Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Essay different form's of nonviolent protests
Introduction for history paper on non violent protest
For and against non violent protests
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Essay different form's of nonviolent protests
Many unfair incidents, such as racism, poverty, and war, are happening around the world in our everyday lives. Some of us may be unaware or careless of the injustices that are occurring around us while others are trying to make differences to alternate the situations. As we can see on the news, or the Internet, such as YouTube, there are various type of remonstrations. However, have you ever notice that some protests do not seem persuasive? Sometimes, it is easy to tell that there are several protesters do not seem to know what they are doing except shouting the slogans and demands. In other words, they show up for filling the numbers to make the entire event look imposing. The visual effect may be great, but the goal is unclear. If this type of protests can be considered as dance performances, audiences are probably drooling and snoring under the stage. When we want others to listen to our opinions, words are not enough because not everyone understand and interpret the same language in the same way. Body movements are easier to communicate between people since we can receive the emotions, such …show more content…
In the reading of Bronx Tales, Johnson described that “Hip Hop was a refuge, a safe space and alternative to the reality of systematic violence dealt out by the state and property owners” (Johnson 5). The property owners and the mafia were busy burning down buildings for money while the authority was escaping from this crisis (Johnson 4). There was no one actually being serious about the people who lost everything because of the fire. Hence, those people were no difference from the homeless. However, hip hop created a shield that contained the sense of belonging to protect these people who had been forgotten by the society. In other words, hip hop constructed a new community for the Bronx
Here she explains that New York was making a fast change to something different, but hip hop gave it the voice that it needed in order to show what was going on throughout all that. Hip hop was the trending music choice at that time, especially when others around the area could relate. Hip hop also was a release for them, instead of being stressed over not having a job or wondering how they’re gonna get money, they partied all together while listening to hip hop. When music classes were cut in school they could listen to it on their own with the innovative ways they created, “The postindustrial city, which provided the context for creative development among hip hop’s earliest innovators, shaped their cultural terrain, access to space, materials and education”
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.
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...
Inside the album jacket, Serch sums up hip-hop in ‘89: “There was a time when nothing was more important than the New York Rap Scene.” It’s dilluted, but not divided.” To hip-hop afficionados, Serch’s quote sounds like the equivalent to a Vietnam soldier’s letter home. Obviously, the group saw the possibility of the hip-hop culture being tainted.
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.
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...
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.
As we read further, we find that there are multitudes of problems inherent within the South Bronx. One of the only ways of determining where these problems stem from is by looking at the possible reasons as to why they exist. Drugs, violence, AIDS infections, are not new, ...
Hip hop originated in the ghetto areas of New York during the 1970’s and is a mixture of DJ, MC, B boy and Beat boxing. In his studies of defining hip hop, Jeffries concluded that these mixtures of art forms do not define hip hop but rather that Hip hop itself is a culture of these elements. “Hip-hop is like a culture, it’s a voice for black people to be heard. Our own style, our own music” (Jeffries. 2011; 28). Jefferies identifies hip hop as a social movement, which stems from the concept of ‘collective identity’ (Jefferries.2011; 27). This can be defined as “an individual’s cognitive, moral and emotional connection with a broader community” (Polletta and Jasper. 2001; 84). Which relate to Smitherman’s views that hip hop is a celebration of black culture uniting these individual to form a collective community. (Smitherman. 1997; 20) .These Theorists generally accept that hip hop is culture and it’s the production of its creators and the individuals who consu...
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.
From the Boston Tea Party of 1773, the Civil Rights Movement and the Pro-Life Movement of the 1960s, to the Tea Party Movement and Occupy Wall Street Movement of current times, “those struggling against unjust laws have engaged in acts of deliberate, open disobedience to government power to uphold higher principles regarding human rights and social justice” (DeForrest, 1998, p. 653) through nonviolent protests. Perhaps the most well-known of the non-violent protests are those associated with the Civil Rights movement. The movement was felt across the south, yet Birmingham, Alabama was known for its unequal treatment of blacks and became the focus of the Civil Rights Movement. Under the leadership of Martin Luther King Jr., president of the Southern Christian Leadership Conference, African-Americans in Birmingham, began daily demonstrations and sit-ins to protest discrimination at lunch counters and in public facilities. These demonstrations were organized to draw attention to the injustices in the city. The demonstrations resulted in the arrest of protesters, including Martin Luther King. After King was arrested in Birmingham for taking part in a peaceful march to draw attention to the way that African-Americans were being treated there, their lack of voter rights, and the extreme injustice they faced in Alabama he wrote his now famous “Letter from Birmingham.”
He states that the events he witnessed and the ties he connected affected the way he viewed the world, which in turn altered his mindset into one of a hustler, someone who works to the best of their abilities at all times (Carter 121-122). The Marcy Brookelyn housing projects where Jay-Z was raised, was then as it is now the epitome of suffering and confusion on why the low-income families were not being able to achieve the “American Dream”. In part three, Jay-Z states “We were kids without fathers, so we found our fathers on wax and on the streets and in history, and in a way, that was a gift. We got to pick and choose the ancestors who would inspire the world we were going to make for ourselves” (Carter 140). In other words, these boys had fathers who walked out on them and the only thing they had were old records and the feeling of admiration for either the hustlers or the rappers. For this reason, Jay-Z feels as though it is ridiculous for politicians and government officials to use the media and other resources in order to shed a negative light on rap (Carter 97-103). The shame placed on hip-hop, is in a way ignoring the culture and history of many Americans who used this music as a way to relate to others in circumstances that are usually unsaid. It is clear that the view that was being placed on
Harlem Nights is a block of violence and poverty. One of those nights I lost my best friend, Tyson. We used go out and “hustle” so we could come up with a meal, which is what we were doing that night. We had nothing to live for during that time in our lives, but we were in it together. But, one night, everything went downhill.
force protest are used, in hope of achieving a purpose and proving a point. For