The Hip Hop Generation Fights Back Chapter 4

Commercial hip hop is too blindsided by making profit to assist in the rallies for Black justice the same way that hip-hop proper is doing. #BLM has liberated rap from its default setting today, and is beginning to break the white stereotype that hip hop is defined as a consumer market where “rhyming negro gentleman callers and ballers sold vernacular song and dance to an adoringly vicarious and increasingly whiter public” (para.6). Tate concludes with stating that #BLM’s “reclamation of hip-hop proper has brought complexity and revolutionary street cred back to the race conversation in commercial rap. The public can no longer be sold the noxious and recherché notion that 21st-century rap culture is only about trap-happy nigras getting paid for getting dumb, or coldstoopidwackretarded, even. Thanks to #BlackLivesMatter, the beautiful struggle against racialized injustice once again matters where rap and hip-hop proper live” (para

In this particular article, Ivan Fernandez discusses the unique connection between hip-hop and indigenous people. In the past few years, many more indigenous music artists have begun to voice out their stories of oppression and their traditions that have been suppressed for such a long time through hip-hop. This is because hip-hop is utilized as a medium for indigenous artists to take back their culture and tradition. This is connected to the historical material that we have studied because it pertains to the history and background of hip hop. Hip-hop and its culture originated in the rough neighborhoods in South Bronx.

This article focuses on the color-blind ideology that allows white people to participate in and appropriate hip-hop culture. Rodriquez notes that they do so by using the guise of inclusivity of all races to justify their participation in hip hop and to adapt characteristics of the culture without respecting Black identity. He uses his own interviews of several white audience members of hip hop concerts who identified as participants of hip hop culture. Rodriquez identifies two groups resulting from social collectivity to reinforce his argument: consciously collective white groups, who actively reinforce racial segregation and passively collective white groups, who unknowingly unite and reinforce systematic racism through their adherence to color-blind ideology. The participants of his research are part of the latter, who unconsciously reinforce systematic racism through treating cultural objects, namely aspects of hip hop culture, as shareable products and experiences.

In Tupac and My Non- Thug Life Jenée Desmond writes a vividly narrated story about a well-known rapper Tupac Shukar and how she relates her image and identity connection with the former rapper. Raised in the white suburb town and the only black high school cheerleader Tupac 's music and lyrics helped her get through her interracial blend as an African American teen. Jenée expresses her emotions toward her former icon as a teen girl. In the contribution to his death, Jenée Recalls vivid descriptions of her obsession with her image through her teen-hood, when his passing accrued Jenée recollects her past and explains her vivid descriptions when he passed away. She described the moment of his death a tragic moment.

Hip Hop was the wildfire that started in the South Bronx and whose flames leapt up around the world crying out for change. James McBride’s Hip Hop Planet focuses on his personal interactions with the development of Hip Hop culture and his changing interpretations of the world wide movement. Many of his encounters and mentions in the text concern young black males and his writing follows an evolution in the representation of this specific social group. He initially portrays them as arrogant, poor, and uneducated but eventually develops their image to include the positive effects of their culture in an attempt to negate their historical misrepresentation.

a. Throughout Tricia Rose’s work of the Hip Hop Wars, she goes back and forth between a couple different topics relating to the genre, such as the debate about hip hop causing violence, or reflecting a violent ghetto culture, along with if hip hop is sexist, or if people against the music or just anti-sex. She talks about how hip hop has made a positive impact on society as a whole, by giving people who may feel left out a voice and allowed those in working-class and poor communities a way to express their social and political beliefs. But she also describes the genre as a topic which has created tension among numerous different people, for promoting violence and other anti-feminist ideals. “Members of the hip hop generation are now facing

Julio Gomez Mr.Kingsland ELA 11 Feb/21/2018 Per 6 Essay planet In these essay hip-hop planet, McBride describes how hip-hop influences the culture of the people of the world. In the chapter full circle, McBride argues that hip-hop represents a deeper meaning which also represents everyone in the world the struggle of life. Finally, In the chapter, the crossover McBride argues that the mean of hip-hop has changed through the generation. What I mean by these three central ideas that McBride wrote in his essay is the change, the influence, and finally the meaning of hip-hop.

Hip Hop is seen as something inspiring, but most people see it as a way to speak out the truth about a problem. As in “Hip Hop planet” being able say the truth can sometimes worsen any situation because sometimes what we say can promote violence and whatever happens after is not in our control. The essay is about how hip hop has changed into speaking out the issues that need to be taken care of in order to maintain a proper society. McBride talked about how rappers use violent lyrics to degrade women and gays and because of this it shows how the music has evolved into something entirely different that no one would have ever expected to have changed. In James McBride's essay “Hip Hop Planet,” he argues that hip hop has a negative influence on American Culture despite people thinking of it as inspirational and how people live through different experiences in life despite of your race.

In the essay “Before Hip-hop was Hip-Hop” the author, Rebecca Walker, uses many literary tools to get her point across. This reflective piece compares hip-hop from the 80s to hip-hop today. Walker uses sensory details to help readers picture what she feels about the topic. She often uses slang which allows the text to have an informal tone. This makes the piece easier to read and comprehend.

By the end of the Second World War, the United States (U.S.) experienced profound prosperity. The affluence of the nation was partly due to mass-production which stimulated an increase in conformity in the American society. Clothing, houses, and families looked identical with matching styles and ways of life. Disapproving of the the new consumerism and conformity, a group of divergent thinkers rose: the Beat Generation. Allen Ginsberg, Jack Kerouac, William Burroughs, and others rejected American values by romanticizing their poverty, practicing Buddhism, and abusing drugs.

“Ooooh Child Things are Gonna Get Easier” Or Will They? Tupac Shakur is one of the greatest African American rap artists the hip-hop world was blessed to have. Tupac’s music is some of the most dynamic, influential, and self-powering music from the 1990s. Even though his messages for a higher respect for women, an end to gang violence, and a better world were over shadowed by his arrest on a first-degree sexual abuse and him being shot on multiple occasions, they can still be heard in his music today.

Nowadays, everyone wears the identity with pride. The genre was a testament to triumphing over hardships, to having enough confidence in oneself not to let the world drag you down, and to rising above the struggle, even when things seem hopeless. Violence in rap did not begin as an affective agent that threatened to harm America 's youth; rather, it was the outcry of an already-existing problem from youth whose world views have been shaped by the inequalities and prejudice they have experienced. The relentless wave of heroic new rappers arriving on the scene formed the golden age of hip hop in the 1980s, a newfound voice which rose from the impoverished ghettos during the 1980s and inspiring a generation of black youth to fight the police brutality they faced on a daily basis.

Hip-hop culture has been the topic of various academic, social, and political discourses. Rap music, in particular, has made its way to mainstream media which is evident in the numerous films and movies that centers on what was once a part of an underground culture. Scholars explain that the popularity of hip-hop in both music and films are partly due to its potential to disseminate information, address an issue, and promote social change. Tinson and McBride (2013), for example, note that hip-hop is a “…form of critical education at the intersection of, and inseparable from political engagement” (1). Scholars further note that hip-hop’s current state “…requires frequent accounting of its engagement with the social, political, and cultural climate

“Beyond Beats and Rhymes” Summary This movie was a broad discussion about hip-hop music (or more specifically gangster rap) and what kind of social issues the music not only showcases but seems to promote. The producer of this film, Byron Hunt, interviewed people involved in all aspects of the hip-hop industry, including famous rappers, to try to get to the bottom of this. Some of the most prominent issues discussed in the film were the over-sexualization of women, gun violence, and anti- homophobic attitudes. Hunt would ask those involved in the industry about why they think these themes are so prevalent.

Hip hop is a cultural phenomenon established in the 1970’s in America. It was more popular in the streets with young people especially the black and Latino communities who practiced the cultural phenomenon through artwork, dancing styles, rapping and dancing styles. This to them was their way of identity formation; they wanted to be identified through these activities. But as things evolved, other activities such as poetry writing and spoken word became part of the phenomenon. While dress code and language was not necessarily associated with the cultural phenomenon, critics and observers have now established these two are key aspects of hip-hop.