Colourism, a little word that harnesses pain, as well as confusion amongst many people both of the past and present. This concept is nothing new, it is something that has and is being felt by plenty. It plagues nations and is caused by imperialism, self-hatred, self-degradation, envy, greed, along with lust. It’s fueled by ignorance, stupidity, blindness, unobtainable white beauty standards placed onto unsuspecting people once simply absorbed by their own society, and now compelled to fulfill these standards, which are unobtainable for many. As topics such as sexism and racism, colourism reaches beyond just one medium. It affects many areas of life as well as hinders the quality of life of those negatively regarded. One of the strongest and most effective ways to implement the ideals of colourism (i.e. “[That] lightening the black physicality is socially acceptable because white skin is the superior and sought after ideal unlike black skin which is inferior.”) is through media. Hip-Hop, which has grown exponentially through the past 20 years, has used it’s great following to pursue spread ideals that have been implemented through the music. Emphasized by the rhetorical analysis written by VaNatta S. Ford; where she keys in on a statement: “There has not been [...] a rhetorical examination of the ways in which colorism impacts rap lyrics”; as well as the rampant destruction of the image of darker skinned women in particular. Time and time again, they lyrics of many superstar in Hip-Hop/Rap, calls the fairer of black women in particular the better. Though this idea of placing lighter people on a pedestal is nothing new, but through this musical movement the classifications of blacks has evolved. Term such as “Red bone” and “Yellow b... ... middle of paper ... ...t; n*ggers were dirty and loud.” Works Cited Morrison, Toni. The Bluest Eye NYC: Plume/The Penguin Group, 1970 McCarthy-Brown, Nyama. "Dancing in the Margins: Experiences of African American Ballerinas." Journal of African American Studies15.3 (2011): 385+. General OneFile. Web. 18 May 201 Ford, VaNatta S. "Color blocked: a rhetorical analysis of colorism and its impact on rap lyrics in hip hop music from 2005 to 2010."Journal of Pan African Studies 5.1 (2012): 270. Academic OneFile. Web. 18 May 2014. Charles, Christopher A.D. "The derogatory representations of the skin bleaching products sold in Harlem." Journal of Pan African Studies 4.4 (2011): 117+. Academic OneFile. Web. 18 May 2014. Banerji, Shilpa. "Study: darker-skinned Black job applicants face more obstacles." Diverse Issues in Higher Education 21 Sept. 2006: 20. General OneFile. Web. 18 May 2014.
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.
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
Oswald, Janelle. “Is Rap Turning Girls into Ho’s?” The Black Book: A Custom Publication. 3rd ed. Ed. Sam Pierstorff. Modesto: Quercus Review Press, 2012. 171-175.
Since hip-hop has expanded from the undergrounds in Bronx in the 70’s it has grew into a popular accepted music genre. Consequently, as it progressed from the golden age it gradually grew away from its original roots. If one were to evaluate the change of lyrics in hip-hop, they would see a difference between early hip-hop and today’s hip-hop. The current state of hip-hop is in a stage where things like hey young world are outdated. Instead of broadcasting out a positive message, hip-hop sends out a message of sex, drug, and violence. The early musicians who helped solidify hip-hop, by producing music that told stories on subjects of race, respect, or even music that had a positive message.
All of the articles dealt with hip hop as an industry and how that industry is portrayed to African Americans through the commercialization of hip hop and stereotypes in society. The articles also discuss how that portrayal influences the opinions of African Americans to others and themselves.
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.
Krohn, Franklin B., Suazo, Frances L. “Contemporary Urban Music: Controversial Messages in Hip-Hop and Rap Lyrics.” ETC: A Review of General Semantics. 52 (1995): 193-54. Web. 10 Mar. 2014.
The cultural theory helps expand the knowledge of “hip hop” as an idea and influence on society. Mark Anthony Neal discusses the development of the understanding of hip hop by dissecting the layers and complexities of the culture, “Hip-hop music and culture emerged as a narrative and stylistic distillation of African-American youth sensibilities in the late 1970s,” within What the Music Said (Woldu 18). Urban history is a large, yet vital characteristic throughout the study of hip hop and its progression; Russell Potter shows how critical the representation of black musical expression and the “history of vernacular speech” is for the hip hop community in his book, Spectacular Vernaculars (Woldu 19). As decades pass and the hip hop scene expands, the history of this culture becomes influenced by more historical movements and creations. However, that is not the only historical significance that runs deep within the hip hop culture. The history and influence of the black feminist movement within the hip hop scene became a demanding characteristic in the development of the hip hop culture. As the gender divide became an evident aspect through the hip hop generation, women, especially female rappers,
Hip hop has multiple branches of style and is a culture of these. This essay will examine Hip Hop from the point of view of the following three popular music scholars, Johnson, Jeffries and Smitherman. It will delve deeper into their understanding of what hip hop is and its relation to the different people that identify with its message and contents. It will also identify the history of Hip hop and its transition into popular music. In particular this essay will focus on what hip hop represents in the black community and how it can be used as a social movement against inequalities faced by them. This will then open up the discussion for the how this has influenced society, and the impact it has had in terms of race issues which hip hop itself often represents through music.
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.
A race issue that occurs within the rap and hip-hop musical genre is the racial stereotypes associated with the musical form. According to Brandt, and Viki rap music and hip- hop music are known for fomenting crime violence, and the continuing formation of negative perceptions revolving around the African-American race (p.362). Many individuals believe that rap and hip-hop music and the culture that forms it is the particular reason for the degradation of the African-American community and the stereotypes that surround that specific ethnic group. An example is a two thousand and seven song produced by artist Nas entitled the N-word. The particular title of the song sparked major debates within not only the African-American community thus the Caucasian communities as well. Debates included topics such as the significance and worth of freedom of speech compared with the need to take a stand against messages that denigrate African-Americans. This specific label turned into an outrage and came to the point where conservative white individuals stood in front of the record label expressing their feelings. These individuals made a point that it is because artists like Nas that there is an increase in gang and street violence within communities. Rap and hip-hop music only depicts a simple-minded image of black men as sex crazed, criminals, or “gangsters”. As said above, community concerns have arisen over time over the use of the N-word, or the fact that many rappers vocalize about white superiority and privilege. Of course rap music did not develop these specific stereotypes, however these stereotypes are being used; and quite successfully in rap and hip-hop which spreads them and keeps the idea that people of color are lazy, all crimin...
It goes without saying that hip-hop has changed. It began as a social practice of African-centered liberation to transform the black community or bring the youth together in unity, but towards the 90’s and onto the hip-hop scene in todays day and age, it is anything but that. The youth of today will know Tupac Shakur and beautify or streamline his self-destructive “thug life” but remain in the dark of figures like Mutulu and Afeni Shakur. Although this is a sad reality to live in, it is not hip-hops responsibility to change this. It is the responsibility of artists alike representing an oppressed populace to speak meaningfully in their art, in someway or another, for the liberation of their people.
The Association of Black Psychologist (ABP) (2013) defines colorism as skin-color stratification. Colorism is described as “internalized racism” that is perceived to be a way of life for the group that it is accepted by (ABP 2013). Moreover, colorism is classified as a persistent problem within Black American. Colorism in the process of discriminatory privileges given to lighter-skinned individuals of color over their darker- skinned counterparts (Margret Hunter 2007). From a historical standpoint, colorism was a white constructed policy in order to create dissention among their slaves as to maintain order or obedience. Over the centuries, it seems that the original purpose of colorism remains. Why has this issue persisted? Blacks have been able to dismantle the barriers faced within the larger society of the United States. Yet, Blacks have failed to properly address the sins of the past within the ethnic group. As a consequence of this failure, colorism prevails. Through my research, I developed many questions: Is it right that this view remain? How does valuing an individual over another cause distribution to the mental health of the victims of colorism? More importantly, what are the solutions for colorism? Colorism, unfortunately, has had a persisted effect on the lives of Black Americans. It has become so internalized that one cannot differentiate between the view of ourselves that Black Americans adopted from slavery or a more personalized view developed from within the ethnicity. The consequences of this internalized view heightens the already exorbitant mental health concerns within the Black community, but the most unfortunate aspect of colorism is that there is contention on how the issue should be solved.
Throughout American history there has always been some form of verbal acrobatics or jousting involving rhymes within the Afro-American community. Signifying, testifying, shining of the Titanic, the Dozens, school yard rhymes, prison ?jail house? rhymes and double Dutch jump rope rhymes, are some of the names and ways that various forms of raps have manifested. Modern day rap music finds its immediate roots in the toasting and dub talk over elements of reggae music (George, 1998)....
WRITE A COHERENT ESSAY IN WHICH YOU ATTEMPT TO EXPLAIN THE USE OF BLACK ICONIC IMAGES (AND OTHER ETHNIC IMAGES) TO SELL PRODUCTS AS THE ECONOMY OF MASS CONSUMPTION EXPANDED IN THE LATE 19TH AND EARLY 20TH CENTURY. YOU ARE ENCOURAGED TO INCLUDE IMAGES IN YOUR PAPER.