The Role Of Graffiti In Hip Hop

In his short overview of the origination of the Sugar Hill Gang in the mid 1970’s, the author makes it apparent the hip-hop grew out of necessity due to lack of funding in the art programs in New York City school system. This neoclassical movement of the mid 1970’s grew like a wildflower that sprouts through the cracks of a modern day concrete jungle.

With means to express oneself, helps one overcome the difficulties of life. This approach represents the entire nature of the hip hop culture, especially when dealing with social justice issues. Today, the hip hop culture association revolves around raps (lyrics) and the rappers which reflect how consumers receive messages about social justice issues. Unlike breaking and graffiti, the music/lyrics penetrate society more. However, for this analysis, the focus will rely on a visual element with a connection to hip hop music. Even though a music video would make sense as a visual means of expression, this analysis has more interest in the cover art that goes with a hip hop album. Also, this focus will lead to the question of how important is art

Hip Hop was birthed in the neighborhood, where young people gathered in parks, on playgrounds, and neighborhood street corners, to verbalize poetry over spontaneous sounds and adopted melodies. Hip Hop was not just the music; it was also a way for the young to show their skills in break dancing, gymnastic dance style that was valued, and athleticism over choreographed fluidity. Hip hop was also fashion such as: hats, jackets, gold chains, and name-brand sneakers. Hip Hop was a form of graffiti, to a new way of expression that engaged spray paint on the subway walls as the canvas. In addition, today’s hip hop have changed as where the DJ was once is now the producer as the key music maker, and the park is now a studio.

In this article, the speaker must be an expert in politics, ethnicity and the music industry. There is a linkage between the above fields hence the speaker must have had a superlative background on these issues. The audience targeted by this literature were seemingly music enthusiasts to be educated on understanding what Hip-Hop entails and hoped to achieve this as it was established. The subject was Hip-Hop as a music genre that was largely developed by African American men to express their plight on injustice and oppression. The principal issue was how Hip-Hop has been used as a form of resistance and need for deliverance of the African Americans.

In order to understand hip-hop dance, it is important to recognize hip-hop music and where it came from. Many scholars of rap music relate the founding of rap to African and African American oral and musical traditions, specifically African griots and storytellers. They link the rhythm of rap to the use of drums in Africa and to African American music in the United States, from slave songs and spirituals to jazz and R&B. Scholars have found very interesting connections between rap music and Black nationalist traditions (traditions historically practiced by black people that serve as part of their racial identity). Rap is similar to the “call and response of the black church, the joy and pain of the blues, the jive talk and slang of the hipsters and jazz musicians, the boasting of street talk, the sidesplitting humor of comedians, and the articulateness of black activists.” All of these African American oral traditions, including rap, can be traced back to West African oral traditions. In traditional African societies, the spoken word and oral culture included poetry, storytelling, and speaking to drumbeats. The links between rap music and African American oral and musical traditions demonstrate that hip-hop music represents more than just sound. It represents history. This aspect of it, in my opinion, makes this type of music very unique and makes it carry more value.

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.

Is the most controversial element on hip-hop, and tends to be its visual expression. The definition of graffiti could be that it is a mural interpretation of the artists’ inner that can be resulted in a drawing, writing, or a symbolic projection (Edwards 13-17). There are three types of the graffiti art: the Tagging, which can be a simple form of one color only; second, is the Threw-Up in which the artist may use more than two colors, and the Spray is the third type where more colors and complexity is used. (Gross 285)

There are many associations with graffiti writing, Hip-hop being the first. Though the emergence of graffiti can be attributed to street gangs; which, they used to mark their territories (Chronopoulos 2011, pg. 79), graffiti began to merge with hip-hop culture in the 70s (Chronopoulos 2011, pg. 82). Ultimately, this combination promoted the public domination over public spaces in New York City through the use

This aspect of hip hop culture became so engrained within “codes of behavior, secret gathering places, slang, and aesthetic standards,” and thus had the most racially ethnic artists, which is why these people were mostly targeted by police for these actions. Taki 183’s graffiti was an act of political resistance against the “cleaning up” of New York City streets, which was a euphemism for whitening these neighborhoods economically and physically, with the displacement of poor, people of color. Specifically, his work is called tagging because the artist is “making his or her presence known and proclaiming his or her identity through a unique mark” (Orejuela, 2015, pg. 17). The artist of this graffiti artwork, and others like it were also a blatant display by people of color peacefully fighting back the state for its intended demise and who at the time, spent thousands of dollars to rid the streets of these pieces of artwork because of its direct connection to people of color. This work of resistance was so successful because other graffiti artists would try to compete with Taki 183’s work and thus, they too would create their own piece of work. This then made it almost impossible for the city to paint over every piece of work, but this also made it more dangerous for the artists themselves, as the penalties for graffiti became even more severe as people of color became even more policed. This artist specifically, made this artwork most popular as he performed it during such a tense time and received major exposure by the New York media. Phase 2 was infamous for creating bubble writing, also known as softies, but was also a b-boy. He also rapped and graffitied during the 1970s when the state of New York was in a war with the residents of color and the lower class. Phase 2 art is referred to

The hip-hop culture began in the streets of New York City during the 1970’s and has gone through tremendous changes up until now. Hip-Hop consists of four elements: rap, graffiti, break-dancing, and the disc jockey. In this paper, I intend to fully explain the evolution of rap music, from its infancy to the giant industry it is today.

Hip-Hop is an extensive and a broad conglomerate of various artistic forms that ultimately originated in the South Bronx and then quickly spread throughout the rest of New York City among African-Americans and other African-American youth mainly from the Caribbean and from Jamaica during the 1970’s. Over the course of decades and recent years, controversy surrounding Hip-Hop and rap music has been the vanguard of the media. From the over hype of the East and West Coast rivalry to the deaths of Tupac, Biggie, and even Michael Brown and Trayvon Martin, it seems that political and broadcasting groups have been injudicious to place essentially the blame on rap and Hip-Hop music for a superficial trend in youth violence.

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

It has been 30 years since Hip-Hop was first “introduced” to the world. Whether it be fashion or politics, this musical genre/culture plays a huge role in everyday life and has generated billions of dollars across the globe. In this paper I will be discussing when, where, and how Hip-Hop was created, “old school Hip-Hop, “Hip-Hop’s Golden Age”, “Hardcore rap” “Gangsta rap”, “G-Funk”, 21st century Hip-Hop, and how Hip-Hop affects society.

Hip-Hop is a cultural movement that emerged from the dilapidated South Bronx, New York in the early 1970’s. The area’s mostly African American and Puerto Rican residents originated this uniquely American musical genre and culture that over the past four decades has developed into a global sensation impacting the formation of youth culture around the world. The South Bronx was a whirlpool of political, social, and economic upheaval in the years leading up to the inception of Hip-Hop. The early part of the 1970’s found many African American and Hispanic communities desperately seeking relief from the poverty, drug, and crime epidemics engulfing the gang dominated neighborhoods. Hip-Hop proved to be successful as both a creative outlet for

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