Abstract
This paper takes a look at the influences that the "Slam" movement and musical artists Saul Williams and Sage Francis have had on the future of rap music and slam poetry. The paper looks at how these two artist have influenced the merging of hip-hop and slam poetry as art forms and how this art form has become a sort of musical expression of political and social ideologies that transcend racial and cultural boundaries. The paper also presents biographical information on each of the artists and explains how their backgrounds influenced their music and their philosophies about the hip-hop movement. Additionally, the paper examines the philosophy behind the merging of slam poetry and hip-hop and explains that Saul Williams and Sage Francis represent a return to the purest form of hip hop soul -- a soul which was open to the radical anti-establishment and pro-earth, pro-human ideology of punk music, the democratic influences of community, and the power of music from all directions.

Outline
Identification: Who is Saul Williams?
Identification: Who is Sage Francis?
Francis, Williams, and the The Emergence of SLAM
The Hip Hop Evolution: Saul Williams and Sage Francis as Hip Hop
Innovators
Conclusion

From the Paper
"Most of the mainstream today, and even most of the youth in the subcultural underground, have never known that punk and hip-hop were once upon a time in a fertile de-segregating dialog. The early ethos of punk and hip hop alike arose in a violent anti-establishmentarian fury, dedicated to a higher ethos than that of their own situations. "Between the years 1979-1984, you saw the musical walls of segregation come down as artists from both genres would become familiar to both audiences. In... the early 80s you would hear Thomas Dolby's 'Blinded Me With Science', David Bowie's 'Let's Dance,' [& etc]... not only being played on urban radio, but also at popular Hip Hop night spots where playing them would help set off the party." (Davey D.) However, in the intervening years this situation changed. The interchange of ideas across racial and genre lines decayed, so that today most of the musical-scene descendants of new wave (such as the goth and new-punk scene) and hip-hop are often mutually intolerant or share in a rather guilty fashion. However, recently underground elements of these two scenes are increasingly coming together once more."

Tags:spoken, word, readings, rapping, sensibility, sentiments, bling, new, wave, slamnation

Abstract
This paper first explains that black feminism as presented in the mainstream popular culture, particularly in hip hop culture and rap music, has taken on a very different appearance as compared to the academic black feminists, who had to struggle to be heard within the general second-wave feminist movement. Next, the author discuses feminism, black feminism, rap music and hip hop culture, feminism within this culture and black heterosexual relationships as reflected in this music. The paper concludes that black women have a strong voice in rap and hip hop music for advocating for the better treatment of black women by black men; however, this voice of black women is not singularly feminist and not necessarily aimed at chastising black men for their treatment of women.

Table of Contents:
Black Feminism in the United States
Feminism in Mainstream Popular Culture
Rap Music and Hip Hop Culture - A Brief History
Feminism in Rap Music and Hip-Hop Culture
Black Heterosexual Relationships

From the Paper
"One black female rap artist, Queen Latifah, stated that she prefers being seen as having a "woman-first" approach to her work, rather than being labeled as a feminist (Rose, 1994). When questioned about her choice of language, she had difficulty articulating the reason she rejected the label "feminist" but was adamant about it. Another black female rap artist whose lyrics deal extensively with problems in black heterosexual relationships, said she didn't like the label feminist but didn't really understand what it meant. However, when given a definition by Tricia Rose, she stated, "well I agree with that, I would say I'm a feminist by that definition.""

Tags:academia, alienation, counterpoint, treatment, affirmation

Abstract
This paper discusses the hip hop culture and black teenagers, saying that there is no clear-cut point of view on hip hop or rap culture. Hip hop clearly intends to bring about strong feelings in the listener, yet it is not completely about anger, hatred, or discontentment. The paper continues that there are no problems associated with this complex form of musical expression, but that research today sheds light on a great deal.

From the Paper
"Any person who is even the slightest bit aware of popular culture has heard of "hip hop." He or she might associate it strictly with inner city African American youth, or with violence, or with hatred and misogyny. The truth is that hip hop involves all of these aspects. However, it is of far greater influence than any one of these things. So then, what is hip hop? How is it associated with African American teens? How does it affect their relationships and their behavior, in general? How is it part of today's culture? And, finally, does this culture have any effect on the political climate? The research today sheds light on a great deal; however, much probably remains to be explored. Michael Dyson writes that: The controversies surrounding hip-hop bring us full circle in grappling with how race, language and identity are joined."

Tags:hiphop, rap, culture

Abstract
The paper discusses how hip-hop, rap and gangsta rap are not just entertainment, but are a cultural force that black leaders have come to see as a Pied Piper leading its children down a dark road. The paper considers the hip-hop ethos.

From the Paper
"Public conscience has dumbed down under electronically hyped but primitive sounds, words and social insults of hip-hop sneers and a stomping beat. It generates a billion dollars in sales thereby winning friends in high commercial places. Beyond the profit circle, concerned black leaders count the social cost. Cedric Muhammad thinks rapsters and hip-hoppers ought to stop behaving like strutting juveniles and grow up. He draws an analogy between Puffy and Shyne in the hands of the law they hold in contempt..."

Tags:Entertainment. Race relations. Music. Popular culture. Black studies. Urban studies. Gangsta rap, hip hop

Abstract
The paper discusses the history, elements, culture, rhythm, dances and influences of hip hop and rap music.

From the Paper
"Hip hop music is characterized as a genre of music typically consisting of a rhythmic style of speaking called rap over backing beats. Generally, hip hop is the term given to the culture in which rap music, fostered in part by individual artists and driven early on and throughout its evolution by DJs who speak over music, has developed. It is said to have been developed in New York City in the ...s, predominantly among African-Americans, Jamaicans and..."

Tags:hip hop, rap, culture

Abstract
This paper offers an account of the development of hip-hop and rap music in the decrepit neighborhoods of the South Bronx, where disc jockeys developed rap as a means of self-advertisement, which gradually became a polished and sophisticated verbal art form that took the New York club scene by storm, and in its very success destroyed itself.

From the Paper
"The beginnings of music, especially popular music, are often unrecorded. Jazz for example, has been dated as early as 1890 (Taylor 44-45), with almost the last date suggested for this emergence being March, 1917, when the Original Dixieland Jass Band issued their recording of "Livery Stable Blues" and "Dixieland Jass Band One Step" (Taylor 39; Schuller 63, 175-84). Whenever jazz began, it arrived in the mainstream of American culture on January 16, 1938, when Benny Goodman and his Orchestra played Carnegie Hall, the ostensible temple of high culture in America. As the curtain rose on the historic concert, Goodman's trumpet virtuoso Harry..."

Tags:hip, hop, rap, music

Abstract
This paper compares two books on hip-hop by Bakari Kitwana and Chuck D. It discusses the social and political meanings of hip hop. 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 ..."

Tags:hip hop

rap, culture

social critique

Abstract
This paper analyzes the slang that reflects the evolution of Hip Hop from the 1950s to the present. In many ways, Hip Hop 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."

Tags:rap, hip, hop

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 Hip Hop
Roots of Modern Day Hip Hop
Rap-A Form of Self-Expression
Hip Hop-Direct Response to an Older Generation's Rejection of Values and Needs of Young People
Bakiri-Conscious Hip Hop?
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."

Tags:rap, music, media, rhyme

Abstract
In this article, the writer notes that African-American musical culture has been for the most part self-contained for the past 200 hundred years or so, with such highly influential factors as racism, oppression, and exploitation not easily crossing over into other spheres of influence. For example, from slave songs to reggae, rap and hip hop, black music and lyrics have traditionally expressed radical sentiments that did not easily assimilate into the mainstream white culture. The writer discusses that today, with the advent of hip-hop music that situation is rapidly changing, as hip-hop may prove to be the first African-American musical subgenre that is incorporated without change into the mainstream white culture. The writer concludes that unlike any other subculture and musical genre in African-American history, the hip hop way of life has transcended ethnic boundaries and permeated the mainstream white culture.

From the Paper
"Hip-hop is by no means the first instance of black music being adopted by whites. For example, rock performers like Elvis Presley and The Beatles early records contained cover versions of rhythm and blues and rock and roll songs originally recorded by African American artists. This was later followed by reggae rhythms being incorporated into mainstream pop music. Most recently, traditionally African-American hip-hop music and culture has now become assimilated into the mainstream white culture, in the United States and around the world, perhaps to a greater extent than any other African-American musical subgenre."

Tags:musical, racial, rhythm, rap