Is Modern Hip Hop Music?

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

Empowering people about their culture and encouragement of developing appreciation towards history and culture, especially toward indigenous people is the main message in this text. Elements such as music lyrics, dance movements and people within the video are significant to the message of the text. The lyrics, ‘survival of our culture is how we made it’, is an example of the way the audience is positioned to think about the influence of history and its relation to one’s core identity (Mau Power, 2014). The body movement and gestures in the video depict an image of strength and connection to something greater, which can be related to an understanding of cultural identity. Using this text in the classroom is a fun way to introduce the unit on identity as it’s rap genre would grab student’s attention. Students learn in a variety of ways and the use of the YouTube music video is a free way to make the lesson come alive and engage students (Bloom & Johnston, 2010). The learning outcomes for this lesson are to introduce the topic of identity and to define it (Australian Curriculum , 2017).

In your article “Hip Hop Planet”, you write about the global impact of hip hop, and the powerful message it contains. You first came across hip hop at a party, and didn’t like it much. In fact you seem to hate it, until 26 years later, when you started to regret that you have missed a very important and cultural event. A vision is going through your head about your daughter falling in love with a rapper, which caused you to think twice about hip hop. Although, you don’t seem to like the sound and the beat from hip hop, you begin to realize how the lyrics contain powerful and meaningful messages. In the article, you talk about your first experience with hip hop, and your thoughts about it. You also describe the stereotypes of hip hop, and how

Music is a creative art form that allows the artist to construct something that expresses a purpose. It evolves over time and changes as the world changes, taking on many different motivations behind the melody and lyrics. In today’s society, anger, oppression, racism, and negative opinions rule the media and popular culture. I believe that African Americans need to show their self worth and not let white people hold them back. With the music in white culture often mocking African American culture and portraying negative stereotypes, African Americans have to find ways to gain respect. In acknowledgement of the negative portrayal of their culture, African Americans respond by creating songs and videos that express their pride in their culture and heritage, react to white oppression, and communicate their independence.

Postmedia News released an article named "A Tribe Called Red Bring Culture, Politics to Club Music" in November 5, 2012 by a Stuart Derdeyn. The article presents a view into the underground world of "Pow Wow Step", which is a recently new trend in genre due to the popularity of electronic music .This recent genre is presented by a group named in the title, A Tribe Called Red (or ATCR) are involved in the intricacy of traditional views of Native culture and contemporary views, which incorporates both of these elements by having the perspective of the concept that culture has to evolve with the change that we have in our modern era.

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

Do you remember a time, during which hip hop music was a voice against African American oppression? Honestly, it is hard to tell nowadays. Even though hip hop was a concept coined my American artists, it is rooted in many cultures among different nations. It is one of the only nationalistic movements that have not lost its fundamental heritage throughout the test of time. Hip hop music has always been a voice for the voiceless, but in the past decade, the music genre has declined into commercialism. While these mainstream artists are cashing in their paychecks, young, talented artists, like the SaveMoney Crew are reinstating the consciousness in rap that has been missing for some time now. I believe that the majority of mainstream rap has changed for the worse because rappers are largely making music about meaningless things like extravagant purchases, hard core drugs, and sexual exploits, instead of using their position and influence to advocate against police brutality, discrimination, and the struggles inherent in a life of poverty like the underground movement spearheaded by the Savemoney Crew and other young, socially conscious rappers.

There are many political messages in every part of our live, but Hip-Hop has transcended ethnic boundaries. Because of its eclectic audience, it has the greatest opportunity to build ethnic bridges and mend ethnic relations. Hip hop has taken hold and permeated significant regions of the world. The clothing, music, mannerisms, and lexicon, are unmistakably the same in New York, Los Angeles, Paris, Zurich, Milan, and Tokyo. Indeed, this culture has the potential to make it cool not to commit hate crimes, not to discriminate or be homophobic or misogynistic, and to have political influence in American

In the article “Can’t hold us back! Hip-hop and the racial motility of aboriginal bodies in urban spaces” by Bonar Buffam, it explores “how urban indigenous youth negotiate and transgress these immobilizing racisms through their practice of a distinctly aboriginal hip-hop” (p.337). The author divided this research paper into three sections. The study was done through ethnographic fieldwork and

The Native Americans seldom receive recognition when aspects of their culture are appropriated by famous celebrities and well-known brands. This essay will examine the ways in which Miley Cyrus, Pharrell Williams and Spur Steak Ranches appropriate the Native American culture, as well as explore their intentions to do so. The term cultural appropriation is defined to be “the adoption or use of elements of one culture by members of a different culture.” Cultural appropriation harms the appropriated community, and wrongly allows one to benefit material detriment from others such as benefiting financially. Jonathan Hart states in his book Translating and Resisting Empire: Cultural Appropriation and Postcolonial Studies that the debate over

Hip-hop is an underground urban movement which emerged in the South Bronx, NY during the early 1970s. Hip-hop is composed of four basic elements; DJ-ing, emceeing (rapping), graffiti and style, and break dancing. These elements are how most people recognize hip-hop culture. Many other people think of hip-hop as just a music genre, but it is more than just a music genre. It is cultivating way of living, and several people fail to understand its true meaning. It originated as so much more than just art and entertainment. Hip-hop is the constantly evolving spirt and consciousness of urban youth that keeps recreating itself in a never-ending cycle (Global Awareness through Hip-Hop Culture Program). TIME magazine has even considered it the most important youth culture on the planet (time.com). It has, and continues to influence the young urban crowd through its music, style, and role models. Hip-hop has evolved throughout the years, and has made several changes to the music and dance, the style and clothing, and the influential roles. Both good and not so good. Nevertheless, hip-hop culture continues to influence people.

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

In The Guardian’s article, “A Tribe Called Red’s electric powwow puts indigenous culture centre stage”, Damaris Colhoun finds that the band’s electric powwow music is reaching a wider cultural fan base than group anticipated and the audience’s rising tensions are being noticed.

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

Since the beginning of its art form rap music has been subject to scrutiny throughout its existence. In a Theresa Martinez reading from the semester, the author describes rap music as a resistance. She builds on a theory of oppositional culture that was composed by Bonnie Mitchell and Joe Feagin (1995). In this article, “POPULAR CULTURE AS OPPOSITIONAL CULTURE: Rap as Resistance”, Martinez explains how African Americans, American Indians, and Mexican Americans draw on their own cultural resources to resist oppression. She states that this very resistance to the dominate culture in