Who Runs the Music?
by
Damisha Ward
AP English Literature and Composition
Ms. Gruber
December 9, 2011
Final Draft
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Many people are familiar with the saying “People generally remember 10% of what they
read, 20% of what they hear, 30% of what they see, and 50% of what they hear and see.”
Although it has been said to not be true, others may wonder why it has been repeatedly said in
the first place. What has been proven to be true is that people, more so the youth, often imitate
what they see and hear. Continuously, hearing about the violent actions of rappers in their
musical lyrics as well as hearing and seeing the way they denigrate and oppress women in their
videos does send a message to youth and others that those actions are acceptable. Rappers do not
set good role models for its listeners and positive role models for the children in today’s society
are very important and widely needed. Rap music is built on degrading women yet women are
the top consumers of rap music.
Before getting more in debt of how rap and hip-hop music influence bad behavior and
denigrate women, it is important to understand how rap music started. A well written book
entitled Pro/Con Arts and Culture by Aruna Vasudevan shares two sides of information that
explains whether or not music is an art, along with other things. More importantly it shares
information about rap music’s history. Vasudevan states, “Rap music arose in the 1970s as part
of hip-hop, a predominantly African American movement that began in the Bronx, New York
City, and comprised deejaying, graffiti painting, and break dancing, as well as rapping”(124).
This quote only describes where rap originated. Rap was a big deal back then but it was not as
violent as it has grown to be. Nicknamed the “Bronx Zoo,” the Bronx is known to many as a
violent place. Rap music has been around for less than 50 years yet it has made a permanent
mark of violence in today’s society.
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The starting of the hip-hop culture is much deeper than deejaying, graffiti, break
dancing, and rapping. An internet article entitled “The Evolution of Rap Music in the United
States” by Henry A. Rhodes explains some events that occurred in the Bronx leading to the
outbreak of the hip-hop culture. Rhodes states, “Steven Haver in his book, ‘Hip Hop; the
Illustrated History of Break Dancing, Rap Music and Graffiti,’ states that there were three major
events which took place in the Bronx which led to the birth of this subculture. First, in 1959
Parks Commissioner Robert Moses began building an expressway through the heart of the
Bronx. As a result, the middle class Italian, German, Irish, and Jewish neighborhoods
disappeared overnight. In addition, businesses and factories relocated and left this borough. [...]
These exiting middle classes and businesses were replaced by poor black and Hispanic families.
Accompanying these poor people were crime, drug addiction, and unemployment.” People have
needs that require money. If there are no jobs to make money, people resort to committing
crimes and violence to get what they long for. Drug dealing was a way to make fast money and
the drug addicted people were buying. This event basically left the Bronx abandoned. This area
had nearly no political support and no money.
Around the time rap music originated, women’s roles in music were already established.
Ronald Weitzer and Charis E. Kurbin’s academic journal titled, “Misogyny in Rap Music: A
Content Analysis of Prevalence and Meanings," gives insight on how women were represented
early on in rap music. Weitzer and Kurbin state, “During the 1990s, women were grossly
underrepresented in rap generally, and gangsta rap in particular, and were channeled instead into
hip-hop and R&B. For women to gain acceptance in this male-dominated industry, they had to
conform to existing industry norms and required male sponsors, who often appeared on one of
their songs or in their videos (Nelson 1998, 184; Emerson 2002).” Women’s reputations in rap
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music then were just as bad as they are in today’s society. It was normal for the women to
change themselves into what the industry claimed was appropriate for them to be accepted by the
males in the industry. In the 1990s’ female rappers tried to speak up about the way they were
being treated by males but because they were women they weren't really heard. Female rappers,
back then, like male rappers, were told they had to rap about what sells records, what the
industry required them to rap about.
Gangsta rap can be difficult to define when being heard by people for the first time.
Ronald Weitzer and Charis E. Kurbin’s academic journal article entitled, “Misogyny in Rap
Music: A Content Analysis of Prevalence and Meanings,” gives a very clear definition of
“Gangsta rap.” Weitzer and Kurbin state, “Gangsta rap is a subgenre of rap music. It describes
life in the ghetto and has been controversial in part because it provides an insiders’ view of
crime, violence, and social conflict in the inner city (Kitwana 1994, 19; Krims 2000, 70). More
so than other rap genres, gangsta rap is noted for its violent and misogynistic lyrics, which depart
from the rich political and social commentary that characterizes some other rap music (Kelley
1996, 147).” To provide clarification, gangsta rap is a form of rap music but describes violence,
the ghetto, and hatred towards women oppose to the glamorous and rich luxuries that come along
with being a rapper.
Children as well as adults are copying what they see and hear rappers do and promote in
their music and in videos. Banerji describes how rappers view women as well as how hip-hop
influences. Banerji states, “The debate started long before Imus called the mostly Black team of
accomplished student-athletes ‘nappy-headed hos’ and claimed rappers routinely ‘defame and
demean Black women’ and call them ‘worse names than I ever did.’” Although the type of
messages that rap music sends has been in question for some time before this event, Don Imus,
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who is an adult, felt as if name calling was appropriate because rappers continuously do it
without punishment. Imus feels like his comment was not nearly as atrocious as what rappers
say. He thinks that he's only being targeted because his name isn't as big as theirs are. Imus is a
white male who was curious about why is it okay for black rappers to call women names but it’s
not okay for him to do it. It is mostly controversial because it was a team of mostly black women
and they were students.
The styles and attitudes of rappers and other artists are emulated by the youth but it does
not make the youth bad people. “Who's playin' whom? Overwhelming influence of hip-hop
culture, rap music on HBCU campuses concerns students, faculty,” by Pearl Stewart is an
academic journal that describes the influence of rap music towards the students on college
campuses. Stewart states, “Some professors caution their colleagues not to judge students by
their appearance. Franklin says he sees ‘some good students who feel they have to dress like the
people in the music videos. We have students working in our offices who have the body
piercings and tattoos, and they are fairly good students.” Reginald Franklin, associate professor
of broadcast journalism at Savannah State University, is saying that just because some students
dress like they see rappers and other artists dressed, that does not mean they are not smart. He
believes that some students are simply interested in the rappers’ style and are not bad people.
They are still focused and intelligent just dressed in a way that would make people think the
opposite. The influence of a rapper’s image is not necessarily good for the college students.
Not only does rap influence attitudes and styles of the students, but the way they dress,
their morals, and their priorities as well. Pearl Stewarts’ article entitled “Who's playin' whom?
Overwhelming influence of hip-hop culture, rap music on HBCU campuses concerns students,
faculty," also shows staff at the colleges opinion on how rap music influences the students on
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campus. Stewart states, “The limited focus also bothers Thomas Rasheed, associate professor of
graphic design at Florida A&M University. ‘When I see female students coming to class
unprepared, when they obviously spent hours getting all that hair on their heads and their nails
done. They have their priorities all wrong,’ Rasheed says. ‘Even more troubling are the
implications of their clothing,’ he says. ‘Some of the skirts are so short you can see their panties.
I have had to tell students not to come into my classes dressed that way.’ Rasheed sees a
difference between appreciating the music and letting it control you. ‘Some of these students
have become materialistic slaves to the hip-hop industry.’” Although Rasheed may sound a little
sexist; it is true that women carry themselves that way. It is not appropriate or professional to
come to a college class under dressed. Female college students are forgetting about their morals
and priorities. They are only focused on looking and having the materialistic things they hear
rappers constantly talking about in their music. This a negative influence amongst women.
Rappers do not set good role models for their young listeners. Stewart’s article describes
the influence the rappers have on students’ school work and their ability to stay focused in class.
Stewart writes, “Several faculty members complain that students only want to write papers or
work on projects about the entertainment industry. ‘I always have at least three guys in my
classes who are going to be the next big rapper’ says Reginald Franklin, associate professor of
broadcast journalism at Savannah State University, ‘and that's all they're interested in.’” Because
rappers are people that are constantly put in the spotlight, they are expected to set examples for
the people that find their music interesting. That is not what they are doing. Rappers are making
students unfocused on their work and priorities and more focus on being the next big thing.
Students feel like they are not required to have a degree to be in the entertainment industry so
they don't take their education seriously.
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Role models will always have an important role in society because people continue to
influence and youth continue to imitate others actions. In a newspaper article from New
Pittsburgh Courier entitled “A DYING BREED?...Hip-hop and violence,” by Cornelius Fortune,
he discusses the negative role models that the rappers are to the youth and their listeners. Fortune
writes, “Role models still play an important part in how children see the world, and Defari, an
inspiring rapper, is well aware that kids of all backgrounds are listening to hip-hop and emulating
its culture.” Children still need positive role models because they play a big part in how children
grow up. Children are aware of what is going on in music and tend to imitate what they see. If
what they see is not positive then their actions will not be positive.
Positive role models are needed. Even the smallest influence can set the goals for
someone’s life. Stewarts’ article shows staff at the colleges’ thoughts on how not having positive
role models in rap music influences the students to act as if music is more important than school
work. Stewart states, “In December 2000, Dr. Thomas Earl Midgette had harsh words for the
hip-hop movement that was sweeping his campus. When he was interviewed for an article in
Black Issues entitled “The Miseducation of Hip-Hop,” Midgette did not hold back. He stated,
“You see students walking on campus reciting rap lyrics when they should be reciting something
they'll need to know on their next test. These rap artists influence the way they dress. They look
like hoochie mamas, not like they're coming to class. (And) young men with pants fashioned
below their navel.” Dr. Midgette is a concerned professor who is upset about how students hang
on rappers every word but can’t treat their school work as important as they treat they music. He
doesn’t condone the way his students let rap influence them. He wants them to be their own
person.
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Rappers degrade and oppress women in their songs and videos. Ronald Weitzer and
Charis E. Kurbin’s academic journal titled, “Misogyny in Rap Music: A Content Analysis of
Prevalence and Meanings,” describes ways that women are oppressed in rap music. Ronald
Weitzer and Charis E. Kurbin writes, “In rap, both prostitution and pimping are defined as
legitimate economic pursuits and celebrated—themes which are almost nonexistent in other
music genres (Quinn2000). The notion that women are only good for sex is epitomized in male
discourse regarding prostitutes, and some rappers go to great lengths to present such women in
one-dimensional, impersonal terms.” The idea of “pimping” only exists in rap music. No other
music genre really denigrates women like rap music does and it is widely celebrated for doing
which. Rappers try their best to oppress women in their music and get to the pimping and
prostituting state for popularity and sales.
Rappers do not mind what they say about the women as long as they are being rewarded
for their work. Weitzer and Kurbin’s article shows examples of how rappers feel about
disrespecting women. Weitzer and Kurbin stated, “Some rappers report that verbal abuse of
women is encouraged and rewarded by the music industry:
‘Rappers like me always disrespectin’ ladies,
Wonder why it’s like that, well so do I.
But I just turn my back and then I go get high,
‘Cause I get paid real good to talk bad about a bitch.
And you bought it, so don’t be mad I got rich
(Too $hort, Thangs Change).’”
Too $hort is not shy about admitting that he disrespects women all the time. He also
thinks that he is not the blame because he is getting paid for doing so. Too Short does not think
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anyone has the right to get mad about what he says because the people are the ones buying the
music and making him rich. And again it is what the music producers want. Rappers do not mind
disrespecting women as long as they are getting something out of it, money and masculinity.
The way women are being treated in rap songs is so powerful that it makes it almost
impossible to change the way women are represented. In an article by Elizabeth Farrington
entitled “Help Black College Women Reconcile Hip-Hop's Misogyny,” she discusses the issue of
misogyny in rap music and how people at colleges are making moves to get women to recognize
what they are condoning. “I don't like to hear 'bitches and hos' in my music, but it's my
generation,” she said. “She” refers to a graduate student from the University of South Florida
named Brittany Stokes. Stokes does not like hearing all the name calling but it's something she
expects because her generation continues to create it. All of the tactics women are using to stop
these things does not seem to be effective. Strokes feel as if there is no other choice but to accept
it. It is common to hear which in any rap and or gangsta rap song played.
Although women are the main ones being belittled in rap music, they are the number one
supporters of the music that talks badly about them. Banerji’s article “Life after Imus: the debate
has already begun over whether hip-hop culture perpetuates the denigration of Black women,” as
well as many other helpful informational tips, explains how women are the most significant
consumers of rap music. Banerji states, “Imus was universally condemned for his remarks, but
the debate over rap music still rages. Scholars have mixed views over whether current activists
should follow in Tucker's footsteps. ‘If a group of people want others to respect them, they have
to respect themselves,’ says rap music critic Dr. Tukufu Zuberi, a professor of sociology and the
Lasry Family Professor of Race Relations at the University of Pennsylvania.” How do women
expect to be respected by men and in music if they do not respect themselves? The way women
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carry themselves in certain situations basically gives the music industry and men permission to
say what is being said about women. However, that still does not give rappers the right to
disrespect women in their music. The debate about rap continues to be a trending topic.
Women know how they are represented in rap music but continue to overlook what is
being said about them because the song is catchy. Farrington’s article “Help Black College
Women Reconcile Hip-Hop's Misogyny,” also briefly states that women are the biggest fans of
rap. Farrington writes, “Black women have an extremely visibly role in the music and in the
videos, but it's rarely positive. Yet black women are some of the biggest consumers of the
product.” Black women are the most talked about in the videos and in music negatively but the
women are the ones who continue to listen to music that is degrading them. They enjoy the
music just as much as the people making it. Women are the ones who continue to buy and
promote the music because they feel like what is being said does not apply to them. In a film by
filmmaker Byron Hurt entitled “Hip Hop: Beyond Beats and Rhymes,” he states, “It's funny
when I hear women say, ‘When these rappers are calling you know, women bitches and hos,
they're not talking about me.’ It's like yo' they are talking about you. If George Bush was to get
on national TV and make a speech and he started calling black people "Niggas." Would you be
like ‘I'ont know who George Bush was talking about but he ain't talking about me.’” This shows
that women exclude themselves when they really do count. The music is discussing all women
not just the ones that appear in the videos.
Women want what the rappers are promoting. Farrington’s article "Help Black College
Women Reconcile Hip-Hop's Misogyny," says that women are materialistic. Farrington says,
“It's a feeling others share. Sharpley-Writing wrote in 2007: "We must acknowledge our own
role in this troubling relationship. We are enthralled by hip-hop culture, and we conspicuously
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(and happily) consume its primary products- music, fashion and values.” Women have to pick a
side. They are either for or against the way they are being represented in rap music. Maybe the
music is only to entertain and women are just enjoying it. They are happy to see the new trends
and styles that rappers bring out so they could go and get something similar no matter what is
being said. However, if women are using rap music and videos for the fashion, rappers and the
industry should respect their taste and work on building better reputations for women in their
music. Women like the styles and fashion, not the hatred that is being shown towards them. Just
because they enjoy the music does not mean they deserve to be talked about because of their
interest.
Even though that saying may not be true, what is true is that people see what is going on
and they do emulate it. Many people are not aware of the habits they pick-up from others which
is why it is not good to be surrounded by negativity. Positive role models are important because
if the youth pick-up influences from them good would come out of it. Women may take an
interest in the music that oppresses them but that does not give rappers the right to represent
them the way they do. Rap music does influence bad behavior and denigrate women.
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Works Cited
Banerji, Shilpa. “Life after Imus: the debate has already begun over whether hip-hop culture
perpetuates the denigration of Black women.” Diverse Issues in Higher Education 3 May
2007: n. pag. Gale Power Search. Web. 29 Oct. 2011.
Farrington, Elizabeth Leigh. “Help Black College Women Reconcile Hip-Hop’s Misogyny.”
Women in Higher Education 19.6 (2010): 18. Pro Quest. Web. 28 Oct. 2011.
Fortune, Cornelius. “A DYING BREED?...Hip-hop and violence.” New Pittsburgh Courier
[Pittsburgh] July-Aug. 2006: n. pag. Pro Quest. Web. 29 Oct. 2011.
Hurt, Byron. Beyond Beats & Rhymes. 2007. Media Education Foundation. DVD.
Stewart, Pearl. “Who’s playin’ whom? Overwhelming influence of hip-hop culture, rap music on
HBCU campuses concerns students, faculty.” Black Issues in Higher Education (Apr.
2004): n. pag. Gale Power Search. Web. 28 Oct. 2011.
Vasudevan, Aruna, ed. Pro/Con Arts and Culture. Vol.12. Danbury: Grolier, 2003. Print.
Weitzer, Ronald, and Charis E. Kurbrin. “Misogyny in Rap Music: A Content Analysis of
Prevalence and Meanings.” Men and Masculinities 12 (Feb. 2009): n. pag. SAGE
Journals Online. Web. 14 Nov. 2011.