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History of rap us
Responses to hurricane katrina
The history of rap music
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Hip-Hop’s Disapproval of the 43rd President and Hurricane Katrina Hip-Hop’s criticism of George W. Bush is a good example of hip-hop’s reflection of Black public opinion. The Republican candidate who already had a low approval rating of 57% amongst African-Americans received an even lower approval rating after his lackluster efforts to support Louisiana after Hurricane Katrina in 2005 (Jones, 2003; Cillizza & Sullivan 2013). Prior to 2005’s Hurricane Katrina, Atlanta rapper Jadakiss expressed his discontent in his 2004, chart topping single “Why?” This song, filled with skepticism, questioned President George Bush, the Republican administration, the 2000 national election and the events of September 11, 2001. For these reasons, “Why?” received …show more content…
New Orleans has coined the bounce sound. Houston originated chopped and screwed, slowing down the bpms (beats per minute) to half time and cutting and looping a song. Atlanta is very diverse, as they have sampled from all of the other centers, but can closely associated with the up-tempo heavy-bass Miami sound (Speyer, 2003). Memphis, on the other hand, is known for a "Halloween kind of sound, real scary and creepy" and 'slowly but surely' areas like Jackson, Mississippi, and Charlotte, North Carolina are developing their own scenes (Speyer, 2003). Houston kicked off the Southern hip-hop trends in the 1980's with pioneers such as the Geto Boys and UGK. Both groups we're overtly conscious discussing not only poverty, but also the implications of drug dealing and violence (Smith, 2004; Sanneh 2005). The early 1990's brought in Houston's signature chopped and screwed sound when DJ Screw made his name is a "psychedelic remixer" (Sanneh, 2005.) But the Houston sound took a while to expand to the rest of the US because like the other epicenters the sound of the artist on the independent labels stayed local (Speyer, …show more content…
Black men have been taught from a young age to be wary of how they speak to the police (Hughes, 2014). Grandparents of millennials have told their grandchildren firsthand stories of segregation. Flags of the Confederate Army still fly high in some of the South’s state capitals. It didn’t take the highly publicized deaths of Trayvon Martin or Jordan Davis for Southerners to realize this country’s systematic injustices, as the South has been well aware of the countries racial injustices since the days of slavery. Troy Davis, convicted of the 1989 murder of Officer Mark McPhails in Savannah, Georgia, was executed by lethal injection on September 21, 2011 (MTV, 2011). Atlanta Rapper Big Boi and several other artists rallied behind Davis in support of him not being executed. To their dismay, after outcries of Southern artists via song and Twitter for clemency, and despite numerous attempts to appeal, Troy Davis was executed at 11:08 pm. His final words were “I did not personally kill your son, father and brother,” Davis said speaking to the family of the slain officer, “I am innocent” (MTV,
Lynching of black men was common place in the south as Billie Holiday sang her song “Strange Fruit” and the eyes of justice looked the other way. On the other side of the coin, justice was brought swiftly to those blacks who stepped out of line and brought harm to the white race. Take for instance Nate Turner, the slave who led a rebellion against whites. Even the Teel’s brought their own form of justice to Henry Marrow because he “said something” to one of their white wives (1). Flashing forward a few years later past the days of Jim Crow and the fight for civil rights, several, but not all in the younger generation see the members of the black and white race as equal and find it hard to fathom that only a few years ago the atmosphere surrounding racial relations was anything but pleasant.
The movie ‘From Mambo to Hip-Hop’ is a great documentary about a revolution in the entertainment industry. It talks of evolution on Salsa music and Hip-Hop culture in suburbs of New York. South Bronx is a ghetto neighbourhood. The people living in the area are challenged economically. There is a record of high cases of violence that exist in the streets due to high crime rate and drugs being traded as a means of survival (Gordon, 2005). Most of the people living in the area are descendants of African immigrants who could trace their origin in the Caribbean islands with a large number Latin American population too.
When our parents tell us to “address the police by sir or ma’am, sit up straight, and don’t move too quickly, we ask ourselves why? It is in that moment we realize it is because that the world does not love us and wants us dead. This epiphany hardens us and strips us of our innocence and ability to float through the world. We are weighed down by the weight of hatred towards blacks. Our only chance of being able to free our minds is to live without fear of judgement, and without fear of persecution. Because if we do, we will always be looking behind our backs, overanalysing everything that is said to us, second guessing the work that we do, and never truly be able to trust the
Though slavery was arguably abolished, “for thousands of blacks, the badge of slavery [lives] on” (Alexander 141). Many young black men today face similar discrimination as a black man in the Jim Crow era - in housing, employment, public benefits, and so-called constitutional rights. This discrimination characterizes itself on a basis of a person’s criminal record, making it perfectly legal. As Alexander suggests, “This is the new normal, the new racial equilibrium” (Alexander, 181).
Police brutality has been an apparent mark on the struggles, trials, and tribulations of people of minorities for years, primarily Black people. From the times of slavery to the present unlawful targeting and murders of black citizens with no justification, police brutality has been an enema in Black American culture for hundreds of years. Seen both in James Baldwin’s “Going to Meet the Man” and in the current happenings of the United States. The hashtag “#BlackLivesMatter” has been a focal point in the current struggle for equality of the races. The current outpouring of support for black lives and
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...
Some say, history is the process by which people recall, lay claim to, and strive to understand. On that day in May 1963, Mississippi’s lay claim: Racism. Between 1882 and 1952 Mississippi was the home to 534 reported lynchings’ more than any other state in the nation (Mills, 1992, p. 18). Jim Crow Laws or ‘Black Codes’ allowed for the legalization of racism and enforced a ‘black way’ of life. Throughout the deep-south, especially in rural communities, segregation prevailed.... ...
One of Williams main topics of concerns is the wrong messages that “public airwaves” are sending to their listeners and followers. Williams claims rap and other medias are representing and sending the wrong message about African American communities. She mentions that rap music once held a positive message but now rap music is bombarding the public with the use of profanity, violence, and obscenity throughout their lyrics and music
Many people claim that racism no longer exists; however, the minorities’ struggle with injustice is ubiquitous. Since there is a mass incarceration of African Americans, it is believed that African Americans are the cause of the severe increase of crimes. This belief has been sent out implicitly by the ruling class through the media. The media send out coded messages that are framed in abstract neutral language that play on white resentment that targets minorities. Disproportionate arrest is the result of racial disparities in the criminal justice system rather than disproportion in offenders. The disparities in the sentencing procedure are ascribed to racial discrimination. Because police officers are also biased, people of color are more likely to be investigated than whites. Police officers practice racial profiling to arrest African Americans under situations when they would not arrest white suspects, and they are more likely to stop African Americans and see them as suspicious (Alexander 150-176). In the “Anything Can Happen With Police Around”: Urban Youth Evaluate Strategies of Surveillance in Public Places,” Michelle Fine and her comrades were inspired to conduct a survey over one of the major social issues - how authority figures use a person’s racial identity as a key factor in determining how to enforce laws and how the surveillance is problematic in public space. Fine believes it is critical to draw attention to the reality in why African Americans are being arrested at a much higher rate. This article reflects the ongoing racial issue by focusing on the injustice in treatment by police officers and the youth of color who are victims. This article is successful in being persuasive about the ongoing racial iss...
From its conception in the 1970's and throughout the 1980's, hip hop was a self-contained entity within the community that created it. This means that all the parameters set for the expression came from within the community and that it was meant for consumption by the community. Today, the audience is from outside of the community and doesn’t share the same experiences that drive the music. An artists’ success hinges on pleasing consumers, not the community. In today's world, it isn’t about music that rings true for those who share the artists' experiences, but instead, music that provides a dramatic illusion for those who will never share the experiences conveyed. This has radically changed the creative process of artists and the diversity of available music. Most notably, it has called in to question the future of hip hop.
Hip-hop music is the best base form of music to invoke change because songs can be written quickly by rappers to address their communities. Hip-hop started in the early 1970’s in minority-filled neighborhoods that were surrounded with poverty, crime, and drugs. Over time, hip-hop has been changed to express different messages. At its beginning the message was positive addressing the problems of poor neighborhoods and now the message is flashy and unclear. With this change
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.
Dixon, Travis L., TaKeshia Brooks. “Rap Music and Rap Audiences: Controversial Themes, Psychological Effects and Political Resistance.” Perspectives. 7 April 2009. .
Urban Music, also commonly referred to as Urban Contemporary Music, is an aggregate of musical genres that developed in the 1970s in the United States as a form of music radio programming. The programming category gained particular traction in the 1980s and 1990s as an alternative to both Afro-American orientated stations that featured hard soul, funk, hiphop and rap material and to mainstream, white-orientated popular music radio programming, which only featured a small number of Afro-American acts, many of whom had gained mainstream acceptance through exposure on the music video channel MTV. DJ Frankie Crocker is commonly regarded to have pioneered the approach through his work as music programmer for Manhattan-based radio station WLIB-FM, which commenced broadcasting in 1974. His early programming combined established R&B material with the burgeoning style of Disco and later went on to include elements of rap, hip hop and reggae, both in general programming and niche slots. This approach proved highly successful with radio audiences and was ...
The hip-hop culture was always seen as rebellious, but in the 1990’s it developed an even str...