How Does Ll Cool J And Ice T 's Body Language, Clothing, And Setting Portray Them

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

This focused the attention of the public, less towards the ‘whitewashed’ media and art forms, and more towards the black community. This immense stardom and fame was the quintessential element that justified black artists like Chuck D and Flava Flav expressing their dislike for him.

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”.

Hip Hop: Beyond Beats & Rhymes is a documentary created and produced by Bryon Hurt. The documentary challenges the dominant discourses of hyper masculinity and the misogynist treatment of women in commercialized rap. Of the many mainstream phenomenons that are discussed by Bryon in the documentary, the issue of hyper masculinity in Hip Hop is questioned greatly. Throughout the film, the producer was able to show the wide acceptance of hyper masculinity not only in Hip Hop but also American culture as well. He defined America as a hyper masculine and hyper violent nation for the reason that using a gun to defend one’s family became a metaphor for masculinity and a tool for widespread violence. The issue of issue of hyper masculinity can be

Vanilla Ice uses a stereotypical approach to establish credibility from other rappers and his audience. With the use of literary devices, Vanilla Ice illustrates himself as an MC capable of “cooking [other] MC’s like a pound of bacon.” This simile comparing other MC’s to bacon gives the audience the impression that Vanilla Ice can out-perform any competitor. This is essentially challenging others as though they were no match for him. He also uses the stereotype that successful rappers constantly have female attention when he claims he has “girlies on standby.” However, he insinuates he is too good for these women after he “just drove by.” This implies that he not only has admirers, but it is not worth his time to stop and acknowledge them. He also makes his music seem desirable by comparing its value to that of drugs, claiming “if [his] rhyme was a drug [he’d] sell it by the gram.” This comparison demonstrates how addictive he believes his music is. Vanilla Ice uses these methods to appeal to the conventions of rap in order to create an image comparable to that of an established

We live in a media saturated environment where everything we know and what we consider to be important is often based on stories produced and displayed to us by the media, Brooks and Hebert (2006). Much of what we know and care about is based on the images, symbols and narratives in radio, television, film, music and other media systems. How individuals construct their social identities, how they come to understand what it means to be male, female, Black, White, Asian, Latino and Native America is shaped by commoditised texts produced by media for audiences that are increasingly segmented by the social construction of race. In short the media are central to what ultimately come to present our social realities. For example for many Whites and people from other races and ethnicities the media’s portrayal of young black men is the primary bias for their knowledge and reaction. With a few notable examples in politics, most media present young black men as figures to be admired for their athleticism, artistic, entertainment talent or feared for their criminality. However this essay will focus on the way young black men are portrayed in news.

Kehinde Wiley is an African-American artist who paints portraits of black and brown people from all over the world. History has largely ignored people of color, and Wiley strives to give black and brown people their aesthetic due and start a conversation about race. Wiley classical portraits often directly resembling famous European works of art. Leviathan Zodiac from Wiley’s The World Stage: Israel series bears a strong resemblance to Augustus of Primaporta of 20 B.C.E.

It is clear that our country 's criminal justice system is the new Jim Crow; with a huge majority of felons being African American, it is obvious that people of color have it harder when it comes to crime sentences. We must acknowledge that mass incarceration and the Jim Crow era are greatly similar. Minstrel shows, which showed black men to be lazy, dumb, and clownish, once justified the oppression of african americans. Many now believe that gangsta rap does just the same and is the modern day minstrel show, by portraying blacks to be drug dealers, angry, and violent men. Though many people believe that gangsta rap reinforces these stereotypes, it’s important for one to realize that this form of expression is not a modern day version of blackface performances.

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,

“Change will not come if we wait for some other person or some other time. We are the ones we’ve been waiting for. We are the change that we seek” Barack Obama. The question is always asked does the media reflect the reality of society, or does society try and imitate the reality shown by the media? There are a number of stereotypes associated with African Americans in our society such as African American men are athletes, rappers, criminals, deviant, streetwise, uneducated, and unemployed just to name a few. African Americans in the media have changed through the years. The history of African Americans on TV or minorities in general is hampered by the racial conflicts and segregation that are embedded in American society. Historically, black actors have been grouped stereotypically and assigned to comedy. This has often been traced to the genre of black minstrelsy that was popular in the early 20th century.

The Cool Pose is described as the new ways African America males are learning how to cope with hardships involving race and discrimination. This reading explains how African-American men are learning that one can gain success through the use of violence, impatience, and hostility towards other individuals. The way they walk, talk, and express themselves, allow society to favor the young, impoverished black male. Not only does the cool pose bring them a certain sense of success, but also it brands a sense of individuality on the African-American members can identify with. The cool behavior also is a way for these males to hide their inner feelings based on their daily struggles.

Utilizing mainstream Hip Hop trend such as clothing, Wiley blends aspects of contemporary life to contrast with history. This décor functions to represent the bodies of his subjects as standardized type. The Black communities close relationship with hip-hop fixes black male bodies within a set of ideas about their identity. Wiley's Portrait Pablillos de Valladolid provides an example of this appropriation, as the male subject wears a black, short-sleeve sports jersey with the word ‘Harlem’ spread horizontally across his chest, The subject’s logo locates his body within Harlem, A historic location of hip-hop culture, situating his body within hip-hop identity. The contrast between the official role implied by the title and the appearance of the young man in hip-hop attire and many contradictions. By combining theatrical poses and objects with young black men, fashioned in urban attire Wiley fully immerses the Hip-Hop black culture into the seemingly contrasting concept of traditional. A postmodernist approach to blur the distinction between high culture and mainstream culture. As eluding contemporary mass society with subjects and stylistic references in his paintings, combining the concept of high and low art to be

“The sensitivity around stereotypes and distortions largely arises, then, form the powerlessness of historically marginalized groups to control their own representation.” Since Black people are the minority, they have no control over how they are represented in the media. As Shothat had mentioned in his article, “In the media there is a tendency to represent Black males as potential delinquents.” The misrepresentation of most Black males, affects them significantly; therefore, since they

The black male has often been depicted as a thug, hoodlum, a gangster, and as a man with an itchy trigger finger. This is obviously why many young people have grown to be subtly racist their toward fellow Americans, while others have grown such hatred that they form radical organizations such as the Ku Klux Klan, Neo Nazis, and skinheads. Hate crimes are still evident and not as uncommon as many people

I recently wrote an essay about the development of the star persona of Ice Cube, the rapper/actor who has made the unusual transition from hardcore gangsta rapper to leading man in such “family-friendly” films as Are We There Yet? The essay, entitled “With an Attitude: The Development of Ice Cube’s Star Persona,” will soon be published in the online film journal 16:9; I’ll link to it as soon as it’s up. The thesis of the essay is that, for all the apparent and unexpected alterations to his “street” persona, Cube’s film characters are nevertheless almost always coded as gangstas – an association that he has not been able (or has not wanted) to shake.