The whole point of genre is to be exclusionary. You want to create a feeling among your listeners that they have special knowledge, that they are part of an exclusive group. Odd Future is great at making its fans feel like they get it when no one else does. You can see this same narrowing of audience in country music’s evocation of conservative values, in dance music’s logos of endless sub-genres, and in indie’s anti-pleasure ethos. Rap just happens to do it with misogyny. That’s a problem. But the reason why it’s hard to talk about that in moral terms—the reason Nitsuh had to look beyond the “moral dimension”—is that a moral argument requires us to place blame. There can be no sin without a sinner. And rap’s misogyny is not a problem with any individual pieces. It’s a problem with the genre conventions that produced that piece of art. Which is to say that we’re circling back, in artistic terms, to genre, again and again.