Gangst Gangsta Raps

Nelson George states that “Gangsta rap is direct by- product of crack explosion. Unless you grasp that connection nothing else that happened in the hip hop’s journey to national scapegoat will make sense. This is not a chicken-or-the-egg riddle —first came rocks, then gangsta rap” (136). To prove his point he examines the connection between drug culture of the inner city areas and the hip hop music. The money collected from illegal drug deals spent on recordings of gangsta rap music. George says “Suspicion of women, loyalty to the crew, adoption of a stone face in confronting the world, hatred of authority—all major themes of gangsta rap-owe their presence of lyrics and impact on audiences to the large number of African-American men incarcerated in the ‘90s” (138). I agree with his statement that gangsta rap is a directed by- product of crack explosion, because social and racial issues for instance drug dealing influencing the lyrics of music and this explosion of heroin and crack in communities gave birth to gangsta rap.

“You are now about to witness the strength of street knowledge” (Rob,2002). Gangsta rap, music’s biggest rebellion formed from this “street knowledge.” “In a pop world where rap was still considered a novelty, it was a serious shock to the system” (Rob,2002). N.W.A short for N****s With Attitude affected the rap game in three ways, positively, negatively, and overall.

The study of hip hop music has been cited well throughout its growth over time. The purpose of this paper is intended to discuss hip hop culture and address cultural stereotypes associated with rap and hip-hop music, but also how its original lyrical intentions were forms of expression and art. It will begin by guiding the reader through how it originated, its influence with the African-Americans with its subculture and popularity in urban areas, its styles of evolving, the introduction of hip hop and rap to the public, the depiction it gave off with its criticisms from outsiders. An evaluation of hip hop artists songs by Sugar Hill and the Gang, Run DMC, Queen Latifah, and N.W.A. Including lyrics from the songs “Rappers Delight”, “King of Rock”, “Latifah’s Law”, and “Niggaz4Life”. In the conclusion it exposes how hip hop music is clearly for black Americans to express themselves freely and in fact did not cause violence.

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

Within History, Rap has been considered the “CNN for black people”; what started as a way to express struggles in the ghettos of New York has transformed into one of the most popular genres of music in America. The popularity of rap has allowed many to have their voices heard, created new fashion trends, and even developed popular modern slang used by people throughout the world. The commercialization of rap has resulted in a significant following of the culture in America but also a large number of people who oppose the music. The culture of rap music has a substantial impact on popular culture in America, and by using an open mind and looking past the violence and language, people can better understand the meaning behind rap and the perception that follows it in America today.

Frequently, the gansta rap has been the center of attention on national debates regarding the amount of violence in the media and its effects on America’s youth. In some occasions, there have been cases in where political experts and television analysts have accused individual rap starts for real life tragic events. However, it is imperative to understand that if hip hop music is violent, it is because the songs express the reality that African American live on a daily basis. In order to be objective on this matter, it is essential to look past the controversy and acknowledge that it is unrealistic for one particular

With things, such as explicit lyrics and depiction of women, drugs, and violence an assumption can be made that gangster rap represents a masculinity that rappers portray themselves as in their songs. Dating back to its origins, African Americans had always been the face of gangster rap, with such names like Tupac, Biggie, Jay-Z, DMX, and much more, as covers of rap magazines. Gangster rap had always been seen as what people interpret it to be and that is a raw rhythmic and explicit version of poetry in motion, but gangster rap depicts more than what people interpret it to be. Gangster rap depicts the image of how a strong African American male should look like, a bold, angry, rebellious, and fierce man. Strong African American males are subjective to gangster rap, mainly because of how gangster rap portrays masculinity. In “Brotherly Love: Homosociality and Black Masculinity in Gangsta Rap Muscic” Oware argues that although gangster rap music portrays the masculinity of African American males through the use of hyper masculinity, misogyny, and violence in lyrics, gangster rap music also provides a way for rappers to express themselves to commemorate their fellow friends through lyrics that depict family/friend relationships, success by association, and have a tribute for lost friends.

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 this book, Jeffrey Ogbar talks about the beginning of rap, where it started, some of the artists of this genre and some of the controversial topics the artists rap about. He also talks about the usage of the N word as well as men calling women the B word. In the first chapter of the book, Ogbar contextualizes the debate by talking about the history of the minstrel figure in American popular culture, relying mainly on the work of W. T. Lhamon and Patricia Hill Collins. He talks about how the earliest manifestations of hip-hop music in the 1970s came from the Black Power movement and often included direct rejections of minstrel tropes for example in the artist KRS-One’s song “My Philosophy”. Before going on a chronological study of the internal debates that many rappers have over their relationships with the minstrel trope, Ogbar finds the source of the debate in early twentieth-century black writers’, mainly W.E.B Du Bois, interest in elevating many portrayals of African Americans in the arts, versus Harlem Renaissance writers’ rejection of the emphasis on

Many Americans today embrace the culture of hip-hop. Since hip-hop became mainstream its influence has surrounded most Americans. People engage in social issues from the hip-hop culture In his recent work, How Hip-Hop Holds Blacks Back, John H. McWhorter have offered harsh critiques of hip-hop for delaying and marring the success of black people. McWhorter asserts hip-hop music “celebrates a ghetto life of unending violence and criminality(10).” He believes hip-hop contributes to the stereotype nearly all Americans maintain in regard to black people. Reflecting on harsh song lyrics McWhorter attempts to strengthen his argument. McWhorter acknowledges not all hip-hop promotes violence in people. He concedes “not all hip-hop is belligerent

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,

Rap music over the years has embraced black talent and lead many people who lived troubled lives into a life of fame and glory. The problem is as rap music has evolved, the lyrical content has been highly focused around depicting negative images of the urban black community. It has turned from being positive to now just describing the life of drugs and riches. Songs range from depicting women as prostitutes, selling drugs such as cocaine and heroine, using drugs to get by in life, and spending excessive amounts of money on expensive cars and jewelry. Washington Informer writer, Rudy Gourdine, brings up a good point when she states, “Can we overlook the targeting of young Black women with mean spirited and derogatory words and images that often prevent them from forming successful relationships(Gourdine) ?” She speaks of how in urban areas it is often overlooked or ignored how degrading the lyrics are and what they are doing. There are many good points as to what rap music could be causing in urban areas but there is no solid proof that rap music causes all to think or act on the music.

The influence of rap on black urban youths has become a major part to the modern day music industry. Berry uses the article to show that through rap music, low income black youth are able to develop empowering values and ideologies, strengthen cultural interaction and establish positive identities. This is done by describing different components of urban black culture associated with rap which enhances the struggle for black significance in pop culture. His beliefs are supported by using rap artists and their music to show how significant it has grown to be a dominant form of expression but also a controversial issue for urban black youths. The thesis that rap music as cultural expression is

In her article “Gangsta Culture”, bell hooks explains the social calamities and degeneration of social attitude that has occurred as a result of the glamorization of street gangsta culture. Her purpose is to inform us of the detrimental effects of the patriarchal maleness that has plagued black culture with its violence and incarceration driven norm of supremacy. As a Distinguished Professor of English at City College in New York, hooks structures her text in a cause-and-effect procedure, utilizing a general-to-specific organization scheme to establish her claims. She begins with a biographical segment noting on the influence of Dr. King and Malcolm X in gangsta culture and its cultivation into mainstream media, which aligns her claims on gangsta culture serving as the vehicle for patriarchal manhood. Throughout the article, hooks uses repetition of the term “patriarchal” to emphasize that the prominent figures in hip-hop portraying such image are influencing and presenting a false facade for all black males.

Gangsta rap is a form of music that is enjoyed by everyone and there should be no stereotypes attached to it. It has been debated if Gangsta Rap harms Black Americans; it is a heavily criticized art form since its inception. The Encyclopedia Britannica defines “Gangsta rap: a form of hip-hop music that became the genre’s dominant style in the 1990s, a reflection and product of the often violent lifestyle of American inner cities afflicted with poverty and the dangers of drug use and drug dealing. The romanticization of the outlaw at the center of much of gangsta rap appealed to rebellious suburbanites as well as to those who had firsthand experience of the harsh realities of the ghetto. “