We affirm the 1AC minus their playing of “Mumble Punk”.

Across the survey of songs, lyrics and themes of men’s power over women were pervasive. Sexual conquest over a rival’s partner was common, as was reference to female sexual partners as interchangeable and disposable. Across the sample we identified, “lyrics mirror the street code’s exhortation that men avoid commitment, marriage, and caring for children; instead, women are to be sexually used and then quickly discarded”.102 Singer Chris Brown, convicted of felony assault for his violence against former partner Rhianna, illustrates this anti-fatherhood responsibility sentiment in the song No Guidance, singing, “Before I die I’m tryna fuck you, baby. Hopefully we don’t have no babies I don’t even wanna go back home”.103 Women’s names were never used, rather the word “bitch” was frequently used as a reference to girlfriends and partners. Although this study’s methodology did not centre content analysis, I thought it would be useful on occasion to quantify how frequently certain words or phrases appeared across my sample. Thus, in these brief examples of content analysis, I identified units of analysis that were brief feminised sayings that include one to five words (i.e., short phrases). Of the 50 song sample I analysed, the word “bitch” featured in 34 or roughly 68% of the coded songs. “Bitch” is used to refer directly to a female partner (e.g., “my bitch”) or to feminise and denigrate an enemy an artist had “beef” with. Bragging that having sex with an enemy’s girlfriend or sexual partner (e.g., “Could hit your bitch”104) is also a consistent theme, to showcase sexual prowess, power, and the ability to cuckhold enemies. “’Ey fuck your IG, I put somethin’ on your sonogram”, Young Thug recites, boasting of impregnating his opposition’s partner.105 Sexual conquests over a rival’s women are a repeated lyrical weapon of war. The framing of women as “mine” or “yours” also speaks to sexist notions of possession and a lack of female agency and autonomy. Across the sample, women are described in positions in relation to men. Even songs that are performed by women place female performers in relation to male figures who can provide them with material goods, or emotionless sex. As such, we see a continuing normative presentation of hegemonic masculinity. Women in popular Hip-Hop are objects to be used and disregarded for either a Rapper’s personal sexual gratification, or to emotionally hurt a Rapper’s enemy by betraying them. Men are the primary actors, who have agency, while women remain in a subordinate role. While agency is shown by the female under study, it is still presented in a manner that is acceptable to the dominant gender role order. Female agency is limited to asking for aggressive sex, in the pursuit of sexual gratification, or material goods. Writing about the presentation of women in Hip-Hop’s music videos, Jefferies observes that “Women’s bodies are constantly sexualized and commoditized by the promotional machinery of both independent and corporate hip hop producer… The vast majority of these instances fit squarely within the framework of male supremacy, as women are degraded and cast as disempowered creatures relative to men”.106 We can say the same in the lyrical content of our sample of songs. Women are nameless, faceless, and reduced to their worth as a sexual commodity.