African-American Gangster Culture

The rest of the chapter talks about the similarity of minstrel images in 1990s hip-hop, as evidenced by the defining characteristics of greed, violence, hyper sexuality and pathos in “gangsta rap” (a sub-genre of hip-hop further defined in chapter two). Ogbar balances this landscape with challenges to what he calls “neo-minstrelsy” from both inside and outside the hip-hop community, including discussions of the Spike Lee movie, Bamboozled, underground conscious hip-hop groups such as The Roots and Little Brother, and the activist “Stop Coonin’ Movement”, to name a few. Throughout the book, Ogbar explains how rappers strive for authenticity by “keepin’ it real”. And that is defined by how they rap, walk, talk, and make their

Music and society have always been closely related. For years now music has been apart of people’s everyday lives all around the world. Having so many different genres out there, it makes it easy to be appealing to so many different ethnic backgrounds. However, one type of genre in particular has seemed to grab the attention of a younger generation. Rap music has undoubtedly had its utmost impact on African American youth, since many of the performers themselves are African American. An overtly masculine culture dominates rap music and creates gender stereotypes that become abundantly popular to the youthful audience. Three constant themes that are found within the rap culture are encouragement of violence, the misogynistic representation of women, an extreme hatred of homophobia. Each theme plays a detrimental role in the process of defining black masculinity as well as shaping the values, morals, and beliefs that its younger audience adopts after tuning into this “gangster lifestyle”.

The Gangster Disciples are still an active group in the United States (Mallory, 2012). There are members of the group in over 35 states and 70 U.S. cities (Mallory, 2012). Nearly 20,000 members reside in the city of Chicago, where the FBI considers this group a “major organized crime group” (Mallory, 2012, p. 208). The Gangster Disciples were formed after the death of the group’s original leaders, David Barksdale (Mallory, 2012). A young man who was already a member of the group, Larry Hoover become the new leader of the Gangster Disciples because he was a person that Barksdale watched over (Mallory, 2012). After his death, the group split into the Black Disciples and the Gangster Disciples (Mallory, 2012). The group became prone to violence

The course topics this session were all very interesting. The one that seemed to resonate with me the most was the section about Rap Music. The way that the material was presented and how Rap Music as a whole was dissected was really intriguing. One point that really stuck with me was the “Our Buddy” discussion. It really opened my eyes to how the rap/hip-hop industry markets the music to us. This paper will show that the stereotype of “Our Buddy”in rap music is very real and how the material has turned from an art form into and marketing ploy. I intend to support my argument with examples and analysis by explaining how the stereotype can become accepted as a social norm.

However, the media also plays a major role in promoting some negative effects and stereotypes in our society. A good example of stereotypes is the way African American males are described. The media normally depicts them negatively as violent, cruel, criminals as well as having other antisocial behavior that the causations don’t have. These negative representations of dark guys are promptly obvious and passed on to general society through the news bulletin, films, music features, realty TV and other programming and manifestations of media (Abraham & Appiah, 2006). As a result, the media has created a crooked and damaging perception of black African Americans in the public’s eye thus promoting hatred and racism which all affect the lives of the blacks (Holt, 2013). This

In today’s society mass media has major influences on the beliefs/perceptions one may have on certain ethnicities or controversial topics. Media outlets have the power to shape certain situations and place people in an image that may not always be accurate. As stated in an article by Narissra M. Punyanunt-Carter, Communication research and theory suggest that the mass media is an important source of information about African Americans and media portrayals contribute to public perceptions of African Americans(2008). Further, it was mentioned that media outlets such as television may cause viewers to conceive, alter, or even reinforce their beliefs and opinions about African Americans ( Punyanunt- Carter, 2008). For Instance, in the Netflix documentary called “13th” Media outlets consistently used the word “Super predators” when describing the numerous African American men who were being arrested in the 80’s during the war on drugs era. The constant use of the word super predator can persuade viewers to believe that ALL African American men are super predators when that is not the case! Just because there are a few African Americans who are seen on Media outlets committing heinous crimes does not mean that all African Americans are criminals. As stated in a scholarly article by Tony Weaver, Media outlets create a narrative that portrays African Americans as lazy, violent individuals, who are prone to crime. The Misrepresentation of African Americans in media has

We live in a media saturated environment where everything we know and what we consider to be important is often based on stories produced and displayed to us by the media, Brooks and Hebert (2006). Much of what we know and care about is based on the images, symbols and narratives in radio, television, film, music and other media systems. How individuals construct their social identities, how they come to understand what it means to be male, female, Black, White, Asian, Latino and Native America is shaped by commoditised texts produced by media for audiences that are increasingly segmented by the social construction of race. In short the media are central to what ultimately come to present our social realities. For example for many Whites and people from other races and ethnicities the media’s portrayal of young black men is the primary bias for their knowledge and reaction. With a few notable examples in politics, most media present young black men as figures to be admired for their athleticism, artistic, entertainment talent or feared for their criminality. However this essay will focus on the way young black men are portrayed in news.

There’s a powerful source brainwashing young minority women today, specifically the language expressed in Rap lyrics which is often embraced by the Hip Hop Culture recently. These young gems are being conditioned to value their worth centered around hollow, vain, and degrading measures. The lead directors of these measures are strong, empowered, talented men who come across as if they detest woman. They disclose and describe detail stories of lifestyles involving “model chicks” who degrade themselves for acceptance, money, and opportunity. Consequently, this behavior leaves impressions for young ladies to follow after; because most young ladies of minority tap into the hip hop culture as a guide for social behavior. Although, the Hip Hop culture allows a window into the challenges faced by the black community it has also been the lead contributor to the desensitization of exploitation towards women due to the negative messages and images portrayed in music lyrics and music videos today.

Indeed, McDonald's, Coca Cola, Sprite, Nike, and other corporate giants have capitalized on this phenomenon. Although critics of rap music and the hip hop culture seemed to be fixated on the messages of sex, violence, and harsh language, this genre offers us a paradigm of what can be. The potential of this art form to mend ethnic relations is substantial.

The way entertainment in the media portrays us has greatly affected how others identify us. Movies and shows like; Madea’s family Reunion, Bringing down the House, Love and Hip Hop, and Basketball Wives all portray us in a degrading way. People sometimes find it comical of course, but the fact that it is comical does not justify it being debasing. This image of us has evolved from things in the media, and its’ power to shape people’s idea of us. We as a race must stop living up to our stereotypes. As soon as we take action in not succumbing to our own stereotype, people will not think we are “Ghetto” or any other undignified term they think of us; therefore in the media we won’t be perceived in that way. As Colin Powell once said, “Fit no stereotypes. Don't chase the latest management fads. The situation dictates which approach best accomplishes the team's mission.” Although African American stereotyping is prevalent in the media now because of its’ entertaining quality; it perpetuates a cycle of harmful stereotypes. As long as this cycle continues, our culture will always be illustrated negatively.

Throughout his career rapper Kanye West, has been portrayed as many different things in the media based on his public appearance and the subject matter of his music. The message he relates in his music is ever changing and often showcases different ideals or stances on issues echoed among different parts of the African American community. Two such instances of this come from very different periods of Kanye’s career, and show two polar opposite opinions of how to deal with arguably the most important social issue in American history. This change in Kanye’s way of dealing with racism reflects two differing schools of thought in the African American community. Although early in Kanye’s career his music identified the racial inequality

Hip-Hop is an extensive and a broad conglomerate of various artistic forms that ultimately originated in the South Bronx and then quickly spread throughout the rest of New York City among African-Americans and other African-American youth mainly from the Caribbean and from Jamaica during the 1970’s. Over the course of decades and recent years, controversy surrounding Hip-Hop and rap music has been the vanguard of the media. From the over hype of the East and West Coast rivalry to the deaths of Tupac, Biggie, and even Michael Brown and Trayvon Martin, it seems that political and broadcasting groups have been injudicious to place essentially the blame on rap and Hip-Hop music for a superficial trend in youth violence.

“American Gangster” is based on the true story of Frank Lucas’ life. It is the story of how he cut out the middleman in the heroin business and the story of how Ritchie Roberts caught him. Throughout the film we see the parallel between a cop and a criminal as we inch forward to see their lives finally meet.

With things, such as explicit lyrics and depiction of women, drugs, and violence an assumption can be made that gangster rap represents a masculinity that rappers portray themselves as in their songs. Dating back to its origins, African Americans had always been the face of gangster rap, with such names like Tupac, Biggie, Jay-Z, DMX, and much more, as covers of rap magazines. Gangster rap had always been seen as what people interpret it to be and that is a raw rhythmic and explicit version of poetry in motion, but gangster rap depicts more than what people interpret it to be. Gangster rap depicts the image of how a strong African American male should look like, a bold, angry, rebellious, and fierce man. Strong African American males are subjective to gangster rap, mainly because of how gangster rap portrays masculinity. In “Brotherly Love: Homosociality and Black Masculinity in Gangsta Rap Muscic” Oware argues that although gangster rap music portrays the masculinity of African American males through the use of hyper masculinity, misogyny, and violence in lyrics, gangster rap music also provides a way for rappers to express themselves to commemorate their fellow friends through lyrics that depict family/friend relationships, success by association, and have a tribute for lost friends.

One negative global implication that commercial Hip Hop in the U.S. produces is the characterization of young black women in four different personas: Diva, Hoe, Gold Digger, and Bad Bitch. When young black women hear music and see music videos that promote sexual conduct, they take on one of the different personas that is illustrated in the music and treat themselves as sexual objects. This characterizations affects the black community worldwide because this causes young black girls to be more sexually active at a much younger age, this results in teen pregnancies and