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Music and its effects on society
Music and its effects on society
The importance of music within society
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A major element of hip-hop music is “realness” or authenticity from an artist within the genre. However, there is a fine line between authenticity and explicit truth, a line that has been crossed several times in recent years. Prosecutors have used rap lyrics against artists in a court of law, deeming the lyrics as factual evidence. The politics behind the use of rap lyrics in trial have caused for several artists to face criminal charges solely based on the content of their music. Brandon Duncan, otherwise known as Tiny Doo, is one of several artists whose music has turned into a political controversy rather than a promising career. Tiny Doo’s hip-hop career was suspended due to the politics surrounding a California law that allowed for his …show more content…
The song beings with a sample of a man telling a story about the “oppressive people” and the “oppressors.” The “oppressive people” being the black community and the “oppressors” being anyone who wishes to bring them down. The violence comes in as the man on the sample says “anything that goes down should be reciprocal”, meaning the black community is willing to fight back against the institution using violence. He goes on to say “it takes two to tango” just as Tiny Doo begins his first verse. Tiny Doo raps “who the f*** needs an army / y 'all n***as can’t harm me”, which does not come off as explicitly violent, the only controversial part of a line such as this one are the curse words it contains. Ironically, it seems to be that the real “oppressors” are the prosecution, while Tiny Doo remains a member of the “oppressive people” because he is subject to the politics regarding his artwork. The two most popular songs on his mixtape, which only have thirty-four thousand plays on SoundCloud combined, were somehow seen as threatening enough for Tiny Doo to be locked behind bars for almost seventh …show more content…
Camilleri explains how Tiny Doo was linked to nine shootings and the only piece of evidence prosecutors held against him was indeed his mixtape. Tiny Doo explains how he was in his home when the police came “in like the navy or something, machine guns drawn.” When he asked police why he was being arrested, they replied “you’re going to jail for nine murders” (Huffington Post, Video Interview). After listening to Tiny Doo’s mixtape, it is impossible to find nine different tales of murder instances. The basis for the arrest was solely upon the “California Street Terrorism Enforcement and Prevention Act” because Doo’s mixtape somehow connected him to gang related incidences in San
The article “Rap Lyrics on Trial” written by Erik Nielson and Charis E. Kubrin was about Vonte Skinner, a man who was convicted for attempted murder for 30 years based on the evidence of rap lyrics written before the crime. The court case didn’t have sufficient evidence to convict Skinner because the witness changed their stories many times to be considered consistent, but the jury felt convinced Skinner was guilty when they heard Skinner’s lyrics: “In the hood, I am a threat / It’s written on my arm and signed in blood on my Tech” and “I’m in love with you, death”. Neilson and Kubrin argued whether rap lyrics should be presented as a piece of evidence after Skinner’s conviction is overturned. They claimed that when rap lyrics are
People from many generations may think that today’s music shows virtually nothing. This generations rap music mainly circles around how much money you receive from rapping, how much women you receive from rapping, and how much drugs you receive from rapping. There is rare few times where rap artist come out of this circle, to talk about real life experiences, issues within the world, and how this affects certain diversities. Baruti N. Kopano, an assistant professor of Mass Communications at Delaware State University, does a study on the rhetorical legacy of rap music. He starts off in this article how rap music to him is a legacy with rich history, “For rappers, ‘keepin it real’ means being
If there was one defining characteristic to hip hop in 1997, it was the jiggy factor- an aesthetic of unapologetic flash, fashion and glamour that ruled everything around us and made hip hop life nice and organized. Of course, for each movement there always exists a counter-movement; for each yin there is a yang; and for each designer-label clad champagne sipper, there must be an uncompromised figure lurking in the shadows, ready and willing to reclaim rap from the penthouse to the pavement. Embracing this return to the anarchy, enraged and raw, Def Jam Records presents 1998 as the Year of Pandemonium. The human embodiment of such exhilarating and unadulterated chaos exists in none other than Ruff Ryders/Def Jam's very latest lyrical sensation, DMX. "I love to write rhymes," says the Yonkers-born MC. "I love to express what real niggas feel, what street niggas feel. They need to be heard. They need to know there is a voice that speaks for them, and I am that voice." Within the tumultuous annals of hip hop's dog-eat-dog history, second chance opportunities are few and far between. However, every now and then the experienced and distinguished bark of a particularly cagey canine re-emerges from rap's chaotic kennels, representing the triumph and perseverance inherent in true greatness.
But the disenchantment with artists who don’t appreciate hip-hop as consisting of emceeing, breaking, graffiti art, beat boxing and dj-ing is not new. Underground artists, predominately hip-hop purists, have lashed out at biters and perpetrators for many years. For example, in 1989 3rd Bass released their first album, The Cactus Cee/D. Throughout the album, MC Serch and Prime Minister Pete Nice scold the commercialized booty shakers like MC Hammer for corrupting hip-hop, particularly on the track “The Gasface” they specifically call out Hammer for his antics.
Hip hop has become one of the most commercially promoted and financially successful forms of media in recent years. But as its profits have risen it has become a scapegoat for the many of the public criticisms of young black people. These topic have been discussed in Tricia Rose’s novel “The Hip Hop Wars What We Talk About - And Why It Matters”. The state of hip hop has fallen because the trinity of commercial hip hop has become main topic and caused a lot of controversy. This book is appealing to a person who want to know how hip hop has changed in the past decade and it points out many different attitudes toward hip hop in the Unites States.
Hip hop is both a culture and a lifestyle. As a musical genre it is characterized by its hard hitting beats and rhythms and expressive spoken word lyrics that address topics ranging from economic disparity and inequality, to gun violence and gang affiliated activity. Though the genre emerged with greater popularity in the 1970’s, the musical elements involved and utilized have been around for many years. In this paper, we will cover the history and
These articles depict the controversies of the hip hop industry and how that makes it difficult for one to succeed. Many of these complications and disputes may be invisible to the population, but these articles take the time to reveal them.
Rap music from the 1990’s to the year 2000 is known in hip hop as “the golden era”. This era is all about individuality and innovation of creating music in one of the newest musical art forms. Rap music started out as the expression of young black youths in the inner city of New York. Rap music is rhymed storytelling accompanied by highly rhythmic, electronically based music. It began in the mid-1970s in the South Bronx in New York City as a part of hip hop, composed of graffiti, breakdancing, and rap music. From the outset, rap music has articulated the pleasures and problems of black urban life in contemporary America. Rappers speak with the voice of personal experience, taking on the identity of the observer or narrator. Rap music has lost a lot of it purity and essence due to the multimillion dollar business. Rap music is always critizied because of it’s violent and sexual nature but its just reporting what is views in this cold world.(Rose, 1994)
These are the kinds of music that often use violent lyrics and violent beats, depicting urban street gangs. Typical themes and ideas deal with street life including pimping, and hustling as well as killing and shooting (Malek 108). “I’m bout to bust some some shots off. I’m ‘bout to dust some cops off” (Ice-T). The lyrics of Ice-T’s Cop Killer evoked a loud outcry about whether ideas about killing police officers should be expressed publicly. It is not only the violent ideas expressed within the lyrics, but the context of which they are expressed. Rap is criticized because rappers are known to “sing of guns with almost lascivious glee”. They talk about their “pieces” or “glocks”, “ninas” or pistols as the “object of their affections”
"The world is in trouble/Anytime Buju Banton come/ Batty boy get up and run/ ah gunshot in ah head man/Tell dem crew… it’s like/ Boom bye bye, in a batty boy head, rude boy nah promote no nasty man, them hafi dead." The average member of the reggae dancehall culture knows the message that this song is sending to its listeners. However, without a translation these lyrics do not mean a thing to someone who is not familiar with this culture and the vocabulary of dancehall artists. Translated the lyrics read: "The world is in trouble/When Buju Banton arrives/Faggots have to run/Or get a bullet in the head /Bang-bang, in a faggot’s head/Homeboys don’t condone nasty men/They must die."
Music reflects the times. In the 60's and 70's, musicians preached peace and empathy towards the human race. In the 80's music was a form of rebellion. Today, music has manifested itself into many different forms, one being "hip hop" more commonly known as "rap". In the early 80's, rap was about break-dancing and graffiti. Now, as we approach the year 2000, hip hop has become the most listened-to form of music nation-wide and many rap artists have adopted the new title of "pop-artists", pop. meaning "popular culture". A hip hop single recently took the number 1 spot on the Billboard charts for most sales recorded. The problem here is the message many rappers are telling the world. From the beginning, rappers have flaunted their money with the expensive cars seen in their videos and the thick gold chains they wear in public, not to mention the numerous references made to wealth in their lyrics. However, many rappers are telling tales of violence and wealth as one. In fact, there are more than 10 hip hop songs actually entitled "Crime Pays". In the chart topping single, "Money, Power, Respect", Yonkers based rapper DMX raps "hit him up/ split him up/ shut him up/ then watch him come/ get him up…CLICK, step back like I did work", portraying a beating, then murder, the "CLICK" being the sound made by the trigger of a gun. The chorus then goes on to proclaim "Money, Power, Respect,...
Hip hop culture and its creation of rap music has been stereotypically deemed as mere violent depictions as portrayed by its black artists, and is prejudicially more criticized than white genres that also perpetuate violent language within its lyrics. They are subsequently blamed for the massive rates of homicides within the black community, as blackness is given a dangerous face and linked to criminality, as if innately part of a violent culture. However, violence must be defined through the physical utilization of certain words and actions, along with social manipulations of power and hierarchy to confirm one’s own identity (Hernandéz, Weinstein & Munoz-Laboy, 2012, pg. 595). Rap music was created in the 1970s and originated in the South
Rap and hip-hop is an artistic mirror reflecting society, which is violent in some places, and needs not a moral dismemberment via the glorification of fictional violence. The history of hip-hop has some sting to it, being that deaths have been caused and childhoods are under affect; the actions that younger listeners who enjoy hip-hop are not influenced by the songs or the artists, but only by perception of their surroundings. All that hinders a strong faith in hip-hop is its “gangsta rap” counterpart. Violence is a reaction, not an action.
Kubrin, C. (2005). Gangstas, thugs, and hustlas: Identity and the code of the street in rap music. Social Problems, 52(3), 360–378.
Dixon, Travis L., TaKeshia Brooks. “Rap Music and Rap Audiences: Controversial Themes, Psychological Effects and Political Resistance.” Perspectives. 7 April 2009. .