A Review of Die Antwoord, a Rap-Rave Band from South Africa

Director Sut Jhally, in his documentary film, “Dreamworlds 3: Desire, sex, and power in music videos”, analyzes the issue of how women are portrayed in the music world. Jhally, in his film argues how music and media has become a proud industry when it comes to advertising women, all for the benefit of popularity and record sales. Jhally believes these videos both inform and misinform our culture about our dominant attitudes regarding femininity masculinity, sexuality and race. He uses an empathetic tone in order to appeal to pathos, the feelings and experiences in women when he presents video clips that are somewhat offensive to watch as proof that women have become a common necessity shown in music videos. Often presented as being sexually aggressive and submissive, being objectified by men. He also intentionally wants to try to stir up emotions as he introduces song lyrics of women being called inappropriate names and images of women being fondled by men throughout the film. Sometimes, aggressively without consent.

Art has undoubtedly become a decisive aspect of our culture; embedded in the way we learn and grow on a daily basis. Art forms such as music, television and dance dominate our society as an outlet of freedom of speech for humanity. The evolution of music has rapidly exceeded its original classifications, developing new genres with greater appeal to an audience, hence its influence on society has expedited. In recent times, lyrics (specifically rap lyrics) have been introduced into the court room as a form of documented confessional evidence, evidently challenging law’s authoritative nature. This essay will closely follow the genre of rap and its relationship with law, through cases based in the United States of America (USA). In addition, the trial of Simon Bikindi in Rwanda and Smith v The Queen will be used to form an acute analysis on the influencing factors of relevance, identity, freedom of speech and current constitutional law.

The proposal of this rhetorical analysis paper is to analyze how Simpson in his on-line article for the Australian Elvis Presley Fan Club, make use of ethos, pathos, and logos to appeal to the senses of the masses about how protest music can be subtle, but yet strong enough to challenge and change the social norms of America’s society of the fifties. Simpson has been

Dawes explains the critics she got from other blacks who accused her of living like the whites since she had a liking for white’s bands such as The Violent Flame and The Clash. She had emotional attachment to music as she describes in the book. Before globalization and invention of internet technology, she worked hand to ensure she access the kind of music that she found pleasing unlike other kinds of music that other people liked listening to. Her interest led him to become a music journalist, which was a great success to her music interest which resulted in writing of this book. The book contains Dawes’ personal bibliography, an analysis of the culture of the blacks in a perspective of political history, and heavy metal artists especially the black females.

Popular music is often one of the best lenses we have through which to view our own cultural orientation. Many of the artistic and experimental shifts in popular music have mirrored changes in our own society. For instance, the emergence of Elvis Presley as a public figure would signal the start of a sexual revolution and the growth in visibility of a rebellious youth culture. Similarly, the folk and psychedelic music of the 1960s was closely entangled with the Civil Rights, anti-war and social protest movements. In this regard, we can view popular music as an artifact through which to better understand the time and place in which it is produced. In light of this, the state of popular music today may suggest troubling things about our society.

In cultures all over the world, music can be seen encompassing many aspects of life for many individuals. It is a form of mass communication that"speaks directly to society as a cultural form", and often reflects a collection and pattern of personal experiences (King 19). Music is so influential because it communicates on three different levels: the physical, emotional, and cognitive. Not only does it operate in a nondiscursive way, by affecting the physiological mode of the body, causing one to move and dance, but it also encourages one to think. This paper will explore music as a form of protest; showing how a political message, in general form, is presented through music.

Berry says that there are good types of rap and bad types by showing that few rappers actually use sexually obscure lyrics and sexist towards women. Good rap would be considered songs by artist such as Queen Latifah, Salt N ' Pepa, Yo Yo, and MC Lyte are working to dismiss the men rapper 's images of women through their own performance style and lyrics. Violence is another factor because it is associated with black urban youths where rap music is always the common denominator for in the communities. Berry gives the idea that a major part of rap music is a reality in these neighborhoods by using NWA, a.k.a. Niggas with Attitude that consists of five rappers from L.A. who rap about gang banging, drive by shootings, and police confrontations. The lead singer of the group argued that their lyrics aim to show the "raw reality of life" instead of making it people’s reality. Williams argues that rap music does not represent the beliefs and ethics of black communities but only because people overlook the positive efforts made by rappers and focus on the negative aspects. Berry demonstrate how the supremacy of white and black power are prominent through focusing on how Parales beliefs that rap just shows the lack of education, and the frustration of the ghetto, and how hating rap can be linked to fearing young black men who are the stars of rap . Ice

In his article, Brooks strongly focuses on how protesting work with music based on moral, physical and perceptual. A song is written not only to sell, it is also composed depend on individials’ speeches that about peace, avoiding violence and war. Brooks expresses people against themselves when they protest because they would be arrested by violence, so people should not protest and ask themselves why they have to protest. However, actually, people need to protest because it is also their benefits that they must protect. Protesting and avoiding against themselves, it seems to be impossible, but it is not. Protest music can make impossible to possible. Brooks analyses how majority, chorus, and footnote impact to a protest music. In addition,

In their respective songs, “Foreign in My Own Country” and “Adriano (Last Warning),” German musical artists Advanced Chemistry and Brothers Keepers articulate their grievances in the aftermath of the fall of the Berlin Wall and the reunification of Germany during the late twentieth century. Their lyrics harken back to one of the main questions of this course, who/what is considered German? These songs were penned after multiple insurgencies, riots, and hate-crimes were committed by neo-Nazi and other far-right extremists who target and terrorize foreigners and those that don’t “look German.” Through their music and lyrics Advanced Chemistry and Brothers Keepers voice their outrage towards the violence and terror that has occurred in Germany

In order to understand the topic that is to be discussed in this essay, one must first understand two seemingly unrelated topics. Those topics are feminism and punk rock. These two social movements spawned the love child that has come to be known as the riot grrrl movement. The history of the riot grrrl movement is deep and intensely intertwined with themes of monumental social change, musical evolution, and the previously unseen all-encompassing nature that is unique to third wave feminism.

Afro-Punk: The Rock is a documentary film directed by James Spooner, exploring race identity within the punk scene across America and abroad. The film focuses on the lives of four people Matt Davis, Mariko Jones, Moe Mitchell, and Tamar-kali Brown dedicated to the punk rock lifestyle, interspersed with interviews from scores of black punk rockers from all over the United States. My overall impression of the film is that Afro-Punk is a very insightful documentary on the life of black punks. Most people, myself included are not aware of the life experiences of people who participate in subcultures such as Afro punks. I was surprised to see the struggle amongst the black community itself. Some did not want to associate with other blacks

” Williams’ theory therefore suggests that the terms must necessarily co-exist in order to define each other. The “pervasiveness of consent ” therefore characterises the fifties, against which these Beat texts can be contrasted. Theodore Roszak’s 1969 article ‘The Making of a Counterculture,’ helps define beat ideology as “heightened self-expression and often a rejection of political and authoritative institutions… a negative spirit of the times coupled with a specific lifestyle .” Both On the Road and Howl and their author’s lifestyles of their writers reflect this criterion, in idiomatic and contextual terms, lending to the notion that they are, by the overall nature of their existence, countercultural texts. Roszak’s adolescent counterculture often seems the embodiment of Dean and Sal’s ‘beatitude’ in On the Road “when they pulse to music…value what is raunchy… flare against authority, seek new experience, ” but it is similarly descriptive of the naked, sometime vulgar language Ginsberg employs in Howl “who bit detectives in the neck… let themselves be fucked in the ass.” (13) The Beats admire the vibrancy naturally present among youth, and although this is a style for which their writing has been criticised, it is a move away from the traditionally

This world portrays one of order as well as freedom. Today, however, audiences are more concerned about listening to the lyrics of a song than listening to the music itself. Music is more than a voice; therefore, these listeners fail to enter

The Police were a huge success in their abilities to influence and survive in a society of climatic endeavors. Throughout the Soviet onslaught in the 1980’s and the Arab oil wars in the 70’s, the music industry has thrived from the variety of conflicts around the globe. Soon after the Space age, The Police put out a popular song titled, “Message in a Bottle”, this song defined the bands culture with its unique definition pertaining to the climate of the world at that time. More importantly, influential music from that band produced a great change in society from their music – with only five-thousand words, twenty-five songs, three people, and one band – who changed it all.

On June 19, 1890 South Africans came into contact with African American music for the first time. This contact came when Orpheus McAdoo’s Virginia Jubilee Singers. Orpheus McAdoo, a graduate of Hampton Institute, now known as Hampton University in Hampton, Virginia joined five members of the original Fisk Jubilee Singers, an African American a capella group from Fisk University and began to tour places such as Europe, Australia, and New Zealand. When he returned to the U.S., he added four members to the minstrel troupe and in 1890 they found themselves in Cape Town, South Africa. Their tour in Cape Town was extremely successful and they forever left an impact on South African culture in the form of a Carnival that takes place each year. Kaapse Klopse, formerly known as the Coon Carnival takes place on January 2nd each year. Minstrel troupes gather in District 6 and take part in a parade and various competions. Various genres of music are represented in the Kaapse Klopse but one genre has been apart of the festivsal since its early beginnings, South African Jazz.