Verbal Mediums And Music And Song Provide A Holistic Reflection Of The Culture Of A Given Community

While reading " Deaf in America: Voices From A Culture " I notice the purpose of this book was to wrote about Deaf people in a new and different way. The book main focus is that Deaf people have a condition that they can't hear. The culture of Deaf people is what both authors want to begin yo betray. What I found interesting while reading is that the majority of indidivauls within the community of Deaf people do not join it at birth. While reading these chapters I've seen both auhtors try to present the culture from the inside to discover how Deaf people describe themselves and how they think about their lives.

Music and society have always been closely related. For years now music has been apart of people’s everyday lives all around the world. Having so many different genres out there, it makes it easy to be appealing to so many different ethnic backgrounds. However, one type of genre in particular has seemed to grab the attention of a younger generation. Rap music has undoubtedly had its utmost impact on African American youth, since many of the performers themselves are African American. An overtly masculine culture dominates rap music and creates gender stereotypes that become abundantly popular to the youthful audience. Three constant themes that are found within the rap culture are encouragement of violence, the misogynistic representation of women, an extreme hatred of homophobia. Each theme plays a detrimental role in the process of defining black masculinity as well as shaping the values, morals, and beliefs that its younger audience adopts after tuning into this “gangster lifestyle”.

Hip Hop: Beyond Beats & Rhymes is a documentary created and produced by Bryon Hurt. The documentary challenges the dominant discourses of hyper masculinity and the misogynist treatment of women in commercialized rap. Of the many mainstream phenomenons that are discussed by Bryon in the documentary, the issue of hyper masculinity in Hip Hop is questioned greatly. Throughout the film, the producer was able to show the wide acceptance of hyper masculinity not only in Hip Hop but also American culture as well. He defined America as a hyper masculine and hyper violent nation for the reason that using a gun to defend one’s family became a metaphor for masculinity and a tool for widespread violence. The issue of issue of hyper masculinity can be

No matter what, we are almost always talking about violence masculinity in America. Whether we are talking about the horrifying, high-profile mass shooting we have seen over recent decades, the far greater rates of murder and gun violence we see on a day – to – day basis that barely register in the national news, or the epidemic of sexual violence and domestic violence, the vast majority of this violence is committed by men, young men, and boys (Jackson Katz, 2013). Throughout this essay the topics covered will be how culture defines masculinity, according to the film, violent masculinity as a cultural norm, agents of socialization that teach boys how to be men, the cool

Since its inception, country music has proven to be? as a powerful outlet to express the view of the contemporary culture. As a result, the lyrical value of such songs provides listeners an insight to the changing climate of social and political ideologies. During the 60’s defined gender roles dominated social lifestyle and was were? mimicked in music. In recent years, a resurgence of idealistic, stereotypical gender-specific roles have cropped up in country songs, creating a subgenre labelled “bro-country.” Jody Rosen of the New York Times first coined the term “bro-country” in order to describe songs that use lyrical tools idealizing dominant, hegemonic gender roles present in culture. Songs such as Tim McGraw’s “How I’ll Always Be,” Luke Bryan’s “Huntin’, Fishin’, Lovin’, Every Day,” Sam Hunt’s “Make you Miss Me,” and Dierks Bently’s “Different for Girls” use the lyrical discourse, under the lens of “bro-country”, to highlight dominant, male gender-specific roles, while simultaneously reinforcing prominent, often negative, views of women.

The above article discusses a study conducted that tested whether exposure to rap music increases sexism within males. The study did not give any direct concrete evidence that rap music causes misogyny. Yet it brought up some useful insights that were supported by the study. Initially, they discovered that listening to non-sexist songs still led to some type of sexist behavior. This finding is relevant as it shows that it might not solely be the lyrics that are responsible for sexism within music. People can be instinctively associating rap music with being misogynistic. Another finding was that misogynistic lyrics prime young males to behave sexually aggressive temporarily. This reading is important for this topic as it disregards the popular belief that rap music causes sexism, but it also takes in account that rap music can prime young males to be slightly more aggressive. While this study cannot be used to promote any type of censorship in media, it can still encourage the music industry to reevaluate the material they are launching to public, especially the young generation.

Country music has proven as a powerful medium to express the views of the contemporary culture. As a result, the lyrical value of such songs provides listeners an insight to the changing climate of social and political ideologies. During the 1960’s defined gender roles dictated social lifestyles and were mimicked in music. In recent years, a resurgence of idealistic, stereotypical gender-specific roles have cropped up in country songs, creating a subgenre labelled “bro-country.” Jody Rosen of the New York Times first coined the term “bro-country” in order to describe songs that use lyrical tools glorifying prevailing, hegemonic gender roles present in culture. Songs such as Tim McGraw’s “How I’ll Always Be,” Luke Bryan’s “Huntin’, Fishin’, Lovin’, Every Day,” Sam Hunt’s “Make you Miss Me,” and Dierks Bently’s “Different for Girls” use the lyrical discourse, under the lens of “bro-country”, to highlight dominant, male gender-specific roles, while simultaneously reinforcing prominent, often negative, views of women.

Rock ‘n’ roll presented us with the emergence of a cultural phenomenon, which the book lays out for us. Altschuler sees rock as a “metaphor for integration, as the focal point for anxiety that cultural life in the U.S. had become “sexualized”, a catalyst

High school, the best years of your life with everyday shaping and molding you from a feminine boy to becoming a respectable masculine adult, in truth its surviving everyday without being called a fag. In C.J. Pascoe’s ethnography she examines the dynamics of masculinity carefully exploring gender conformity that’s extracted from a collection of humiliations, fears and anxieties among high school boys. Within the eighteen months that Pascoe tediously studied the students of River High, she opened my mind to reminisce about my high school years at El Capitan. From the pep rallies in the gym to the weight room discussions, however, Pascoe’s research expressed a deeper meaning to the formation of gender identities in

It is suggested that one of the reasons why artists use misogynistic lyrics in their music is that they have internalized the negative stereotypes about women that are prevalent in American society. African women were historically portrayed as animalistic sexual beasts and African males in a submissive role, giving in to wild instinct or bodily impulses. The internalization of such stereotypes may be a possible explanation of the hyper sexuality within certain hip hop music. Various authors have argued that misogyny is merely an outgrowth of the cultural acceptance of misogyny at large.

American Music is a melting pot of different cultures, emotions, experiences, and therefore genres. It is incredible to see how as music evolves and changes with the time, so does The United States. We are a mixed bag as a country, accepting all different cultures and backgrounds. This has led to many breakthroughs and innovations in music throughout history. We are all influenced by our experiences in life and this is no different in the evolution of music in American History. The Blues was created from African American Slave songs, with lyrics that narrate the hardships of the human experience at the time. These rhythms and forms carried over and eventually created what is now Rock and Roll. Over the next five weeks, we will explore and discover five key genres and artists who are known to specialize in that genre as a way to reconnect with our history and explore the possibilities for innovation in music in the future.

The emergence of Rock and Roll was one of the most pivotal moments of our nation’s history. The impact that this genre of music made is still evident in our culture. However, before this genre was able to gain momentum, it faced many cultural conflicts. The book, All Shook Up: How Rock ‘N’ Roll Changed America by Glenn C. Altschuler analyzes the impact that rock and roll music has made on American culture. It explores how the Rock and Roll culture was able to roughly integrate and later conflict with preceding cultural values. This is especially apparent in chapters regarding race and sexuality. Overall, Rock and Roll was extremely controversial amongst parents and educators. This new music genre was condemned by the previous generation as

It is not an easy task to pin down where exactly this effeminate, homosexual, deviant and ambisexual posturing of glam rock comes from and neither it is this paper’s sole aim to fulfill such a meticulous job. Nevertheless, some thoughts on its genesis are worth mentioning. Mike Kelley links these postures to the anti-Vietnam War movement and to the resulting “full-scale empathic connection in white youth for "otherness" in general.” The greatest Other, he goes on to say, was women; “if America's problem was that it was militaristic, patriarchal, and male, then the antidote would be the embrace of the prototypically feminine. Radical culture of this period is dominated by displays of femininity as a sign of resistance —femininity, and male homosexuality

The 1980’s consisted of several historical events and societal changes that have been relived though the lyrics of many young hip-hop artists. Of the numerous genres of songs, hip-hop has been labeled as of the most relatable genres. During this 1980’s, many of the songs that were written by male hip-hop artist tend to focus on the relationship aspect of male and female interactions. This finding is similar to what was stated in Frith’s article (1986) that most successful pop songs were about being “happy in love” and “frustrated in love” as well as having a sex interest (p. 78). Instead of using derogatory terms to describe women, men felt the need to use more delicate and gentle terms. Through their music, artists portrayed women as individuals who provide love, support, happiness and fulfillment to a man’s life. Furthermore, male artists portrayed themselves as men who weren’t afraid to express their emotions, admit their dependency on women, and their willingness to do what it takes to keep a woman. There were no signs of hypermasculinity or dominance in the first few songs

To many, music is seen as the language of the universe. Therefore, when we don’t have the right words to say, music speaks. We turn to music when we don’t know how to express our feelings, don’t have anyone to turn to, to help us through the tough times, or simply is just a form of therapy for our soul. When it comes to people trying to cope with mistakes, doubt, and depression many of us tend to turn to sad music because it is what allows us to comprehend how we are feeling on the inside. Also, the connection we make to sad music helps us identify our emotions and how we feel by the meaning of the lyrics.