Wild Style Essay

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 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

This movie took place after graffiti had been so staunchly looked down upon. Craig Castleman supports this in his article “The Politics of Graffiti”, when he goes through

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.

“…the appropriation of hip-hop cultural forms suggest not that whites want a black identity: rather, they want characteristics of blackness.” (Perry 2002, 109). This is quote by Pamela Perry, a sociologist as University of California Santa Cruz, from her book Shades of White:White Kids and Racial Identities in High School. Pamela Perry is a sociologist from University of California, Santa Cruz, throughout her book she touches on the idea of white children developing a sort of identity crisis depending on their environment. This quote helps put the appropriation of African American culture in its simplest terms. In most cases people associate Hip Hop culture with African Americans. With that being said, many artist of different genres who attempt to have a more hip hop vibe, fall subject to appropriating African American Culture. Various artist have been appropriating culture in several different ways whether it’s through dance, sound, or even image.

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.

Into the Wild is a book about a young man named Chris McCandless and his decision to go off and live in the wild. He decided to walk deep into the Alaskan wilderness and abandon all of his possessions and family. This book is the authors, Jon Krakauer, version of Chris McCandless’ story put together through interviewing and speaking with people who knew Chris as well as by using letters Chris wrote to his loved ones.

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

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 was born in the neighborhood, where young people gathered in parks, on playgrounds, and street corners, to speak poetry over mechanical sounds and borrowed melodies. Hip Hop was always bigger than just the music; it was also break dancing, the gymnastic dance style that valued improvised, angular athleticism over choreographed fluidity. Hip hop was also fashion such as: hats, jackets, gold chains, and brand sneakers. Hip Hop was graffiti, to a new way of expression that employed spray paint as the medium and subway walls as the canvas.

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

The origin and history of graffiti is not what one might expect. Believed to have been created by a Philadelphia high school student named Cornbread in 1967, it was a bold effort to catch the attention of a girl (De Melker). In this same time period, graffiti sprung up in New York as well. It was “one among many forms of social protest” during