Morgan’s obligation to write this article is to change the center of attention of rap criticism and look deeper in to it. The intended audience is for man and women in young age. His intension is to notify us what causes all of the dysfunction and hate actions between man and
Commercial hip hop is too blindsided by making profit to assist in the rallies for Black justice the same way that hip-hop proper is doing. #BLM has liberated rap from its default setting today, and is beginning to break the white stereotype that hip hop is defined as a consumer market where “rhyming negro gentleman callers and ballers sold vernacular song and dance to an adoringly vicarious and increasingly whiter public” (para.6). Tate concludes with stating that #BLM’s “reclamation of hip-hop proper has brought complexity and revolutionary street cred back to the race conversation in commercial rap. The public can no longer be sold the noxious and recherché notion that 21st-century rap culture is only about trap-happy nigras getting paid for getting dumb, or coldstoopidwackretarded, even. Thanks to #BlackLivesMatter, the beautiful struggle against racialized injustice once again matters where rap and hip-hop proper live” (para
Lorissa Figueroa Professor Patton ENG 1A 7 February 2018 More than what Rap Portrays When we listen to rap music we don’t really pay attention to how lyrics can affect people as often as we should. Since rap music has started it always influenced violence and sexism, but not everyone notices how it influences the black community. Joan Morgan explains this in a passage of her book When Chickenheads Come to Roost: A Hip-Hop Feminist Breaks It Down (1999).
In the article, that quote was stated meaning Ice Cube doesn’t think they’re glorifying the lifestyle but merely informing people of what happens in South Central Los Angeles. All of these reasonings are true because the song did introduce the world to gangster rap and it does explain the lifestyle in Compton. Even though Ice Cube, one of the artists of the song, doesn’t think it glorifies the gangster lifestyle, it is still a very violent song. If the song wasn’t censored, kids could easily find the song and listen to all the ostentatious lyrics, and non-kid-friendly content. Kids listening to this song would normalize cussing, the n-word, and the violent scenarios discussed in the
This article focuses on the color-blind ideology that allows white people to participate in and appropriate hip-hop culture. Rodriquez notes that they do so by using the guise of inclusivity of all races to justify their participation in hip hop and to adapt characteristics of the culture without respecting Black identity. He uses his own interviews of several white audience members of hip hop concerts who identified as participants of hip hop culture. Rodriquez identifies two groups resulting from social collectivity to reinforce his argument: consciously collective white groups, who actively reinforce racial segregation and passively collective white groups, who unknowingly unite and reinforce systematic racism through their adherence to color-blind ideology. The participants of his research are part of the latter, who unconsciously reinforce systematic racism through treating cultural objects, namely aspects of hip hop culture, as shareable products and experiences.
Within creating this song the NWA has established a negative connotation and narrow stereotype of African Americans being in relation to violence, drugs, murder and rape. The song links all African Americans to an “American gangster” lifestyle which creates and contributes to the undesirable marginalization of an African
McBride begins his essay in high contrast to his intended purpose with an anecdotal discussion of his first encounters with Hip Hop music that inevitably represents black men as arrogant, aggressive, and poor. The introductory paragraph details McBride’s fear of his daughter marrying a black rapper that he describes as having “a mouthful of gold teeth, a do-rag on his head, muscles popping out of his arms, and a thug attitude” (McBride para. 1). This stereotypical description of a rapper, as well as the sense of fear McBride feels, contributes to his initial representation of black males as aggressive thugs that are unsuitable to become husbands.
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.
Hip Hop is seen as something inspiring, but most people see it as a way to speak out the truth about a problem. As in “Hip Hop planet” being able say the truth can sometimes worsen any situation because sometimes what we say can promote violence and whatever happens after is not in our control. The essay is about how hip hop has changed into speaking out the issues that need to be taken care of in order to maintain a proper society. McBride talked about how rappers use violent lyrics to degrade women and gays and because of this it shows how the music has evolved into something entirely different that no one would have ever expected to have changed. In James McBride's essay “Hip Hop Planet,” he argues that hip hop has a negative influence on American Culture despite people thinking of it as inspirational and how people live through different experiences in life despite of your race.
The block parties, graffiti art, rapping, disc jockeying and diverse forms of dancing built Hip Hop by the black youth. They expressed their feelings, thoughts, but most importantly the problems they had to face, which were related to their race, gender and social positions. The rights that were given to black people during and after the Civil Rights Movement left the following generations at a lack of how to continue the fight for black rights. Hip Hop gave them this platform and with the usage of black nationalism, Hip Hop can explore the challenges that confront American-Americans in the post-Civil Rights Movement era. In the 1990’s Hip Hop lived its prime, sub genres started to appear and famous groups, MCs led the whole community, providing a voice to a group of people trying to deliver their message.
“Large business” (Spotlight 13), utilize “hip-hop artists as” (Spotlight14) spokesmen to gain attention. Many believe that by doing this companies are “purposefully --promoting negative values” (Spotlight15). Yet to say that all rappers promote negative values is completely bias, because as we have previously established not all rappers rap about negativity. “No connection is found between antisocial behavior in young people and controversial genres of music such as ‘gangster music’”
Rap music has been consistently berated by the public since its conception. This is due to the vulgar and intense lyrics often incorporated in the genre. While this is not a concept unique to rap, it is presented as such when brought up in criminal cases. Briana Younger, a writer for the New Yorker, challenges these assumptions of character by presenting examples of the issue before addressing why it is detrimental to the rap community and a failure of the legal system, “By introducing the work of a rapper into the courtroom, prosecutors are relying on racism to do its job—insisting that those in the courtroom accept, as fact, the worst kinds of stereotypes about this music and the people who make it” (par. 9). Younger explains how prosecutors utilize the storytelling found in rap music and claiming it is founded in truth.
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. The relentless wave of heroic new rappers arriving on the scene formed the golden age of hip hop in the 1980s, a newfound voice which rose from the impoverished ghettos during the 1980s and inspiring a generation of black youth to fight the police brutality they faced on a daily basis.
The Impact of Hip-Hop Ever since its birth in the 1970s in West Bronx, Hip Hop has been known as “Gangsta” music and most commonly associated with black culture. Since its creation it has become a fast growing genre of music and has growing fame all over the world. The popularity of it has increased to all races, age and gender. However the growing popularity of hip hop has come with several controversies among scholars. Some scholars argue that the growing popularity of the genre is very helpful to low income families who can use this as their outlet into going to Universities, on the other side some believe associating the genre to black culture is bad for the culture as a whole and they should not be associated together.
Hip-hop culture has been the topic of various academic, social, and political discourses. Rap music, in particular, has made its way to mainstream media which is evident in the numerous films and movies that centers on what was once a part of an underground culture. Scholars explain that the popularity of hip-hop in both music and films are partly due to its potential to disseminate information, address an issue, and promote social change. Tinson and McBride (2013), for example, note that hip-hop is a “…form of critical education at the intersection of, and inseparable from political engagement” (1). Scholars further note that hip-hop’s current state “…requires frequent accounting of its engagement with the social, political, and cultural climate
