Popular Culture Review 30.1
argues that the experiences of women of color in hip-hip are made invisible since they are neither male , nor a member of the dominant culture , which are traits that she labels as being the two “ prized markers of neutrality ” in the United States . Misogynistic lyrics , songs , and video presentations further demonstrate the dominance of males in rap by ignoring , dismissing , subjugating women , or outright discriminating against them . According to Guevara ( 56 ), female rappers are restricted when they perform , and hip-hop music is oppressive and discriminatory because women artists are “ expected to act differently ” than males when they appear in front of a crowd . For example , it is acceptable for men in rap to be sexually suggestive and even misogynistic on stage or in visual presentations . At the same time , with a few exceptions , female rappers refrain from doing anything similar when they present themselves to the public . That said , this is starting to change . For example , contemporary artists such as Cardi B , Lil Kim , and Nicki Minaj seem to present more of a “ female in control ” narrative in lyrics . However , the sort of feminist presentation promoted by these same rappers is often given from the perspective of the male gaze ( again , pushed by record companies ), as suggested by the sexist imagery in their video-clips . Because industry insiders and executives are cognizant that young males are the major consumers of hip-hop in the United States , Hollywood ’ s concept in regard to the involvement of women in rap focuses more on fantasy ( i . e ., focusing on the appearance of female artists ) than reality ( i . e ., the creative talent / art of females ). Although rap music is promoted as mere entertainment , representations of women within hip-hop culture does little aside from perpetuating existing gender and sexual objectifications and stereotypes , all of which endorse a society where females are the subordinate objects of men ( Quinne ). 3
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