This essay will explore authenticity in hip hop and if it matters in hip hop in the 21st century Definitions of authenticity in regards to hip hop.
Authenticity has been linked to the genre’s inception in the 1970’s and definitions of authenticity in regards to hip hop have been a relative concept which has been varied over the years. One definition and claims of authenticity has been brought about by certain rap groups in the 1980s like the N.W.A who were considered to be very influential and significant in the gangsta rap genre. One of their songs appropriately named as ‘Gangsta Gangsta’ were controversial at the time due to the songs explicit lyrics that were misogynistic but more importantly glorifying drugs and crime; Lines such as, ‘Takin'
Initially she was very successful at first with huge hits like ‘Fancy’ which reached the charts alongside Nicki Minaj which is considered very impressive due to how popular Nicki Minaj was during the year 2014. However the success quickly turned to her descent due to being in feuds with hip hop artists such as Q Tip and Azealia Banks, Talib Kweli and other artists like Erykah Badu which has made her more infamous than intended. In addition there had been an issue with the way she was rapping in her songs which often has a southern twang which a number of people took issue with as she normally speaks different as she is Australian. Halsey commented on how she had ‘a disregard for black culture.’ There is the argument that she performs in; blackface’ which draws on the linguistic and other symbolic elements that shows racialised ideologies to a wider audience. Iggy Azalea’s aim for authenticity relied on her support from already credible rappers in the hip hop community such as TI which allowed her to emulate like the rap peers or other rappers that influenced her with postures they
His records get played on rock stations that otherwise refuse to include rap music into their format. He managed to get top billing over more established, veteran rap acts on a major rap tour before his major-label debut was ever released. He appeared on the cover of Rolling Stone after the appearance of only one single from his debut album which is one of the most popular music magazines and in addition to that Eminem also became the first white person ever to be featured on the cover of The Source magazine. Which was very impressive at the time due to the fact the magazine prior to 2003 was widely considered the bible of hip-hop music. In, Eminem’s semi-autobiographical movie, 8 Mile, opened in the fall of 2002 to critical acclaim and spectacular box office receipts. Eminem was one of the first few white rappers to become big in the rap community even due to the fact he was a Caucasian trying to become accepted in a black dominated genre. Moreover, Eminem’s The Marshall Mathers LP garnered a nomination for Album of the Year. This is a feat that no other rap artist had been able to achieve before. In May 2002, Eminem again debuted at the top of the pop charts with The Eminem Show, an album that sold over 1 million copies in its first
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...
As long as we’re examining race, how is the success of a white rapper such as Eminem different? Plus, Eminem didn’t have a successful career in rock, for example as Darius Rucker did. Yet, Eminem’s career has been enormously successful, and there was little discussion of how odd it was that a white man would choose to perform in this genre. Is country music a genre that has been appropriated so much by white artists that black artists abandoned the genre altogether?
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
Since the early to mid 90’s, hip-hop has undergone changes that purists would consider degenerating to its culture. At the root of these changes is what has been called “commercial hip-hop". Commercial hip-hop has deteriorated what so many emcees in the 80’s tried to build- a culture of music, dance, creativity, and artistry that would give people not only something to bob their head to, but also an avenue to express themselves and deliver a positive message to their surroundings.
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.
...atching MTV music shows or any music channel on television. As we continue to watch these programs, we will then notice that almost all the rap and hip-hop artists being shown are African-Americans. It is the particular lifestyle, and behaviour that is connected to what particular artists chose to vocalize about. This usually can harm the image of African-Americans due to the fact that many artists aid in the misconceptions of their particular race such as the example provided with 50 Cent’s song entitled P.I.M.P. These lyrics and song titles simply reinforce the negative image some individuals may have of both Caucasian’s and people of colour. Rap and hip-hop is one of the most intimate, personal, legitimate and important art form. Instead of perpetuating injustice, and prejudice artists should be addressing these different issues in a different matter.
Even when one becomes an artist in the industry, there are many troubles that go along with the tag of being a recording artist in the urban division. One example is seen in the article, “The Business of Rap: Between the Street and the Executive Suite” by Keith Negus, where columnist, J.R. Reynolds, mentions the closing of the urban division at Capitol Records in 1996, calling it “the systematic extermination of black music at Capitol Records”, saying that it did not make any sense because the genre was doing well in the market (528). The black music division is often subject to this kind of cutting compared to others. Negus also states that “despite the influence of rap and hip hop on the aesthetics of music, video, television, film, sport, fashion, dancing and advertising, the potential of this broader cultural formation to make a contribution to music industry business practices is not encouraged” (534). The sad fact of the matter is that this is true. It is almost like the larger companies take from the smaller urban divisions in order to make themselves look better without giving credit where it is due and in turn, because those companies are not seen to be doing well in the market, they are dropped from the label. Ted Swedenburg explains this in the article “Homies in The ‘Hood: Rap’s Commodification of Insubordination”, when he states that “while the major academic rock critics usually acknowledge black musicians’ essential contributions to pop and occasionally write sympathetic a...
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.
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.
Hip-Hop/Rap is one of the biggest growing genres of today. From its early stages in the 1970’s to today’s pop culture, it has grown quite a lot. Unfortunately, it has developed a terrible reputation of drugs, violence, abuse, and gangs. When people associate Hip-Hop with things it is usually a negative image that comes to the person’s mind. Which is sad, Hip-Hop/Rap has a great artistic quality to them that gets so easily overlooked. There is true poetry and emotion behind these lyrics and beats, but not everyone is willing to sit down and listen to it. They quickly judge this music genre and the immediately dislike it without giving it a second thought. Rappers pour their emotions and their souls into their songs and it really speaks to people who would stop and listen to them. Hip-Hop/Rap has evolved over time. From the early stages of Kool Herc, Afrika Bambaataa, and others to today’s rap stars like Eminem and Kendrick Lamar. Each decades style is different but each style is still good. What really made Rap huge was the Sugarhill Gang’s own song called “Rapper’s Delight” the entire song is around 15 minutes long with just three emcee’s rapping, Wonder Mike, Big Bank Hank, and Master G. An emcee is another word for a rapper. Most emcees are the head of whatever event is being taken place, kind of like people that do skits in a talent show to introduce the next act. Hip-Hop/Rap today is filled with emcees and rappers. Today we find a more complex and more diverse style than what we would find back in the 70’s. There are different styles to different rappers. Each one unique in its own way and it makes that rapper stand out compared to everybody else. Also, another thing today that is different from the past is the flow of a rapp...
Some weaknesses of James McBride’s “Hip Hop Planet” include its cynical tone and his attitude towards the musical side of Hip Hop. McBride opens the essay with a reflection on what his ultimate nightmare is. He showcases the Hip Hop community in a negative light with phrases like, “music that doesn’t seem to be music—rules the world” (McBride, pg. 1). This starts the essay off negatively because it misleads the reader by letting them think he is not a supporter of the Hip Hop movement. As you read the entire essay you realize this is not the case. The article itself isn’t very inviting because tone of the entire essay is very cold and cynical. He also doesn’t agree with the typical Hip Hop sound saying things like, “It sounded like a broken record” (McBride, pg. 1). The sound of Hip Hop music is what helps define it and is a crucial aspect of
Rose, Tricia. The Hip Hop Wars: What We Talk about When We Talk about Hip Hop - and Why
An album from Eminem that I felt connected was Encore, which was his fifth studio album. It was, in my opinion, one of most successful albums he has produced. The album has many countless hits that reflect towards h...
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.