Kanye West, Matisyahu and Lupe Fiasco

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

The identity of the black man is the most crucial element attacked by black masculinity. Stemming from a limited variety of acceptable self expression, black masculinity emphasizes the need for an overly tough outer appearance while internally suppressing emotions of fear and sadness. These notions are particularly vivid in mainstream hip hop culture. In Byron Hurt’s Hip hop Beyond Beats and Rhymes, Hurt sits down with some of the industries most respected artist who attest that “anything nonhood will dilute [their] toughness.” Nonhood suggesting outwardly signs of affection, comfortability in the uprise of woman, and the dialogue and communication between Black brothers both verbal and nonverbal. These

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.

The film 8 Mile, directed by Curtis Hanson, is the typical American story of struggle and the eventual overcoming of obstacles and evil. Upon closer look, the film is arguably a socioeconomic and racial discourse. It focuses on the ascension of Marshall Mathers into the rap industry, previously dominated by African-American males. Rabbit’s race, gender, and class, all contribute to his identity and the meaning of the film, as well as contributing to Eminem’s image. Several themes are defined through the movie’s underlying discourse of race and class: the commodification of black culture, racial opposition, “passing”, cross-cultural bonding, white heroism and white masculinity, the reversal of white privilege into a disadvantage, and

Throughout Kanye West’s prolific career, he has possessed an intricate sound that has separated him from his hip-hop counterparts. After the immense praise he received on his breakout album, College Dropout, it was no surprise that Kanye West would perform at the same level on his second album, Late Registration. West presented an innovative and soulful sound to the hip-hop industry, earning individuals’ ears and hearts.With lyrics that discussed themes of poverty, drug abuse, and domestic issues and samples that provided a sense of nostalgia, Kanye West was steadily transforming into a political icon far beyond the means of his hip-hop artistry. With such empowering and sincere lyrics, Kanye West served as the voice of historically marginalized people, whose voices were seemingly unheard before. In the song “Drive Slow,” West’s guidance and empowering message remained evident, as he joined forces with GLC and Paul Wall to create a soulful song that offered assistance on how to overcome barriers in life. Through the use of suggestive details, figurative language, and vivid storytelling, West utilizes the automobile culture to assert how individuals can achieve success of every field of human endeavor through constant efforts in the right direction. In addition, he also attempts to convey that one must “drive slow” in a car in order to appreciate the environment that consists outside of the automobile. West creates a double entendre of the word “drive slow,” expressing that

Kanye West’s “Blood on the Leaves” is a powerful hip hop song that addresses modern day struggles such as drugs, sex, and poverty. Throughout the song, the lyrics of “Strange Fruits” by Billie Holiday blare from the background, stating “strange fruit swinging from the poplar trees… blood on the leaves” (Blood on the Leaves) over and over. The mix of the two styles and lyrics creates a dichotomy between the days of lynching and black oppression and the current struggles that face African Americans. The contrast between the different types of oppression draws attention to the current issues of modern day culture. African Americans in today's society are still

Henry is a model American teenager—and the prototypical consumer at which the hip-hop industry is squarely aimed, which has his parents sitting up in their seats. The music that was once the purview of black America has gone white and gone commercial all at once. A sea of white faces now rises up to greet rap groups as they perform, many of the teenagers like Henry, a NASCAR fanatic and self-described redneck (468)

Unlike many other mainstream artists, Kendrick Lamar attaches great importance to the lyrics of his songs. Lamar’s song “DNA”, released last April, became a real breakthrough in the world of hip-hop music. In this song, Lamar reflects on various social issues faced by the modern African-American community of the USA. The song’s lyrics, as well as the music video, portrays the most common stereotypes and biases labeled to the African-American community. The central aim of the song is to sarcastically demonstrate the image of African-Americans as they are viewed by biased media. By the use of symbolical sarcasm and double meanings, Lamar underlines the acuteness of the race inequality that remains existing in the modern America.

Today many people feel compelled to buy anything or everything with an expensive price tag. This includes Expensive designer clothes, latest gadgets, expensive vehicles and many other similar things. This form of consumerism has embedded itself in today’s society; where it's encouraged to invest in such materialistic possessions. Kanye West is an African-American rapper, producer, and entrepreneur, who articulates his struggle with consumerism and the struggle for those around him in his song “All Falls Down.” West, utilizes puns, rhyme, and juxtaposition to highlight the issues surrounding materialism that can be interpreted differently by different listeners such as African Americans and White Americans.

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

The controversial context that is often used in Hip-Hop sets the standard of what it means to be ‘masculine’ as an artist of the culture. Artist who does not display contentious lyrical content in their music may not receive as much notoriety in the industry. In today’s Hip-Hop culture, more ‘conscious’, ‘apathetically masculine’ artist like, J. Cole have become more in popular. Cole’s lyrics are a reflection of his adversities that he has endured during his lifetime. Cole’s inspirations behind his music does not stem from a place of violence or from his ability to accumulate wealth, but from his ability to overcome his hardships as a black man and fulfill his purpose in life.

From when Christianity became the official religion of the Roman Empire in 380 A.D. to the postmodern age, the Christian Church had varying degrees of control on Western society as an authoritative figure, dictating moral decisions and controlling mass culture. This cultural super-influence, of course, bleed into literature, music and film as well as everyday life. With the decline of believers, Jesus’ contribution to American culture has surely not shaken. The

Many contradicting views surround rap music’s controversial subjects and use of language. While some consider it highly offensive, there is some validity to the rhetoric applied in political rap. In the 1990’s racial inequality is rampant with uprisings and segregated neighborhoods that condemn minorities and lower socioeconomic classes to inhumane living conditions. Specifically, Tupac Shakur’s posthumous song “I Wonder if Heaven Got a Ghetto” combines an emancipatory lyric with a hopeful and upbeat instrumental to assess the racial inequality in society and the possibility of a better future.

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.

Arguably one the most controversial song on the album, “I am a God,” takes a radical approach into empowering black Americans in the fight against anti-black racism. Unfortunately, many people completely misunderstand the song’s main concept and real message because of the sacrilegious title and egotistical lyrics. “I am a God” perfectly combines confidence and expression to self empower blacks to continue to fight and believe in world that is not permeated by anti-black racism. Basically, Kanye braggadociously raps throughout the entire song, but in doing so, Kanye encourages blacks to discover their uniqueness and potential in life, or what ultimately makes them “gods.” The actual title of the song uses an uppercase “a,” “I Am A God,” which is associated with the Bible in Psalm 82:6-7, “I have said, Ye are gods; and all of you are children of the most High.