Started In The Streets: Criminalizing Hip-Hop

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

Rap is a genre in music that consists of rhyming or being poetic over a certain unique beat. The origin of rap is significantly different from any other form of music. The flow, change, subject of the music, and the instrumentals behind the rapping has all changed with time. Most people would underestimate the complexity of the music and the evolution it has undergone. The real roots of rap music began in the late 1980’s with the “Golden Age.” It was innovative and mostly based around the party scene. Gangsta Rap followed the Golden age and was very impactful on the young culture. After the Gangsta Rap era came the time in rap referred to as Crunk Rap which combined the country sound with the party lifestyle. Conscious

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

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 misunderstood subculture of music that many have come to know as “hip-hop” is given a critical examination by James McBride in his essay Hip-Hop Planet. McBride provides the reader with direct insight into the influence that hip-hop music has played in his life, as well as the lives of the American society. From the capitalist freedom that hip-hop music embodies to the disjointed families that plague this country, McBride explains that hip-hop music has a place for everyone. The implications that he presents in this essay about hip-hop music suggest that this movement symbolizes and encapsulates the struggle of various individual on

In Joan Morgan’s article “Fly-Girls, Bitches and Hoes: Notes of a Hip Hop Feminist”, she shows the way rap music has changed through it popularity. The widespread appreciation of rap had negative impacts upon the black community. Morgan talks about this through her Feminist point of view. She focuses the topic on what rap music says about the African American culture in Hip Hop. Rap music and Hip Hop were invented through the pain of African Americans. Hip Hop and the Rap industry use sexism and machoism to express the long years of oppressive pain they went through by the hands of the white people. Especially for the black brothers who continue that oppression by using provocative words that degrade the black sisters. Morgan states that blame isn’t only on the brothers

It was during the mid-1980s that the emergence of a new smokable form of cocaine, called crack, had been introduced to the United States. Crack, was highly-addictive and swept through impoverished areas of cities such as New York, Los Angeles, Oakland, and Miami. In the end it caused devastating effects for black and Latino Americans. As crack cocaine was becoming a grim and rising epidemic, hip hop was evolving alongside it. It was in the 1980s that crack cocaine and hip hop became the two leading fundamentals of urban street culture. It is not suggested that hip hop caused the crack epidemic, or vice versa. But, it can be argued that both fed off each other, particularly hip hop off the crack culture itself.

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

The decade of hip-hop is what some may call it. Tupac, Naz, Biggie Smalls, as well as other artists, were major contributions. Not only for the people who are trying to find their footing, but Buck as well. Throughout the book various lyrics were embedded in order to create a better understanding for its readers. In addition, this book is based upon a 90s lifestyle within Philadelphia, which included drugs, gang activity, crime, hip-hop, and havoc. Malo was directly in the center of everything, the girls, the fights, the guns. His experiences shed light towards what it’s like to as an African American individual living in or near the hood. Not everyone realizes what people go through while living there, but now it gives some readers an image of what goes on. Though times have changed, not all previous feelings

Hip-Hop is the most dominant genre in the U.S. surpassing Rock, Country Music and R&B. Hip-Hop took music to a whole different dynamic, with its catchy beats and rhythmic music accompanied by rhyming. Unfortunately despite all the excellent elements that Hip-Hop has brought to the table, the Hip-Hop industry is known to promote a great deal of gun violence. This day in age rappers take pride in using their guns, bragging about the many guns they have, and have no problem telling the world that their not afraid to use it either. There has been many cases where famous rappers have lost their life due to gun violence. Rappers like Notorious B.I.G, Tupac Shakur, Bankroll Fresh, Big L, Jam Master Jay and the list goes on are all rappers who've been killed by the use of guns. A very famous rapper known as Snoop Dogg wanted to do something that Hip-Hop rarely does and that’s convey a meaningful message to stop gun violence. Snoop Dogg wrote a song called "No Guns Allowed" featuring Cori B and Drake, incorporating a theme where the use of guns should be prohibited because young lives are being taken away daily due to gun use. Not only did Snoop Dogg use his lyrics to get us to hear his message but he also used his music video to help visualize his message. Snoop Dogg uses Ethos, Logos, Kairos and other rhetorical strategies to persuade the audience that gun violence is a serious issue that needs to come to an end.

Wholesale crime, Homicides, Deadly drugs, Guns, Violence, Disease, Really dangerous people roaming free, the overall urban demoralization and decay of social and institutional standards. This has been the Obamas hip-hop desecration of America where no one cannot hide the facts that in eight years our nation has been overrun by gangs, drug dealers, and the purveyors of vulgar sub-culture anti-law order

Hip-hop has been a part of African-American culture since it’s inception. Amir “Questlove” Thompson’s memoir Mo’ Meta Blues, co-written by Ben Greenman, shows the evolution of hip-hop from it’s early beginnings through 2013, as well as tells the story of one of the genre’s best musicians childhood in Philadelphia. Quest love grew up in Philadelphia and was raised by his father, a doo-wop singer, and mother, a singer/dancer who also ran a clothing store. From an early age Questlove was exposed to music, but only the music his parents wanted to hear. Questlove even tells of how he had to hide Prince albums in his drums set so his parents wouldn’t take him

1.) In this class we have examined the sociological forces that created the social conditions from which Hip-Hop emerged in the Bronx. Drawing upon Chang, as well as videos (Bronx is Burning, Flying Cut Sleeves etc.), discuss the sociological roots of rap. Specifically, what social forces (for example: state policies, global economic trends, technological advancements, community characteristics as well as race, class, gender politics) were present and facilitated the development of Hip-Hop?

Hip Hop culture has come from a inner city expression of life to a multi-billion dollar business. At the beginning of the new millennium it was the top selling genre in the pop charts. It had influences not only on music, but on fashion, film, television, and print. In 2004 Hip Hop celebrated its 30th year anniversary. It wasn’t big for the fact that it was still kicking. It was big because the once Black/Brown inner city culture had grown into a multi-billion dollar global phenomenon (Reeves). Hip Hop culture has provided a platform for all walks of life to speak their mind. Over the past 36 years it has provided us with both entertainment and controversy alike and had a huge impact on our nation’s history. `

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