Analysis Of Musing New Hoods

In my opinion "Pass the Dutchie" resonated with Afro-British youth more because they were a British reggae band singing about the racial profiling and financial hardships that were occurring in the UK at that time. When their song was released in the early 80's it was a big hit in NYC. It wasn't until I watched this video thirty-seven years later and completed the reading that I finally understood what the songs message was actually trying to send. Musical Youth wore cut off sweatshirts, plain jeans, and white sneakers, and they kept their video very simple, but to the point. On the other hand "Fight the Power" was released in the summer of 1989 and Public Enemy although trying to send basically the same type of political message did

Chapter two of the text Understanding Black American Aspects in Hip-Hop Cinema describes one of the main functions of African American musical culture to be something of a coping mechanism. “It functioned to encourage, offer catharsis, and empower people who lived under horrific conditions,” (Sanchez, 15). This idea has been displayed in countless movies and other forms of media throughout American history. In the film Beat Street, two brothers face adolescence in the rough setting of the Bronx. The article “Musing New Hoods” discusses the use of hip- hop music in a cinematic respect.

In Spike Lee’s Do The Right Thing and Michael Shultz’s Krush Grove, the various sights and sounds that are present from the beginnings of the movies are used as tools to portray the different African American experiences that are present in both films. In the opening credits of Do The Right Thing, Public Enemy’s “Fight the Power” can be heard while a women dances. In this case, the imagery and music are used as tools to help establish a setting that the movie takes place in. The sights and sounds in the opening credits help transport the viewer to the streets of Brooklyn in the late 1980’s, where the majority of Do The Right Thing takes place. Similar techniques of creating a setting using sights and sounds are used throughout Krush Grove.

The Article, Musing New Hoods, Making New identities: Film, Hip-hop Culture, and Jazz Music by Guthrie P. Ramsey, Jr. addressed an important and conflicting aspect about the opportunities that African Americans feel they have in modern society. He continues to address the idea of “guiltsploitation”-feeling guilt for going against one's culture to move up in social class, an idea introduced by Henry Louis Gates and the different message that is received by society from the underlying message surrounding African-American films (Ramsey, 311). Stereotypes conceived through movies and hip-hop music create the identity and character through an authentic representation that is expected of African-Americans in modern culture. Although African-American films and the hip-hop music industry have worked to build and identify a culture through the art form, they have instead created a stereotypical image--a different inner struggle has resulted that remains in society today.

The movie Do the Right Thing, composed, coordinated and created by Spike Lee, concentrates on a solitary day of the lives of racially differing individuals who live and work in a lower-class neighborhood in Brooklyn New York. Notwithstanding, this common day happens on one of the most sizzling days of summer. The movie fixates on how social class, race and the ethical choices that the characters make directly affect the way individuals communicate with each other. Furthermore, in this essay I will analyses Spike Lee’s use of mise-en-scene, cinematography, editing, and sound in the film.

Molefi Asante is the author of It’s Bigger than Hip-Hop: The Rise of the Post Hip-Hop Generation. In this article, Asante predicts that the post-hip-hop generation will embrace social justice issues including women’s rights, gay’s rights, and the anti-war movement. To challenge these stereotypes, Asante speaks to the personification of the African-American ghetto and the need to stop glorifying black suffering. For Asante, the post-hip-hop generation no longer expects hip-hop to mobilize disenfranchised youth. Asante states, “The post-hip-hop generation shouldn’t wait for mainstream musicians to say what needs to be said…No movement is about beats and rhythms…. it must be bigger than hip-hop.” Because hip-hop is controlled by corporations, Asante says hip-hop will never be the focus of political change. Asante argues that “old white men” have dictated hip-hop, and by extension the actions of black youth, since 1991. “Allowing white executives, not from the hip-hop culture, to control and dictate the culture is tragic because the music, and ultimately the culture, as we can see today, has not only lost its edge, but its sense of rebellion and black movement- the very principles upon which it was founded.” Asante calls for the rise of “artivism,” a new social movement that uses art to improve community police relations, failing schools and the criminal justice system. Asante encourages the post-hip-hop generation to unite with Latino/Immigration Rights and Black Civil Rights

Music is an art form and source of power. Many forms of music reflect culture and society, as well as, containing political content and social message. Music as social change has been highlighted throughout the 20th century. In the 1960s the United States saw political and socially oriented folk music discussing the Vietnam War and other social issues. In Jamaica during the 1970s and 1980s reggae developed out of the Ghetto’s of Trench town and expressed the social unrest of the poor and the need to over-through the oppressors. The 1980’s brought the newest development in social and political music, the emergence of hip-hop and rap. This urban musical art form that was developed in New

This paper will open by first and foremost, explaining the different sociological meanings of the term power, so as the reader has an understanding of the arguments being made. This will allow anybody reading this paper to follow the arguments being made. Music can provide a means of resistance for challenging the power relations of racism, class and gender in a number of ways. The first way that this paper will approach this is the racial aspect and as a means of doing this, the main focus point will be Eminem and his break-through in to the Rap/ Hip-hop genre. This is relevant because he was the first white person to ever successfully break into this specific genre of predominantly Black artists. This will lead neatly onto the next element to answering the question of music providing a means of resistance for challenging power relations, It will move on to look at the class element of resisting and challenging power. This section will start off by continuing with regard to Eminem and how he used his “underclass” background as a means of connecting with his black counterparts, But still gaining acceptance from his peers and even forming a working relationship with an already massively established artist that aided him in his entrance to the hip-hop music industry and his credibility their after. Whilst still staying with subject matter of class, this

The most popular and influential form of African-American pop music of the 1980's and 1990's, rap is also one of the most controversial styles of the rock era. And not just among the guardians of cultural taste and purity that have always been counted among rock 'n' roll's chief enemies--Black, White, rock and soul audiences continue to fiercely debate the musical and social merits of rap, whose most radical innovations subverted many of the musical and cultural tenets upon which rock was built. Antecedents of rap are easy to find in rock with other kinds of music. Music is often used to tell a story, often with spoken rhymes over instruments and rhythms. Talking blues, spoken passages of sanctified prose in gospel,

Spike Lee’s Do The Right thing incorporates many sound and camera techniques to enhance the message of hate, culture, power, and distance that is so ever present in America. This paper will dissect the later scene in the film where Radio Raheem and Buggin’ Out get into an altercation with the pizzeria owner Sal. The scene incorporates music and camera angles that add to Spike Lee’s theme of racial tension in the film.

Music is a creative art form that allows the artist to construct something that expresses a purpose. It evolves over time and changes as the world changes, taking on many different motivations behind the melody and lyrics. In today’s society, anger, oppression, racism, and negative opinions rule the media and popular culture. I believe that African Americans need to show their self worth and not let white people hold them back. With the music in white culture often mocking African American culture and portraying negative stereotypes, African Americans have to find ways to gain respect. In acknowledgement of the negative portrayal of their culture, African Americans respond by creating songs and videos that express their pride in their culture and heritage, react to white oppression, and communicate their independence.

1.Music is a weapon by empowering the person to feel anger or sadness music effects not the emotions but the souls say like I play a song called were not going to take it allot of people would feel like there government is using certain things against them so they'll rebel so music is really more as a empowering fuel to the emotions and soul of the man and women kind everywhere. In the movie Slingshot Hip-Hop “I’m just doing it because there’s no other reason to live,” this was a quote by abeer. For some reason this spoke to me it showed me how important it is to stand for something. Furthermore, going to bat for yourself characterizes you just like a man of pride, who qualities your ethics and beliefs. Abeer sees hope in hip-hop, so he holds on to it with dear life and is ready to destroy anyone who comes in front of it. Going with the flow, dismisses this and permits you to happen to the numerous

Spike Lee’s Do the Right Thing (1989) portrayed an important social problem of the time period – interracial rivalry. The movie was one of many ghetto action films made during the era. In the article “Producing Ghetto Pictures” by Craig Watkins, he says that the movies of the ghetto film cycle committed much of their storyline to that of the relationship between young, poor black males and the ghetto (170).

The term ‘hip-hop’ refers to a complex culture compromising of four elements: deejaying, rapping, rhyming, graffiti painting, and b-boying. These elements incorporate hip-hop dance, style, and attitude. “Hip-hop originated in the primarily African American economically depressed South Bronx section of New York City in the late 1970s” (Tate, pg.1). Hip-hop is a culture of fashion, language, music, movement, visual art and expression. The genre of hip-hop comes with a very significant history and evolution with its own heroes, legends, triumphs and downfalls. “Real” hip-hop is often stressed in the 21st century due to what is being passed off as hip hop, and it is often made clear that just because one takes a hip hop class, or listens to hip-hop music, does not mean they conform to the true immersion of hip-hop culture. Therefore, “real” hip-hop encapsulates the true essence of hip-hop culture, untarnished by impurities such as rapacious record labels, and vapid, materialistic subject matter. Due to the background of how and where hip-hop first emerged, the African American culture often feel responsible to protect what is for them, and to protect the culture of hip-hop entirely. Boyd states that even though hip-hop as a culture was created as a social movement, the “commercializaiton” of hip-hop demonstrated in film and media construes it to another form of urbanization and popularity”(Boyd, 79). However, in the two movies being examined in this essay (Save the Last Dance

Since the beginning of its art form rap music has been subject to scrutiny throughout its existence. In a Theresa Martinez reading from the semester, the author describes rap music as a resistance. She builds on a theory of oppositional culture that was composed by Bonnie Mitchell and Joe Feagin (1995). In this article, “POPULAR CULTURE AS OPPOSITIONAL CULTURE: Rap as Resistance”, Martinez explains how African Americans, American Indians, and Mexican Americans draw on their own cultural resources to resist oppression. She states that this very resistance to the dominate culture in