Molly Cyrus Analysis

The essay, “From Fly-Girls to Bitches and Hos,” discusses the pervasive misogyny found in hip-hop lyrics.The author, Joan Morgan, argues that by comprehending what is occurring in the hip-hop culture to generate

It is seen as something big for her reach on women and a multitude of age ranges. Her target audience would be considered mainly hurt women going through the same hardships, and that could also be all ages such as teens to adults. In order for her music and companion video to go far and make money it would have to reach her audience on more than a basic level. The reason she did so well on this specific piece was because she was able to get in touch with women’s emotions while being able to relate too. Since everyone already see celebrities as more than normal people, it was a great way to show them she was an average person just like them.

Specifically desensitizing intimate practices like intercourse and exploiting the image of women; minimizing them into nothing more than sex objects that can be taken advantage of. For example, "Put Molly all in her champagne, she ain't even know it/I took her home and I enjoyed that, she ain't even know it" - Rick Ross U.O.E.N.O. This lyric fails to express any real emotion, it fails to elicit thought, it functions only to glorify rape culture and it is a grammatical tragedy. “New Kids on the Block had a bunch of hits, chinese food makes me sick”-L.F.O Summer girls. There is no coherent well-thought-out expression of emotion in this line. It vaguely jumps from one subject to another leaving the listener confused as to what the lyricist's message

Among many abolitionists of slavery in early America were former slaves, Frederick Douglass and Harriet Jacobs who lived to tell the stories of their quests for freedom during their time as slaves. Harriet Jacobs, known for her narrative Incidents in the Life of a Slave Girl, was born into slavery like many African Americans at the time. Frederick Douglass who was also born into slavery was best known for his “Narrative of the Life of Frederick Douglass.” Through these narratives both Jacobs and Douglass each portray their own experiences of slavery in contrasting ways.

The misogynistic treatment of women in commercialized rap has become a widespread phenomenon which as a result has become commonly accepted by majority of the individuals in society. Rappers, in general, nowadays use women in their videos in a way which is both derogatory and exploiting. Black men in today’s society, especially in the entertainment industry, do not see women as their equals; rather they objectify them as being nothing more than sex objects. People in the Hip Hop industry do not believe that sexism and misogyny is as big of a deal as racism, thus they push this issue to the side by simply ignoring it and learning to accept it. This misogynistic portrayal of women is ruining the image if Hip Hop as both an industry and a form of expressive art. However, instead of taking action against this atrocity, many women simply believe that the images of women and their portrayal in rap videos does not represent nor refer to them as an individual and the type of woman they truly are. By being silent these women are allowing themselves to be victimized by the men of not only the Hip Hop industry but also general society. By not having a say in this matter of the false classification and portrayal of women, they are voluntarily allowing men to do whatever they please to do so, in any given time and with any approach they feel is necessary. They do not

In the essay, “Hip-Hop’s Betrayal Of Black Women”(221), by Jennifer McLune, she vents her feelings regarding hip-hop songs that are rhythmically diminishing the value of black women. She provides example on how the lyrics are being voiced and how hip-hop artists do not seem to care. Kevin Powell in “Notes of a Hip Hop Head” writes, “Indeed, like rock and roll, hip-hop sometimes makes you think we men don’t like women much at all, except to objectify them as trophy pieces or, as contemporary vernacular mandates, as baby mommas, chicken heads, or bitches” (221). There have been apologizes for what the rappers have said but nothing to resolve the dehumanization of black women. McLune informs the readers that hip-hop singers belittle black women and make them invisible. Jay-Z, a popular hip-hop artist is brought to center stage by McLune. The essay shows the example of a part of Jay-Z song that says, “I pimp hard on a trick, look Fuck if your leg broke bitch hop on your good foot” (222). This lyric is a perfect example of how hip-hop artist have no remorse in the words they sing. The hurt feelings and loss of self-esteem black women suffer, is of no concern to the rappers. McLune expresses that those who are underground hip-hop artist follow the footsteps on being sexist and using crude words in their lyrics just because they yearn and dream of being in the spotlight. Upcoming rappers want to be loved like Jay-Z and other famous notorious rappers.

The corruptness of music today seems to be linked to the crude language and aggression found particularly in hip-hop and rap music. Some rap artists use vulgar language in their lyrics that are easily adoptable by teens (Holden). Not only have certain lyrics influenced the way teens speak but also their actions. An article on Headliners.org stated that “lyrics in the music are too violent and are to blame for many problems.” The problems range anywhere from suicide and aggression towards women to underage drinking and drug use. Lyrics are not only to blame, but also what people see in artists’ music videos can affect what they do (Doaks). The urge to emulate these rap musicians has escalated quickly causing a spike in rebellious tendencies among teens.

One of Rap music's greatest criticisms is that it is sexist in its portrayal of women. Some argue that Hip-hop music teaches young children to look at women as "bitches" and "hoes", as women are often called in various hip-hop songs. It is this negative message that has constantly kept rap music in a national spotlight. Critics view sexism in rap as a symptom of an increasingly crumbling set of social values in the black urban community.

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

Summer hit “Blurred Lines” is one of the radio’s most played songs currently. The song is placed at number one on America’s top 40 charts for the week of September 14th. While it is popular, the lyrics paint a story of someone who wants the singer, but is a good girl. The message of the song is blurring lines of morality. Not only is the song soliciting sexual themes, but it goes as far as using derogatory names towards the said good girl. Also, the song has strong themes of guilting someone into sex, claiming that not many can refuse T.I.’s pimping. The song

Today’s society is one in which the idea of male superiority dominates, one that Edwards et al. says fosters the idea that “rape ideologies emanate from a patriarchal system” (qtd. in Franiuk). The influences on modern American culture, what it idolizes and produces, are often times truly sickening. Popular television programs and other media present depictions of women that promote a society of rape culture. The rapper Eminem, just one of the famous rap artists who has a bad reputation, refers to women in very derogatory ways. His song “Kim” was released in 2000, and is believed to have been written about his then-wife, Kim Mathers. In it, the rapper says, “Sit down bitch/If you move again I'll beat the shit out of you,” among other things, and even goes on to describe other types of violence that he wants to commit against her (Bass). When taking into consideration Eminem’s subject matter, his popularity is alarming. His music, and thousands of other songs like his, is filling the ears of impressionable youth and naïve adults, permeating their minds with horrible ideas.

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

Appearing naked swinging on a wrecking ball, many claimed this was inappropriate for young girls to see as their role model; but Miley seems to be trying to normalize this for women, allow them to control their sexuality, not allow men to define it. It’s consistently pointed out if star women are sexual but when male stars have naked women in their music videos it is not questioned. This double standard is furthered with the use of drugs; shortly before the release of the video, Miley smoked weed at a MTV Europe music awards in Amsterdam, which outraged people although drug use by male stars is widely

Charlotte Church speaks out about this issue saying “The culture of demeaning women in pop music is so ingrained as to become routine, from the way we are dealt with by management and labels, to the way we are presented the public” (Chase par. 9). This leads to questions, for example, must women be sexualized to gain greater earnings? Does sex truly sell? When we examine artists such as Julia Hotter, HAIM, or Polica, we perceive them as strong artists who are unrestricted in their art by their gender or sexuality. However, when comparing their success, sexualized women have dominated the music industry. Chase explains that women are allowed to fill three main roles in modern pop music: One of the Girls’ Girls, the Victim/ Torch Singer, and Unattainable Sexbot. Artists such as Beyoncé would be considered “One of the Girls’ Girls” who are for women power and are considered empowering. Adele is considered a “Victim/Torch Singer” even though she does not use sexuality to sell records, lyrically, she perceives the wronged women and creates a state of despair. An “Unattainable Sexbot” would be, without a doubt, Miley Cyrus, whose main goal is to be the most successful in the music industry by being hyper-sexualized and unrealistic. If an artist does not fit into one of these categories, they generally have a much harder time being one of the most successful in the music

Rap music is filled with imagery that degrades women. Women are continually referred to inappropriately in many songs, while men refer to themselves and other as pimps or players. Women are not only referred to by derogatory names, they are frequently lowered to sex objects for entertainment. The common idea of a woman in a rap video is one who is half naked while dancing flirtatiously and seductively behind, or in front of the rapper. Many female rappers make public appearances dressed inappropriately, their clothing is always revealing and skin tight, they have unfortunately accepted and entertained this idea. Young girls see these women as role models. As female rappers conform and accept their roles as sex objects they are making it socially acceptable and the young girls who see them as role models and look up to them think