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

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
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 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
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
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 attempts to show that hip hop 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 hip hop and describes its production and recording. The paper also discusses the most famous and popular hip hop artists and concludes that hip hop has grown to become a fundamental expression of global youth culture.

Outline:
Introduction
History of Hip Hop
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."

Tags:song, rap, lyrics, Blacks

Abstract
This paper begins with an explanation of the cultural and sociological origins of Hip Hop and then describes how it has evolved over time to have two different faces. The paper describes one version of Hip Hop 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 Hip Hop 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."

Tags:musical, genre, clothing, lifestyle, choices, rap, graffiti, break, dancing, dj, turntable, instrument, mc