Misogynoir

[6] The concept of misogynoir is grounded in the theory of intersectionality, which analyzes how various social identities such as race, gender, class, age, ability, and sexual orientation interrelate in systems of oppression.

[7] Bailey coined the term "misogynoir" while she was a graduate student at Emory University[a] to discuss anti-Black misogyny toward black women in hip-hop music.

[5][3] Bailey and co-author Whitney Peoples describe the elements of their neologism, misogynoir, as: a combination of misogyny, 'the hatred of women', and noir, which means 'black' but also carries film and media connotations.

[5] The concept of misogynoir was elaborated on in a 2014 essay by Trudy of the blog "Gradient Lair",[8] and has been accepted and used by many black feminists and cultural critics, especially in the blogosphere.

[15][11] The term "transmisogynoir" was created to refer to the intersection between transmisogyny and misogynoir, meaning the oppression of black trans women.

However, existing hate speech detection tools are ineffective at recognizing the nuanced contexts of misogynoir, often leading to misclassification and further harm to Black women.

Coined by Evelyn Brooks Higginbotham, the term "respectability politics" refers to the tactics black people employ to promote racial uplift and obtain broader access to the public sphere.

An article of The Guardian mentions artists like Alicia Keys, Rihanna, Nicki Minaj, Mariah Carey, and Beyoncé are prominent in popular music.

[34][better source needed] Many Black women artists have come forward with accounts of being sexually abused by DJ Tim Westwood, and allegations were formed in May 2022.

However, nowadays, certain elements of the hip-hop culture, namely, the violent, criminal, and hyper-sexualized expressions of Black people, are the only form of the genre to be mass-produced.

[38] Christina Wheeler is a prominent Black woman in the music industry and has voiced her and other artists' struggles in gaining respect and popularity.

[39] The Country genre of music, dominated by White artists and less by males, has also begun to show signs of Black women representation.

In the case of Love and Hip Hop New York, for example, the self-reference that the show draws upon are storylines in previous episodes (meant to keep viewers engaged with the cast) and externally, the show draws upon dominant characterizations of Blackness in the media, popular trends in hip-hop, and the social, political, and economic circumstances of Black people in the contemporary moment.

The mass media obfuscates this extensive history by narrowing the diversity in hip-hop culture to stereotypical representations of Black people—namely, that they are violent, greedy, and sexually irresponsible.

Because of mass media, it is said that hip-hop culture has been commoditized and reduced to the perpetuation of representations of people of color that have long been deemed problematic.

[37] In the development and socialization of African American youth, it is a time where emotional and cognitive maturity is racing to catch up with the rapid pace of physical and hormonal changes.

For African American girls, pubertal onset, including breast development and menarche, typically occurs about a year before their white counterparts.

Thus, for many black youth, early-onset puberty may cause others to respond to their adult-like appearance in ways that do not match their cognitive capacities or how they perceive themselves.

In adolescence, youth openly nurse an emergent identity, wrestle with contradictory messages, and may experience shifts in their primary influence groups, which often include parents, peers, and siblings.

For many black girls, the metamorphosis involves pronounced physical features—fuller hips, rounded breasts and buttocks, and increased height that draws the attention of male peers and some adult men.

Modern images of beauty evolved from the historical ideals of womanhood; women are envisioned as white, meek, quiet, and slim.

During the U.S. Open final in 2018, Williams was penalized for several things she challenged, including breaking her racket at the end of the fifth game against Naomi Osaka.

The documentary "Say Her Name: The Life And Death Of Sandra Bland" acknowledges black women who are overlooked in police brutality and utilizes the #SayHerName tagline.