To begin with, social structure is defined as “the framework of society that was already laid out before you were born” (Henslin, 2015, p. 99). The social structural factors that influence the characters in N.W.A are the environment where they live (inner city neighborhoods of Compton, CA), gang-related crime, racism, and police brutality. These factors shape the characters’ personalities and actions. They are brought up to believe that because they are minorities, they have no hope and need to find a way to deal with everyday life, even if those ways are against the law. The dominant social group in this movie (White Americans) including the police adds to their social structure by viewing the main characters as troublemakers and deviant to
Niggers Back where im from the only thing we know is white I don’t care what a pussy says bitch I know im right All these stupid niggers wanna hang with me Only place these dumb asses should hang is from a fucking tree You don’t have the same rights as me don’t play any tricks Try anything and ill pull out my whip(pa pa!) This is whites only don’t sit on my bench If I catch you then ill have to pull out my lynch Stupid ass nigger you can suck on my dick Eat my cum for dinner you hoe ass bitch(nam nam!) Now all you niggers don’t you dare try and dream Youll end up like your home boy martin luther king Sorry niggers if my raps made you sour But all I can say to you is white power I hate every nigger in the world I hope they all die Enough from tmoney get em sparky flyyyyyyyy Im with you tmoney I hate niggers too All you monkey niggers belong in motherfucking in a zoo(tarzan) Black people dumb as hell its what I allways knew I like watchin niggers die with my ku klux crew Put your hands in the air if you hate niggers with me Gonna get an ak and shoot up a KFC(bang bang) All you stupid niggas do is run shoot and steel The only place you belong is in the got dam cotton field I sit in the front of the bus cuz my name is sparks All you niggers sit in the back sorry rosa parks When I see dead niggers all I do is
What seems to us now as excessive violence and misogyny in hip hop stems from a culture that has been consumed in a continuous battle against social and economic oppression since its early days. In the beginnings of hip hop, there was an explosion of defiance against the subjugation these artists had to experience on a daily basis. For many artists, rapping about guns and gang life was a reflection of daily life in the ghettos and inner-city housing projects. Not only did rap provide an outlet to voice the struggles of black youth, it also gave them a sense of pride. Before major hip hop groups such as NWA arrived on the scene, people would refuse to admit they were even from Compton. Nowadays, everyone wears the identity with pride. The genre was a testament to triumphing over hardships, to having enough confidence in oneself not to let the world drag you down, and to rising above the struggle, even when things seem hopeless. Violence in rap did not begin as an affective agent that threatened to harm America 's youth; rather, it was the outcry of an already-existing problem from youth whose world views have been shaped by the inequalities and prejudice they have experienced.
As detailed in Can’t Stop Won’t Stop, hip-hop was born through the explosion of creativity within America’s forgotten youth. The music spoke to the individuals in these forgotten communities. The music had a purpose and illuminated the political issues of the time. Sadly, over time, the increasing commodification of hip-hop as an art has gradually altered the audience of the music. As the audience has slowly changed, the meaning of some of the music has also changed. Capitalism has had a dual effect on hip hop; it has made hip hop “successful,” in that it spread it throughout the world and made it lots of money. On the other hand, it has distorted the original political nature of hip-hop. With that said, how has this change in hip-hop affected the purpose and audience of the art?
Doug E. Fresh and Slick Rick, two of hip-hop 's biggest legends collaborated in the early months of 1984 to create one of the most influential songs ever. Released in 1985, on the B-side to The Show, "La Di Da Di" garnered considerable media attention, making it one of the earliest rap songs to blow up nationwide. Instead of it playing on just black music radio stations, the song played on Pop music stations. The song has an everlasting legacy and influence on all genres of music, not due to the original song, but rather the hundreds of mega hits through the practice of sampling.
“Gangsta Rap and American Culture” is an enlightening essay written by Michael Eric Dickerson, where he counters the claims made by political activist, Senators, and other Congressmen to censor “Gangsta Rap”. Dickerson made a highly effective, fair, and accurate argument by bringing to light several reasons on how “Gangsta Rap” could possibly represent the voice of the outspoken and oppressed people of the black community; As well as larger underlying issues plaguing society that need to be focused on before we condemn rappers and their music. Dickerson’s background and current position as a professor and minister, along with his open-minded view on the allegations paved the way for a superb rebuttal to censorship of “Gangsta Rap.”
In her essay “hip hop’s betrayal of black women,” Jennifer McLune implies that “(h)ip-hop owes its success to the ideology of women-hating” (193). She does not agree with Kevin Powell’s article that hip-hop does not mean to “offend” black women, but instead artists are only letting out their temper throughout their music. McLune feels infuriated that many artists in hip hop (including black men) rap about their community and downgrade their own women. In the hip-hop genre, sexism is mainly used, not only by black men but also by many other race hip-hop artists. Artists assume that women-hating in their rap songs will be accepted by women, but do not realize that it is affecting all women. Some lyrics focus on success and making money. Nevertheless,
The noise in the air was getting louder and louder as stage time was approaching. Sitting with anticipation, fans in the crowd recited lyrics to popular melodies by this artist, reminding him of the musical dynasty he built. While soaking in the atmosphere, he prepared for the performance by putting on multiple gold chains, his set of “grills”, and a Louis Vuitton belt to complement his sagging designer jeans worth $600. He then entered the stage, and greeted the crowd, “WHAT’S GOOD HARTFORD?! WE FINNA TURN UP! YA READY?!” The sold-out stadium exploded as Chief Keef performed “Love Sosa”, a song which references misogyny, violence, drugs, and materialism, elements of most popular Hip-Hop today. Probing for an exciting occasion, adolescent suburban white kids paid to see yet another black man make a mockery of himself and his own race as Keef
1. Introduction This study deals with the employment of profanities such as fuck, nigger, motherfucker, bitch and shit in the selected rap lyrics by the famous former hip hop group, N.W.A .To be specific, N.W.A is an acronym for Niggaz With Attitude that was formed in 1987 by 5 members: Eazy-E, Ice Cube, Dr Dre, MC Ren and DJ Yella (Ogg and Upshal 1999, 115). Rap is a unique genre of music that has a wide fan base located in different parts of the world. It consists of rhymes, rhythm and written lines. Historically, the music of N.W.A provoked great discussions when they released Straight Outta’ Compton in 1988. They were one of the first hip hop groups that made headlines because of the use of profanity in their songs (Ogg and Upshal 1999, p.118).
During the golden age of hip-hop, where most rappers focused on the social conditions, the Geto boys´s song “Mind playing tricks on me” instead focused on crime. However, not just crime more the psychological consequences of it. Scarface, who suffered from manic depression when he was a kid, and used drugs by the age of eight, wrote the song. There are two other rappers in the song and they are Willie D, who had an abusive mother while growing up and raps the second verse, and Bushwick Bill, a dwarf who also lost his eye because his wife shot him during a fight, raps the fourth verse.
In the 1980s, the United States was characterized by racial politics and police violence. Most of the union jobs were outsourced to overseas, 45% of African Americans were left unemployed in South Central Los Angeles. Presidents Reagan and Bush had undone all the hard work that had been improved in the late 1960s and the 1970s. In the 1980s there was a decline in economic and social gains. Between 1986 and 1992, almost 1.2 million African Americans were affected by poverty, by falling below the poverty line (Lusane 404). Racial discrimination and police brutality had been a reality for African Americans, but those in suburban areas did not accept what was happening.
Since the beginning of its creation in 1970 rap music has always been judged. People think of rap in a negative way because of the subjects it normally references. In some cases this is understandable but in most cases it is not. Rap just like any other form of music is a way to express thoughts and feelings that not everyone can relate to but this doesn’t mean individuals should be able to criticize the music and its listeners based off the lyrical content.
Long Island, New York has cultivated many hip-hop talents in creating masterpieces of hip-hop songs. For example, rap crew Public Enemy’s Fight the power, hip-hop trio De La Soul’s Me, Myself and I, and Eric B and Rakim’s Follow the Leader. All of these songs had great influence over the future hip-hop generations, yet the ones that stood out to me were Public Enemy’s Fight the Power and De La Soul’s Me, Myself, and I. Fight the Power was produced by Public Enemy’s production team The Bomb Squad, and Me, Myself and I was produced by De La Soul and Prince Paul. Although two songs were both released in 1989, they offered different insights for listeners. Me, Myself, and I delivers a message of self-uniqueness in a humorous way yet Fight the Power
Lupe Fiasco and Kid Cudi have had their differences in the past, and while we haven 't heard much about the feud from either party over the last few months, there hasn 't been a public truce.
This movie was a broad discussion about hip-hop music (or more specifically gangster rap) and what kind of social issues the music not only showcases but seems to promote. The producer of this film, Byron Hunt, interviewed people involved in all aspects of the hip-hop industry, including famous rappers, to try to get to the bottom of this.