Analysis Of The Song 'Black Blanc, Beur'

1. ‘Beur’ is a colloquial term to describe people born in Europe whose family members, such as parents or grandparents, were born in North Africa and immigrated over. This term is used throughout the course of AFAS 373, specifically in Dr. Durand’s publication of “Black, Blanc, Beur.” This expression that composes the title of this book refers to the multi-ethnic culture of France, especially within the 1990s. This multi-ethnicity was a main component for the growth of this hip-hop culture within this European country; since rap is known to be, in one aspect, associated with the mixing of culture, then “it is no surprise that rap took France by storm.” Beurs represented and generated the mixed culture that came to be known as French hip-hop.

“But my France she lives, at least she laughs/And refuses to obey to this France that wants us to move/My France, it’s not theirs, that votes extreme.” The artist Diam’s sings these lyrics on the song “Ma France a moi”. The importance resonates in two specific ways: firstly, in the song lyrics themselves and the message they portray; secondly, in the meaning of who Diam’s is as an artist. The lyrics in this song generated several bouts of criticism from opposing members of her community; she also demonstrates social ills in other places of the world, while exhausting the idea that France does not contain these similar ills. For instance in further lyrics she says, “My France doesn’t live in lies/With heart and rage, in light, not in shadow.”
8. Siya Po’ossi X, an influential group in France that reinforce the influences of behavioral models present in the city and use language and variety in their song which express the solidarities and influences of France. The part of their name ‘Po’ossi’ draws both on the English word “posse” and the Fang phrase “siya possi”, meaning “land to be knocked down.” In other words, it is explaining the lands or people to be killed, or a polemical reference to the fate of Africa over the centuries. (p.

Google the phrase “the best hip-hop movies” and the search engine will return a plethora of various films with multiple artists and actors and similar background stories. Hip-hop and film have been linked for over 30 years. Before hip-hop was a popular culture, a collection of movies helped to spread the latest elements to larger audiences. To define a “rap movie,” one must consider the role that rap plays in such a film. For some, the mere presence of a ‘rapper’ constitutes a ‘hip-hop’ movie, while others consider rap to be an overall major theme of territorial appropriation and a search of identity. Common elements of drugs, crime, and vulgarity paired with sexual dominance and an attitude of hating the police can be found across several of these works, while even more encompass activities such as graffiti and b-boying to express their appreciation for the culture. A ‘hip-hop film’ cannot be defined simply; it is instead any compilation of work into moving picture format that expresses how those within the culture are currently living, producing, and expressing themselves. A movie such as ‘8 Mile’ is more generally known for expressing this first ‘common element’, displaying the struggles of poverty seen in both America and France, as well as the brutality and hate that exist often between opposing hip-hop fans. Conversely, ‘Wild Style’, recognized as the genre’s best film, displays an initial look at the four main components: MCing, DJing, graffiti, and breakdancing.