The scope of this research narrows down on rap music produced from the years 2016 to 2018.The songs selected for this research are songs with lyrics that have misogynistic themes on women. Rap songs are observed in normalizing, objectifying, glorifying, victimizing and even exploiting women. Moreover, the rap songs are observed in defaming women through using innuendos and stereotypical language which portray misogynistic and sexist perspectives. The main area of focus for this paper is on the kind of nouns that are used in rap music to refer to the concept of woman and ways in which these nouns depict women. It is critical for this project to investigate the lyrics and its representations, as rap music has in the past years been under criticism for increasingly presenting a negative and controversial image of women in the society. A theological perspective on these issues is undertaken at understanding and criticizing the misogynistic and sexist culture of rap music generally.
Men in rap music have a higher probability of perpetuating violence on women. A review done on the common rap images found out that women were more likely to be dressed in images which portrayed them in provocative ways, especially in videos that had sexual content. Research has suggested that the perpetuation of gender in the media is a theme which has been occurring for eons of time[footnoteRef:1]. Specifically, music and gender and the portrayal of women in rap music has not been extensively studied previously. It is essential to consider the differences of gender in rap music and the portrayal of women in this genre of music. [1: Ronald Weitzer and Charis E Kubrin, “Articles Misogyny in Rap Music A Content Analysis of Prevalence and Meanings,” accessed October 23, 2018, https://doi.org/10.1177/1097184X08327696.]
Although scholars have attempted examining the interactions between rap music and religion, there has been a gap in regard to how artists frame religious messages within their lyrics. However, this lack of sufficient research does not reflect on the continued fascination of rap music with religion. The roots of rappers attempting to integrate rap music into Christianity can be traced down to rappers from the 1980s such as Rakim and KRS One. These rappers rhymed occasionally on the need of adhering to Muslim and Christian teachings. By the early 1990s, this era ushered in rappers the likes of 2pac who presented lyrics which conflicted religion and the concept of higher power that had never been occasioned in rap music. Before his death, the rapper 2pac would be considered as a catalyst who played a critical role in the manner in which rappers and artists allied to rap music addressed religion. Even though little research has been done on analyzing how the lyrical content of rap music has changed from the time 2pac become an established rapper, the influence played by succeeding rappers on matters of religion and spirituality can be observed as one that has waned off significantly.
Undertaking a critical evaluation of the current rap music images would enable in filling the gap within literature that had overlooked positive and negative portrayals of women in rap music. The manner in which the structure of lyrics and words of a song are composed plays an impact in regards to how the themes sang are perceived. Interpretation and appearance of songs depends on the images and choice of words that have been used by the artist[footnoteRef:2]. Song writers are often affected by the cultural circumstances that surround them, hence when writing or composing songs, the genres are affected by the cultures. The genre of rap music is considered as one of the four building blocks in the music culture of hip hop. [2: Kalmar. Vaxjo, “The Depiction of Women in Rap and Pop Lyrics,” n.d.]
The beliefs and customs of a society are generally reflected in music. In a patriarchal society, music generated from this epoch may have effects on the subcultures existing in this culture, which may in turn lead to inequalities distortions of identities of individuals. Any kind of music that asserts the above points may be regarded as being sexist and as such, it would potentially lead into making the listeners supporting sexist ideologies. A particular study found out that young black women who were exposed to nonviolent sexist music tended to accept violence that was directed towards them, then were their counterparts who were never exposed to such kind of rap music[footnoteRef:3]. [3: Teresa A Treat et al., “Influence of Sexually Degrading Music on Men’s Perceptions of Women’s Dating-Relevant Cues; Influence of Sexually Degrading Music on Men’s Perceptions of Women’s Dating-Relevant Cues,” 2014, https://doi.org/10.1002/acp.3084.]
In yet another study, it found out that men who listened to gangster rap music tended to view relationships with women as being adversarial unlike men who did not listen to gangster rap music. From a theological standpoint, the above perspectives are due to the society alienating itself from morals which had in the past served as the yardstick in guiding the societies into living harmoniously. Rap music does not borrow any form of theological perspectives in its subculture and this points out why this genre of music employs a lot of foul language towards women in its lyrics.
Most rap songs are identified as having subtle themes of sexism in their lyrics. Sexism should in the context of rap music should be understood as being beyond the typical dislike of women. Instead, it is regarded as taking three main subtypes, ambivalent sexism, hostile sexism and benevolent sexism. Hostile sexism entails dominative paternalism and it is thought that men are supposed to have more power than women. Hostile sexism comprises hostile attitudes and actions towards the women. Moreover, in this subcategory, men are seen exerting their powers over women mostly in sexual relationships. This kind power that is exerted by men towards women often makes the men view women as sexual objects and may even use violence against them[footnoteRef:4]. Benevolent sexism is on the other hand considered as a subtype which entails protective paternalism and that it is thought out that there are periods in time when men depend on women to a certain extent[footnoteRef:5]. Although the gestures of providing and protecting women may be observed as being nice, it is considered as being sexist due to it portraying women as needing protection from men. This implies that women must depend on men as their protectors and providers. Hostile sexism and benevolent sexism are both viewed as leading the perception of women being ready to accept the dominance of men instead of challenging this dominance. Hence, women are observed as challenging the dominance of men, they are punished with hostile sexism while women who are observed as complying into the conventional gender rules they are rewarded with the benevolent sexism. [4: William T. Hoston, “We All Came from a Woman: Rap Music and Misogyny,” in Black Masculinity in the Obama Era (New York: Palgrave Macmillan US, 2014), 41–65, https://doi.org/10.1057/9781137430472_3.] [5: Ellen S Nikodym, “The Effects of Objectifying Hip-Hop Lyrics on Female Listeners,” 2013, http://digitalcommons.macalester.edu/psychology_honorshttp://digitalcommons.macalester.edu/psychology_honors/31.]
The above assertions on sexism from various literature reviews reinforce the idea that sexist lyrics such as those that are composed in rap music affect their listeners adversely. Some researchers suggest that the lyrical content found in a song is equally significant as the responses the song receives due to the lyrics may indirectly and directly affect the response. Hence, the there is a high likelihood of the potential lyrical impact becoming an issue when factors such as stereotyping priming and spreading activation are considered. Stereotyping priming is regarded to occur whenever a stimulus leads into information of a group or category being activated in the memory.
Spreading activation does add the idea that bits of information are interconnected in the memory, and as such, depending on the relatedness of bits of information to another, an activation of one bit of information in the memory would lead into the activation of related bits of information in the memory. This process is replicated in the activation of sexism. Studies have suggested that lyrics of songs do not necessarily have to have sexist theme to expose individuals into sexism[footnoteRef:6]. However, if the genre of music is strongly related into having themes of sexism, then it is apparent that issues pertaining to sexism would be activated in the minds of the listeners. [6: Sandra C Zichermann, “The Effects of Hip-Hop and Rap on Young Women in Academia,” 2013, https://tspace.library.utoronto.ca/bitstream/1807/36081/1/Zichermann_Sandra_C_201306_EDD_thesis.pdf.]
The priming paradigm may elaborate on the misogynous messages that are found in rap music. The perspective on priming argues out that the musical themes of rap music are actually structured around social constructs which are schematically represented in the memory. During viewing and listening to rap music, the social schemas which are primed in the memory are observed being activated the more and the thoughts created are subsequently used in consequent interactions and judgements. This explains why the misogynous themes that are prevalent in rap music often find themselves being presented in the minds of artists and would be artists because of the exposure to early rap songs. This in turn leads into the listeners likely being positively oriented into forming aggressive thoughts as well as anti-women attitudes which are subsequently manifested in various rap music
The nouns that are employed in rap songs have misogynistic and sexist themes. An interpretation of the context in which the nouns in these songs has been used requires to undertake presumptions of what the general interpretation of these songs means. The most common nouns that are employed in several selected rap songs are bitch/bitches, babe, girl/girls, baby girl, baby hoe and whore. The singular and plural form of these nouns are observed in a number of songs. However, in most songs the plural form of the derogatory nouns about women are seen recurring. For instance, the noun bitches is markedly more frequent in most rap songs. The song by Drake Kiki Do You Love me is for instance observed using the noun bitch referring to a woman. His lyrics mention that two bad women who go kissing each other. The other noun that is often used in rap music to denote women is the noun baby. This noun can be used positively or negatively towards denoting women. There are other times when this noun is ambiguous and drawing the line between being negative or positive becomes challenging[footnoteRef:7]. The song by Drake, Kiki Do You Love Me the lyrics are as below. [7: Vincent C Bates, Brent C Talbot, and Evan S Tobias, “A Refereed Journal of the Action for Change in Music Education Flipping the Misogynist Script: Gender, Agency,Hip Hop and Music Education,” Criticism & Theory for Music Education I S S N 1, vol. 5, 2014, http://act.maydaygroup.org/articles/Tobias13_2.pdf.]
Two bad bitches and we kissin' in the Wraith
Kissin'-kissin' in the Wraith, kiss-kissin' in the Wraith
I need that black card and the code to the safe
It is evident that this song, the usage of the noun bitches denotes two women The artist is seen degrading the women he refers in the song by indicating that he can go on two have two women whom he can kiss with no feelings of infidelity. Critiquing this from a theological perspective, it is evident that rap music advances the notion that men can have as many concubines or women with no repercussions from the society. This is contrary to several theological beliefs which teach on relationships between the opposite gender being limited between one partner only. This may mean that using vulgar words in rap songs may necessarily not be used in determining the context of the songs as being either positive or negative whenever referring to women. For instance, in the lyrics below by Sheck Wes on Mo Bamba, the artist sings that
I got hoes calling a young n---a phone
Where's Ali with the motherfucking dope? (bitch, bitch)
I be ballin' like a mo'fuckin' pro
The instance above depicts the artist using sexist and misogynistic terms towards portraying women in his songs[footnoteRef:8]. Furthermore, the artist in this song clearly raps about hitting on women with no potential consequences that would befall him. The lyric above is further sexual and vulgar and it portrays women as being somehow light-footed women. [8: Kate Conrad, Travis Dixon, and Yuanyuan. Zhang, “Controversial Rap Themes, Gender Portrayals and Skin Tone Distortion: A Content Analysis of Rap Music Videos. Media.,” Journal of Broadcasting & Electronic Media, 2009.]
In a review of most rap songs, it was observed that most females in the rap videos were dressed provocatively, especially during sexual scenes. Additionally, it was found out that women in these rap videos were more than likely to be associated with themes of misogyny. This is evident in the rap song Bounce Out With That by YBN Nahmir. In this song, the artist clearly downgrades women by referring them to bitch and mentions that he will take her to his clique. In the preceding lines, he highlights that he has no time for bitches.
Take a nigga bitch and then I pass her to the clique (grra, pow, pow, pow)
I say, see me, I don't got no time for no bitch (time for no bitch)
Fuck a bitch and then I put it in a bitch throat (bitch throat)
Never give a bitch yo' phone, that's a no no (hell nah)
This is because previous research pointed out that the themes that are found in rap music encouraged an acceptance of degrading actions towards the women. It can be argued out that the prominence of misogyny as theme in rap music maybe as well be related to the expressions of the viewers harboring similar attitudes in their own lives, this may include objectifying the women.
In yet other most viewed rap songs in YouTube in 2018, the theme of misogyny is still palpable. For instance, the top rap song Keke by 6ix9ine, the lyrics of the song are:
Bitches sucking dick, giving top, on the regular
Catch me water whipping straight drop, on the regular
On the other hand, female rappers are also observed continuing the theme of misogyny and sexism in their song lyrics. The artist Nicki Minaj in her song Chun-Li, she sings that:
Dunked on 'em, now I'm swingin' off the rim
Bitch ain't comin' off the bench
The artist Cardi B, YG also lyrics in her song She Bad:
Dat ass, dat ass, dat ass, dat ass
She bad, she bad, she bad, she bad
Damn daddy, you fine as hell
I hope your wallet got condoms in it
I'm up, she mad, I'm first, she's last (yeah
From these representations, it is evident that the theme of misogyny is highly acceptable within the circles of rap culture. The objectification of women in both male and female rap songs is collectively done. The culture of rap music acceptance of degrading women in the rap songs and videos is premised occurring below consciousness. This in turn results in heightened accessibility of sexist and misogynistic constructs which are because of chronic activation of misogynistic rap themes over time.
In as much various scholars have argued out against rap music as being highly misogynistic and sexist, a body of other scholars point out that this genre of music is portrayal of cultural experience that is deeply rooted in the African American culture. They point out that rap music is deeply rooted in the African American traditions like toasting, signifying and playing the dozens. It is also contented that rap music rose from the oppressive culture African Americans had underwent in the U.S. Accordingly, rap is seen as pointing out the fingers towards the oppressive structures and used it as a vehicle resisting unfair treatment. Media scholars who have examined the relationship between media consumption and African Americans found out that African Americans used a cultural lens that allowed them to identify with the media content as well as strengthen their collective self-esteem. In doing so, it allows their self-esteem being positively managed.
Empirical research examining the role of collective self-esteem and culture in relation to the production and consumption of rap music, has however indicated how this genre of music can be used in advancing violent and misogynistic themes. One of the strongest findings point out that violent and misogynistic themes in rap music can prime misogynistic and violent thoughts. An exposure towards rap music which is laden with sexual imagery gravitated towards creating unfavorable evaluations on black women. In a study, it was found out that misogynous music particularly facilitated sexually aggressive behaviors and supported relationships between sexual aggression and cognitive distortions. Studies have also suggested that women who viewed rap videos of women in sexually subordinate roles were shown to have greater acceptance than females who had not been exposed into these types of music.
In other rap songs, such as the song by Kanye West &Lil Pump I Love It, the lyrics of the song are as follows;
They had the fake orgasms and shit
We can tell n---as today "hey, I wanna cum, mothafucka"
You're such a fuckin' ho, I love it (I love it)
You're such a fuckin' ho, I love
Fucked that bitch up out in London (up out in)
Then I fucked up on her cousin
Or her sister, I don't know nothin' (uh-uh, woo)
And my n---as gettin' ignorant
Like a lighter, bitch, we ignant
The artists Tyga featuring Offset in their song Taste they sing that:
And my bitch want the Fenty, not the Maybelline
I'm the black JB the way these bitches scream
Make these bitches scream
Pretty little thing
The artist Juice WRLD in his song Lucid Dreams he sings that
was tangled up in your drastic ways
Who knew evil girls have the prettiest face
You gave me a heart that was full of mistakes
I gave you my heart and you made heart break
You made my heart break
The artist Travis Scott in his song Sicko Mode, he sings that
Told her "hop in, you comin' too"
In the 305, bitches treat me like I'm Uncle Luke
(Don't stop, pop that pussy!)
From the above songs by Travis Scott, Juice WRLD, Tyga & Offset, Kanye West and Lil Pump, the artists use vulgar and derogatory nouns towards women. What is evident is the way the adjoining lyrics of their songs are very vulgar and sexual when portraying the women[footnoteRef:9]. The message used in these rap songs is one which attempts to portray women as being easy sexual objects who seem to be ready at accepting whatever sexual actions the artists would want to perform on them. Hence, the impression that is created from these songs and rap music generally is that women are supposed to be subordinate to what men say towards them. From the above songs, women are supposed not to raise any issues in regard to how they are portrayed by the male gender in rap music[footnoteRef:10]. [9: Gretchen Cundiff, “The Influence of Rap/Hip-Hop Music: A Mixed-Method Analysis by Gretchen Cundiff-71 The Influence of Rap/Hip-Hop Music: A Mixed-Method Analysis on Audience Perceptions of Misogynistic Lyrics and the Issue of Domestic Violence,” accessed October 23, 2018, https://www.elon.edu/u/academics/communications/journal/wp-content/uploads/sites/153/2017/06/02CundiffEJSpring13.pdf.] [10: Vaxjo, “The Depiction of Women in Rap and Pop Lyrics.”]
Undertaking a theological perspective in evaluating the above rap songs, it is quite clear that the contemporary Christian churches have attempted challenging the cultural experience that is shared in the culture of rap music. Using the teachings of Christianity in this paper, it is understandable that this religion provides a diversity to its members. There are various Cristian churches that have various differing beliefs and practices. Most of the Christian teachings attempt to teach and emphasize on the need of respecting women in society. However, the themes that are found in most rap songs as evidenced the songs analyzed above portray a culture which continually leans towards degrading women. Secular rap music has a tremendous influence over the young generation, and the message that is imparted on the individuals listening to this genre of music is one which is skewed towards misogynistic and sexist leanings.
It is a fact that nouns that have negative value are very much used within the circles of rap music, Hence, this likely corresponds to the believe that rap music expresses the central assumptions of the cultures they originate. It is no wonder that the lyrics mentioned above in this paper depict and portray the cultural message within the subculture of rap music. Most of the nouns that highlight women in the songs are observed as having negative value, these characterizes the genre of rap music and carries the cultural message of misogyny and the degradation of women as being an acceptable practice within the rap culture.
The culture in rap music is one which the artists tend to portray themselves as being tough and powerful through super-ordaining themselves towards women. Majority of the rap artists use vulgar and expletive words such as hoe and bitch, a clear indication of their super ordination. This means that the artists perceive themselves as being superior to the women they are rapping about. The rap culture and music are one which tends to create the image of men as being the ruling gender and the tendency is one in which the men artists subordinate women to maintain tough and powerful image. Interactions between both genders are ubiquitous with the male gender often manifesting its powerful image[footnoteRef:11]. Men generally tend to portray an image of being the ruling gender, in the presence of media this tend to escalate into the men portraying women around them being stupid. The rap subculture in most cases manifests these characters in the media through the song lyrics the male gender sing. [11: Weitzer and Kubrin, “Articles Misogyny in Rap Music A Content Analysis of Prevalence and Meanings.”]
The construction of the social self is created when human beings interact with each other. The perspective created depends on the language and gender that is in play. The origins of hip-hop culture, in which rap music is a prominent subculture is considered as being from Bronx. The language that was being used in this region during this time spread and had influence on the music of this region. Hence, in consideration of the hip hop culture and its subculture of rap music it is evident that a significant part of these songs has employed foul language as being a natural feature in the song lyrics[footnoteRef:12]. It is argued out that individuals in this culture, the usage of vulgar language in rap songs and in normal conversations may be regarded as being a norm and is not seriously considered as being offensive as when other individuals who do not belong to this culture perceive it. [12: Sarah Neff, “Sexism Across Musical Genres: A Comparison,” 2014, http://scholarworks.wmich.edu/honors_theses.]
In summary, it is evident from the above arguments that the usage of misogynistic, degrading and sexist language in rap music towards women is a feature which has been practiced for long. Rap music subculture falls under the culture of hip-hop and it is observed that the usual intonation of language used by male artistes whenever addressing women in their lyrical is heavily concentrated with language which is foul and derogatory towards women. From a theological viewpoint, the patriarchal nature that is observed in most of teachings and readings is extended into the secular culture and is worsened off when subcultures within the main cultures employ the usage of misogynistic and sexist language when communicating or interacting with the female gender. Rap music generally leans towards a subculture where women are addressed through names and noun which are vulgar and sexist.
Bibliography
Bates, Vincent C, Brent C Talbot, and Evan S Tobias. “A Refereed Journal of the Action for Change in Music Education Flipping the Misogynist Script: Gender, Agency,Hip Hop and Music Education.” Criticism & Theory for Music Education I S S N 1. Vol. 5, 2014. http://act.maydaygroup.org/articles/Tobias13_2.pdf.
Conrad, Kate, Travis Dixon, and Yuanyuan. Zhang. “Controversial Rap Themes, Gender Portrayals and Skin Tone Distortion: A Content Analysis of Rap Music Videos. Media.” Journal of Broadcasting & Electronic Media, 2009.
Cundiff, Gretchen. “The Influence of Rap/Hip-Hop Music: A Mixed-Method Analysis by Gretchen Cundiff-71 The Influence of Rap/Hip-Hop Music: A Mixed-Method Analysis on Audience Perceptions of Misogynistic Lyrics and the Issue of Domestic Violence.” Accessed October 23, 2018. https://www.elon.edu/u/academics/communications/journal/wp-content/uploads/sites/153/2017/06/02CundiffEJSpring13.pdf.
Hoston, William T. “We All Came from a Woman: Rap Music and Misogyny.” In Black Masculinity in the Obama Era, 41–65. New York: Palgrave Macmillan US, 2014. https://doi.org/10.1057/9781137430472_3.
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Nikodym, Ellen S. “The Effects of Objectifying Hip-Hop Lyrics on Female Listeners,” 2013. http://digitalcommons.macalester.edu/psychology_honorshttp://digitalcommons.macalester.edu/psychology_honors/31.
Treat, Teresa A, Coreen A Farris, Richard J Viken, and Jodi R Smith. “Influence of Sexually Degrading Music on Men’s Perceptions of Women’s Dating-Relevant Cues; Influence of Sexually Degrading Music on Men’s Perceptions of Women’s Dating-Relevant Cues,” 2014. https://doi.org/10.1002/acp.3084.
Vaxjo, Kalmar. “The Depiction of Women in Rap and Pop Lyrics,” n.d.
Weitzer, Ronald, and Charis E Kubrin. “Articles Misogyny in Rap Music A Content Analysis of Prevalence and Meanings.” Accessed October 23, 2018. https://doi.org/10.1177/1097184X08327696.
Zichermann, Sandra C. “The Effects of Hip-Hop and Rap on Young Women in Academia,” 2013. https://tspace.library.utoronto.ca/bitstream/1807/36081/1/Zichermann_Sandra_C_201306_EDD_thesis.pdf.
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