Analysis Of Rhymes : The Poetics Of Hip Hop

Hip Hop: Beyond Beats & Rhymes is a documentary created and produced by Bryon Hurt. The documentary challenges the dominant discourses of hyper masculinity and the misogynist treatment of women in commercialized rap. Of the many mainstream phenomenons that are discussed by Bryon in the documentary, the issue of hyper masculinity in Hip Hop is questioned greatly. Throughout the film, the producer was able to show the wide acceptance of hyper masculinity not only in Hip Hop but also American culture as well. He defined America as a hyper masculine and hyper violent nation for the reason that using a gun to defend one’s family became a metaphor for masculinity and a tool for widespread violence. The issue of issue of hyper masculinity can be

In the essay, “Hip-Hop’s Betrayal Of Black Women”(221), by Jennifer McLune, she vents her feelings regarding hip-hop songs that are rhythmically diminishing the value of black women. She provides example on how the lyrics are being voiced and how hip-hop artists do not seem to care. Kevin Powell in “Notes of a Hip Hop Head” writes, “Indeed, like rock and roll, hip-hop sometimes makes you think we men don’t like women much at all, except to objectify them as trophy pieces or, as contemporary vernacular mandates, as baby mommas, chicken heads, or bitches” (221). There have been apologizes for what the rappers have said but nothing to resolve the dehumanization of black women. McLune informs the readers that hip-hop singers belittle black women and make them invisible. Jay-Z, a popular hip-hop artist is brought to center stage by McLune. The essay shows the example of a part of Jay-Z song that says, “I pimp hard on a trick, look Fuck if your leg broke bitch hop on your good foot” (222). This lyric is a perfect example of how hip-hop artist have no remorse in the words they sing. The hurt feelings and loss of self-esteem black women suffer, is of no concern to the rappers. McLune expresses that those who are underground hip-hop artist follow the footsteps on being sexist and using crude words in their lyrics just because they yearn and dream of being in the spotlight. Upcoming rappers want to be loved like Jay-Z and other famous notorious rappers.

American Writer James McBride, who wrote the essay "Hip Hop Planet", spent most of his life disliking the culture of hip hop, but after some research and personal experience, he had a change of heart. The purpose of his essay is to shine a positive light on hip hop culture and move his audience-- people who think it is all bad-- to have a change of heart like him, and to achieve his purpose, he uses rhetorical strategies including appeals, specific diction, and meticulous sentence structure.

In Joan Morgan’s article “Fly-Girls, Bitches and Hoes: Notes of a Hip Hop Feminist”, she shows the way rap music has changed through it popularity. The widespread appreciation of rap had negative impacts upon the black community. Morgan talks about this through her Feminist point of view. She focuses the topic on what rap music says about the African American culture in Hip Hop. Rap music and Hip Hop were invented through the pain of African Americans. Hip Hop and the Rap industry use sexism and machoism to express the long years of oppressive pain they went through by the hands of the white people. Especially for the black brothers who continue that oppression by using provocative words that degrade the black sisters. Morgan states that blame isn’t only on the brothers

Rap music has become one of the most distinctive and controversial music genres of the past few decades. A major part of hip hop culture, rap, discusses the experiences and standards of living of people in different situations ranging from racial stereotyping to struggle for survival in poor, violent conditions. Rap music is a vocal protest for the people oppressed by these things. Most people know that rap is not only music to dance and party to, but a significant form of expression. It is a source of information that describes the rage of people facing growing oppression, declining opportunities for advancement, changing moods on the streets, and everyday survival. Its distinct sound, images, and attitude are notorious to people of all

In this article, the speaker must be an expert in politics, ethnicity and the music industry. There is a linkage between the above fields hence the speaker must have had a superlative background on these issues. The audience targeted by this literature were seemingly music enthusiasts to be educated on understanding what Hip-Hop entails and hoped to achieve this as it was established. The subject was Hip-Hop as a music genre that was largely developed by African American men to express their plight on injustice and oppression. The principal issue was how Hip-Hop has been used as a form of resistance and need for deliverance of the African Americans.

In order to understand hip-hop dance, it is important to recognize hip-hop music and where it came from. Many scholars of rap music relate the founding of rap to African and African American oral and musical traditions, specifically African griots and storytellers. They link the rhythm of rap to the use of drums in Africa and to African American music in the United States, from slave songs and spirituals to jazz and R&B. Scholars have found very interesting connections between rap music and Black nationalist traditions (traditions historically practiced by black people that serve as part of their racial identity). Rap is similar to the “call and response of the black church, the joy and pain of the blues, the jive talk and slang of the hipsters and jazz musicians, the boasting of street talk, the sidesplitting humor of comedians, and the articulateness of black activists.” All of these African American oral traditions, including rap, can be traced back to West African oral traditions. In traditional African societies, the spoken word and oral culture included poetry, storytelling, and speaking to drumbeats. The links between rap music and African American oral and musical traditions demonstrate that hip-hop music represents more than just sound. It represents history. This aspect of it, in my opinion, makes this type of music very unique and makes it carry more value.

Hip Hop: Beyond Beats and Rhymes, Byron Hurt examined the troubling aspects of hip hop music. Hip hop was said to have brought masculinity back to the game. One aspect of this troubling masculine culture is the idea of hyper masculinity. The term hyper masculinity is defined as the exaggeration of male stereotypical behavior, such as an emphasis on physical strength, aggression, and sexuality. These three attributes create the disturbing facets of what hip hop music portrays to the media and the public.

The decade of hip-hop is what some may call it. Tupac, Naz, Biggie Smalls, as well as other artists, were major contributions. Not only for the people who are trying to find their footing, but Buck as well. Throughout the book various lyrics were embedded in order to create a better understanding for its readers. In addition, this book is based upon a 90s lifestyle within Philadelphia, which included drugs, gang activity, crime, hip-hop, and havoc. Malo was directly in the center of everything, the girls, the fights, the guns. His experiences shed light towards what it’s like to as an African American individual living in or near the hood. Not everyone realizes what people go through while living there, but now it gives some readers an image of what goes on. Though times have changed, not all previous feelings

To gaze into the lyrics of both Notorious B.I.G. and Tupac Shakur is like living in the ghettos of New York City where violence never stops. Both of these artists grew up seeing and living a life filled with violence. Gunshots and drive-byes, death and murder were a daily occurrence. Although the lyrics of both artists are simply telling their life stories and how hard it was to grow up in their “hoods” they contain vulgar, hateful, and sexual verses that send the wrong message to their listeners. Whether these listeners are teens or adults, white or black, they are continually sending notions of hatred and fear through their lyrics and actions. Ultimately,

While many may argue that the rise of hip-hop is a major triumph, Questlove worries that by becoming so pervasive, the genre has, to a certain degree, become “invisible.” Instead of serving as “resistance to mainstream culture,” he believes hip-hop is now “part of the sullen dominant.” Questlove further laments that nowadays hip-hop is not as much a form of protest art; it has been marginalized, and its themes have been narrowed into ideas “mostly about [artists’] own victories and the victory of their genre.” Countless critics have made this same complaint—that hip-hop music is largely dedicated to lyrics about women, money, and fame.

Rap music, also known as hip-hop, is a popular art form. Having risen from humble origins on the streets of New York City during the mid-1970s, hip-hop has since become a multifaceted cultural force. Indeed, observers say, hip-hop is more than just music. The culture that has blossomed around rap music in recent decades has influenced fashion, dance, television, film and—perhaps what has become the most controversially—the attitudes of American youth. For many rappers and rap fans during it’s early time, hip-hop provided an accurate, honest depiction of city life that had been considered conspicuously absent from other media sources, such as television. With a growing number of rap artists within this period, using hip-hop as a platform to call for social progress and impart positive messages to listeners, the genre entered a so-called Golden Age

An ode can be defined as a "ceremonious lyric poem on an occasion of dignity in which personal emotion and universal themes are united" (Ode, 2012). While hip-hop is known for its violent, masculine, and often, misogynistic lyrics, "Dear Mama" (1995), the first single from Tupac Shakur's album, Me Against the World (1995), can be considered to be a modern ode. Tupac Shakur, also known as 2Pac, one of hip-hop's most influential rappers, intended to pay homage to his mother through this song and frequently referenced it in many of his later songs. "Dear Mama" (1995) contains many elements that allow its lyrics to be analyzed from a literary perspective including tone, theme, and lyrical style.

The Chapter 1 video on the history of graffiti pointed out both the rewards and challenges of graffiti being institutionalized such as the rewards being more money can be made, more time is able to be spent on making the piece, and there is a greater range of the types of projects that can be completed while the challenges being the same constant setting and it is hard to get people through the door of a gallery or museum (Ward, 2017, Ch. 1). The institutionalization of graffiti directly applies to other elements of hip hop being institutionalized such as rap music, street fashion, street language, and street entrepurnism. The film "Hip-Hop: Beyond Beats and Rhymes" skillfully showed what it looks like to institutionalize elements of hip hop.

yo D’Eazy where u at the guy is pretty good, he even got technique however what he doesnt know is im on fleek spitting fire is all I do, im even on a streak dropping MOABs on a daily hopping bitches, including bailey stopping cops in their track if they dont listen I give them a smack asking for forgiveness from that God however next time, im making christmas drop the mic and start my business might even make it into the guinness mine as well as call my song an illness because no one understands my sickness but its fine because when i run, no one sees my swiftness coming through a scene, call me the witness aint no one knows im this vicious seeing me, all suspicious mine as well as call my raps ambitious but when im done, mine as well as call