The third part of the chapter, titled “‘Free the Girls’: Hip Hop’s Betrayal of Black Women” brings attention to the increasingly sexist portrayals of women in hip hop and why many young Black women are reluctant to resist such depictions. While “sexually degrading imagery” (Rose 122) is perhaps more common, it should be distinguished from non-exploitative expressions of sexuality in music.Ī failure to separate these places the “sexual freedom and autonomy” (Rose 122) of African American women in jeopardy. The next part of Rose’s analysis, titled “Explicit Isn’t Always Exploitative” focuses on the difference between “degrading sexual culture and sexually explicit culture” (Rose 122), and how far too often the topic of sexuality in hip hop is automatically viewed in a negative light. Rose also criticizes major African American religious leaders for “getting on the “respect”-black women bandwagon” (Rose 120) without actually providing any “commentary on the distinctive ways that black women are discriminated against” (Rose 120), resulting in a reinforcement of the underlying issue of patriarchal values. Thus, when conservative leaders blame hip hop for demeaning women, they are really not solving anything, rather doing more harm than good, exclusively demonizing young Black men, as if they are the only perpetrators of sexism. But Not the Kind Aretha Franklin Had in Mind” discusses the problems associated general American society’s view on hip hop’s sexism, and how hip hop is really just a magnification of mainstream American society’s glorification of hypermasculinity. The first section, titled “R.E.S.P.E.C.T.

Her commentary on the treatment of women in hip hop is divided into three parts. “In chapter five of her book, The Hip Hop Wars, Tricia Rose analyzes the issue of sexism in hip hop.

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