ]Such guess may hold influenced the chase of white adult females by black work forces. The image of a strong, castrating black adult female versus a pure and submissive Victorian lady perpetuated throughout the old ages may be besides considered as an account for black work forces captivation with white adult females. Yet still, ( all, or black, or white merely? ) adult females are considered as an object, or an accoutrement to get wealth or as agencies of mounting the societal position ladder.
The reappraisal on hip hop wordss, blame produced by male creative persons in peculiar, has revealed a batch of upseting messages particularly about black adult females and their position in the urban society. A great figure of wordss purposes to increase male domination over adult females. Womans are portrayed as being merely sexual objects in the work forces ‘s universe. It is the universe where a particular codification of behavior has been drawn by the male procurers who set normative regulations that turn adult females into obedient cocottes. They aim to make a system in which adult females are low-level to work forces in a figure of ways. Some bookmans / observers explain being of such messages in blame music as a reaction to the feminist motion. They argue that blame music aims to distribute the word among the male portion of the urban society in order to perpetuate adult females ‘s inequality and convey back power to work forces.[ 62 ]Kubrin and Weizer in their survey do non claim that the misogynism portrays hip hop music in general. Not all of the vocals shame adult females, but the objectification, strength of abuses and prolongation of force towards adult females stand out to the extreme. There are excessively few positive images that could equilibrate the negative out and cast more flattering visible radiation on adult females. Such positive images in hip hop vocals frequently refer to female visual aspect or gender instead than inner beauty or rational accomplishments. Ne-Yo sings that he dreams about a Miss Independent, yet her independency remainders on the thought that: “ she acts like a boss/ made for a boss/ ( aˆ¦ ) her measures are paid on clip. ”[ 63 ]Another rapper ‘s demands for his dream miss are instead sexual: “ I need a lady in the streets the monster in the sheets. ”[ 64 ]On the whole, affirmatory images are barely present? here, as the contention and sex seem to sell better. All the misogynous vocals analyzed have made it to the Billboard list or are included in the albums which attained Pt position. This means that production of such vocals is non merely accepted by the music industry but besides the great figure of consumers who listen to it and purchase albums. If hip hop aspires to be the voice of the urban communities, it means that the tendency towards ill-treatment and objectification of adult females have become a really distressing fact.