Throughout the years, song writers have relied on music as an outlet for self expression, however more often than not, gender bias and sexism are predominantly integrated into the lyrics of mainstream music. Misogyny in the music industry has continuously been a prevailing issue, and with little to no alteration over the years, gender bias in favouring men has never been more abundant in today’s society. Artists induce patriarchy by implementing degrading lyrics and sexist verses towards women, all of which succumb females to continuously live in a culture that subjugates and oppresses women (KBrady, 2012). “Kill You”, released in 2000 by popular American rapper Eminem, evidently encompasses misogyny by using derogatory and offensive lyrics
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Misogyny is incorporated to promote rape culture and the dominance of the male in the lyrics, ‘Shut up slut, you’re causing too much chaos. Just bend over and take it like a slut, okay ma?’ The lyrics suggests the preferred binary here is Eminem feeling control and authority from dehumanizing the woman to nothing more than a sexual object for pleasure, shaming her by calling her ‘nothing but a slut’ and a ‘whore’. Eminem blames the woman for ‘causing too much chaos’, where he deems she is faulty for his forced actions. The line ‘just take it’ signifies women should be docile and inclined to accepted unwanted sexual advances from a man because women supposedly must always be submissive to the dominant male, contributing to the gender bias (Williamson, n.d.). Misogynistic lines such as, ‘Slut, you think I wont choke no whore til the vocal chords don’t work in her throat no more?’, conveys that a women’s voice has no significance in society and should be silenced with force. These lyrics employ misogyny to legitimize domestic violence and highlight that women should be compliant and domesticated by men. Women feel disempowered by the song as it creates an ‘ideology that reduces women to objects for men’s ownership, use or abuse.’ (Cundiff, 2013). Overall the song interprets the negative notion of a man’s suppressive and hostile actions towards a …show more content…
After finding out his now-ex girlfriend has been unfaithful, he portrays diligence to harass her by narrating his plan of action for revenge in the lyrics, “I’m gonna aim my headlights into your bedroom windows, throw empty beer cans at both of your shadows”. Thus, implying the desensitization of society into perceiving violent portrayals in breakups are of the norm. The binary in this song is that due to his girlfriend cheating he is obligated to act violently to shame the woman, to which he justifies his actions in the lyrics, “You know you broke the wrong heart, baby, you drove me redneck crazy.” His motives are excused supposedly due to his broken heart and plays ‘victim’, where as the real victim is left oppressed. Statistically, women are much more likely to be the target of stalking threats (ARS, 2010), this is reinforced by the ominous lyric, “I’m the kind of guy that shows up at your house at 3a.m.” Society needs to comprehend that domestic violence is not the excuse or solution for infidelity, however Tyler Farr relishes in this method. Misogynistic music reflects mainstream attitudes toward women, as artists have falsely internalized negative stereotypes about women (Sarah, 2016). The premise of “Redneck crazy” leaves women feeling disempowered as it glorifies breakups and the trivialisation of
Misogyny is incorporated to promote rape culture and the dominance of the male in the lyrics, ‘Shut up slut, you’re causing too much chaos. Just bend over and take it like a slut, okay ma?’ The lyrics suggests the preferred binary here is Eminem feeling control and authority from dehumanizing the woman to nothing more than a sexual object for pleasure, shaming her by calling her ‘nothing but a slut’ and a ‘whore’. Eminem blames the woman for ‘causing too much chaos’, where he deems she is faulty for his forced actions. The line ‘just take it’ signifies women should be docile and inclined to accepted unwanted sexual advances from a man because women supposedly must always be submissive to the dominant male, contributing to the gender bias (Williamson, n.d.). Misogynistic lines such as, ‘Slut, you think I wont choke no whore til the vocal chords don’t work in her throat no more?’, conveys that a women’s voice has no significance in society and should be silenced with force. These lyrics employ misogyny to legitimize domestic violence and highlight that women should be compliant and domesticated by men. Women feel disempowered by the song as it creates an ‘ideology that reduces women to objects for men’s ownership, use or abuse.’ (Cundiff, 2013). Overall the song interprets the negative notion of a man’s suppressive and hostile actions towards a …show more content…
After finding out his now-ex girlfriend has been unfaithful, he portrays diligence to harass her by narrating his plan of action for revenge in the lyrics, “I’m gonna aim my headlights into your bedroom windows, throw empty beer cans at both of your shadows”. Thus, implying the desensitization of society into perceiving violent portrayals in breakups are of the norm. The binary in this song is that due to his girlfriend cheating he is obligated to act violently to shame the woman, to which he justifies his actions in the lyrics, “You know you broke the wrong heart, baby, you drove me redneck crazy.” His motives are excused supposedly due to his broken heart and plays ‘victim’, where as the real victim is left oppressed. Statistically, women are much more likely to be the target of stalking threats (ARS, 2010), this is reinforced by the ominous lyric, “I’m the kind of guy that shows up at your house at 3a.m.” Society needs to comprehend that domestic violence is not the excuse or solution for infidelity, however Tyler Farr relishes in this method. Misogynistic music reflects mainstream attitudes toward women, as artists have falsely internalized negative stereotypes about women (Sarah, 2016). The premise of “Redneck crazy” leaves women feeling disempowered as it glorifies breakups and the trivialisation of