Beat Generation

“Sonny’s Blues” is an emotional story written by an amazing author, James Baldwin, who has come to be one of my favorite writers. This particular piece talks about the troubles of African American freeing themselves from the mental bondages of their surroundings, the ghetto. The title is significant, and helped me to understand the underlining meaning of the story. The title can be divided into two main reasons, the first, “Sonny’s Blues, meaning the music he plays. Second is the reference to his life, his feelings, his style, and most importantly his way of life.

McBride begins the essay by telling the readers of his nightmare. He once feared that his daughter would arrive home one day with a stereotyped rapper husband with “ mouthful of gold teeth, a do-rag on his head… and a thug attitude” (McBride 1). He came to realize that he in fact, hip-hop, a genre that he once didn’t believe was music, had become one of the most known genres in the world. The speaker first heard his first rap song at a college party in Harlem in 1980. The jazz lover he was, cringed at the rap music he claimed to be so poorly thought out and written. For the next 26 years of his life, he went out of his way to avoid hip-hop music all together, as if It was never there in the first place.

“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

Joan Morgan, a self proclaimed feminist, loves the power that rap and hip hop offers. Joan, also a music writer, is exceptionally troubled by the disrespect of women in not only in the musical lyrics but also the music videos. In the June 1990 edition of Ebony Magazine, Charles Whitaker wrote an editorial addressing the problems American culture brought on by the hip hop industry. Even though, his editorial was published in the 1990’s, it is extremely clear Charles Whitaker saw the negativity brought along with “The Hip Hop and Rap Revolution.” Both authors loved the powerful energy the new hip hop movement brought along with its beginnings, dating back to the mid to late 1970’s. With that being said, the two authors, both had one recurring theme within their respective works, the evolution of hip hop and rap. In other words, both Joan Morgan and Charles Whitaker addressed the issues brought on by the change in the rap and hip hop industry over its short exists. Change is the absolute most constant thing in our world, whether it is positive or negative change that is uncertain, in both of the articles that change in hip hop and rap is demonstrated

2. The mood of the “Beat Generation’ is best reflected in which Jack Kerouac’s On the Road.

In the article “The Beat Up Generation,” Abby Ellin claims that the negative way other generations view the millennials may all be wrong; instead, the millennials are preparing for the world most generations are opposing. Ellin declares in her article that the millennials are shown to be the most disliked generation; their ideas collide with those in the Baby Boomers and the Gen-Xers causing confusion. Constantly, Articles are being thrown out about the millennials “incompetence” and their “self-absorbed” behavior which only causes more hatred according to Ellin. However, she continues to state that millennials are no more selfish than the previous generations; in fact, millennials are only trying to discover new ways for “communication and

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

This song implies that individual’s are violating the norms and values of society. They start the song with a verse that expresses

Music has the ability to impact individuals in profound ways. It can offer new insights and shape the way we view the world around us. The same can be said for the art form of poetry. In the poem “The Rose That Grew From Concrete”, the author, Tupac Shakur, uses metaphor as a means of altering perceptions of inhabitants of impoverished areas, as well as a means of empowering people who are facing adversity. By changing the metaphors that are used to describe the marginalized groups that are referenced in this poem, the author restructures the audience’s views and perceptions of the individuals being described. Throughout the course of this paper, I will discuss how Jeffrey Feldman’s five-step process can be used to analyze the way the author uses metaphor to change perspectives, constitute a new argument, and generate action (Foss, 2009).

The beat generation was a movement that sought to oppose American society values, and any sort of control. They explored Eastern religions, was somewhat postmodernism, rejected the materialistic culture, spoke about drugs, our conscious mind, and fought for sexual liberation and exploration with their unapologetically offensive language. While reading the novel Jitterbug Perfume written by Tom Robbin, one can witness how the novel exhibits aspects of the beat literature, and thus concluding that the beat generation served as inspiration to Tom Robbin.

” Williams’ theory therefore suggests that the terms must necessarily co-exist in order to define each other. The “pervasiveness of consent ” therefore characterises the fifties, against which these Beat texts can be contrasted. Theodore Roszak’s 1969 article ‘The Making of a Counterculture,’ helps define beat ideology as “heightened self-expression and often a rejection of political and authoritative institutions… a negative spirit of the times coupled with a specific lifestyle .” Both On the Road and Howl and their author’s lifestyles of their writers reflect this criterion, in idiomatic and contextual terms, lending to the notion that they are, by the overall nature of their existence, countercultural texts. Roszak’s adolescent counterculture often seems the embodiment of Dean and Sal’s ‘beatitude’ in On the Road “when they pulse to music…value what is raunchy… flare against authority, seek new experience, ” but it is similarly descriptive of the naked, sometime vulgar language Ginsberg employs in Howl “who bit detectives in the neck… let themselves be fucked in the ass.” (13) The Beats admire the vibrancy naturally present among youth, and although this is a style for which their writing has been criticised, it is a move away from the traditionally

From it's inception, rap indured a lot of hostility from listeners--many, but not all, White--who found the music too harsh, monotonous, and lacking in traditional melodic values. However, millions of others--often, though not always, young African-Americans from underprivileged inner city backgrounds--found and immediate connection with the style. Here was poetry of the

The turbulent societal changes of the mid-20th Century have been documented in countless forms of literature, film and art. On the Road by Jack Kerouac was written and published at the outset of the counter-culture movement of the 1950s and 1960s. This novel provides a first-hand account of the beginnings of the Beat movement and acts as a harbinger for the major societal changes that would occur in the United States throughout the next two decades. On the contrary, Fear and Loathing in Las Vegas, a Hunter S. Thompson novel written in 1971 provides a commentary on American society at the end of the counter-culture movement. Thompson reflects on the whirlwind of political and social activism he experienced and how American society had

American society is known for having the highest standard of living across the globe; this is solely due to the consumerist culture that is brought forth by capitalism. Americans in the U.S. take pride in these standards and in the freedoms that this democratic nation has established. The 20th century will always be remembered in American history as a century of radical changes on the social and political fronts of the nation. Literature, too, evolved quickly from specific, compartmentalized fields which fit into categories, to works which had no set definition—nobody knew what to do with them. These changes also took place in poetry; artistic expression began to change across the arts and so did the mediums. Poets across the nation

The Beat Movement, beginning in the 1950’s, consisted of a group of American writers that went against the social norms of that generation. During that time in America, society bent themselves out