Ĭontent analyses have found that approximately 22% to 37% of rap lyrics contain some misogyny, depending on subgenre. Still other academics have stressed economic considerations, arguing that rappers use misogyny to achieve commercial success. Others have suggested that rap music is a product of its environment, reflecting mainstream attitudes toward women, and that rap artists have internalized negative stereotypes about women. Some have argued that rap artists use misogynistic lyrics and portrayals of women as a way to assert their masculinity or to demonstrate their authenticity as rappers. Scholars have proposed various explanations for the presence of misogyny in rap music. It can range from innuendoes to stereotypical characterizations and defamations. It diminishes women to expendable beings. It is an ideology that portrays women as objects for men's ownership, use, or abuse. Misogyny in rap music refers to lyrics, videos, or other aspects of rap music that support, glorify, justify, or normalize the objectification, exploitation, or victimization of women. ( January 2022) ( Learn how and when to remove this template message) Please help improve it by rewriting it in an encyclopedic style. Still, I have fond memories of my language arts teacher, in the fall after its release, learning the song’s steps and showing them off at a couple school dances after it swelled in popularity over the summer.This article is written like a personal reflection, personal essay, or argumentative essay that states a Wikipedia editor's personal feelings or presents an original argument about a topic. A few of us writers remember “Crank That (Soulja Boy”) as having come out at a crossroads for us as music fans we were starting to realize that a piece of art’s popularity isn’t necessarily proportionate to its merit. The following 25 songs have their charms - or, at least, it’s not hard to see why they sold so many records/ringtones. While the drunken masses kept dancing, terms like “conscious rap” and “backpack rap” were coined and defended. It didn’t take long before entire regions - particularly Houston, Atlanta, New Orleans, and other Southern hotbeds - were lamented for their foremost rappers’ lack of subtlety. Songs like Vanilla Ice’s “Ice Ice Baby” were released before most of America knew what hip-hop was, while the likes of Mims’ “This Is Why I’m Hot” simply glance at hip-hop’s short list of defining traits without attempting to deepen the formula. Hip-hop’s mindless pleasures are many in number, and nowhere is that more evident than when looking at its chart history. For many, though, the bone-crushing force of that unlikely 2010 classic overrides its boneheaded repetition, even though it’s impossible not to notice that the best hooks barely eclipse, say, Bubba Sparxxx’s “Bootybootybootybooty rockin’ everywhere.” Look, it’s easy to see why many listeners completely dismissed Waka Flocka Flame’s Flockaveli. They’re just repeating the same thing over and over, goes another. They aren’t even playing real instruments, goes one non-argument. Hip-hop might be more susceptible to scrutiny than any other genre.
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