Favelas Essay

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.

In the essay, McBride’s logical appeals are used to help his purpose by using facts and examples to describe the rise of hip hop culture, and explain its significance based on more than just opinion. A particular instance of McBride making a logical appeal would be “In the mid-1970s, New York City

While Steve Dahl and his followers felt out of place, the more important disruption was not white rock fans who were fearful that their music and culture were under siege. It was the Black, Latinx, and LGBT communities who saw the white-washing and erasure of their sexual identities to appease dominant white audiences that were enthralled with this faux version of disco. And once the economic profitability of disco was discovered, it swiftly arose and transformed to accommodate white, heteronormative ideologies for mainstream music and pop culture spaces that ignored the implications of white-washing and heterosexist undercurrents. There was no turning back. Disco was extremely lucrative in above-ground spaces and because of its profitability,

Music is an art form and source of power. Many forms of music reflect culture and society, as well as, containing political content and social message. Music as social change has been highlighted throughout the 20th century. In the 1960s the United States saw political and socially oriented folk music discussing the Vietnam War and other social issues. In Jamaica during the 1970s and 1980s reggae developed out of the Ghetto’s of Trench town and expressed the social unrest of the poor and the need to over-through the oppressors. The 1980’s brought the newest development in social and political music, the emergence of hip-hop and rap. This urban musical art form that was developed in New

In conclusion, reading about Carolina’s life has had a huge impact on my learnings of Brazil. While reading this book, I was able to reflect on what we learned and discussed about life in the favelas in class. When I hear of Brazil, I always hear of the wealthy places, pretty women and beautiful sites to visit. However, the favelas and life of the poor people living in Brazil is rarely mentioned and talked about. Reading Carolina’s diary gave me a different image of the country and showed Brazil in another light. Carolina’s diary gave me more insight on what the daily life of a favelado is like and what people who live in the favelas experience on a daily

Mexican corridos and the subgenre, narcocorridos, are very popular in today’s Hispanic music culture. Like any other musical genre, there are people who are for corridos and people who are against them. The people against corridos frown upon this music, because they believe the lyrics and stories (in corridos) glorify and promote violence, drug trafficking, and criminals. In their eyes, corridos are so problematic, they believe the best thing to do is to erase and/or ban corridos from all music culture. They believe that banning corridos would somehow stop sending people the “wrong” message. On the other hand, the audiences that enjoy corridos feel a connection to the stories and lyrics. Typically, this audience is made up of Mexicans, Mexican-Americans, and Hispanics. Although some people believe that corridos glorify criminal acts, others feel like these songs tell the stories people are too scared to talk about, or that is not often seen or heard in the popular media. These songs mirror stories of people’s

Afro Brazilians have had to deal with centuries of oppression. During these times, Afro-Brazilians have had to deal with various methods, and strategies designed to keep entire communities oppressed. Many of these methods have had effects so profound, they are still affecting many Brazilians till this day. Political oppression is one of the oldest methods known to man, along with unleashing a forceful police force mimicking military forces. Authoritarian rule also played a major role in the shaping of the country. Furthermore, an inept biased justice system will fail those who need protections, and justice the most. These four key modes will be objectively examined, as well as the efficacy of each of these repressive strategies, and the impact that they have had or still have in the Afro-Brazilian communities.

This style of “zoot-suit” is often linked with Mexican American because of the infamous riot took place in downtown Los Angles, along Figueroa Boulevard. But not of people realize zoot suit was actually associated with youth African American in the 1940s and provided several “racial connotations as the preferred choice of hip black men and entertainers.” 4 Moreover, the word “zoot” seems to imply a style of dress and music that rebellious against the society’s standard to serve as a political statement. During the time of the riots, America was having a cotton shortage, but yet these suits were baggy with excessive use of cotton. The outfit itself was part of a subculture create by the youth minorities as their way of rebelling against the oppressed American’s mainstream culture. In this subculture, minority, mostly Mexican American, can behave as freely as they want. They can wear their eccentric clothing, listen to certain type of music, and communicate in their own set of

Gentrification. More than a word but a statement that there is something new in town. A statement that allows one to see that there would be changes that will tear some families down but build some up. It had originated during times where blacks had been moving up on the ladder and was not wanted. Around the 1960’s there had been powerful upgrowing black businesses that many do not know today due to gentrification. Many things have kept culture alive in the district during the times of gentrification such us the music but things that people love. Teenagers and adults all over the globe, but mainly in the district have felt the empowerment and movements of Muhammad Ali. A man who had been more than a boxer, someone who fought in the ring and his people.

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.

There is an area in NYC named El Barrio within El Barrio there is a large group of working-class Puerto Rican residents living their lives but struggling with facing street cultural and their ethnic background. Living in harsh situations put a toll on the residents that were trying to live and make it out. In El Barrio, street culture is clustered and influential and is challenging for them to continue the traditional Puerto Rican culture. In this paper, I agree that street culture has a significant impact on the resident than their traditional Puerto Rican culture, I demonstrate by looking at their jobs, relationships, drug usage. Also, looking at substantial, significant residents Primo for a male aspect, Candy for a female perspective, but connect to the whole community in El Barrio. I believe this is significant because these are the three-main topics that was brought up also the two main voices for each gender, which helps the reader read about the unique way street culture had started to have more of an influence of tradition.

The look and study of street gangs have been shifting over the past 4-5 decades due to changes in the tactics taken by sociologists. There were many books written about these gangs including “The Gang” , by Thrasher, which was recognized as one of the first or if not the first gang related to sociological views. People ask questions such as, “Why do people join these gangs and why do most of them end up causing havoc and violence within a city.” This is a question a normal person that isn’t looking at these people as subjects due for change but rather people who aren’t “normal”. Sociologists look at these people and ask questions like, “Where do they live? Who are they friends with? How and why did their social practices and cultural values change?” These are questions a sociologist would ask simply because there are many factors which come out when determining the choices of deviance within a person.

At the beginning of the twenty-first century, popular music and culture became significant influences on the lives of many individuals within the city of Los Angeles. East Los Angeles (“East L.A.” or “the Eastside”), in particular, was a center of flourishing musical, cultural, and social scenes with strong connections to the changing Chicano/a identity. Under this environment in which the Chicano movement (moviemiento) continued to prevail, a large number of socially aware and politically active, Latin-fusion “Chicano” bands were developed. One of such was the Ozomatli band, who strived to express their activist viewpoints through popular music. The spatial context of the band’s emergence, their links to past musical movements, and their implementation of a wide array of musical styles and genres all define their impact on Chicano identity in Los Angeles. Through their music, the Ozomatli band has showed much about the importance of the changing Chicano culture and served as the framework for cultural and social dynamics of present-day Los Angeles.

“City of God ‘has nothing to do with the Rio you see in the postcards’. It is a 1960s-style housing project that, in tandem with increasing drug dealing, became, already by the 1980s, one of the most dangerous places in Rio. It is a place abandoned by God and justice, where police hardly ever come and where residents’ life expectancy does not considerably exceed the twenties”EXPAND (Diken 2).