Abstract The paper is an in-depth study of the history of hiphopdance, from before and after the 1970s, and its effects on society. It explores how this type of dance is unlike other dance forms and the elements that make it up. There are no fixed forms to dance, but only styles. The rest is up to the dancer. It is a style of dance for all society giving the freedom to all to dance according to their desires. The paper also shows how hiphop is very much an American product. The hiphop trend enables the path for several dancers, and at the same time it also fosters and promotes more suggestive dance moves. The paper provides clear indications of the effects on culture; some hiphop is racist in theme, while others are sexist. Many hiphop musicians concentrate on such issues like social inequity and the dangers of heroin use. The conclusion is that hiphop is more than just music. It is becoming the soul of pop culture as never before, and steadily moving from the street corners and music videos towards usage in the fitness centers, dance studios as well as television shows.
From the Paper "Hip hop may be viewed as a culture and is often used to refer to commercial rap music, but hip-hop is not only music. It is loved by the American ghetto youth who claim that it is their method of self-expression and use hip hop to rise over their physical situations. The culture of hip hop has its roots based on truth, self-determination, courage and pride. This is the reason why it has grown to have its impact on almost every part of the world. (Hip-hop History) Some hip hop is racist in their themes, while others are sexist. At the same time, there are also many hip hop musicians who concentrate on such issues like social inequity and the dangers of heroin use. From its early days in the US, the music is being played in projects and some underground clubs, but, now it has achieved a profile that has led to include it in the 1992 presidential debates over Sister Soljah. In the 20th Century Fox movie, Bulworth, there is Warren Beatty playing a Senator who berates his opponents using rap. Hip hop, it would seem, has become a part of our lives. (Classified Hip-Hop or I wanna blow up like Marilyn Monroe's skirt) At the same time, hip hop is not only music. This form of dancing has become very popular and this is clear from the opinions of some experts. "There's a definite surge in the white neighborhood that wouldn't necessarily be exposed to hip-hop in their everyday life," says Keith Pinto, who is an MC and hip-hop dance teacher at the Dance Attack in Los Gatos, California. "They watch MTV, see other kids doing it and want to be a part of it. You can pretty much go to any dance studio in the Bay area and they'll have a hip-hop class." (Hip-hop dance fever)"
Abstract This qualitative study seeks to examine the hip-hopdance form ethnologically and from the anthropological view, through administration of a survey/questionnaire and a review of peer-reviewed literature. This study finds that hip-hop is interwoven throughout the very fabric of modern media, music and art and is an integral expression in societal interaction and expression. Hip-hop is modern and yet primitive and will be around for many years to come.
Table of Contents
Abstract
Objective
Introduction
Research Questions
Research Instruments
Data Collection
Data Analysis
Literature Review
Discussion
Conclusions
Bibliography
From the Paper "The respondents to the data collection instrument (survey-questionnaire) were asked what was it that influenced them in listening to hip-hop music. The answers given were affirmations that imitation in society is alive and well in the present day. Because the hip-hop radio stations were readily available, the respondents state that this exposure was key in their music influences at an early age. When asked what influenced the respondents in their preference of the hip-hop dance form the answers given in unison stating that MTV was an influence and stating that imitation was the beginning of this dance form adoption by the respondents."
Abstract This paper analyzes the slang that reflects the evolution of HipHop from the 1950s to the present. In many ways, HipHop offered an outlet about the realities of African American culture under the oppression of a white hegemonic American society. The paper further discusses how by using the Disc Jockey (the DJ) to bring this message to the masses, the issue of black identity was made into a unique and constructive base for activism and political awareness.
From the Paper "This anthropological study will examine the evolution of language surrounding Hip Hop music in the African American culture. In many ways, the difference between earlier black slang and the present day use of the Hip Hop language are significant in how "Gangsta" culture defines a new evolution in youth communication. By analyzing the way that consumerist markets target this Gangsta culture, one can realize how language has developed within the African American community in relation to street behaviors and communicative tradition from the 1950s to the present. The early traditions from what would eventually become Hip Hop culture had evolved from the radio disc jockey movements of the 50s and 60s."
Abstract This paper compares two books on hip-hop by Bakari Kitwana and Chuck D. It discusses the social and political meanings of hiphop. The paper expands on the rivalry between the East Coast and the West Coast. The author explains the place of hip-hop in American popular culture and with young African American males.
From the Paper "In his critique of the evolving subculture of hip-hop, Kitwana sounds a cautionary note on what he acknowledges has been an influential contributor to the character of American black youth culture. As part of a larger and more complex multi-ethnic society that ..."
Abstract The paper tells us that HipHop artists powerful lyrics describe the crack cocaine epidemic in detail. For examplethe paper tells us that many songs describe The ''Dark Alliance", which attempts to link the CNA and the crack epidemic. The paper also explains that other songs describe the tragic results that blacks underwent due to the crack epidemic and also the torment that the black city communities faced. The paper notes, however, that many Americans do not believe that these songs are a legitimate source of information.
From the Paper "Hip hop artists powerful lyrics have been ringing throughout popular culture in America for years; however, it was not considered a legitimate source of information in the eyes of many powerful Americans. This is painfully apparent when in the 1980's rapper Chuck D famously said "rap is the CNN of Black America.(np)" It would take nearly two decades after the crack cocaine epidemic for a "legitimate" source of information to not only to tell the story, but also put it on center-stage. In 1996 a journalist named Gary Webb from a small California newspaper wrote an article that put the world of media in absolute turmoil. Webb wrote about the racist travesties that had been affecting Los Angeles since the 1980's. His article titled "The Dark Alliance" attempted to definitively link a connection between the CIA and the crack epidemic in 1980's. Webb argued that the CIA, in an effort to raise money to finance the Contra revolution to overthrow the Nicaraguan regime, funneled crack cocaine from South America to the streets of Los Angeles. This elaborate system focused on two people, Danilo Blandon and "Freeway" Rick Ross. Blandon, who was apparently working with the CIA, supplied Freeway Rick and in turn Freeway Rick sold it."
Abstract Hiphop can be termed as one of the most influential cultural movements of the early 1970's and thereafter. This paper studies the development and influence of hiphopdance: the cultural, sociological and dance style evolution of street dance.
Outline
Introduction
Literature Review
Methodology
Results
Conclusion
From the Paper "While many consider the Hip Hop dance to be the most influential phenomenon, Carl S. Taylor and Virgil Taylor (2004) think otherwise. They believe that hip hop street dance phenomenon has taken a back seat. "Throughout the last 25 years, a new form of expression has continually evolved despite the efforts of many in the so-called 'establishment' to minimize its influence on young people. This form of expression that was once limited to urban music and dance has become a widespread form of communication and expression by young people throughout the world."
Abstract This paper describes how HipHop came to South Africa in the 1980s and was first performed as an imitation of the American version, but then grew into a vehicle for political opinion against apartheid that resounded for more than a decade. The writer explains how HipHop diverged into many different genres, depending on its geographical location in South Africa, and how it continued to focus on the political situation even after the 1994 elections. It has also evolved to a form of house music called kwaito, which is very popular dance music. The paper concludes that although used as a voice for all who find themselves oppressed, HipHop in South Africa has proved especially difficult for female groups in terms of respect and equality, which seems to show that South African HipHop has truly become a mirror of South Africa's unique cultural and political setting.
From the Paper "During this time, the Hip Hop revolution in the United States provided fertile ground for the oppressed black youth of South Africa. According to Clark, this is one of the reasons why the genre in South Africa evolved to a much greater extent than in the rest of Africa. The country's political paradigm of the time created a sense of resonance for the youth when they heard the radical lyrics of the American form, particularly artists such as Public Enemy, who sang "Fight the Power" during this time. The themes of revolution and empowerment found a home in the hearts of the South African youth."
Tags: HIV racism gender sexism politics, break dancing, media
This paper examines how hiphop and in particular rap music gives African Americans on the margins of society a powerful voice to express political discontent.
4,135 words (approx. 16.5 pages), 23 sources, 2001, $ 110.95
Abstract This paper discusses how the musical styles of hiphop and rap create a powerful venue for African Americans to express their feelings regarding politics, racial discrimination and society in general. To compliment the main thesis, this paper includes an in-depth history of the origins of hiphop, analysis of politically significant songs and the effects of mass media on hiphop.
From the Paper "In the United States of America we pride ourselves as being the freest nation in the world. Unfortunately, there are times in our history in which certain groups have been unrightfully deprived of their freedom. This can be said for African-Americans who endured 244 years of slavery and another century of institutionalized racism. As Ralph Ellison has suggested, "Afro-Americans have had rhythmic freedom in place of social freedom, linguistic wealth instead of pecuniary wealth" (West, 1999, p. 474). The late 1970s signaled a new era of rhythmic and linguistic wealth: rap music. Hip hop and in particular rap music gives African Americans on the margins of society a powerful voice to express political discontent, but these messages are being obscured by the violence and sexism in some rap music. While political discontent is expressed through all the elements of hip hop, rap music has become the most powerful, creating a link that transcends location, age, religion, and race."
Abstract This paper begins with an explanation of the cultural and sociological origins of HipHop and then describes how it has evolved over time to have two different faces. The paper describes one version of HipHop as more mainstream and accessible to society at large and one version as more underground, authentic, and still representative of the group that first created the HipHop culture.
From the Paper "The reasons why hip hop music became popular and the reasons why it is popular today are interconnected but unfortunately no longer identical. In the beginning, hip hop was based on cultural interrelation, rebellion, expression and accessibility -- its popularity was an organic part of its relationship to the impoverished and disadvantaged black community, and an implicit rejection of the way in which former modes of black music had sold out to white corporate America. Today, leaving aside the few dedicated independent and underground bands, hip hop has largely become part of the corporate machine. Modern hip hop's popularity is based on commercializing shrink wrapped rebellion, promoting the get-rich-quick dreams of an underprivileged class, and a myth of cultural continuity. However, this is not to say that nothing of the original vision remains, and there is certainly a degree to which hip hop is not dead."
Abstract This paper explains that the post-civil rights and black power groups, who witnessed so many radical social changes, provided the attitude and style that gave birth to Hip-Hop. The author points out that MCs (emcees), DJs (deejays), break dancing and graffiti art are considered to be the roots of the movement that empowered urban youths to use music, dance and other forms of artistic expression to describe life as they saw it. The paper stresses that, when listening to today's Hip-Hop and R&B, it is important to remember that many artists from the 1990s, who are still around, do not consider today's Hip-Hip as "tru Hip-Hop".
Table of Contents:
What is Hip-Hop?
Roots of Hip-Hop Culture
Creativity
Bling-Bling?
Wrapping It Up
From the Paper "Depending on who was the first to be commercialized, one thing that will always be argued is that once Hip-Hop was made into a commodity it needed to be mass-produced. From the top, Hip-Hop artists would sign onto independent labels only because the owners were willing to take a risk. No major record label wanted to sign an artist who could only reach a certain group or community and when signing an artist, companies want to make sure that the artist would be able to sell records to all of America and not just the inner city suburbs."
Abstract This research explores the hiphop culture and its identity. An overview of the current literature is given that reflects the theoretical position of Black culture in the United States. In addition a definition of hiphop and rap is provided, including a discussion of its origins and the current state this art form is in. The influence of the ghetto and hiphop culture is explored at length, as well as the lyrical content of the music. Commercialization of this unique music form is discussed, in addition to hiphop culture's tendency toward visualization as opposed to aural. Finally, hiphop as a global force is reviewed. In the end, it becomes clear that hiphop music is a significant influence on global culture, for Black and non-Black community members and this influence has been facilitated by technology and the drive of capitalism.
Introduction
The History of HipHop Overview of Current Literature Regarding HipHop Defining HipHop Culture
The Four Pillars of HipHop and Others
The Ghetto, HipHop Culture and the Divergent Styles of West Coast and East Coast
East Coast versus West Coast Conflict
Geographical Diversity of HipHop Today
HipHop and the Jail Culture
Graffiti as a Subversive and Sublime Cultural Arm of HipHop African Americans and Spatial Mobility
The Ghetto Environment and its Effects on the Lyrical Content of HipHop Examination of Lyrical Content in Gangsta Rap Songs
Discussion of Virulent and Caustic Language Within the Sub-Genre of Gangsta Rap
The Double Standard in the World of Gangsters as Demonstrated by HipHop HipHop Culture and Misogyny
HipHop Culture and the Poetry of the Dispossessed
The Controversy About Selling Out and HipHop Culture
Representing the Ghetto
HipHop Culture and Sports Marketing
HipHop Sales Statistics and the Thug Image for Sales Controversy
HipHop as a Force in American Pop Culture and the Displacement of Other Genres of Music
Tastes and Decadence in HipHop Culture
The HipHop Culture and Political Influence
HipHop as a Global Force
References
From the Paper "Although one may be led to believe that hip hop music is a recent evolution, it relates back to the griots of West Africa, from more than two hundred years ago. The griots were, and in some rural areas still are, storytellers, poets and traveling singers who played an important role in ancient African societies. They used poetry and rhythm to teach the people about their history, as written language was rarely used ("Griot").
One could even argue that hip hop music began even earlier than griots, stemming from the ancient societies of Egypt, as a rich, Black tradition of admiration for rhetoric in both written and spoken form. It is part of the Black rhetorical continuum, as it borrows from and expands a tradition of creative use of language styles and strategies. It was created as rhetoric of resistance primarily to racial discrimination and oppression (Kopano). "
Abstract The paper explains that hip-hop music, or rap, is a rhythmic language and is a 'self-expressive' form of musical artistry. The paper shows how hip-hop provides a political, social, community and ethnic forum in which the many diverse world events, politics and social problems can be addressed. The paper points out that hip-hop was generally a musical pursuit of the urban environments of larger cities, but today hip-hop is widespread in terms of those who listen daily to hip-hop music. The paper warns that by the older generation labeling this music culture as 'bad,' they have simultaneously insured the interest in the hip-hop artistry.
Outline:
Objective
Thesis
Background of the Study
Methodology
Data Analysis/Collection
Literature Review
History of HipHop Roots of Modern Day HipHop Rap-A Form of Self-Expression
HipHop-Direct Response to an Older Generation's Rejection of Values and Needs of Young People
Bakiri-Conscious HipHop?
Summary and Conclusion
From the Paper "In the earlier days of hip-hop the recitations of the popular sayings and slang of the days transformed to a "more elaborate" form with the adding to and twisting of rhymes making them "suitable to the party environment." Initially, rap was known as "emceeing". The first rap music emcee team was Kool Herc and the Herculoids. (D'Cook, 1985) Rap is said to have "caught on because it was for young urban New Yorkers a change to freely express themselves." (D'Cook, 1985) The rap art was accessible to all. One didn't need money, resources, or lessons to rhyme and as rapping was a verbal skill it could be practiced and perfected and "at almost any time."
Abstract A review of the manner in which hiphop's influence is evident in almost every corner of American culture, music, film, art, television, dance, fashion and language. It discusses some of the music's primary artists, their styles and their contribution to hiphop's success.
From the Paper "Many believe hip hop to be merely the voice of rap music, however, as Nelson George explains in his book ?Hip Hop America,? "hip hop also embraces deejaying, artistic graffiti, break dancing, and a certain street style and swagger" (Hip B4). Moreover, hip hop has become a part of the American landscape. This became evident in 1999, when Lauryn Hill was nominated for the most Grammy Awards ever as well as winning the most female artists awards and adorning the cover of Time magazine. When rap's popularity began to rise in the late 1970's with songs such as "Rapper's Delight" and "Apache" by the Sugarhill Gang and Grandmaster Flash's ?The Message,? most major record labels ignored the genre, believing it to be just a fad and trend and that it would soon pass. However, that is not what happened. Hip hop now permeates the fabric of Black culture and has had a tremendous impact on the entire country and has profoundly effected American society (Book 4E). At one point during the 1992 presidential campaign, Bill Clinton even involved Sistah Souljah in his campaign strategy (Book 4E). "
Abstract This paper explores hiphop as a co-culture. The paper discusses the history of hiphop music and its development and spread and then focuses on the effect that hiphop music has had on listeners' perceptions of women and African Americans. The paper also discusses the positive aspects of hiphop, as well as the criticism that it has received in recent years.
Table of Contents:
Introduction
HipHop as a Co-Culture
Effect Hip-Hop Music has on Listeners' Perceptions of Women and African Americans
Conclusion
From the Paper "The videos of some artists have been a particular point of ridicule because of the way that they exploit women and glorify materialism and violence. Videos, such as Trip Drill by the artist Nelly have become a particular point of contention. Many believe that these videos, in which women are shown with very little clothing, are sending the wrong messages to girls and young women. Many believe that these videos give young men the wrong ideas concerning how women should be treated. In addition to the negative manner in which women are portrayed in these videos, the lyrics of many hip hop artists are extremely derogatory as it relates to women. These lyrics also send negative messages as it relates to who women are and how they should be treated."
Abstract The paper attempts to show that hiphop is not merely a musical genre of the disempowered, but a fundamental aspect of contemporary discourse that plays a vital role in our globalized culture. The paper explains the lyrics and writing styles of hiphop and describes its production and recording. The paper also discusses the most famous and popular hiphop artists and concludes that hiphop has grown to become a fundamental expression of global youth culture.
Outline:
Introduction
History of HipHop Lyrics & Writing Styles
Producing and Recording
Famous Artists
Conclusion
From the Paper "The roots of hip hop can be traced back to the 1970s, when a Jamaican-born DJ by the name of Clive Campbell (also known as "Kool Herc") moved to New York. Herc came out of a dancehall tradition, and soon began integrating reggae sounds with the Jamaican tradition of toasting, or improvising poetry and spoken word over funk, reggae, and disco music during parties held in the parks of the Bronx in New York (Kenner 350-357). Herc and other DJs would tap into power lines in the parks in order to activate their equipment and perform. This equipment, according to Kenner, consisted of one or more microphones, turntables, and huge stacks of speakers (350-357). During this period, Herc also developed break-beat deejaying, in which the percussive breaks of funk songs were isolated and repeated on a loop so that people could dance all night."
