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More handpicked essays just for you.
Impacts of music in our society
Impacts of music in our society
Cultural identity in music
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Murder to Excellence is more than just a song of rags to riches, or the daily black struggle it transcends past that. In Kanye and Jay-Z’s 2011 Watch the Throne album, both artists create an opus that explains their view of societies in the inner city, the effect it had on their lives, and the hierarchy. The song is split into two parts, the Murder and the Excellence, thus the title Murder to Excellence which forms a transition. The first half of the song, the Murder, focuses on police brutality, racism, the black attitude in the inner city, and the “black-on-black murder.” (line 2) The Excellence is a “celebration of black excellence” (38), Jay-Z and Kanye’s rise to success, and the white monopoly in the hierarchy. For the black struggle …show more content…
to the black climb, Murder to Excellence makes sure that we, as a society Watch the Throne that Jay-Z and Kanye transitioned to from the murder. Kanye West and Jay-Z grew up in cities far apart from each other yet, they share the pain of inner city violence and trauma. The first half of the artwork starts off with a faint sound of a children’s choir with a sudden but quickly strung guitar. The first words heard are “bloody, murder, murder, murder” (1) from Jay-Z in a slow low tempo. The the hook is introduced as Kanye in a much clearer and fuller voice says the words “paper read ‘murder, black-on-black murder’” (2) and repeats it, but ending with the word again, creating the feeling of a weeping sermon or an eulogy at a funeral. Apart from that the word again creates a sense of a routine of hearing of murder. The song stays on theme, but makes an acute turn when Jay-Z dedicates the song to “the memory of Danroy Henry”(4). Danroy Henry was a young unarmed black man who was killed by Officer Hess, a white police officer. The officer was found free of charge and given the Officer of Year Award later on. The issues of police brutality, discrimination, death of young blacks, and the justice system in America are all questioned in a single line. This creates a contrast between “black-on-black murder” and the white-on-black murder, nevertheless the staying on the general theme of the murder of black bodies. Jay-Z then goes on to explain that the tension on racial attacks on blacks are too great and plentiful to be having conflicts within the black community. He explains all of these by using imagery, “too much enemy fire to catch a friendly”(5), Jay-Z is referring to friendly fire to create a type of euphemism the mass murder. While also alluding to the way Danroy Henry was shot dead. This sets the enemy as racism, and restates the the theme. Urging the unity of not just of blacks, but of everyone in the next line because, “stray from the same shade nigga, we on the same team” (5), since we are all a different shade of the same color. He asserts that he is “fighting for you”(9), the you is being directed to black people or equality. While it’s not a literally fight, his merit, overcoming his own obstacles, and creating art that brings light to the problems facing inner city black communities is his form of fighting. However, while Jay-Z is fight for black equality and justice, this is made difficult by the stressload that is added by the “black-on-black murder” that goes on in the inner city. “Niggas watching the throne, very happy to be you” (10), the throne symbolizes the success of Kanye and Jay-Z. Only kings are allowed to sit on thrones, both Jay-Z and Kanye have, in their mind, achieved the right to sit on the throne. He is also very happy to be black. Even with just high status Jay-Z preaches two things “power to the people” (11), and when blacks see him that hopefully they can see the success of blacks in general and to use him as a mirror to see their own potential to be kings but, for now to only Watch the Throne. Kanye West picks off right after Jay-Z by saying he’s “from the murder capital where they murder for capital” (12). He refers to his hometown of Chicago as the murder capital of the violence and high murder rates, also the inhabitants who kill each other do it for the money or the means to get the money. This is mostly directed to the gang and drug related violence in Chicago where drugs sells bring in high revenue.Continuing to depict the harsh life in Chicago, Kanye West goes on take on the persona of a boy or student who “heard about at least three killings this afternoon”(13) .The use of diction with the words at least and this afternoon creates image of mass murder in Chicago, only half of the day has passed and there has already been three killings. He continues the persona by creating a scene in which he’s watching the news and finds out someone he knows has been killed and reacts by saying, “‘damn! I was just with him after school’”(13). It’s almost mild reaction to find outing someone he knew just got murder, creating the sense that murder is a daily routine in an inner city Chicago life. Shop class, a course that teaches how to create and build, is mostly cut for budgeting in most school districts, this includes the school district of Chicago. “No shop class, but half the school got a tool”(14) is referring to the cutting of school programs which leads to kids spending more time on the streets and being related to street violence. There is no more shop class yet half the school has a tool. The tool it’s referring to is a gun. A gun that only brings murder and destruction has replaced the shop class. This leads to Kanye, in his kid persona, to have “a ‘I could die any day’-type attitude”(15).
He becomes aware and accepts the risk of losing his life on any given day. Kanye West breaks the persona and goes on to the third person point of view stating “plus his brother got shot repping his avenue” (16). The line could still be Kanye in his persona directed to the person he knew who had just been killed that afternoon or it could be direct to his persona’s brother. Also the use of diction is key, because the word brother could not mean a literal brother, but a close friend. Also the use of the word repping his avenue could be directed at gang affiliation or simply representing his home. Mr. West then proclaims that it’s time to “redefine black power”(17) because there can’t be black power if they’re mass murder and senseless killing of blacks. He uses a possible hyperbolic statement to prove his point of the mass murder, “41 souls murdered in fifty hours” (18). The hook takes over again and the words “paper reads “murder, black-on-black murder” /paper reads “murder, black-on-black murder” again”. It reasserts the central thematic message of the black-on-black murder crisis. Mr. West then raises the question if the murder of blacks a genocide. The violent mass murder of blacks has led the church to closing its doors to any more tombs, even the house of God is no longer open in the inner city. He feels the “pain in my city wherever I go”(27), the crime, the murder, the disfunction of families, Kanye West knows the pain of Chicago and it’s inhabitants. Mr. West then goes on to be factual and compare the deaths in Chicago to the deaths in Iraq, “314 soldiers died in Iraq, 509 died in Chicago” (28). This makes a parallel between life in Chicago and a war, and that life in a structured American city has more mortalities than a chaotic war scene. The 509 who died in Chicago aren’t soldiers, however Kanye West wants to give them a sort of honor as soldiers who’ve died in
combat for and against the black struggle. However, the death of a black or blacks, doesn’t end the black battle. When Fred Hampton, a Chicago Black Panther activist, died Jay-Z was born. This becomes clear when Jay-Z says “I arrived the day Fred Hampton died, /Uh, real niggas just multiply” (29-30). With the fall of one black activist, more will take his place, like the mythical hydra, the fight for black equality will never end. He goes on to explain that “they say by 21 I was supposed to die”(31). It alludes to the age Fred Hampton died, and the belief that most blacks from the inner city die young. Jay-Z did not die due to this circumstance or the general belief “so I’m out here celebrating my post-demise”(32). He didn’t face the post-demise main blacks in the inner city face, death or imprisonment. Jay-Z then uses imagery “If you put crabs in a barrel to ensure your survival you're gon' end up pulling down niggas that look just like you”(33). Crabs in a barrel just pull each other down whenever one tries to escape the barrel. The crabs symbolize the black people who are in the barrel, the inner city. The “If you put more crabs in the barrel” is most likely referring to gang recruitment in the inner city and taking on it’s culture. The culture of joining a gang for territory, money, and sometimes simple just pride. Thinking that by joining a gang you will have protection or secure, but in actuality it just creates more murder.
I was twelve when I first heard the name “Kanye West”. He was featured in a song I rather liked at the time called “Forever” and whilst discussing the song with my friend one afternoon I remarked:
In the article “ From Fly to Bitches and Hoes” by Joan Morgan, she often speaks about the positive and negative ideas associated with hip-hop music. Black men display their manhood with full on violence, crime, hidden guilt, and secret escapes through drugs and alcohol. Joan Morgan’s article views the root causes of the advantage of misogyny in rap music lyrics. In the beginning of the incitement her desires shift to focus on from rap culture condemnation to a deeper analysis of the root causes. She shows the hidden causes of unpleasant sexism in rap music and argues that we need to look deeper into understanding misogyny. I agree with Joan Morgan with the stance that black men show their emotions in a different way that is seen a different perspective.
The Black Power Mixtape 1967-1975 (2011) is a 1 hour and 40 minute documentary that observes the black power movement in American history. This film is directed by Swedish director Goran Hugo Olson and has detailed footage that was shot during the 1960s and 1970s by Swedish journalists. The footage largely focuses on the black power movements. The film allows viewers to not only grasp a better understanding of this movement but allows us to understand why this movement appealed to Swedish journalists. The Black Power Mixtape: 1967-1975 includes vintage interviews with Stokely Carmichael, Bobby Seale, Angela Davis, Huey P. Newton, and other prominent leaders during the Black Power Movement. The documentary also contains contemporary audio interviews and commentaries from various entertainers, artists, activists, and scholars, including but not limited to: Harry Belafonte, Talib Kweli, Melvin Van Peebles, Erykah Badu, Abiodun Oyewele, and Questlove from The Roots.
Staples successfully begins by not only admitting the possible faults in his practiced race but also by understanding the perspective of the one who fear them. Black males being opened to more violence because of the environment they're raised in are labeled to be more likely to cause harm or committing crime towards women but Staples asks why that issue changes the outlook of everyday face to face contact and questions the simple actions of a black man? Staples admits, "women are particularly vulnerable to street violence, and young black males are drastically overrepresented among the perpetrators of that violence," (Staples 384) however...
The theme of lines 1-5 in, ¨Untitled 1¨ by Tupac Shakur is that African Americans have been oppressed, over many generations. He describes the world, ¨as a ghetto, that they cannot leave,¨ referring to ghettos such as
Portraying to the emotions is important to his overall argument because it relates the reader with the black community by providing situations of struggle and hardship, triggering the typical
Black Star, composed of MC’s Mos Def and Talib Kweli, are joined by fellow rapper Common in their 1998 song “Respiration” to expose the decaying urban and societal conditions in their respective cities of Brooklyn and Chicago. Each artist paints a brilliant picture of their surroundings and deals with various issues which plague their communities. Mos Def’s verse is particularly well-written; in it he highlights the growing economic inequality, daily struggles of the inner city poor, and the overriding nature of the his city.
His analysis of the video and song seem more akin to a movie critic’s review of the next Quentin Tarantino film. He comments, “the video...is daring, provocative, traumatizing, cynical,... and to many, a work of genius.” This jarring examination seems relatively out of place for a song in the number one spot on the radio. One could attribute this simply to shock value, but Molanphy sees (or hears) something more when he acknowledges, “When you focus on [the] music, you gradually adjust to what initially makes it so jarring, particularly the lurch from the the sweet, acoustic Afrobeat intro to the droning, brooding chorus.” Incidentally, the song is much more than Gambino’s “cri de coeur” as Molanphy puts it, as it stands alone as a legitimate piece of hip-hop music. Paired with the video, the dark commentary does not seem so out of place when you recognize the history of rap music and its influences. He recognizes this best when he uses ethos to increase his
Upon the ethos he has built, he appeals to logo by sharing more facts from worldwide history about the white people. X sets off with the fact that although the available history is excessively “whitened” (para. 19), genetically, the origin of humankind is still believed to be black. Under this condition, Malcolm X is “shocked” by the “total horror” of slavery, and “monstrous crime, the sin and blood” (para. 27) the white men has done. This use of pathos renders a view of a vulnerable black man who has suffered from the white’s injustice. He attaches this view with vivid yet miserable anecdotal imagery of black women “tied up and flogged with whips,” babies “being dragged off” (para. 28). His condemning diction creates a haughty and haunting attitude of convicts: “the fugitive slave catchers, evil white men,” (para. 28) are “like devils, pillaging and raping and bleeding and draining” (para. 29) colored people in the world. These facts lead to his perception of contradictions: these “religious” (para. 31) but “cannibalistic” (para. 33) people, who have taken advantage of “Chinese-invented gunpowder” to “[declare] war upon [Chinese] who objects to be narcotized” (para. 34) and later treat Chinese as dogs (para. 37). These facts emotionally and logically prove X’s anger and inhumane white people in the
“The Message” also speaks about violence in urban Black communities. For instance, one part of the song talks about a girl getting pushed in front of a train and a man getting stabbed “right in his heart.” Aside from this example, another verse describes children looking up to the “Thugs, pimps, and pushers” in their communities, becoming those people, and then shooting others after they become thugs (Grandmaster Flash 41-42). Finally, “The Message” also touches on education in Black communities. In one part of the song, the speaker mentions how he or she got “a bum education” while another part of the song describes a child wanting to drop out of school because his teacher does not care to teach him (Grandmaster Flash 41).
Tupac Amaru Shakur was an African-American rapper, poet, and record producer during the 1990’s. In his adolescent years, he attended the Baltimore School for the Arts where he took acting and dance classes, like ballet. He was taught radical politics by his mother, which helped him develop ideas about topics he would later use in his many works. At an early age, Tupac had seen the injustices of the real world. His mother was a former Black Panther activist who turned to substance abuse during Tupac’s childhood. Aside from that, he and his mother also moved many times while they lived together in New York City. While Tupac was in Baltimore, he discovered rap; not long after, he and his mother moved to the West Coast where he joined the rap group
George covers much familiar ground: how B-beats became hip hop; how technology changed popular music, which helped to create new technologies; how professional basketball was influenced by hip hop styles; how gangsta rap emerged out of the crack epidemic of the 1980s; how many elements of hip hop culture managed to celebrate, and/or condemn black-on-black violence; how that black-on-black violence was somewhat encouraged by white people scheming on black males to show their foolishness, which often created a huge mess; and finally, how hip hop used and continues to use its art to express black frustration and ambition to blacks while, at the same time, refering that frustration and ambition to millions of whites.
Accommodating for lost time can be a struggle, however education is the perfect key to allow a human a better diagram for survival in this world. Mortal Man is full of the reality that is blinded to society, because they have been confused by the experience of the struggle. Comparing two poems written within the song titled Mortal Man by the rap artist/ poet, Kendrick Lamar, provides an opportunity to engage in the Burkean Parlor; discussing the experience of the struggle and the proper way to survive through it. There is credibility of the struggle without mistakes of not knowing how to deal with the initial interaction; mistakes do not always lead to success; it is just an excuse to repeat history. Kendrick Lamar’s work provides evidence
“Some say the blacker the berry, the sweeter the juice. I say the darker the flesh then the deeper the roots”. This is the opening lyrics of one of the best songs ever written in the rap industry “Keep Ya Head Up”. It was written by who many people consider the best rapper in history, Tupac Amaru Shakur. Tupac is still considered one of the greatest and is still being played today by true Hip-Hop fans. People that do not know much of Tupac view him as a criminal. A criminal that got tatted “Thug Life” across his stomach and was the center of violence between the East Coast vs. West Coast rappers in the early 90’s. But the true Hip-Hop fans know the real Tupac Amaru Shakur. He didn’t promote violence like the rappers that are around now. Chief Keef, Fredo Santana, Lil Reese all promote Chicago’s war on drug trafficking, guns and murder. Tupac was different. He tried sending positive messages and did a phenomenal job with this song. In this song Tupac focuses on women’s rights which something unheard of in the rap industry. That is quite sad because up to this day, most rappers do not rap about women’s rights or try sending a positive message. That is why Tupac was different and he wanted the ideal women standing up for herself with this song.
Even though some people are often blindsided by the luxuries and privileges they live with, large populations of the world don’t even have access to the extravagances some consider “human rights.” Written by Tupac Shakur, the poem “AND 2MORROW” illustrates the pains observed and felt by Shakur. Despite these adversities, he states that he remains hopeful of what will come “2morrow.” Throughout the entirety of the poem, Shakur shows that in troubling times, it is imperative that people stay optimistic. In conveying this theme, Shakur utilizes informal diction to make evident the conditions in which he lives, while also using shifts to further illustrate the central message.