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While many studies focused on women and the problem of sexism, only a few researchers have spotted the light on misogyny against women in hip-hop music. Hip hop as we mentioned before is an art style that was first known in America by the 1980s and introduced to Moroccan society by a few groups that delivered the messages of this new urban art which was most of the political messages before it knew some changes. (Fried 1999) suggested that hip-hop music gives people a voice and keeps the excluded from general society as a vehicle to increase knowledge and awareness about social problems. however, the lyrics of hip-hop songs are still being criticized by the media and critics. There are many attempts to determine hip-hop music as a genre of audio pornography that includes sexism and violent ideas misbehaviors (Lynxwiler and Gay (2000).
Despite the fact that the subject of hip-hop has been the center of concern for so many years, there is only a few analysis about it, and most of them are about international hip-hop music. one of these analyses that were made by (Blinder 1993) was about 1985 to 1990’s heavy metal and hip hop music, which concluded that hip hop music was more sexually and graphic comparing to heavy metal which was nearly subtle because of its illusions to sexuality male domination. When it comes to the image given to women in hip-hop music, many studies have been made in order to spot the light on it. McFarland’s (2003) study defined two main subjects and themes that were well-dominant in hip-hop music which are the critique of racial inequality and the championship of the domination and supremacy of men over women. His study showed that Of the 263 songs that mentioned women, 37% identified them as objects of male desire and sources of pleasure while 4% justified violence against them. Some suggest that popular music is a part of a wider cultural resistance to feminism over the past years, a collective of efforts to block gender equality and bring back male domination. Lay (2000, 239) argues, ‘‘Popular music can be read as a vehicle for heterosexual male concerns [over the advancement of women and gays] and, more importantly, for the recuperation of hegemonic masculinity.’’ in response to this popular discourse Collins (2000, 82, 144) believe that hip hop to be one of ‘‘controlling images’’ that was utilized to support black women. on the other hand, Oliver (2006, 927) argues that hip hop’s sexist lyrics ‘‘provide justifications for engaging in acts of violence against black women’’ (see also hooks 1994; Rhym 1997).
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