Kyra Gaunt

For example, the song Booty Hopscotch entices very young girls to record themselves while a male ventriloquist grooms them to keep that ass jumping, keep that ass jumping.

Girls say they don't listen to the lyrics, but when asked, they can sing every word with no concern for the consequences.

Before YouTube, before world star hip-hop, the black YouTube,

On the playground and in the bedroom, the voices that Black girls heard in their own musical play were predominantly their own.

But these days, online Black girls are drowning in the sounds of musical mansplaining while bouncing their booty to the beats and rhymes of rap that tops the Billboard and YouTube charts.

Songs like, "'Hands up, get low.

Hands up, get low.

Hands up, tell them what to do and how to do it.'"

Curiously, the hook for that song may have come, may have been appropriated from a black girl's hand clapping game called gigolo.

Gigolo is a contraction, jig meaning to dance, and a lo, well, to get down.

Jig a lo, jig, jig a lo.

I do my thing, yeah, on the video screen.

Yeah, well, my hands up high, my feet down low, and this the way we jig a lo.

Hands up high, my feet down low, and this the way we jig a lo.

Girls across the gender spectrum who love to twerk, which is a culturally appropriate and sophisticated style of dance found throughout the African and Afro-Latina diaspora, are being enticed by sounds that are produced, engineered and written 90 percent of the time by men who are enticing and taking advantage of girls who love to dance and treating them like adults in their intimate bedroom musical play.

How do I know?

For seven years, I've been studying a set of 650 bedroom twerking videos by black girls.

They were uploaded to YouTube between 2006 and 2014.

Over a thousand girls from all around the world selected 200 twerk songs and only nine voices of women, including Nicki Minaj, Beyoncé, Ciara, and one indie artist named Katy Got Bands.

So what's behind all this?