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Hip hop and the african american community
Hip hop impact on society
Hip hop impact on society
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The third and fourth wave of elites involved dramatic shifts in identity and economic background from old mulatto families to highly educated or skilled laborers who accumulated some wealth, however the childhood and economic background of most of Hip Hop’s echelon was far from it. Majority with the exception of Kanye West and Aubrey “Drake” Graham came from neighborhoods submerged in urban decay with families who were well below the poverty line. Most also came from broken homes with no father figure present and were a mixture of dark to medium to the lightest skin colors within the black race. To elaborate even further, each Hip Hopper within the higher echelon does not have a college education that they earned by actually attending a university …show more content…
As the permanent underclass, opportunity for black advancement has been largely placed in moving the race forward collectively through politics and philanthropy. For the Hip Hop generation, particularly those that are still heavily emerged in the culture will disassociate from anyone who is not fighting the power for all blacks particularly those with the money. According to Michael C. Dawson from his book, Behind the Mule: Race and Class in African American Politics, many blacks are a part of the black utility heuristic, which places interest in what is best for the collective interest of the race. While it is still up for debate if the Hip Hop echelon has a case of linked fate because many of them have been accused of not seeing the relevance in what happens to the African American community, but their political interests show another …show more content…
He has also generously donated to Shriners Hospitals for Children and Habitat for Humanity. Sean “Diddy” Combs ran the New York marathon to for kids suffering form HIV/AIDS while donating towards breast cancer research. Shawn “Jay Z” Carter donated one million to Hurricane Katrina victims while Andre “Dr. Dre” Young donated $35 million to the University of Southern California. Kendrick Lamar was named the 35th Senate District’s Generational Icon from the California Senate for his donations and commitment to improving the conditions for youth in his hometown of Compton. Onika “Nicki Minaj” Maraj donated $15,000 to a New York charity combating hunger and Dwayne “Lil Wayne” Carter held a benefit concert for his charity, The Carter Fund, which has after school programs for kids while donating $200,000 for a new playground, which had originally been destroyed by Hurricane
Have you heard the phrase “Momma said knock you out”? If so, you've probably heard your parent sing this song. Signing with Def Jams in the 1980’s, LL Cool J showed the world a unique style of Hip-hop and Rap. A kid just 18 years old when his first song came out, LL showed the world he would he would be different. LL Cool J created an influential long-term career with his starting a new hard-hitting romantic style of rapping, influences with popular clothing lines, and paved the way leading rappers to transform into actors and continue to have a successful career.
Bennett describes the transformation of rap music describing the way it was in the 1980s. Bennett mentioned how in the early stages rap didn’t have as much support as it needed in order to gain popularity. Bennett also describes how in the beginning, rap music had mainly an only black audience but as rap music grew more popular, 70 percent of sales were made to white youth.
Since the decade of 1920, America has been the setting for a progressive "Black Arts Movement." This African-American cultural movement has taken shape in various genres, gaining mass appeal, through multiple capitalistic markets. Even with the use of capitalism this cultural arts movement has stayed set upon its original purpose and direction, by aiding in cultural identity awareness. The knowledge of the duel-self through community awareness as it pertains to economic perceptions and other social boundaries or the metaphysical-self; what W.E.B. Du Bois coined as "twoness," or a division of one’s own identity as a African-American. (Reuben 2) A realization of the existence of two beings within one’s mental identity, where time alters attitude and identity through environmental influence of passing events. The discovery of the "New Negro" in the Harlem Renaissance marks the beginning of this essential philosophy contributing to the 1960’s Black Arts Movement and the Civil Rights Movement; continuing to be evident in current forms of black art, such as within the lyrics of hip-hop music. These revolutionary Ideals of reform have been voiced in the lyrics of many rappers of urban realism, like the New York M.C.’s Rakim, Run-D.M.C. and west coast rapper Tupac Shakur. Though this form of expression is opposed by most academic elitists and fundamental conservatives due to their vulgar expressions of sex and violence depicted within the genre of Hip-Hop; it in opposition actually presents an internal cultural conflict revealed through the redefinition of one’s own identity with poetic lyrical expressions of realism.
The Hip-Hop Generation is a book written by the famous Bakari Kitwana in his mission to evaluate the shift that is evident between the current and past generations. He reveals several social and political aspects that have affected the black people in America. It is evident that this book has been praised by many who feel that Kitwana was successful in highlighting the major problems that black Americans face in their daily lives. Through this book, any reader will admit that the journey has been long for the blacks in their mission to find their place in the society. Racism is the main theme in this book where the author recalls the need of a supportive plan in eradicating its roots all over the globe. He defines the black Americans born between 1965 and 1984 as the ‘hip hop generationers’. This essay paper explores the major points revealed in his book. It analyses the whole book and summaries it in
Hip-Hop became characterized by an aggressive tone marked by graphic descriptions of the harshness and diversity of inner-city life. Primarily a medium of popular entertainment, hip-hop also conveys the more serious voices of youth in the black community. Though the approaches of rappers became more varied in the latter half of the 1980s, message hip-hop remained a viable form for addressing the problems faced by the black community and means to solve those problems. The voices of "message" hip...
As hip hop culture became prevalent in pop culture, so did black culture. Hip hop stems from black struggle. Their vernacular, songs, and spiritual ways were different from what whites were used to. Their different lifestyle of “living on the edge” was intriguing yet inaccessible for the whites living among them. Thus, this initiated America’s fascination with the culture. It became about what people assume and perceive about black people rather than what they actually are. In essence, an essential to cool is being on the outside, looking in. In the media and celebrities today,
In the words of rapper Busta Rhymes, “hip-hop reflects the truth, and the problem is that hip-hop exposes a lot of the negative truth that society tries to conceal. It’s a platform where we could offer information, but it’s also an escape” Hip-hop is a culture that emerged from the Bronx, New York, during the early 1970s. Hip-Hop was a result of African American and Latino youth redirecting their hardships brought by marginalization from society to creativity in the forms of MCing, DJing, aerosol art, and breakdancing. Hip-hop serves as a vehicle for empowerment while transcending borders, skin color, and age. However, the paper will focus on hip-hop from the Chican@-Latin@ population in the United States. In the face of oppression, the Chican@-Latin@ population utilized hip hop music as a means to voice the community’s various issues, desires, and in the process empower its people.
In Total Chaos, Jeff Chang references Harry Allen, a hip hop critic and self-proclaimed hip hop activist. Harry Allen compares the hip hop movement to the Big Bang and poses this complex question: “whether hip-hop is, in fact a closed universe-bound to recollapse, ultimately, in a fireball akin to its birth-or an open one, destined to expand forever, until it is cold, dark, and dead” (9). An often heard phase, “hip hop is dead,” refers to the high occurrence of gangster rap in mainstream hip hop. Today’s hip hop regularly features black youths posturing as rich thugs and indulging in expensive merchandise. The “hip hop is dead” perspective is based on the belief that hip hop was destined to become the model of youth resistance and social change. However, its political ambitions have yet to emerge, thus giving rise to hip hops’ criticisms. This essay will examine the past and present of hip hop in o...
These articles depict the controversies of the hip hop industry and how that makes it difficult for one to succeed. Many of these complications and disputes may be invisible to the population, but these articles take the time to reveal them.
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 expressing the struggles of life amidst the prevailing crime and violence as well as an enjoyable and cheap form of recreation.
All of the articles dealt with hip hop as an industry and how that industry is portrayed to African Americans through the commercialization of hip hop and stereotypes in society. The articles also discuss how that portrayal influences the opinions of African Americans to others and themselves.
Hip hop has multiple branches of style and is a culture of these. This essay will examine Hip Hop from the point of view of the following three popular music scholars, Johnson, Jeffries and Smitherman. It will delve deeper into their understanding of what hip hop is and its relation to the different people that identify with its message and contents. It will also identify the history of Hip hop and its transition into popular music. In particular this essay will focus on what hip hop represents in the black community and how it can be used as a social movement against inequalities faced by them. This will then open up the discussion for the how this has influenced society, and the impact it has had in terms of race issues which hip hop itself often represents through music.
Hip hop has permeated popular culture in an unprecedented fashion. Because of its crossover appeal, it is a great unifier of diverse populations. Although created by black youth on the streets, hip hop's influence has become well received by a number of different races in this country. A large number of the rap and hip hop audience is non-black. It has gone from the fringes, to the suburbs, and into the corporate boardrooms. Because it has become the fastest growing music genre in the U.S., companies and corporate giants have used its appeal to capitalize on it. Although critics of rap music and hip hop seem to be fixated on the messages of sex, violence, and harsh language, this genre offers a new paradigm of what can be (Lewis, 1998.) The potential of this art form to mend ethnic relations is substantial. Hip hop has challenged the system in ways that have unified individuals across a rich ethnic spectrum. This art form was once considered a fad has kept going strong for more than three decades. Generations consisting of Blacks, Whites, Latinos, and Asians have grown up immersed in hip-hop. Hip hop represents a realignment of America?s cultural aesthetics. Rap songs deliver a message, again and again, to keep it real. It has influenced young people of all races to search for excitement, artistic fulfillment, and a sense of identity by exploring the black underclass (Foreman, 2002). Though it is music, many people do not realize that it is much more than that. Hip hop is a form of art and culture, style, and language, and extension of commerce, and for many, a natural means of living. The purpose of this paper is to examine hip hop and its effect on American culture. Different aspects of hip hop will also be examined to shed some light that helps readers to what hip hop actually is. In order to see hip hop as a cultural influence we need to take a look at its history.
Since its emergence in the South Bronx in the 1970’s, hip hop has spread to both urban and suburban communities throughout the world. Once an underground genre of music, it is seen in commercials, movies, television shows, etc. It has transformed from music and expanded into a full culture. It has even made its way into fashion and art. Men have always been on the front line of Hip Hop. However, the lyrics and images have changed tremendously. Lyrics and images that once spoke upon the injustices and empowerment for the African American people is now filled with money, cars, jewelry, and of course women.
My own view is that hip-hop life is the life to get money as easy as possible and insecure our life even easier. Though I concede that, people who live the hip-hop life and culture are rich and have a lot of supporters. I still maintain that this power and life aren’t the wealthy life because they become powerful by money and they can easily lose that money by one mistake. Although some might object that these are just excuses and hating for the hip hop culture, I would reply