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sogynistic songs, while 20 and 18 per cent
respectively referred to the legitimization of
violence against women and the glorifica-
tion of prostitution and pimping.
At the same time, Castor warns against
over-analysing an entire culture based only
on what is visible to outsiders.
“Rap often presents us with highly exag-
gerated characters, almost cartoon-like
characters, based on the ideals of hip-hop
culture. But for an outsider, the boundary
between parody and seriousness is extrem-
ely fine. The global culture that consumes
these songs rarely has enough historical and
cultural knowledge to understand them
completely,” she says, adding that most
people feel comfortable when their own
stereotypes are confirmed.
“Many people who listen to hip-hop are
young, white, middle-class men, who use
music as a counterpoint to their own safe
background. What in hip-hop culture is
perceived as exaggerated parody is viewed
by many white Americans as evidence that
their prejudices are correct,” she says.
On the other hand, if there is any group
with enough cultural competence to judge
hip-hop, it is the hip-hop women them-
selves. Their numbers are still few, but they
come in different variations. Nicki Minaj
plays up the sexualized image women often
have in today's rap videos, while Eve strikes
back withmasculine, violent language. In
the song Love is Blind she raps about killing
a man who has killed his wife. Others, like
Jean Grae, challenge the status quo in her
songs with the help of clever lyrics and
snazzy satire.
Undergroundartists and
boycotts
“Although they may not be at the top of the
charts, there is also a dynamic underground
movement with hip-hoppers who do not
have contracts withmajor record compa-
nies. It is important to remember that hip-
hop is far more than the super commercial
artists like Jay Z and 50 Cent,” Castor says.
The fans themselves also put their foot
down from time to time. The rapper Nelly
was supposed to perform at the renowned
educational institution Spelman College, a
women's college withmostly black students,
in 2004. But in light of a highly misogy-
nistic music video for Tip Drill, students
organized a boycott, and Nelly cancelled
his concert. This led Essence magazine to
launch a 12-month long campaign against
the degradation of women in rapmusic, al-
though the campaign did not receive much
media attention.
“Women who make their mark in the
struggle for equality in hip-hop culture
often do this in small ways or in connection
with other movements, such as in the fight
against domestic violence. They create small
moments of awareness, whichmay not be
long lasting. It is important to remember
that even small changes matter in a culture
where relatively few speak out,” said Castor.
“Fortunately, today's hip-hop artists are an
incredibly diverse group of people who also
include activists, journalists and academics,
and who have opinions that are different
than those clearly presented in commercial
rap. All these people will tell you that they
love hip-hop despite its problems, and that
they care about what they are listening to,”
she says.
Source: Ronald Weitzer and Charis E. Kubrin, Misogyny
in Rap Music: A Content Analysis of Prevalence and
Meanings (2009). Men and Masculinities, 12(1).
University of Tromsø – Labyrint E/13 ••• 29
Text: Linn Sollied Madsen
Nicki Minaj is one the female rappers who doesn’t go out of her way to use derogatory expressions, both about herself
and other women. Photo: Universal Music