Black Women vs Hip-Hop Essay Example

inherited this world rather than creating it (214).

The weak justification behind Powell's disrespect towards women is discussed by McLune, who argues that although we have not created this world but inherited it, we still have the ability to change people's minds and the entire culture (214). Tupac Shakur may share a similar viewpoint, but instead of worsening the situation, our focus should be on improving what we have received. We must strive to overcome the negative aspects of this world and aim to transform others' perspectives and the overall cultural mindset. It is important to recognize that not all rappers in hip-hop mistreat women in such extreme manners.

According to McLune, hip-hop artists like Talib Kweli and Common are often seen as conscious alternatives but they do not directly confront the misogynistic lyrics and attitudes of mainstream musicians (214). Even though there are hip-hop artists who value and respect women, they still show admiration for those who promote hatred towards women. This admiration for derogatory music and videos positively influences consumers by encouraging them to listen to and purchase these songs.

According to McLune (214), a significant number of conscious artists prioritize gaining acceptance from mainstream artists rather than making meaningful cultural improvements. These artists claim to be aware of social issues but either lack the ability or desire to address the negative impact of hip-hop music. McLune criticizes offensive lyrics in hip-hop, exemplified by Jay-Z's line: "I pimp hard on a trick, look Fuck if your leg broke bitch, hop up on your good foot" (215). It is important for women not to be subjected to disrespectful language like this.

Fortunately, most current rappers are not as harsh as Jay-Z was during his early career.

Jay-Z's shift in language suggests a realization that being successful as an artist does not necessitate demeaning or disrespecting women. It is crucial to acknowledge the gravity of derogatory words, particularly when they target women. According to McLune, hip-hop artist Eve, who refers to herself as a "pit bull in a skirt," features in the Sporty Thieves video for "Pigeons," which is regarded as one of the most hateful and misogynistic songs within hip-hop. By participating in the video, Eve not only shows support for the women labeled as "pigeons" but also for the men who employ such labels (215).

The video presents a new perspective on Eve, depicting her not as a "pigeon," but as someone who endorses rappers who degrade women by calling them that. This portrayal is disrespectful to both Eve and women in general. Numerous female rappers in the hip-hop industry align themselves with artists who produce offensive lyrics targeting women. McLune argues that this scenario demonstrates how hip-hop fosters solidarity among men to maintain male privilege while also creating divisions among women based on their level of respect (215).

The article by McLune highlights that women rappers who belong to the same team must recognize that they are not unique and will ultimately face objectification and disrespect from their own team. Thus, McLune uses this article to shed light on the perspective of African American women who feel betrayed by their culture and seek to address these issues. However, as long as some women continue to participate in these disrespectful behaviors and

individuals like Kevin Powell exist, a solution or change to this significant problem will remain elusive.

Crystal Smith argues that the mistreatment and degradation of African American women in hip-hop culture should be confronted by all women. Smith emphasizes the importance of addressing feelings of disrespect, suggesting that fans must pay closer attention to the lyrics they consume since rappers respond to their demands and preferences. If fans alter their behavior, it will force rappers to change as well. Women active in hip-hop should take Smith's message seriously as it can potentially alleviate feelings of abuse and disrespect.