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Cb4 Annotated Bibliography

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Annotated Bibliography
Traber, Daniel. “The Identity Joke: Race, Rap, Performance in CB4.” American Studies (00263079), vol. 52, no. 1, 2012, pp. 123–142. Academic Search Complete, EBSCOhost, libproxy.library.unt.edu:9443/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=82789084&scope=site. Accessed 9 Oct. 2017. Traber’s essay provides a provocative take on what it means to be ‘black’ and racial identity as a social construct. The author also explores the advantages to the overuse of stereotypes perpetuated in a satirical movie named CB4. In the forefront, Traber seems to criticize the black community because of the ostracization of their white counterparts, “rather than seeing this form is mere racial imitation or racial …show more content…

It is established that hip-hop can only be authentic to the black community because of the common experience shared through its lyrics. Eminem’s mimicry of a predominantly black industry within a predominantly white society is described as both ‘authentic’ and ‘grotesque’. The author suggests that Eminem’s success is due to the authenticity and acceptance in his socioeconomic status. The rapper can genuinely relate to his audience not by pretending to know what it’s like to be black, but by using a commonality, poverty, to reach an otherwise unreachable audience. Eminem establishes his racial identity as being ‘white trash’, but focuses on class over race to build his reputation in his early albums. “Eminem’s representations where he invokes both his whiteness and his lower-working-class identity, situated within the dominant discourses regarding race and class, implicitly suggest that because of the former he does not belong in the latter.” The author goes on to say that since Eminem is the only successful white rapper at the moment, hip-hop is still firmly grounded in the black identity. This essay has strong implications of if a rapper does not have something common to the black community, i.e. poverty, racism, or a criminal record, they have no chance of being …show more content…

Nyawalo suggests that “keepin’ it real” is the concept of putting inner city hardships on display that are otherwise ignored. The author says not only is rap a way of focusing on socioeconomic discrepancies, it’s also has a nostalgic tone that makes it authentic. “Nostalgia has therefore been used as an authenticating device, sometimes employed in order to counter “the commodification and commercialization that comes along with the mainstream appeal that threatens notions of community and authenticity in hip hop” (Perry 55).” The use of incendiary language in this quote shows the author’s distain for mainstream or “inauthentic” exploitation of the rap genre. The essay then argues that a rapper must ground themselves in the knowledge of where they came from to fully reach authenticity. It concludes with the idea that rap’s use of the gangsta trope is merely a medium and not a true depiction of the message. The author is most likely speaking to those who question the meaning of gangsta rap and its purpose to society. The essay also challenges the audience through provocative language such as “nigga”, “badman”, and “trickster” to make the audience hyperaware of what the piece is trying to say. The overall purpose is to educate, and the implications are that the black community is exploited through the mainstream media and must stick firmly

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Jason Ankeny, a senior editor of Upstart magazine, stated in his article “Hip-Hop White Wash: The Impact of Eminem on Rap Music and Music Industry Economics” that Eminem’s background and lyrical attributes sustain him industry respect and street credibility. Ankeny’s statement demonstrates the impact he had

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“Beyond Beats and Rhymes” Summary This movie was a broad discussion about hip-hop music (or more specifically gangster rap) and what kind of social issues the music not only showcases but seems to promote. The producer of this film, Byron Hunt, interviewed people involved in all aspects of the hip-hop industry, including famous rappers, to try to get to the bottom of this. Some of the most prominent issues discussed in the film were the over-sexualization of women, gun violence, and anti- homophobic attitudes. Hunt would ask those involved in the industry about why they think these themes are so prevalent.

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“If hip hop has any virtue in this regard, it is that it uncovers what the larger culture attempts to mask. The bitch-ho nexus in hip-hop is but the visible extension of mainstream society’s complicated, and often troubling, gender beliefs” – Michael Eric Dyson, Holler If You Hear Me, 2001 Chapter 7 of Gender Talk’s overall argument is Black musicians in Black music genres feel that in order to find success within the genre, they must sexually and morally exploit Black woman. This harmful rhetoric is similar to those found within Blaxploitation films, Black nationalism, and one we will take a closer look at, the Black Pimp Narrative. Before we examine how this rhetoric is damaging to the character of the Black woman within not only her community,

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Hip Hop is seen as something inspiring, but most people see it as a way to speak out the truth about a problem. As in “Hip Hop planet” being able say the truth can sometimes worsen any situation because sometimes what we say can promote violence and whatever happens after is not in our control. The essay is about how hip hop has changed into speaking out the issues that need to be taken care of in order to maintain a proper society. McBride talked about how rappers use violent lyrics to degrade women and gays and because of this it shows how the music has evolved into something entirely different that no one would have ever expected to have changed. In James McBride's essay “Hip Hop Planet,” he argues that hip hop has a negative influence on American Culture despite people thinking of it as inspirational and how people live through different experiences in life despite of your race.

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As an outcome, many listeners of rap music, especially females, have characterised the whole genre as negative (Tyree and Jones 54). Within rap, it is mostly Black women that are targeted by misogynistic lyrics from Black male rappers. Taking a look at rap’s history, it is detectable that women were either ignored or portrayed as object of male pleasure (Rose qtd. in Tyree and Jones 54). For scholars, music critics, and rap listeners, it is obvious that there is a connection between misogyny and rap music.

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Hip-hop culture has been the topic of various academic, social, and political discourses. Rap music, in particular, has made its way to mainstream media which is evident in the numerous films and movies that centers on what was once a part of an underground culture. Scholars explain that the popularity of hip-hop in both music and films are partly due to its potential to disseminate information, address an issue, and promote social change. Tinson and McBride (2013), for example, note that hip-hop is a “…form of critical education at the intersection of, and inseparable from political engagement” (1). Scholars further note that hip-hop’s current state “…requires frequent accounting of its engagement with the social, political, and cultural climate

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In her essay “hip hop’s betrayal of black women,” Jennifer McLune implies that “(h)ip-hop owes its success to the ideology of women-hating” (193). She does not agree with Kevin Powell’s article that hip-hop does not mean to “offend” black women, but instead artists are only letting out their temper throughout their music. McLune feels infuriated that many artists in hip hop (including black men) rap about their community and downgrade their own women. In the hip-hop genre, sexism is mainly used, not only by black men but also by many other race hip-hop artists. Artists assume that women-hating in their rap songs will be accepted by women, but do not realize that it is affecting all women.

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American identity is finding individuality, shared morals, and culture through awareness and community; this is prevalent in the hip-hop genre as a result of the platform and lyrics used to alter the public’s perception of the Civil Rights Movement. This paper delves into hip-hop's pivotal role in amplifying marginalized voices and shaping perceptions of the Civil Rights Movement. It examines the genre's function as a platform for empowerment and expression, its capacity to address systemic injustices through lyricism, and its transformative impact on cultural identity and social consciousness. Hip hop emerged in the late 1970s, during a time of economic struggle and social change. The genre began in the South Bronx as a way for young people to express themselves creatively in tough times.

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634 Words | 3 Pages

After reading the article, Gangstas, Thugs, and Hustlas: Identity and the Code of the Street in Rap Music, C. Kubrin studies 403 songs of rap albums that portrays violence in the lyrics. The lyrics serve different functions that establish social identity, reputation and exerting social control. I will discuss why a street code exists, the violent behavior that rap music contains, and how rap music creates a social identity and exerts social control. Kubrin states that there is recent sociological research on identity, culture, and violence in inner city communities and how it describes a black youth culture or street code that influences adolescent behavior, particularly violent behavior (pg. 360).

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In the American history, rap and hip hop music have had a thing to do with revolution (Wing, 2015). Many popular artists have managed to escape the hostile situation of poverty through their

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Nowadays, everyone wears the identity with pride. The genre was a testament to triumphing over hardships, to having enough confidence in oneself not to let the world drag you down, and to rising above the struggle, even when things seem hopeless. Violence in rap did not begin as an affective agent that threatened to harm America 's youth; rather, it was the outcry of an already-existing problem from youth whose world views have been shaped by the inequalities and prejudice they have experienced. The relentless wave of heroic new rappers arriving on the scene formed the golden age of hip hop in the 1980s, a newfound voice which rose from the impoverished ghettos during the 1980s and inspiring a generation of black youth to fight the police brutality they faced on a daily basis.

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Hip Hop was the wildfire that started in the South Bronx and whose flames leapt up around the world crying out for change. James McBride’s Hip Hop Planet focuses on his personal interactions with the development of Hip Hop culture and his changing interpretations of the world wide movement. Many of his encounters and mentions in the text concern young black males and his writing follows an evolution in the representation of this specific social group. He initially portrays them as arrogant, poor, and uneducated but eventually develops their image to include the positive effects of their culture in an attempt to negate their historical misrepresentation.

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Beginning from black roots, even white communities are beginning to submerge into rap music and culture, consequently surfacing more behavior that parallels to the inappropriate lyrics in rap. In the black community alone, “Reports indicate that 97 percent of Black youth like rap music and more than 50 percent buy [the music]” (Elligan). Given this statistic, it is alarming to many to know that in 97% of the ears of the black youth are, for the most part, lyrics that are impairing the moral compass of the listener. When this many adolescents find their way to hear this type of music, the content will inevitably permeate into their decisions, which is the effect of the music. What the public comes out to see are teenagers beginning to do drugs at an early age, abandon school for the wrong milieu, or other activities that some rap preaches.

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Now I’m afraid that this essay might wonder off into a space of super enlightenment and awareness that the actual contextual substance might come off as too wishy washy or, self-contradictory so I’m going to narrow it down and focus on a particular aspect of truths in text. And in this case I will be presenting the contemporary polarizing issue of fake hip hop vs real hip hop. Urban and aggressive are commonly considered characteristics to identify as, ‘real hip hop’ and Pop sounding records and moving towards Mainstream compatibility is usually identified as ‘fake hip hop’ . taking examples from two songs ‘Swimming Pools’ by Kendrick Lamar vs ‘Turn my swag on’ by Soulja Boy. In Kendrick Lamar’s track swimming pools, he talks about the peer pressure of liquor and substance influence surrounding his lifestyle.

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With the introduction of cinema came the introduction of cinema-induced personalities and stereotypes. Often times people think that just because something appears in a movie multiple times that it is the same reality in real life. These thoughts can form many thoughts, whether they are positive or negative connotations. According to Kristine Wright (2004), she said that “the ‘gangsta image’ representing the ‘real’ black urban experience” (p.12). Through the realm of cinema, the introduction of the ‘gangsta image’ has become a prominent stereotype among young African American men and has shaped many people’s opinions through cinematic portrayals and musical acts which has affected the lives of the African American community even to

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