Anthony Pinnn Rap Music

Over the past three decades, hip-hop has become an important element in every American’s journey, influencing everything from music, fashion, and language to politics and attitudes toward gender and race. In 2006 Kanye West told MTV, “Everyone in hip-hop discriminates against gay people.” While bravely condemning homophobia he added that the genre isn’t alone: “Not just hip-hop, but America just discriminates.” Still, till this day, the homophobic discrimination is uprising due to moral or religious

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 the book “Decoded,” rapper and businessman Jay-Z describes the emergence of hip hop culture while sharing his childhood memories, life challenges, and passions. Along with Jay-Z’s personal narrative, he provides an explanation for his song lyrics to educate readers about hip hop’s importance, his life, and national issues. Thus, he creates several arguments about hip hop’s purpose in the music industry. Two of Jay-Z’s main arguments consisted of hip hop being a form of art and the story of a hustler. This is especially true when considering how Jay-Z defines hip hop, analyzes supporting evidence, and interprets rap lyrics.

The author was categorical on various issues related to Hip-Hop music and other genres such as Jazz and Rap. The major assertion was that Hip-Hop has grown and attracted attention of many black Americans and media. Maybe, this was the only way that they could have expressed their discontent and tribulations they were facing especially from a political perspective. The author asserts that Hip-Hop was mainly an avenue to show resistance and the call for deliverance of black Americans.

In the article Rap and Moral Character by Susan Dwyer, the subject of concern is the consequences of listening to rap music and the effect it has on moral character. The author argues that rap music contribute to the corruption of moral character, it is misogynistic, promotes violence and street crime. In this paper I will examine the author’s claims, use of key concepts, and her reasoning. By doing so, I will be able to demonstrate that Dwyer’s thesis is unjust and unsupported. In what follows, I will analyze the claims to show that the author’s arguments are irrelevant and lack sufficient evidence to support her thesis. Secondly, I will examine the author’s reasoning to point out fallacious reasoning and lastly I will evaluate her use of

African American religious music is the foundation of all contemporary forms of so called “black music.” African American religious music has been a fundamental part of the black experience in this country. This common staple of the African American experience can be traced back to the cruel system of slavery. It then evolved into what we refer to today as gospel music. The goal of this paper is to answer three main questions. What are the origins of African American religious music? How did this musical expression develop into a secular form of music? What is the future of African American religious music? These questions will be answered through factual research of African American traditions, artists, and various other sources.

The misunderstood subculture of music that many have come to know as “hip-hop” is given a critical examination by James McBride in his essay Hip-Hop Planet. McBride provides the reader with direct insight into the influence that hip-hop music has played in his life, as well as the lives of the American society. From the capitalist freedom that hip-hop music embodies to the disjointed families that plague this country, McBride explains that hip-hop music has a place for everyone. The implications that he presents in this essay about hip-hop music suggest that this movement symbolizes and encapsulates the struggle of various individual on

Hip hop and rap as a musical genre is a very controversial subject for nearly everyone. Its influences are powerful, both positive and negative. There are many positive influences of hip hop, and a few examples are the breaking down of cultural barriers, the economic impact, and political awareness of pressing and urgent issues. Though there are many positive influences, there are many negative influences as well. Some of the more heated debates of the negative influences of hip hop are that it glorifies violence, and the fact that the music sexualizes women and degrades them as well. Attached to the negative outlook on hip hop, there are also many stereotypes assumed by society towards this type of culture

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.

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 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,

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

It is clear that the hip hop culture plays a huge role in the lives of many people. It has influenced the way people dress, the way they talk, and the way they act. Unfortunately, many big corporations have taken advantage of this and commercialized rap music in order to gain a profit (Blair, 497). Commercialization is a very complex topic; however, it is important to understand. This is because of the fact that when something becomes widely known, such a hip hop and rap have, it is vulnerable to change (Phillips, paragraph 9). An example of this is when author Nicole Phillips states, “Hip-hop became more about edge and less about the content of the message. It became about sales….” (Phillips, paragraph 9). Therefore, in order to prevent any further change, one needs to understand commercialization and how it works. This paper is going to explore the complexities and nuances of commercialization of the hip hop culture. In order to do this, this paper will consider what commercialization of hip hop culture entails. This paper will also discuss how Elizabeth Blair, author of “Commercialization of the Rap Music Subculture,” conceptualized commercialization, as well as how she discusses the situation in general. After discussing these topics, the paper will move on to discussing cultural appropriation. This discussion will include how authors describe cultural appropriation, and a debate regarding this topic.

“Rap is poetry” (xii). To any avid fan of the genre, it is a statement that seems obvious. The words could easily be the musings of a listener first introduced to the art form, not the focal point of an entire work of contemporary criticism. Yet in Book of Rhymes: The Poetics of Hip Hop, Adam Bradley’s primary focus is this very point, the recognition of traditional poetic elements within rap music. With the global cultural and economic phenomenon that hip hop has become, it is easy to forget that the style of music is barely thirty years old, that scholarly criticism of it has existed for only half of that time. When viewed within this relatively new arena of scholarship, the importance of Bradley’s text is

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