Morgan, Why Is Misogyny Expressed in Rap

¶ … Morgan, why is misogyny expressed in rap music? In what ways do you support her point-of-view, in what ways do you disagree? Be specific. Give examples from research, experience AND the readings to support your points. The controversial 'hip-hop' feminist Joan Morgan states that: "we are all winners when space exists for brothers to honestly state and explore the roots of their pain, and subsequently their misogyny, sans judgment" (Morgan 9).

However, she also writes that it is vital and essential to view both black men and women as 'winners' when oppression is lifted from female shoulders. The solution is not banning rap music, rather it is to understand that rap is an expression of the pain felt by African-Americans and the mask that men wear to hide their frustrations (Morgan 74). She states that black women must love black men "for who they are," not who they want them to be (Morgan 75).

Even critics of rap music like writer and actor Sarah Jones state that: "The image of scantily-clad women [in rap] is supposed to affirm some image of masculinity, the man as a mack... But in actuality, what they [men] show themselves to be is incredibly insecure" ("Misogyny and Women of Color," Independent Lens, 2007). Morgan's point is legitimate in the sense that it is not fair to demonize rap for its sexism without taking into consideration the plight of those who produced it.

Rap music is not 'the same' as white sexism because of the fact that it has historical roots in the discourse of powerless people, versus the discourse of white male privilege. However, Morgan's assertion that women should unequivocally support black men is troubling. What about women in abusive relationships? What about a woman in a relationship whose husband or boyfriend takes out his frustrations upon her? Male oppression of women is not justified simply because males may suffer oppression to because of race, class, ethnicity or religion.

Morgan says that feminism is useless when it fails to acknowledge that black men live in a warzone. Yet what about the war zone of the bedroom that smothers female autonomy and pride? The images perpetuated in rap lyrics and videos suggest that "these men are so important and so powerful, and these women conversely are so dime a dozen… that they don't matter, they're just eye candy, they're worthless" ("Misogyny and Women of Color," Independent Lens, 2007).

Even if the braggadocio may have its roots in black male insecurity, this still does not minimize the emotional damage done to women who feel forced to identify with the powerless images they see of themselves.

Morgan's argument, although couched in black feminist language has an element of the defense of hip-hop frequently articulated by male artists: that they are 'keeping' it real,' in other words, they are telling the truth, in all of its ugliness, namely that their neighborhoods are ridden with violence and this violence also manifests itself in misogyny.

But by creating an attractive and somewhat empowered (if only in words) vision of violent, black youth, do not the artists perpetuate the very violence they claim that they do not support, merely chronicle? "At what point do stories that emanate from an overly violent day-to-day life begin to encourage and support that aspect of everyday life and undercut the communities' antiviolent efforts?" (Wilson 2).

Furthermore, Morgan paints rap music with a fairly broad brush, and tends to emphasize the elements that are the most politically-focused and critical, versus artists who prefer to stress the aspects of consumer culture embraced by many artists. Many of the images of sexism in rap music are not those of oppressed black men taking out their rage in women as an expression of frustration, but often those of highly successful men who use their newfound financial power to exert domination over women. "What conclusions can be.