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... ... middle of paper ... ...anford.edu/class/e297c/poverty_prejudice/mediarace/socialsignificance.htm . July 26, 1999. Web. April 8, 2014. “Decoding Hip-Hop’s Cultural Impact”. http://diverseeducation.com/article/3653/. DiverseEducation.com, 2005. Web. April 8, 2014. Harrison, Nelson. “Psychologist Says Hip-Hop Beats/Violent Lyrics Hypnotize Kids and Changes Their Behavior” http://www.techyville.com/2012/11/social-media/psychologist- says-hip-hop-beatsviolent-lyrics-hypnotize-kids-and-changes-their-behavior/. November 23, 2012. Web. April 8, 2014. “History of Hip-Hop Style” http://hiphophistory.indiegroup.com/. Hip-Hop History.com. 2008. Web. April 8, 2014 Pinn, Anthony B., and Paul Easterling. "Followers Of Black Jesus On Alert: Thoughts On The Story Of Tupac Shakur's Life/Death/Life." Black Theology 7.1 (2009): 31-44. ATLA Religion Database with ATLASerials. Web. 8 Apr. 2014.
The second edition of “African American Religious History: A Documentary Witness,” covers the religious experiences of African Americans—from the late eighteenth century until the early 1980s. My paper is written in a chronological order to reflect on the progress blacks have made during the years—by expounding on the earliest religion of Africans to black religion of today. Race Relation and Religion plays a major role in today’s society—history is present in all that we do and it is to history that African-Americans have its identity and aspiration.
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...
Kroll, P. (2006). The African-American Church in America. Grace Communion International. Retrieved March 20, 2014, from http://www.gci.org/history/african
James H. Cone is the Charles A. Briggs Distinguished Professor of Systematic Theology at Union Theological Seminary in New York City. Dr. Cone probably is best known for his book, A Black Theology of Liberation, though he has authored several other books. Dr. Cone wrote that the lack of relevant and “risky” theology suggests that theologians are not able to free themselves from being oppressive structures of society and suggested an alternative. He believes it is evident that the main difficulty most whites have with Black Power and its compatible relationship to the Christian gospel stemmed from their own inability to translate non-traditional theology into the history of black people. The black man’s response to God’s act in Christ must be different from the whites because his life experiences are different, Dr. Cone believes. In the “black experience,” the author suggested that a powerful message of biblical theology is liberation from oppression.
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.
... This would be no small feat since Christians had for generations practiced and defended not just slavery, but the hatred and demise of anything black or African. Cone's mission was to bring blackness and Christianity together.” # In 1969, Cone published Black Theology and Black Power. In this book, Cone brought attention to racism in theology and proposes a theology addressing black issues, this theology would provide liberation and empowerment of blacks and “create a new value structures so that our understanding of blackness will not depend upon European misconceptions.”
Many people do not like rap music because they say that it is too violent or the people that are involved are just very violent. Many people say this because most people who rap or listen to rap music, grew up in the “Ghetto”. The “Ghetto” is a place no one wants to be because it is very violent, hearing gunshots and people screaming and fighting because of the situation they are in. The people in the ghetto are in a bad situation because...
It is a day in the summer of 1974 on the block of 1520 Sedgwick Avenue, Bronx, NY. The grass is blazing, the air is fresh, and the kids are shrieking with joy. This is where it happened. DJ Kool Herc popped in his new record playing smooth rhythms of jazz and blues with the integration of Jamaican sound creating a new genre that would soon sweep the nation. He called it Hip-Hop. Some would call it “black noise”, but to urban African Americans it was music they could own; music they could learn to appreciate and adore. As they faced afflictions like racism, oppression, drugs, and much more, they used this new found hip- hop to express their thoughts and feelings. Today, we try to understand where this passion and substance in rap has escaped; if it was left to wither in the blazing grass, or blow away in the fresh air. Today, we try to understand what is hip hop, and why it’s becoming the “black noise” we once denied it to be. Ever since rap officially emerged in the 1970s, critics had a negative reaction; even when rap had meaning and substance and consisted of people telling their stories. Now that rap has become more contemptuous, critics have began to question what rap is really about. It is clear themes have changed: But at what point? And how? Furthermore, how has this impacted blacks and their image, who dominate the rap industry. Conclusively, while themes in mid 20th century rap have been known to revolve around aspects like politics and unity, currently rap has underwent a dramatic change now producing themes that promote violence, among many other things, and has ultimately painted a negative image of African Americans.
Nashville, TN: Abingdon Press. Print. The. 2003 Roberts, Deotis J. Black Theology in Dialogue. Philadelphia, PA: Westminster Press. Print.
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.
To say it lightly, Stanley Crouch does not like the hip-hop genre of music. The dreadlocks, the clothing style, and the "vulgar": gold chains are just a few things he does not approve of at all. (Crouch, 1 ) It astounds him to see how far African-American music has fallen since the days of the Motown. Stanley was quoted as saying this about rap, "It is rudeness, vulgarity, and pornography disguised as ‘keeping it real.'" (Crouch, 1) He also went on to say the hip-hop music genre has the worst impact of all music genres on our culture today. (Crouch, 2) Crouch believes one does not need much talent to become a successful rapper unlike the jazz greats he listens to all the time.
C. Eric Lincoln and Lawrence H. Mamiya, The Black Church in the African American Experience (Durham: Duke University Press, 1990), 352. Lindsay A. Arscott, "Black Theology," Evangelical Review of Theology 10 (April-June 1986):137. James H. Cone, "Black Theology in American Religion," Theology Today 43 (April 1986):13. James H. Cone, "Black Theology and Black Liberation," in Black Theology: The South African Voice, ed. Basil Moore (London: C. Hurst & Co., 1973), 92, 96.
From its conception in the 1970's and throughout the 1980's, hip hop was a self-contained entity within the community that created it. This means that all the parameters set for the expression came from within the community and that it was meant for consumption by the community. Today, the audience is from outside of the community and doesn’t share the same experiences that drive the music. An artists’ success hinges on pleasing consumers, not the community. In today's world, it isn’t about music that rings true for those who share the artists' experiences, but instead, music that provides a dramatic illusion for those who will never share the experiences conveyed. This has radically changed the creative process of artists and the diversity of available music. Most notably, it has called in to question the future of hip hop.
In the eyes of the general public, all of Hip-Hop is usually categorized in the same way. Labeled as the poison of the Black community because nowadays, most Hip-Hop lyrics all sound the same generic way always talking about money, women, cars, drugs, or some type of beef that all these rappers sooner or later continuously have with one another. But what this new generation doesn’t know about are the positive and creative flows that were spit not so long ago in the 80’s and 90’s. Rappers back in the day like Tupac and Ice Cube both had times when they had to show off their thug sides but they both had reasons or a call-to-arms for that, and indeed were in tune with that era’s problems as well as the society where they were raised. Moreover, even though some new school songs actually look promising, old school songs are still always great classics that anybody in this day and age will most certainly vibe to.
Not only is hip-hop a way of expressing ones feelings or views, but it is a part of the urban culture and can be used as a communication tool. Slang originally came from hip-hop music and has become a very popular use in today’s society, especially the urban parts. Hip-hop is a standout amongst the most compelling musical sorts on the globe. There are rappers everywhere that know what amount of an impact their music can have. Some entertainers attempt to utilize that force of impact to do great (Ruiz INT).