scholarly journals “Homosex, Hermaph, or Trans-a-vest…Hate Fags? The Answer’s Yes”: Hypermasculinity in America and Commodified Homophobia Through the Lens of Hip Hop

2019 ◽  
Vol 3 (1) ◽  
Author(s):  
Annalisa Ciro
Keyword(s):  
Cultural Revolution ◽  
Hip Hop ◽  
Rap Music ◽  
Youth Of Color ◽  
Active Participant ◽  
Marginalized Communities ◽  
Communities Of Color ◽  
Lgbt Community ◽  
American Society ◽  
The U.S

Birthed in the Bronx in response to socioeconomic frustration and political invigoration, hip hop equipped youth of color in the U.S. with a dynamic platform to both communication resentment towards structures of systemic oppression and act as an outlet for fun, innovative, and uninhibited creative expression. However, as this cultural revolution transformed from an underground movement to a mainstream commodity, rap music that reflected stereotypes of Black hyper-masculinity and heteronormativity were prioritized, and rappers who embodied these roles and the ideologies paired with them rose to the top of the charts. As a result of the music industry’s prioritization of hyper-masculine, heteronormative rap, a genre with the power to project the voices of marginalized communities of color in America at the same time became an active participant in the marginalizing of another—the LGBT+ community. Yet as rap music is notorious for its attacks on the LGBT+ community, I argue that this homophobia is not contained or exacerbated within hip hop, but rather is a by-product of a homophobic society that, through hyper-masculine and heteronormative norms, nurtures these attitudes within the male-driven genre. Through a textual analysis of rap lyrics, my paper highlights where the homophobic attitudes within hip hop stem from by locating broader societal structures that foster these ideals outside the genre. Taking this step back and looking at the larger issues within American society that nurture this homophobic environment within hip hop allows us to understand and address the phenomenon within the genre more clearly.

scholarly journals Hip-Hop Music and Social Identity - An Analysis on the Construction of Jim Smith in the Movie ‘8 Mile’

2021 ◽  
Vol 6 (4) ◽  
pp. 13
Author(s):  
Yi Wang
Keyword(s):  
United States ◽  
Hip Hop ◽  
Rap Music ◽  
Lower Class ◽  
The United States ◽  
The World ◽  
Hip Hop Music ◽  
American Society ◽  
Sharp Criticism ◽  
The U.S

When it comes to American hip-hop music and rap music, people always think of the African American singers in loose clothes, the flashing lights on the dirty stage, all kinds of alcohol and cigarettes, as well as many drunken scenes. However, such a familiar scene is indeed an authentic portrayal of the United States. If you have heard about hip hop music, it is not difficult to find that many hip-hop lyrics are often full of dirty abuse, cold ridicule and sharp criticism. In a sense, hip hop music and rap music can be considered a kind of 'voice resistance' from the lower class of American society. However, it has not changed their current situation, and hip hop music and rap music are still regarded as inappropriate for children and teenagers. It is noteworthy that in recent years, with the popularity of hip-hop music, people from all over the world have gradually paid attention to this unique music style. At the same time, more and more people from the lower class of the United States are also be concerned by the U.S. government.

Blame It on Hip-Hop: Anti-Rap Attitudes as a Proxy for Prejudice

2009 ◽  
Vol 12 (3) ◽  
pp. 361-380 ◽  
Author(s):  
Christine Reyna ◽  
Mark Brandt ◽  
G. Tendayi Viki
Keyword(s):  
Hip Hop ◽  
Rap Music ◽  
Social Benefits ◽  
Negative Attitudes ◽  
Negative Stereotypes ◽  
Hip Hop Culture ◽  
Three Samples ◽  
Legitimizing Beliefs ◽  
American Society ◽  
The Uk

This research investigated the stereotypes associated with rap music and hip-hop culture, and how those stereotypes may influence anti-Black attitudes and justifications for discrimination. In three studies—using a representative sample from America, as well as samples from two different countries—we found that negative stereotypes about rap are pervasive and have powerful consequences. In all three samples, negative attitudes toward rap were associated with various measures of negative stereotypes of Blacks that blamed Blacks for their economic plights (via stereotypes of laziness). Anti-rap attitudes were also associated with discrimination against Blacks, through both personal and political behaviors. In both American samples, the link between anti-rap attitudes and discrimination was partially or fully mediated by stereotypes that convey Blacks' responsibility. This legitimizing pattern was not found in the UK sample, suggesting that anti-rap attitudes are used to reinforce beliefs that Blacks do not deserve social benefits in American society, but may not be used as legitimizing beliefs in other cultures.

scholarly journals Guest Editor's Introduction: Edu-tainment: Popular Culture in the Making of Schools for the 21st Century

2005 ◽  
Vol 15 (3) ◽  
pp. 240-242 ◽  
Author(s):  
Charles P. Gause
Keyword(s):  
Popular Culture ◽  
21St Century ◽  
Cultural Revolution ◽  
Hip Hop ◽  
Rap Music ◽  
Strategic Marketing ◽  
Big Business ◽  
The Earth ◽  
Rock N Roll

As we head into the 21st century, rap music/hip-hop is in the earth-wide sound stream, the child of soul, R & B and rock n roll, the by-product of the strategic marketing of Big Business, ready to pulse out to the millions on the wild, wild web. It's difficult to stop a cultural revolution that bridges people together.

scholarly journals Rap jako muzyka tożsamościowa: od czarnego getta do polskiego pop-nacjonalizmu

2016 ◽  
pp. 57-79
Author(s):  
Piotr Majewski
Keyword(s):  
New York ◽  
Hip Hop ◽  
Rap Music ◽  
The United States ◽  
Global Scale ◽  
Business Practices ◽  
Hip Hop Culture ◽  
Black Ghetto ◽  
Beliefs And Values ◽  
American Society

Rap as identity music: from the black ghetto to Polish pop-nationalismIn today’s world, cultural products, technologies, information and ideologies more and more permeate from one society to another, crossing all kinds of borders in the least expected way. Rap career is an illustration of this process. It was created in the late seventies and eighties of the twentieth century in New York ghettos and today it represents one of the most popular genres on the global scale. Rap is not only a symbol of revolution and the domination of Western capitalist business practices but also a cultural tool by which different groups, often marginalized or considering themselves as such, express their own identity. I am analyzing the indicated above phenomenon using two, extreme at first glance, examples. First, I present the story of the emergence and development of hip-hop culture in the United States. I try to show how rap music, which is an important element of this culture, allowed a marginalized part of American society for manifesting and communicating their views, beliefs and values, becoming a “transmission channel” for various ideologies, including the ideology of black nationalism. In the second part of the text, I am additionally analyzing the artwork and public appearances by Tadeusz “Tadek“ Polkowski, a Polish rapper, whom I consider a representative of an expanding hip-hop society relating to or sympathizing with the national movement. The music he creates is designed not only to restore the Poles’ “memory”, and therefore also the pride in their heroic and admirable past, but also to open their eyes to what is happening in their country that he believes is being colonized by the occupants. Rap jako muzyka tożsamościowa: od czarnego getta do polskiego pop-nacjonalizmuWe współczesnym świecie wytwory kultury, technologie, informacje i ideologie coraz częściej przenikają z jednego społeczeństwa do drugiego, przekraczając różnego rodzaju granice w najmniej oczekiwany sposób. Przykładem tego procesu jest kariera rapu, który powstał na przełomie lat 70. i 80. XX wieku w nowojorskich gettach, a współcześnie jest jednym z najbardziej popularnych gatunków muzycznych w skali globu. Rap jest bowiem nie tylko symbolem rewolucji informatycznej i dominacji zachodnich, kapitalistycznych praktyk biznesowych, lecz także kulturowym narzędziem, za pomocą którego różne grupy, często marginalizowane bądź za takie się uważające, wyrażają własną tożsamość. Zasygnalizowany powyżej fenomen analizuję, posługując się dwoma, skrajnymi na pierwszy rzut oka, przykładami. W pierwszej części artykułu przedstawiam historię powstania i rozwoju kultury hip-hopowej w Stanach Zjednoczonych. Staram się przy tym pokazać, w jaki sposób muzyka rapowa, będąca ważnym elementem tej kultury, pozwoliła marginalizowanej część społeczeństwa na manifestowanie i komunikowanie swoich poglądów, przekonań oraz wartości, stając się „kanałem transmisyjnym” dla różnych ideologii, w tym także ideologii czarnego nacjonalizmu. W drugiej części tego tekstu analizuję twórczość i wypowiedzi medialne Tadeusza „Tadka” Polkowskiego, polskiego rapera, którego postrzegam jako przedstawiciela coraz liczniejszej grupy hiphopowców związanych bądź sympatyzujących z ruchem narodowym. Tworzona przez niego muzyka ma za zadanie nie tylko przywrócić Polakom „pamięć”, a zatem także dumę z ich heroicznej i godnej podziwu przeszłości, lecz także otworzyć oczy na to, co dzieje się w ich „skolonizowanym przez okupantów państwie”.

Asian Americans and Pacific Islanders Excel in Business but Not without Risks

2016 ◽  
Vol 14 (2) ◽  
pp. 77-90
Author(s):  
Bill Imada
Keyword(s):  
Asian Americans ◽  
Asian American ◽  
Immigration Policy ◽  
Pacific Islanders ◽  
Significant Growth ◽  
Current Trends ◽  
History Of ◽  
Mainstream Society ◽  
American Society ◽  
The U.S

In recent years, data has shown that there has been significant growth in Asian American Pacific Islander-owned (AAPI) enterprises. Driven by demographic changes, related in large part to the history of immigration policy, the AAPI population has been growing, and this has been accompanied by AAPI innovators and entrepreneurs leaving greater marks on American society and the U.S. economy. This growth, however, is not without risks and threats. The legacy of being “othered” by mainstream society means that AAPI success in business and in the corporate landscape can be met with resentment and criticism. This article explores the history of AAPI entrepreneurship and current trends. It also examines the challenges that the community may continue to face and offers recommendations on how to ensure continued growth and expanded opportunities for AAPIs in business.

American-European Relations in U. S. World History Textbooks, 1921-2001

2012 ◽  
Vol 44 (2) ◽  
pp. 95-112
Author(s):  
Martin Alm
Keyword(s):  
20Th Century ◽  
Western Europe ◽  
World History ◽  
History Textbooks ◽  
Democratic Tradition ◽  
American Society ◽  
The Cold War ◽  
The U.S ◽  
English Heritage ◽  
Better Than

This article studies U.S. views of the historical relationship between the U.S. and Europe as conceived during the 20th century. This is examined through U.S. World history text books dating from 1921 to 2001. The textbooks view relations within a general teleological narrative of progress through democracy and technology. Generally, the textbooks stress the significan ce of the English heritage to American society. From the American Revolution onwards, however, the U.S. stands as an example to Europe. Beginning with the two world wars, it also intervenes directly in Europe in order to save democracy. In the Cold War, the U.S. finally acknowledges the lea ding role it has been assigned in the world. Through its democratic ideals, the U.S. historically has a spe cial relationship with Great Britain and, by the 20th century, Western Europe in general. An American identity is established both in conjunction with Western Europe, by emphasizing their common democratic tradition, and in opposition to it, by stressing how the Americans have developed this tradition better than the Europeans, creating a more egalitarian and libertarian society. There is a need for Europe to become more like the U.S., and a Europe that does not follow the American lead is viewed with suspicion.

Flow

2019 ◽  
Author(s):  
Mitchell Ohriner
Keyword(s):  
Hip Hop ◽  
Rap Music ◽  
Music Analysis ◽  
The United States ◽  
Close Reading ◽  
South Bronx ◽  
The World ◽  
Key Concepts ◽  
Voice Flow ◽  
Computational Music Analysis

Originating in dance parties in the South Bronx in the late 1970s, hip hop and rap music have become a dominant style of popular music in the United States and a force for activism all over the world. So, too, has scholarship on this music grown, yet much of this scholarship, employing methods drawn from sociology and literature, leaves unaddressed the expressive musical choices made by hip-hop artists. This book addresses flow, the rhythm of the rapping voice. Flow presents theoretical and analytical challenges not encountered elsewhere. It is rhythmic as other music is rhythmic. But it is also rhythmic as speech and poetry are rhythmic. Key concepts related to rhythm, such as meter, periodicity, patterning, and accent, are treated independently in scholarship of music, poetry, and speech. This book reconciles those approaches, theorizing flow by integrating the methods of computational music analysis and humanistic close reading. Through the analysis of large collections of verses, it addresses questions in the theories of rhythm, meter, and groove in the unique ecology of rap music. Specifically, the work of Eminem clarifies how flow relates to text, the work of Black Thought clarifies how flow relates to other instrumental streams, and the work of Talib Kweli clarifies how flow relates to rap’s persistent meter. Although the focus throughout is rap music, the methods introduced are appropriate for other genres mix voices and more rigid metric frameworks and further extends the valuable work on hip hop from other perspectives in recent years.

Barrio Music, Spirituality, and Social Justice in Latino Hip-Hop

2018 ◽  
pp. 235-261
Author(s):  
Alejandro Nava
Keyword(s):  
Social Justice ◽  
Latin American ◽  
Hip Hop ◽  
Rap Music ◽  
Latino Youth ◽  
Social Concerns

This essay explores the spiritual and social concerns of US Latino and Latin American hip-hop. Beginning with a description of hip-hop’s influence on the author’s educational journey, the essay considers some of the key influences of Latino music on US rap music, as well as the growing dominance of hip-hop among Latino youth throughout the Americas. Besides documenting the influences of US rap on Latino music, it charts the distinct idioms, styles, and philosophies of Latino hip-hop, emphasizing the unique contributions of this subgenre to the broader culture of hip-hop.

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