bell hooks and gangsta rap Essay

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

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.

Whiteness and racism comes from the oppression, colonization and systems of dominance over black people and their feelings. In this case, an intersectional feminist analysis matters because women who are able bodied, cis-gendered, privileged and white are only being considered whereas bell hooks argue that men, women and trans people who oppressed should be fought for. And Peggy McIntosh adds onto this but a white woman who addresses and recognizes her privilege to help other white individuals understand what they have and blacks do not.

In her book Talking Back: Thinking Feminist, Thinking Black, bell hooks describes how she helps her students find their voice within her classroom.She discusses her use of authority to enable her students.For her, teacher authority is a necessary part of helping her students find their voices:

In some cases, this can lead to show bias, as the writer can accidentally focus on the pros of their own side, and the cons of the opposite side. A good writer, such as hooks, can use this strategy without too much of a problem. For example, her writings compare & contrast two definitions of feminism: her own, and the common, anti-male definition. The standard definition of feminism is “the theory of the political, economic, and social equality of the sexes”, according to the Merriam-Webster dictionary. While this definition is similar to the one that hooks uses, she expands feminism to not only include anti-sexism, but also includes the possibility of anti-racism. By writing “The feminism they hear about the most is portrayed by women who are primarily committed to gender equality…” (hooks, pg1), she helps us to understand exactly how different the two definitions are. By using this strategy, hooks is able to make herself seem more credible, as well as allow us to make our own decision on feminism.

Gangs of New York (2002), a bold and violent movie directed by Martin Scorsese takes us back to a New York without skyscrapers and modern-day lavishes that shows the rise of violent gang power and political corruption. Starring Leonardo DiCaprio and Daniel Day-Lewis, the film features a personal struggle placed within the context of gang warfare between Nativists and immigrants, which is set in the larger context of the Draft Riots and the Civil War. It is a reconstructed historical narrative that uses interlocking events filled with gang violence and political corruption to show how the modern New York was born.

As thorough and rewarding as Bradley’s close reading can be, it is this sole focus that becomes problematic in Book of Rhymes. He stays on the surface, privileging the discussion of linguistic elements over cultural impact. He begins his wordplay chapter with an anecdote about a friend who disapproves of the misogynistic and violent elements of the Notorious B.I.G.’s lyrics, a qualm addressed by Bradley in a customary manner: “It’s not what he’s saying, it’s how he’s saying it” (86). Bradley is partially correct; how he’s saying it is the aesthetically appealing aspect of hip hop, the reason millions of people around the world enjoy the music. But what he’s saying is the more compelling aspect. The environment that produced the attitudes reflected in hip hop, the source of Biggie’s misogyny and violent imagery, must be given its proper treatment in order to understand rap music on deeper levels than the beauty and complexity of its poetic structures.

Picture Manhattan in 1860, a time before the city had been dolled up and gotten ready for the silver screen, before the glamour and allure took over. Amsterdam Vallan (DiCaprio) is a young Irish man that migrates to the USA at a young age. Amsterdam’s story takes place in Five Points District of New York, a filthy and dangerous part of the city before it was deleted form history. As a young boy Vallan witnessed his father’s murder at the hand of William Cutting or Bill the Butcher (Day-Lewis) during one of their many gang wars. As Amsterdam’s story progresses along side The Butcher they become inseparable, but Amsterdam had ulterior motive. Ultimately, Amsterdam attempts to betray his new found ally in order to avenge his father’s death.

“You can hire half the poor to kill the other half.” Boss Tweed spoke these words in reference to the Draft Riots. It shows that you can easily turn the poor against each other, if you bring money into the situation. Gangs of New York is about the separation of the Irish and the Natives, which eventually led into larger conflicts. In this film there are two important characters, Amsterdam Vallon and Boyle McGloin, who were both Irishmen in the Five Points. Amsterdam was the son of Priest Vallon and he became a positive Irish Leader who was looked up to by many. Boyle McGloin was an Irishmen who was a Dead Rabbit, but later joined Bill “The Butcher” Cutting and became a “Native”. The character

“No other group in America has so had their identity socialized out of existence as have Black women… when Black people are talked about the focus tends to be on Black men; and when women are talked about the focus tends to be on white women.” - Bell Hooks

In the book Bone Black, Bell Hooks gives a vivid look into her childhood. She starts off by talking about a quilt that her mother gave her from her mother. She thinks that this is special because her mother gave it to her and not one of her other sisters. Then she goes into describing how the children in her family never knew that they were poor until they grew up. They liked the dolls that they played with and the food that they ate. They never wondered why they didn’t have the things that their white neighbors did have. You would seldomly hear them complain because they had to walk to school and the white kids rode the school bus. She thought that they had a pretty normal family.

As echoed in Bell Hooks’s We Real Cool: Black Men and Masculinity, the culprit to the Black Lives Matter (“BLM”) movement is masculine patriarchy which, in turn, reinforces racism and oppression. The general public fails to recognize that BLM stemmed from oppression to black males, not the black community as a whole. Furthermore, even though this movement is intended to fight anti-Black racism, it is focusing on the empowerment of black women.

Hip-hop culture began to develop in the south Bronx area of New York City during the 1970s. It had a significant influence in the music industry. Hip-hop music generally includes rapping, but other elements such as sampling and beatboxing also play important roles. Rapping, as a key part in the hip-hop music, takes different forms, which including signifying, dozen, toast and jazz poetry. Initially, hip-hop music was a voice of people living in low-income areas, reflecting social, economic and political phenomenon in their life [1]. As time moves on, hip-hop music reached its “golden age”, where it became a mainstream music, featuring diversity, quality, innovation and influence [2]. Gangsta rap, one of the most significant innovations in

Hood: slang for neighborhood or black area/life. Before 1991 this concept of hood life was never before portrayed or looked into until John Singleton produced the black social drama Boyz N the Hood. This is the first film by a black director that actually goes deep inside the ghetto or inner city. Singleton carefully directs this film so that it appears to mirror the real world “having value as a kind of anthropological study of an unfamiliar way of life'; (Thompson 2).

The racism that runs deep in the blood of the United States is a complex issue to tackle. As white supremacy was the foundation on which the country was born, many believe that society breeds this racism and deny the possibility of change. bell hooks eloquently addresses the problems faced by those who seek to make change and establish equality in her essay, “Loving Blackness as Political Resistance.” She discusses these problems through the lens of her instruction by using responses to lectures. This brings to light the contemporary struggles in a very real context as most of her students are those who believe that they are progressive, yet hooks demonstrates where they lack: loving blackness. This notion goes