Rap And Hip Hop Music

Hip-hop is a cultured style that started in the 1970’s. Majority of different funk groups began playing disco music at that time it was popular. During this time funk music was technology driven more electronic sounds were being used on the drum machines. Funk was the new dance in the early 70’s. This particular style of singing in which was being used is called rapping, this begun in African American, Urban Areas, Jamaican American, Latino American and many others cities of the United States. The group of artist or singer say words with a rhythm that rhymes. Some hip-hop music lyrics are about violence and illegal drugs. Often time lyrics are about the life of urban people who stay in big cities. Other styles that hip-hop uses come from

The study of hip hop music has been cited well throughout its growth over time. The purpose of this paper is intended to discuss hip hop culture and address cultural stereotypes associated with rap and hip-hop music, but also how its original lyrical intentions were forms of expression and art. It will begin by guiding the reader through how it originated, its influence with the African-Americans with its subculture and popularity in urban areas, its styles of evolving, the introduction of hip hop and rap to the public, the depiction it gave off with its criticisms from outsiders. An evaluation of hip hop artists songs by Sugar Hill and the Gang, Run DMC, Queen Latifah, and N.W.A. Including lyrics from the songs “Rappers Delight”, “King of Rock”, “Latifah’s Law”, and “Niggaz4Life”. In the conclusion it exposes how hip hop music is clearly for black Americans to express themselves freely and in fact did not cause violence.

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

Many Americans today embrace the culture of hip-hop. Since hip-hop became mainstream its influence has surrounded most Americans. People engage in social issues from the hip-hop culture In his recent work, How Hip-Hop Holds Blacks Back, John H. McWhorter have offered harsh critiques of hip-hop for delaying and marring the success of black people. McWhorter asserts hip-hop music “celebrates a ghetto life of unending violence and criminality(10).” He believes hip-hop contributes to the stereotype nearly all Americans maintain in regard to black people. Reflecting on harsh song lyrics McWhorter attempts to strengthen his argument. McWhorter acknowledges not all hip-hop promotes violence in people. He concedes “not all hip-hop is belligerent

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.

Within History, Rap has been considered the “CNN for black people”; what started as a way to express struggles in the ghettos of New York has transformed into one of the most popular genres of music in America. The popularity of rap has allowed many to have their voices heard, created new fashion trends, and even developed popular modern slang used by people throughout the world. The commercialization of rap has resulted in a significant following of the culture in America but also a large number of people who oppose the music. The culture of rap music has a substantial impact on popular culture in America, and by using an open mind and looking past the violence and language, people can better understand the meaning behind rap and the perception that follows it in America today.

The influence of rap on black urban youths has become a major part to the modern day music industry. Berry uses the article to show that through rap music, low income black youth are able to develop empowering values and ideologies, strengthen cultural interaction and establish positive identities. This is done by describing different components of urban black culture associated with rap which enhances the struggle for black significance in pop culture. His beliefs are supported by using rap artists and their music to show how significant it has grown to be a dominant form of expression but also a controversial issue for urban black youths. The thesis that rap music as cultural expression is

As the decade of the 1970’s came to an end, a new Black music emerged like much of the others - wrapped in social realities of an genuinely Black experience. Rap/Hip Hop bursted on the seams relating many of the same political messages and ideologies heard decades before. Echoing the Black Power movement and using the musical culture as a way to rebuild Black communities constantly under attack, rap brought real life stories of an urban, younger

“I want kids of this generation to see that everything is cool, that there 's some kind of unity in hip-hop. We all found something that 's really important to us, and music is all we 've really got” – Missy Elliot. Hip-Hop is a cultural movement and popular genre of music that emerged during the early 1970 's by working class Black youths in New York City. The cultural movement has rapidly expanded across different countries and ethnicities over the years, becoming one of the few markers that define a generation. Hip-Hop can be seen as “the fundamental matrix of self-expression for this whole generation” (Katz & Smith, 1993). Through music, itself, artists can express their feelings towards different events or social changes that they’ve see or have experienced in their lives. According to Frith (1986), this perspective towards writing music is similar to Mooney’s argument that popular song lyrics is a reflection of what’s missing or needed at their time, giving us a trace of America’s ‘mood’ throughout history. In return, music artists captivate the minds of people among various backgrounds who use these relatable music lyrics as a source of empowerment or as an expression of their own thoughts. While some music artists create music to uplift their audience by giving them a sense of freedom, other artists create music that separates their audience by dehumanizing one group and giving power to the other.

Since its creation and commercialization, Hip Hop has been used as an instrument to raise political issues, bring awareness to the hardships of people, act as a means of protest, petition for societal change and empower the downtrodden of society. It is therefore to a large extent successful in acting as a platform to voice political commentary and aid societal progression. It is complicit in perpetuating negative stereotypes of African Americans , the glorification of thugs as well as serving to partially justify police brutality towards Black Americans. However , it can be argued that the same factors that cause this societal damage also aim to protect African Americans from further societal harm.

We can surmise, then, that Obama’s image is directly related to the notion of the “post-racial” through his failure to explicitly discuss racism, which in turn, affects how notions of race and raciality are conceived and discussed in the American socio-political landscape as a whole; in contrast, hip hop is in a position to deal more explicitly with race and racism. As Jeffries argues, “Poverty, disorder, and ghetto culture are central to analyses of hip-hop meaning, thanks to the symbolic importance of the ghetto as an element of hip-hop authenticity and the historical importance of neglected urban space as the birthplace of hip-hop culture” (Thug Life 28). Thus, hip hop remains firmly rooted in traditionally Black spaces and experiences which lends hip hop and rap artists the

After the 1980s blacks had finally made their own identities which were recognized through their talents. While creating black studies and preferring to be called African Americans instead of derogatory names such as a “Nigger” or “Negroes.” However, music symbolizes the younger generations in the 1960s, especially Hip Hop and Rap music. Hip Hop gives blacks authentic music they can relate to with the lyrics and their everyday life struggles. It also conveys attitudes in a specific art form. Rap music defines the artist’s character and allow them to speak from their hearts with passion. This music gives a voice to the poor, oppressed and younger youth against harassment while portraying the image of black people in poverty.

Frequently, the gansta rap has been the center of attention on national debates regarding the amount of violence in the media and its effects on America’s youth. In some occasions, there have been cases in where political experts and television analysts have accused individual rap starts for real life tragic events. However, it is imperative to understand that if hip hop music is violent, it is because the songs express the reality that African American live on a daily basis. In order to be objective on this matter, it is essential to look past the controversy and acknowledge that it is unrealistic for one particular

This paper will open by first and foremost, explaining the different sociological meanings of the term power, so as the reader has an understanding of the arguments being made. This will allow anybody reading this paper to follow the arguments being made. Music can provide a means of resistance for challenging the power relations of racism, class and gender in a number of ways. The first way that this paper will approach this is the racial aspect and as a means of doing this, the main focus point will be Eminem and his break-through in to the Rap/ Hip-hop genre. This is relevant because he was the first white person to ever successfully break into this specific genre of predominantly Black artists. This will lead neatly onto the next element to answering the question of music providing a means of resistance for challenging power relations, It will move on to look at the class element of resisting and challenging power. This section will start off by continuing with regard to Eminem and how he used his “underclass” background as a means of connecting with his black counterparts, But still gaining acceptance from his peers and even forming a working relationship with an already massively established artist that aided him in his entrance to the hip-hop music industry and his credibility their after. Whilst still staying with subject matter of class, this

Throughout history, music has been used to express the feelings of people or groups whom may have no other outlet to express themselves. The best example of this occurrence would be the lower class of America’s use of rap music. Rap music started out as a fun variation of disco with the purpose to make people dance and enjoy themselves, but it later transformed into one of the best outlets to express the struggles of poverty in the United States. The genre gained popularity when the song “Rapper 's Delight” hit the charts in the early eighties; rap evolved into a plethora of different styles from there, Gangster Rap formed with NWA in the late eighties, and rap really hit it’s zenith in the mid nineties. Modern rap began in the early starts of the twentieth century. Because of the storytelling that rappers do in the music, it gained notice in the inner city where the demographic could relate. Many young teen in the inner city environment built dream to be famous rappers just like their own favorite artists . Rap connects to me by its style, its purpose, and its political incorrectness.