current generation of youth is engrossed in hip-hop culture, tending to idolize the artist behind the songs. Since the 1970s, hip-hop has influenced American culture tremendously. In the past, hip-hop held a central focus around inequality, empowerment and overcoming hardships. Today, hip-hop talks more about sex, money, a male dominant social standing, and drugs. Hip-hop, from then to now, has drifted to the darker side of the social spectrum. The majority of today’s youth were subconsciously thrust
Japanese young people started hanging out at the Harajuku district. These trendsetting youth go there with their unexplainable fashion sense (Bartlett). The Harajuku fashion is just really so different because anything can be possible (Craft 26) and it is all about “creativity, theatricality, style, confidence, looking cute, and mixing and matching” (Knight). This was all made possible due to the fact that the youth still stayed at their parents’ home and their fathers provided them with the money they
like how jazz and blues were first highly controversial but undeniably very American musical styles, rap has become a definitive musical voice and creative outlet for a large group of people. In the last few decades, rap music in America has dramatically captured and changed the pop culture and media of youth. Much about rap is misunderstood because of lack of knowledge of the social context to some listeners and so it is often deemed obscene due to explicit language and content. Rap music has done
for critical education in prison. They aimed to use their teaching efforts to reach out to marginalized students and develop students’ sociological imaginations to assist them through the challenges of confinement and reentry. The authors’ analysis has implications for both prison education and higher education more broadly. They conclude that the success of prison education is dependent on establishing democratic classrooms that can enable students to see themselves as something more than inmates