“WHICH ONE,” shouts the lettering on the alternate cover to Kanye West’s new album. Its boldface type and repetitive hammering reads less like a question and more like a blunt statement - and no matter how unusual or unimportant it may seem, it offers an adequate representation of this album and Kanye West in general. There’s almost no denying that West is a narcissist and/or egomaniac - he has supplied evidence a thousand times, on his Twitter and in real life. But in spite of - and perhaps because of - his flawed personality, West is the most influential figure in music, period, the turn of the century. Glancing at the contemporary radio stations, it’s hard to hear a song that doesn’t have West’s influence. His early albums The College Dropout and Late Registration revived the use of soul samples in hip hop, and 808s & Heartbreak played a pivotal role in popularizing AutoTune-driven R&B, as well as promoting sensitivity and emotion in hip hop artists. Later albums My Beautiful Dark Twisted Fantasy and Yeezus were undeniable classics, showcasing West at the top of his game; these were elaborate projects where West’s antihero archetype ruled over mayhem, where minimalism met maximalism and the
This album is a million different moods at a million different times; Kanye is subdued and tortured on “FML”, triumphant and raunchy on “No More Parties In LA”, and engagingly honest on “30 Hours”, where he spends the last half of the song throwing out sentences in a stream-of-consciousness manner. It’s this diverse array of moods and textures, arranged in such a haphazard way, that might draw criticisms of a lack of cohesion; in reality, it’s West’s most personal album in a while. With no grander concept to hide behind, West is free to air out his laundry, both the dirty and the
In his most recent album, Kanye West raps, “Now if I fuck this model/ And she just bleached her asshole/ And I get bleach on my T-shirt/ I 'mma feel like an asshole.” He suggests that it is the girl’s fault for getting bleach on his tee shirt, which she only did to make herself more sexually appealing. This misogyny in hip-hop culture is recognized to bring about problems. For instance, the women around these rappers believe they can only do well in life if they submit themselves to the men and allow themselves to be cared for in exchange for physical pleasure. In her essay, “From Fly-Girls to Bitches and Hoes”, Joan Morgan argues that the same rap music that dehumanizes women can be a powerful platform for gender equality if implemented correctly.
Kanye Omari West, rapper, producer, professional celebrity, and with an ego to match, has forced himself into the limelight of the music industry. Kanye West has made a lasting impression on all of those around him, whether it be a good one or bad. With seven full length albums, a multimillion record label company, and a successful fashion business all under his belt, it’s fair to say that Kanye has done his fair share of creating. Over the last twelve years Kanye went from a young Chicago kid just trying to get his flows off, to one of the most decorated musicians of all time. With over 20 Grammy’s and 3 of his albums ending up on the Rolling stones “500 greatest albums of all time”. He has continuously created, entertained, and spoken his mind for years. Whether it be “George Bush does not care about black people” or “Taylor imma let you finish, but Beyoncé had
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.
He describes the sensation of “measuring one’s soul by the tape of a world that looks on in amused contempt and pity” (2). West tackles double- consciousness in a lot of his songs, but more so I “Gorgeous” and “Power”. He does have slight elements in “Monster”, however. In “Gorgeous”, West is straight-forward in his approach, voicing his frustrations about appearing to fit in with the majority of popular artists (namely the white ones), yet when he does something stereotypically black he gets massive media attention and is berated for his actions. It is even in his clothes: if he is wearing the right clothing he is accepted, but is automatically perceived as ghetto when he is wearing sneakers and a white t-shirt. “As long as I’m in Polo’s smiling they think they got me/But they would try to crack me if they ever see a black me” (Lyrics On Demand). In “Power”, he discusses issues with fame and general concept of power, as well as being a minority with limited options. He talks about how education is limited and that minority children are eventually doomed to prison. “The system broken, the schools closed, the prison’s open” (Lyrics On Demand). His lyrics speak of how the world around him in controlled by the majority, and how minorities are forced to conform to the standards of the rest of the world. In “Monster”, the biggest hint at double- consciousness is the inclusion of Justin Vernon of Bon Iver, a white indie folk musician. Vernon’s appearance on such a quintessential rap track is impressive and jaw-dropping considering these types of songs (posse cuts”) are notorious for featuring all- black artists. His presence plays to the double-consciousness West expresses, by mixing black and white artists together for
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
Inside the album jacket, Serch sums up hip-hop in ‘89: “There was a time when nothing was more important than the New York Rap Scene.” It’s dilluted, but not divided.” To hip-hop afficionados, Serch’s quote sounds like the equivalent to a Vietnam soldier’s letter home. Obviously, the group saw the possibility of the hip-hop culture being tainted.
From its conception, hip hop has been branded as music for uneducated street hoods. But, the debut album of the obscure group, Midnight Voices, shatters this stereotype with its thought-provoking commentary on the Black experience in urban America. Featuring saxophone, keyboards, guitar, bass, and percussion, along with the scratches and cuts typically found in rap, Midnight Voices delivers its urgent message of racial injustice with its equally impressive music. The group merges the styles of hip hop and funk to create a refreshing alternative to mainstream rap, which is often characterized by the repetitive sample of beats. In doing so, the band effectively expresses the lyrical content of the songs through its music, and succeeds in creating a complementary blend of provocative lyrics and musical ingenuity.
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.
Kanye West has been an icon in American hip-hop culture for over a decade. His music, fashion line, producing skills, and flamboyant personality has influenced many people for generations to come. Coming out of Chicago, many people in the music industry didn't even think Kanye had a chance to become a figure in hip-hop, but his hard work and persistence paid off. Kanye started off his music career as a producer. He produced music for the likes of major artists such as Common and Jay-Z. His first major breakthrough came from producing Jay-Z’s “The Blueprint”— which is certified 2x platinum. Kanye believed he could be a successful rapper as well, but music executives didn't believe he had it in him. That all changed when Roc-A-Fella records signed Kanye to their label, and gave him a chance to shine as a rapper. Kanye’s background, critical analysis, and importance all shows that he has become one of the most important characters in American hip-hop culture to this day.
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.
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
Kanye Omari West, an icon of hip-hop, pop culture, fashion and music in general. Kanye Omari West, a person belittled against and a person subjected to a life of racism and hate. Born on June 8th, 1977, Donda West, West’s mother, always knew he was destined for greatness, but did she know her son would turn out to be the Kanye West, a man lacking the respect he deserves for transforming a big part of the music we listen to on this very day? West came onto the scene in the late nineties but didn’t release The College Dropout until 2004, an album that took everybody by surprise. Kanye West changed the gangster filled rap genre by releasing his positive, soulful debut album, changing the way rappers dress, and paving the way for a whole new style of introspective lyrics and soul-inspired rap production in the mainstream.
...olka, Petr Bc., and Jeffrey Alan Vanderziel. “Black or White: Commercial Rap Music and Authenticity.” Masaryk University Faculty of Arts, Department of
Based on the close examination of lyrics and parent’s guide, it can be concluded that Wiz Khalifa is the worst influence on his audience due to his frequent use of drug references and sexual remarks towards women. First, on his 2009 “Star Power” album, there
Dixon, Travis L., TaKeshia Brooks. “Rap Music and Rap Audiences: Controversial Themes, Psychological Effects and Political Resistance.” Perspectives. 7 April 2009. .