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W.E.B Dubois views on how racial equality is achieved
Essays on w.e.b dubois
Essays on w.e.b dubois
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It is no secret that there is a complicated history with race in America. The issue has been discussed by scholars such as Sterling Brown or W.E.B Dubois. Brown’s article, “Negro Characters as Seen by White Authors” outlines a variety of common stereotypes for black characters in American literature from the late nineteenth century through the early twentieth century. DuBois went a step further in his essay “Of Our Spiritual Strivings”, in which he outlined his theory of “double-consciousness”, a theory that has shown itself time and time again, especially in hip hop. Kanye’s West’s fifth studio album “My Beautiful Dark Twisted Fantasy”, takes listeners on a lyrical journey through common stereotypes and double-consciousness. For example, …show more content…
He describes the sensation of “measuring one’s soul by the tape of a world that looks on in amused contempt and pity” (2). West tackles double- consciousness in a lot of his songs, but more so I “Gorgeous” and “Power”. He does have slight elements in “Monster”, however. In “Gorgeous”, West is straight-forward in his approach, voicing his frustrations about appearing to fit in with the majority of popular artists (namely the white ones), yet when he does something stereotypically black he gets massive media attention and is berated for his actions. It is even in his clothes: if he is wearing the right clothing he is accepted, but is automatically perceived as ghetto when he is wearing sneakers and a white t-shirt. “As long as I’m in Polo’s smiling they think they got me/But they would try to crack me if they ever see a black me” (Lyrics On Demand). In “Power”, he discusses issues with fame and general concept of power, as well as being a minority with limited options. He talks about how education is limited and that minority children are eventually doomed to prison. “The system broken, the schools closed, the prison’s open” (Lyrics On Demand). His lyrics speak of how the world around him in controlled by the majority, and how minorities are forced to conform to the standards of the rest of the world. In “Monster”, the biggest hint at double- consciousness is the inclusion of Justin Vernon of Bon Iver, a white indie folk musician. Vernon’s appearance on such a quintessential rap track is impressive and jaw-dropping considering these types of songs (posse cuts”) are notorious for featuring all- black artists. His presence plays to the double-consciousness West expresses, by mixing black and white artists together for
In his most recent album, Kanye West raps, “Now if I fuck this model/ And she just bleached her asshole/ And I get bleach on my T-shirt/ I 'mma feel like an asshole.” He suggests that it is the girl’s fault for getting bleach on his tee shirt, which she only did to make herself more sexually appealing. This misogyny in hip-hop culture is recognized to bring about problems. For instance, the women around these rappers believe they can only do well in life if they submit themselves to the men and allow themselves to be cared for in exchange for physical pleasure. In her essay, “From Fly-Girls to Bitches and Hoes”, Joan Morgan argues that the same rap music that dehumanizes women can be a powerful platform for gender equality if implemented correctly.
W.E.B. DuBois: Hall of Fame. W.E.B. DuBois was an educator, writer, scholar, civil rights activist, Pan-Africanist, and later in his life a communist, whose life goal was to gain equal rights for all African Americans around the world. DuBois’ writings were mostly forgotten till the late 1960s, because of his involvement in communism and his absence during the civil rights movement in America. Even though his writings were temporarily forgotten because of his tarnished reputation, his legacy has since been restored allowing for his writings to be reprinted becoming a major influence for both academics and activists. DuBois’ accomplishments include his part in the creation of the National Association for the Advancement of Colored People (NAACP) and his support for the civil rights movement advocating for equal social and economic rights for all African Americans.
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.
One day in class professor McPherson makes a connection between rap music and Walker’s paper and said they are both phony. He talks about how rappers are extreamly wealthy and their families are doing well but they claim they are in the streets and “hustling” to make their way through life, when in reality they are doing better than a large portion of the population. The reason he says Walker is doing the same is because he wasn’t talking about himself… he is talking about his family and their hardships, that he has not experienced. Then Walker learned one of the most important lessons that would be with him forever; that people love sterotypes, sterotypes engage a reader but once the reader is interested you have to add your own esense of you into your writing. This means as a writer you have to show the reader the real you but you have to understand yourself first. One must not base their life on the life or sterotype of
According to the book the series of creative responses to the suffering of black American are not so complex. Perry’s polemic is open for discussion because it is inevitably connected with selection and interpretation. For example the constant discussion of rascally, when doing break dance, outlaw gangstas misses during the earlier days of hip-hop, graffiti and also electric boogaloo developed a space for Afro-American recognition. It was perhaps more concerning about pure hedonism than knowingly discussing on the deadlock of race relations. Creating imagery for the genre was essential hence the need for the use of metaphor in hip-hop plays on the black slaves looking for freedom as well as the hip hop
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.
“…it is said that there are inevitable associations of white with light and therefore safety, and black with dark and therefore danger…’(hooks 49). This is a quote from an article called ‘Representing Whiteness in the Black Imagination’ written by bell hooks an outstanding black female author. Racism has been a big issue ever since slavery and this paper will examine this article in particular to argue that whiteness has become a symbol of terror of the black imagination. To begin this essay I will summarize the article ‘Representing Whiteness in the Black Imagination’ and discuss the main argument of the article. Furthermore we will also look at how bell hooks uses intersectionality in her work. Intersectionality is looking at one topic and
The Souls of Black Folk by W.E.B Dubois is a influential work in African American literature and is an American classic. In this book Dubois proposes that "the problem of the Twentieth Century is the problem of the color-line." His concepts of life behind the veil of race and the resulting "double-consciousness, this sense of always looking at one's self through the eyes of others," have become touchstones for thinking about race in America. In addition to these lasting concepts, Souls offers an evaluation of the progress of the races and the possibilities for future progress as the nation entered the twentieth century.
As Kendrick entered the stage shackled to his black comrades with a soulful saxophone playing in the background, it is obvious that the imagery of imprisonment was a commentary on incarceration in America and its similarities with slavery. By amplifying this modern twist on slavery, Kendrick provokes American viewers to reflect on the struggles that black Americans still go through today. At the start of his performance he goes on to rap “I’m African-American — I’m African” as if he was correcting himself. This isn’t surprising as black identity is hard to establish in a country that implicitly detests you, but explicitly fetishizes your culture. Stuart Hall discusses this in his text when he states, “’the primitive is a modern problem, a crisis in cultural identity’…the modernist construction of primitivism, the fetishistic recognition and disavowal of the primitive difference” (Hall 125). There is no wonder why Kendrick, like many African-Americans, finds comfort in placing his identity with the mother land rather than his true country of origin. How can the black multitude stand in solidarity with a country who will continuously praise black culture but refuse to recognize the black struggle? Kendrick Lamar then conjures imagery of Africa, where he danced and rapped in front of a raging bonfire, one of the most powerful imagery included in his entire performance. One can interpret
African American writers regularly address racial personality—from books about going to expositions on Black Power—from journalists as differed as W.E.B. DuBois, Zora Neale Hurston, and Toni Morrison. Be that as it may, these authors are once in a while, studying on how they build a racial personality for themselves and their characters. Dark writings can possibly uncover the variables that make racial personality and clear up how the procedure of consideration and prohibition work inside the African American group. Building up a strategy for deciphering how a racial character is tended to in African American writer 's are critical incomprehension the implicit rejection in the dark group. The answers (or inquiries) that rise up out of this
William Edward Burkhardt DuBois, whom we all know as W.E.B. DuBois; was a novelist, public speaker, poet, editor, author, leader, teacher, scholar, and romantic. He graduated from high school at the age of 16, and was selected as the valedictorian, being that he was the only black in his graduating class of 12. He was orphaned shortly after his graduation and was forced to fund his own college education. He was a pioneer in black political thoughts and known by many as a main figure in the history of African-American politics. W.E.B. DuBois attended Fisk University, where he was awarded a scholarship after he graduated high school. Fisk University was located in Nashville, Tennessee. While attending this University, this is where he saw for the first time in his life the hard time of blacks that were from the South. Since W.E.B DuBois did not encounter any hardships or problems with racism, seeing this was what motivated him to want to make changes and educate black people on what is going on. As violence against blacks increased in the South throughout the 1880s, DuBois's scholarly education was matched by the hard lessons he learned about race relations .
African American writing regularly addresses racial personality—from books on going to expositions on Black Power—from journalists as differed as W.E.B. DuBois, Zora Neale Hurston, and Toni Morrison. Be that as it may, these authors are once in a while studying on how they build a racial personality for themselves and their characters. Dark writings can possibly uncover the variables that make racial personality and clear up how the procedure of consideration and prohibition work inside the African American group. Building up a strategy for deciphering how racial character is tended to in African American writings is critical in comprehension the implicit rejection in the dark group. The answers (or inquiries) that rise up out of this study
The contradiction of being both black and American was a great one for Hughes. Although this disparity was troublesome, his situation as such granted him an almost begged status; due to his place as a “black American” poet, his work was all the more accessible. Hughes’ black experience was sensationalized. Using his “black experience” as a façade, however, Hughes was able to obscure his own torments and insecurities regarding his ambiguous sexuality, his parents and their relationship, and his status as a public figure.
The logic behind Tracy Butt’s argument to use hip-hop and rap culture to help students better understand African American literature such as the “The Narrative of the Life of Frederick Douglass” is commendable. It also provides a new and unique style of teaching, which mixes past and present in a way that is uncommon in most classrooms. Butts’ article titled, “” You Shall See’: Narrative of the Life of Frederick Douglass as a Guide for Forging Black Masculinity in Hip Hop,” offers a unique view of similarities between, The Narrative of the Life of Frederick Douglass” and popular rap artist lyrics. However one of the arguments in her article, “” You Shall See’: Narrative of the Life of Frederick Douglass as a Guide for Forging Black Masculinity in Hip Hop,” is flawed. That
By carefully analyzing the synapses between the existential Negro and the Hipster, we can deduce the reflections on the wider umbrella of American popular culture. The elements of music, politics, language and general human characteristics resulting from American popular culture all worked together to create the “white negro”- a person who can be simply referred to as a white person with black or “negro”