AMY GOODMAN: And the contradictions of hip-hop, I mean, for example, with Jay-Z, videos of women in degrading positions.

MICHAEL ERIC DYSON: Sure. Well, you know, hip-hop at large certainly has to answer and account for the way in which women have been degraded, the vicious assault upon women, to use B and H as the common parlance in reference to women. And it's an interesting irony, maybe even a cruel paradox, in hip-hop. They love their mamas, but hate their baby mamas, love the women who produce them, but hate and loathe the women with whom they produce children. That's not a good recipe or an equation for something healthy and productive.

Now, to its credit, at least we can understand where they're coming from. When you see the misogyny of hip-hop, it's so horrible, it’s so putrid, it’s so, you know, odious, that we know, we smell, we see it. The misogyny that is reified, that is reinforced, that is subtly reproduced in corporate America or in church life or in synagogues and temples and the like, is sometimes more subtly dealt with. I’m not trying to say therefore we should get rid of both of them. But we should be honest in the fact that the misogyny reflected in hip-hop is a reflection of the deep and profound misogyny in the culture at large. But they should be held accountable, and they should be challenged.

AMY GOODMAN: What about women hip-hop artists?

MICHAEL ERIC DYSON: Yeah, well, you know what? Many of them are reduced to either being the kind of reverse-Lothario or a woman who's like sexually promiscuous and shows that I can hang with the guys. Or when you have a person like a Lauryn Hill, a Bahamadia, a Queen Latifah, MC Lyte, a tremendous rhetorical flow and enormous gift, they're often marginalized -- or Eve -- within the context of hip-hop culture. There's not much room for women, when you think about it, pound for pound, as there are for men who possess this gift and this talent. It's seen as a man's world. And, unfortunately, what that means is that the viewpoints and perspectives of progressive feminist women are not as largely circulated or broadly amplified.

That's why I had High hopes for Boss in 93, I know she was Dysons description of the latter choices, ie; overly masculine "kind of reverse-Lothario", I can contend with that more than the promiscuity-Trina comn' right out saying she gone fukm, and sukm, for money with no panties, pitiful no such thing as a retired prostitute.

I don't even see her as a hip hop artist but her style makes my case.