Hip Hop Stereotypes

One of the more prominent criticisms of hip that Rose points out is that there is a large amount of misplaced blame in the world of hip hop. She writes, “increasingly, too many of hip hop’s supporters point to structural racism to explain the origins of the problem but refuse to link these structural forces to individual action and to the power of media seduction” (p. 73). In this section of the second chapter, Rose is explaining that those who defend commercial hip hop are taking a more-or-less one-dimensional approach to their arguments by solely blaming structural racism and overlooking the

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”.

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.

The misogynistic treatment of women in commercialized rap has become a widespread phenomenon which as a result has become commonly accepted by majority of the individuals in society. Rappers, in general, nowadays use women in their videos in a way which is both derogatory and exploiting. Black men in today’s society, especially in the entertainment industry, do not see women as their equals; rather they objectify them as being nothing more than sex objects. People in the Hip Hop industry do not believe that sexism and misogyny is as big of a deal as racism, thus they push this issue to the side by simply ignoring it and learning to accept it. This misogynistic portrayal of women is ruining the image if Hip Hop as both an industry and a form of expressive art. However, instead of taking action against this atrocity, many women simply believe that the images of women and their portrayal in rap videos does not represent nor refer to them as an individual and the type of woman they truly are. By being silent these women are allowing themselves to be victimized by the men of not only the Hip Hop industry but also general society. By not having a say in this matter of the false classification and portrayal of women, they are voluntarily allowing men to do whatever they please to do so, in any given time and with any approach they feel is necessary. They do not

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.

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

The course topics this session were all very interesting. The one that seemed to resonate with me the most was the section about Rap Music. The way that the material was presented and how Rap Music as a whole was dissected was really intriguing. One point that really stuck with me was the “Our Buddy” discussion. It really opened my eyes to how the rap/hip-hop industry markets the music to us. This paper will show that the stereotype of “Our Buddy”in rap music is very real and how the material has turned from an art form into and marketing ploy. I intend to support my argument with examples and analysis by explaining how the stereotype can become accepted as a social norm.

‘From the margins to the mainstream: the political power of hip-hop’ by Katina R. Stapleton

Hip-Hop is an extensive and a broad conglomerate of various artistic forms that ultimately originated in the South Bronx and then quickly spread throughout the rest of New York City among African-Americans and other African-American youth mainly from the Caribbean and from Jamaica during the 1970’s. Over the course of decades and recent years, controversy surrounding Hip-Hop and rap music has been the vanguard of the media. From the over hype of the East and West Coast rivalry to the deaths of Tupac, Biggie, and even Michael Brown and Trayvon Martin, it seems that political and broadcasting groups have been injudicious to place essentially the blame on rap and Hip-Hop music for a superficial trend in youth violence.

Hip Hop culture has come from a inner city expression of life to a multi-billion dollar business. At the beginning of the new millennium it was the top selling genre in the pop charts. It had influences not only on music, but on fashion, film, television, and print. In 2004 Hip Hop celebrated its 30th year anniversary. It wasn’t big for the fact that it was still kicking. It was big because the once Black/Brown inner city culture had grown into a multi-billion dollar global phenomenon (Reeves). Hip Hop culture has provided a platform for all walks of life to speak their mind. Over the past 36 years it has provided us with both entertainment and controversy alike and had a huge impact on our nation’s history. `

Another stereotype about people who listen to rap music is that they all live in lower income communities. It is true that most rap has to do with growing up in a rough neighborhood and overcoming adversity, but lately in the rap scene, there have been numerous rap acts that emphasize with other topics that are relatable such as love and family life. So due to that, there will be a more diverse fan group that could relate to them. Even with topics concerning struggles in the rough communities, listeners that do not necessarily relate to similar living conditions can understand what life is like where poverty exists. Those lessons are brought to the listeners of all kinds the attention to say that it is possible to overcome what is thought to believe is impossible.

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

Rap music’s point of view provides conceptualisations of gender and identity and supports the representation of problems regarding inequality, inequity, and social interactions (Rose 31). Until today, many rap artists come from a background where they had to struggle with aggression, family dysfunction, poverty, and intimidation. In order to prove their skills and earn respect from others, rap battles were invented,

Hip Hop music became one of the primary constructive outlets for Black Americans to release their thoughts, pain, and anguish about the injustices and mistreatments of Black people. Even though most of the pioneers in Hip-Hop either were not born in America or are 2nd generation immigrants that proves that common oppression can lead to unity. The fact that that these individuals were impoverished and felt marginalized is what brought them together and lead to the culture today. Deep rooted racism in the United States kept the genre of music suppressed for a while before it was allowed to even be played on the airwaves. Now, in 2011, the main consumers of byproducts of hip hop are White Americans.

The term ‘hip-hop’ refers to a complex culture compromising of four elements: deejaying, rapping, rhyming, graffiti painting, and b-boying. These elements incorporate hip-hop dance, style, and attitude. “Hip-hop originated in the primarily African American economically depressed South Bronx section of New York City in the late 1970s” (Tate, pg.1). Hip-hop is a culture of fashion, language, music, movement, visual art and expression. The genre of hip-hop comes with a very significant history and evolution with its own heroes, legends, triumphs and downfalls. “Real” hip-hop is often stressed in the 21st century due to what is being passed off as hip hop, and it is often made clear that just because one takes a hip hop class, or listens to hip-hop music, does not mean they conform to the true immersion of hip-hop culture. Therefore, “real” hip-hop encapsulates the true essence of hip-hop culture, untarnished by impurities such as rapacious record labels, and vapid, materialistic subject matter. Due to the background of how and where hip-hop first emerged, the African American culture often feel responsible to protect what is for them, and to protect the culture of hip-hop entirely. Boyd states that even though hip-hop as a culture was created as a social movement, the “commercializaiton” of hip-hop demonstrated in film and media construes it to another form of urbanization and popularity”(Boyd, 79). However, in the two movies being examined in this essay (Save the Last Dance