Through an examination of song reception, one can understand the large disparities in how male and female artists are criticized within the music industry. Evidence of these disparities presents itself within music critics’ reactions to the utilization of autotune technologies by both male and female artists. For this project, we will use Kanye West’s “Heartless” (2008) and Britney Spears’ “Toxic” (2003) to serve as a case study by which we can highlight the inconsistency of critics’ receptions of male and female artists. Auto-Tune allowed West to create a robotic, melodic sound on “Heartless” (2008) to help signify the feeling of heartbreak. The technology also allowed Spears to create a distorted sound on “Toxic” (2003) that elicits the feeling of being taken over by an intoxicating lover. This site will use contextualizations of gender discrimination within the music industry, music and critical analysis of West’s and Spears’ recordings, and exploration of scholarship about artistic authenticity and transparency to show the inconsistencies between their record’s critical reception. We argue that the negative receptions were rooted within the false notion that Spears utilized musical technologies, like Auto-Tune, to “cheat” the music industry by creating an exaggerated version of femininity (Danielson 2017, 14) and that autotune feminized West’s musical recordings, through the auto-tuned melodic lyrics, deeming them as qualitatively inferior.