Analysis Of Rio De Janeiro And Rio 's Crisis Of Social Exclusion And Violence

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

Brazil is one of the most visited place in the world and also one of the most diverse countries in the world. More than 75millon people of African decent live in Brazil, this makes it the second largest black population in the world. Its attracts a large number of people because of it architecture, slums and rainforest. Brazil is contradictory because its was the last country to abolish slavery but also the first to claim that it was a racial democracy. Most people might not know that Brazil has its racial problems and that it has been going on for a long time. Brazilian race relations and conceptions of race are somewhat different from the United States. In Brazil most African descendents are people live in

People around the world have different ways of expressing their emotions. Many people use music as a way to release the emotions they feel inside. When listeners analyze a song sometimes they can understand what an artist might feel or better understand their perspective. Many African American artists sing about how African American communities are dragged into a never ending cycle of poverty and criminal activity. Some artists many have a different perceptive on the future of these communities where they grew up in. Gang Starr’s “Code of the Streets” and 2Pac “Changes” exposes the experience of living, being raised in a poor community expressing different emotions in the song.

The purpose of this paper is to recognize, study and analyze the race relations in Brazil. Race relations are relations between two groups of different races; it is how these two different races connect to each other in their environment. Since Brazil is racially diverse, this study is focused on how Brazilians relate to each other. Throughout the essay, it will become clear that there exists a conflict between two race groups. Afro-Brazilians and White-Brazilians are not connected and though these two groups converse with each other, discrimination still lies within the society. This discrimination has created inequality within the society for Afro-Brazilians. Thus, this paper will not only focus on racism and discrimination that

In his inaugural address on August 9th, 1974, President Gerald Ford assured the nation “our long national nightmare is over.” He may have spoken too soon. The early 1970s were a bleak time for black America. So much hope had died with the assassination of Martin Luther King and Malcolm X in the late 60’s. There were revolts in urban communities across the United States and brutal encounters with the police (McTernan). Much has been written about the state of the nation in the 70’s but something extraordinary came out of the fire, music. The music of New York City amid this time is a transformational and essential foundation for the birth of new music. The funky, groove beats of jazz and the seductive, energetic sound of salsa erupted in

There is an area in NYC named El Barrio within El Barrio there is a large group of working-class Puerto Rican residents living their lives but struggling with facing street cultural and their ethnic background. Living in harsh situations put a toll on the residents that were trying to live and make it out. In El Barrio, street culture is clustered and influential and is challenging for them to continue the traditional Puerto Rican culture. In this paper, I agree that street culture has a significant impact on the resident than their traditional Puerto Rican culture, I demonstrate by looking at their jobs, relationships, drug usage. Also, looking at substantial, significant residents Primo for a male aspect, Candy for a female perspective, but connect to the whole community in El Barrio. I believe this is significant because these are the three-main topics that was brought up also the two main voices for each gender, which helps the reader read about the unique way street culture had started to have more of an influence of tradition.

Brazil has some of the most violent cities in the world. The murder rate in Brazil has been going through the roof each year. Some cities have a murder rate of 50 per 50,000 people. Most murder victims are usually male, poor and teenagers. Most of these crimes take place in the infamous favelas of Brazil. Murder is not the only crime leaking in the shallow streets of the favelas. High-profile rape cases, kidnapping, drugs, and weapons dealing in the favelas are the common headlines in Brazil (Griffin, Jo). These crimes are born in the favelas and spread through the streets of Brazil. The economic growth of Brazil over the years has benefited the rich puppeteers of the society, but it has made life more miserable for the poor (McCann, Bryan). Not just in Rio, but favelas have spread throughout many cities in Brazil and now they are the number one birthplace of different types of crimes in the country. In this paper, we will analyze an article published on the online version of ‘The Guardians” regarding the lives of people living in Brazilian slums (favelas).

Funk is widely criticized for its vulgar lyrics, hyper sexualized dance moves and affiliations with Rio's criminal landscape, and as such, the art form continually fights to lift legislative bans on expression (“Favela Utopias” 59-62). For instance, Brazilian Penal Code: Article 286 has meant, for proibidao artists according to Kestler-D’Amours, exclusion from mainstream Brazilian media and a reliance on

At the beginning of the twenty-first century, popular music and culture became significant influences on the lives of many individuals within the city of Los Angeles. East Los Angeles (“East L.A.” or “the Eastside”), in particular, was a center of flourishing musical, cultural, and social scenes with strong connections to the changing Chicano/a identity. Under this environment in which the Chicano movement (moviemiento) continued to prevail, a large number of socially aware and politically active, Latin-fusion “Chicano” bands were developed. One of such was the Ozomatli band, who strived to express their activist viewpoints through popular music. The spatial context of the band’s emergence, their links to past musical movements, and their implementation of a wide array of musical styles and genres all define their impact on Chicano identity in Los Angeles. Through their music, the Ozomatli band has showed much about the importance of the changing Chicano culture and served as the framework for cultural and social dynamics of present-day Los Angeles.

The nation of Brazil believes that their is indeed a need for a solution to the refugee problem, that in Europe, and that in Southeast Asia and Oceania. Brazil is one of the biggest recipients of refugees in Latin America, with former Justice Minister Eugênio Aragão saying in June 2016, given the financial circumstances, that Brazil could take up to 100,000 refugees, 20,000 per year. The nation of Brazil has several reasons for accepting refugees into the country. With the acceptance of refugees, from both areas, Brazil increases the nation’s international reputation within the community. Additionally, the nation of Brazil is in need of skilled workers, and refugees offer a solution to the resettlement problem, and fills this need the nation of Brazil has. Refugees offer a way for the nation of Brazil to boost its economy, and increase innovation within the country. As the Nation of Brazil’s economy is in turmoil, the refugees could offer a solution to the economic problems, as they could boost the economy. This positive effects could certainly occur in other countries that refugees take refuge in, as if they are given the proper compensation, refugees can be an asset to a country.

Modern technology had introduced a myriad of interesting, yet multifaceted complex fabrics that make-up the rich tapestry of America. Following the documentary group Noisey, as they investigate the relationship between drill music that promotes murder and gang activity and the suburbs that syphon off this form of musical violence, as the community attempts to keep the violence off the streets of the south side of Chicago, one whitness a blending of culture and power into a ballet of visual substance that leaves the viewer craving more. Much like Noisey, Toni Morrison’s Sula explores the act of white people from the Valley extracting the “Eden” that the Africa-American Community has established within the throws of segregation.

A billboard campaign in Brazil is attempting to curb the posting of racist comments of Facebook by turning them into gigantic signs. The project takes real posts of a racist nature and puts them on billboards around the city. The campaign is named "Virtual racism, real consequences," and is putting the billboards in the location where the person who posted the comment lives. The caveat: the name and photo of the person who wrote the post are blurred out.

Brazil is another country that has adopted Hip Hop culture into their own culture. Brazilian Hip Hop was born in the barrios (ghettos) of Brazil. The Brazilian youth were drawn to the western Hip Hop culture. Hip Hop gave them a platform to voice the political and economic turmoil of living in the barrio. To escape their impoverished lives, break dancers, DJs, graffiti artists, and rappers would meet at the Largo de São Bento and in the center of São Paulo on weekends, where Brazilian rap’s distinctive sound (often incorporating roots, samba, and reggae) and lyrics began to be developed (“Popular Music”, 2005). This integration of Hip Hop and Brazilian based music birthed Baile Funk. Baile Funk can be described as Hip Hop as it might sound in the post-apocalyptic wasteland of Mad Max (Edlund, 2005). This wild sound of Baile Funk screams the

Music made for dancing in the club has the social power that forms the sense of ethnic solidarity and the sense of belonging. Hesmondhalgh (2013) states that listen to the music in the same pattern is a way of being together in public. Likewise, consuming music in the club is a means of collective flourishing. Further, listening mother tongue music in dance club indeed can be considered as a ‘treatment’ to the diasporic journey, which somehow gives rise to the sense of social solidarity to the diasporic community. ‘Music can help constitute identities and communities’ (Street, J. 2012). For example, ‘Asian’ club nights can provide the sense of belonging to the ethnic minority’ diasporic journey. In the ‘Asian night’, the whole club is the Asian’

Simpson’s review emphasizes Bambaataa’s ability to bring people together, to get everyone's “fists pumping”, placing “a smile ... on every face”, alluding to the transcendence of racial differences through the intersection of music movements hip-hop and rock, the merging of peoples in the 1980s. In the 1970s, hip-hop was as a voice for marginalized African American and Puerto Rican youth. This movement was a generational revolt against the status quo, and in the midst of it becoming global, it became commercial, about making money. Rather than valuing the music’s effects on the people, as the review of Bambaataa did, TOURE shows how the 1980s-1990s music industry had begun to commercialize it, stripping it of its focus on the backbeat and transforming it into something else. Rather than reflecting the voices and needs of youth at the time, it became something unachievable — above the people, effectively diluting its political