Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Negative impacts of rap music on youths
Negative impacts of rap music on youths
Impact of rap music on youth
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Negative impacts of rap music on youths
Art is the product of human creativity, and it takes place in various forms such as paintings, literature, music and dance. Art serves many roles as it can be interpreted in various ways depending on the individual. Art must be understood within in the context which is was created. Both culture and politics are factors that determines the way art is interpreted. Since art is visual or auditory rather than physical oppressed groups are able to expressed themselves and protest without getting into an altercation with law enforcement or individuals in power. During the 1970s through the 1980s, rap music served as the voice of the African-American community and brought undermined issues to the public. However, over years the theme of rap music has changed and has been regarded as solely promoting violence and misogynic values. Rapper Talib Kweli’s music embodies the intended goal of rap during the 1970s. Despite heavy criticism over the years rap music painted a picture of the harsh realities and oppression of individuals in inner city areas in the United States and served as effective means of resistance. In “Criteria of Negro Art”, W.E.B Du bois claims that all art is propaganda and is created to convey a message. In addition, Du Bois believed art can be used for the purpose of racial uplift, especially in the African-American community. He also ponders how art produced by African-Americans will be perceived by society. African-Americans or oppressed groups in general have been dehumanized in society, therefore, it would appear difficult for the groups that are higher in power to take their work in consideration. Du Bois states, “…the white public today demands from its artist literary and pictorial, racial prejudgment which deli... ... middle of paper ... ...nd to drugs, violence and economic disparity, disadvantaged areas must be provided with good quality education, job opportunities and many more resources in order to seek hope in the future. Works Cited Sullivan, Rachel E. "Rap and Race: It's Got a Nice Beat, but What about the Message?" Journal of Black Studies 33.5 (2003): 605-622. Print. Du Bois, W.E.B. "From Criteria of Negro Art." Cultural conversations: The presence of the past. Boston: Bedford/St. Martin's, 2001. 159-62. Print. Morgan, Joan. “From Fly-Girls to Bitches and Hos.” Cultural conversations: The presence of the past. Boston: Bedford/St. Martin's, 2001. 201-205. Print. Crossley, Scott. "Metaphorical Conceptions in Hip-Hop Music." African American Review 39.4 (2005): 501-512. Print Blanchard, Becky. “The Social Significance of Rap & Hip-Hop Culture.” Poverty and Prejudice (1999)
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.
Here is the full text of this classic in the literature of civil rights. It is a prophetic work anticipating and inspiring much of the black consciousness and activism of the 1960s. In it Du Bois describes the magnitude of American racism and demands that it end. He draws on his own life for illustration- from his early experrience teaching in the hills of Tennessee to the death of his infant son and his historic break with the 'accomodationist ' position of Booker T. Washington..
George Schuyler’s article “The Negro Art Hokum” argues that the notion of African-American culture as separate from national American culture is nonsense. To Schuyler, all seemingly distinct elements of African-American culture and artistic endeavors from such are influenced by the dominant white American culture, and therefore, only American. The merit of Schuyler’s argument stems from the fact that it is practically impossible for one culture to exist within the confines of another without absorbing certain characteristics. The problem with Schuyler’s argument that Langston Hughes notes in his response article, “The Negro Artist and the Racial Mountain,” is that it assumes complete assimilation of African-Americans by a singular national culture. Fundamental to Hughes’ rebuttal is the allowance of a unique African-American culture extant of the standards of a singular American cultural identity. For Hughes, this unique culture lies within the working-class, out of sight of the American national culture. This culture, while neither completely African nor American, maintains the vibrant and unique roots of the African-American experience. Schuyler advocates cultural assimilation, while Hughes promotes cultural pluralism, in which minority cultures maintain their distinctive qualities in the face of a dominant national identity.
Throughout his essay, Du Bois challenged Booker T. Washington’s policy of racial accommodation and gradualism. In this article Du Bois discusses many issues he believes he sees
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...
Abstract from Essay The reader can contemplate the passage of Du Bois' essay to substitute the words "colored" and "Negro" with African-American, Nigger, illegal alien, Mexican, inner-city dwellers, and other meanings that articulate people that are not listed as a majority. Du Bois' essay is considered a classic because its words can easily reflect the modern day. -------------------------------------------- The Souls of Black Folk broadens the minds of the readers, and gives the reader a deeper understanding into the lives of people of African heritage.
When looking at the landscape of Hip-Hop among African Americans, from the spawn of gangsta rap in the mid 1980s to current day, masculinity and an idea of hardness is central to their image and performance. Stereotypical to Black masculinity, the idea of a strong Black male - one who keeps it real, and is defiant to the point of violence - is prevalent in the genre. This resistant, or even compensatory masculinity, encompasses: the hyper masculinity rife in the Western world, misogyny, and homophobia, all noticeable in their lyrics, which is in part a result of their containment within the Black community. The link of masculinity and rap music was established due to this containment, early innovators remaking public spaces in their segregated neighbourhoods. A notion of authentic masculinity arose from the resistant nature of the genre, but the move to the mainstream in the 90s created a contradiction to their very image - resistance. Ultimately, this in part led to the construction of the masculinity defined earlier, one that prides itself on its authenticity. I’ll be exploring how gender is constructed and performed in Hip Hop, beginning with a historical framework, with the caveat of showing that differing masculine identities in the genre, including artists
This article is titled “Rap music is harmful to African American communities” and is written by E. Faye Williams. Williams is a chairwoman of the National Congress of Black Women (NCBW). The national congress of black women is a non-profit organization dedicated to the educational, political, economic, and cultural development of African American women and their families. Williams’s article “Rap music is harmful to African American communities” makes her qualified and a credible source to be writing on this question: If rap music and other media is harming the African American community? In her article, she states her side of the argument of how rap music and media are indeed harming the African American community, using the context, and reasoning,
...atching MTV music shows or any music channel on television. As we continue to watch these programs, we will then notice that almost all the rap and hip-hop artists being shown are African-Americans. It is the particular lifestyle, and behaviour that is connected to what particular artists chose to vocalize about. This usually can harm the image of African-Americans due to the fact that many artists aid in the misconceptions of their particular race such as the example provided with 50 Cent’s song entitled P.I.M.P. These lyrics and song titles simply reinforce the negative image some individuals may have of both Caucasian’s and people of colour. Rap and hip-hop is one of the most intimate, personal, legitimate and important art form. Instead of perpetuating injustice, and prejudice artists should be addressing these different issues in a different matter.
Rap is about giving voice to a black community otherwise underrepresented, if not silent, in the mass media. It has always been and remains … directly connected to the streets from which it came. (144)
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.
Shortly after Rachel was written in 1916, the New Negro Movement began to gain traction in the African American community. This broad cultural movement focused on promoting a public image of African Americans as industrious, urban, independent, and distinct from the subservient and illiterate “Old Negro” of the rural South. Unlike his predecessor, the New Negro was self-sufficient, intellectually sophisticated, creative, knowledgeable and proud of his racial heritage (Krasner, Beautiful Pageant 140). While these concepts had been promoted since the turn of the century, it was not until 1917-1918 that they began to crystalize as a concerted effort among African American intellectuals. These men actively supported the creation of black drama because they recognized that “At a time when African Americans had virtually no political recourse, their voice could best be heard through…a creative and humanistic effort to achieve the goal of civil rights by producing positive images of African Americans and promoting activism through art” (“New Negro Movement” 926). The New Negros therefore shared the same overall goal as black intellectuals such as DuBois, but believed that black artists should focus on presenting the reality and beauty of the “black human experience” instead of an idealized vision of what life should be. Ultimately, the transition from “political” art to that which held creativity in high esteem was complex and divisive. Fortunately, just as Dubois emerged as the primary advocate of the former Political Theatre, so too would Alain Locke help guide the New Negros to support the idea of Art Theatre.
Rap is becoming more popular than ever, soon most of the world will have some type of knowledge of rap music. Rachel Sullivan from the University of Connecticut stated “White respondents in this survey had difficulty naming three rap artists, which indicated that they did not have a high level of commitment to the music.” This statement was produced in 2003, also seemed to be very one dimensional. Recently, rap music has been surging through the masses no matter the race. Furthermore, rap is becoming very prevalent especially in the youth of this era. Many trends, commercials, social media, etc. are revolving around rap music.
Artists associated with the Black Arts Movement promoted the notion that art should serve the needs of the African American community, while challenging white hegemony and the oppression of African Americans (Wofford). Despite having similar, yet thoughtful views on black supremacy, much like that of authors from the New Negro Movement, the “Black Power Concept” of the Black Arts Movement had ...
Dixon, Travis L., TaKeshia Brooks. “Rap Music and Rap Audiences: Controversial Themes, Psychological Effects and Political Resistance.” Perspectives. 7 April 2009. .