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Relationship Between Hip-Hop And Indigenous People

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In this particular article, Ivan Fernandez discusses the unique connection between hip-hop and indigenous people. In the past few years, many more indigenous music artists have begun to voice out their stories of oppression and their traditions that have been suppressed for such a long time through hip-hop. This is because hip-hop is utilized as a medium for indigenous artists to take back their culture and tradition. This is connected to the historical material that we have studied because it pertains to the history and background of hip hop. Hip-hop and its culture originated in the rough neighborhoods in South Bronx. It is where the youth of that time period tried to make the best out of their hardships. The disadvantaged youth,that struggled
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In “Prophets of The Hood”, by Imani Perry, she discusses and expresses her thoughts on the complexity of politics and poetics in Hip Hop. The novel describes Perry’s true meaning of Hip Hop. Throughout the novel, the author reveals four elements that make Hip Hop “black american music”. Two out the four elements that were discuss are political location of black americans and black oral and literary tradition. I agree with Perry’s idea that political location of black americans and the discourse of english in african americans creates black english/ebonics in hip hop that makes it their music.

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According to the passage, Hip Hop " is not just for working-class whites, but also affluent, suburban kids who identify with this music with African-American roots. " What once originated as a way to express the pain and deprivation felt

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American Writer and Musician, James McBride has written multiple books and has voiced his opinions in magazines as well as newspapers. In this particular essay, which appeared in National Geographic in 2007, he talks about how hip-hop has influenced the world and how he realized that he has missed an important part of his life. There are many rhetorics used in this essay, -“Irony, Metaphors, Hyperbole and Allusions. ”- are some of the more notable ones. While talking about his biggest nightmare, a feeling of disjoint comes into his mind, “It is no longer…hip-hop planet.”

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160 Words | 1 Pages

The article “Hip Hop Planet” by James McBride is about how hip hop is not his favorite type of music but, it needs to be heard. McBride shows us this by explaining that he avoided hip hop most of his life. In the article McBride says that he basically ignored “the most important cultural event in my lifetime.” James informs us that hip hop has influenced the world globally and that it has become a phenomenon. Furthermore, McBride made clear that he eventually realized that hip hop is much more than just music, it has a message.

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343 Words | 2 Pages

This article focuses on the color-blind ideology that allows white people to participate in and appropriate hip-hop culture. Rodriquez notes that they do so by using the guise of inclusivity of all races to justify their participation in hip hop and to adapt characteristics of the culture without respecting Black identity. He uses his own interviews of several white audience members of hip hop concerts who identified as participants of hip hop culture. Rodriquez identifies two groups resulting from social collectivity to reinforce his argument: consciously collective white groups, who actively reinforce racial segregation and passively collective white groups, who unknowingly unite and reinforce systematic racism through their adherence to color-blind ideology. The participants of his research are part of the latter, who unconsciously reinforce systematic racism through treating cultural objects, namely aspects of hip hop culture, as shareable products and experiences.

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Critical Response 4 Within his article, Simon Frith asks a question that caused me to stop and think: “The question we should be asking is not what does popular music reveal about ‘the people’ but how does it construct them? (137)” As he states, music is an individualizing form that creates an identity or self-definition that we use to give ourselves a particular place in society. The hip hop movement aided in constructing the Puerto Rican identity in New York City, allowing artists to experiment with language and race relations while challenging the traditional notions of Latinidad.

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In a time where sampling is a staple of hip-hop and other predominant, modern genres, it is not unreasonable for an artist to take ownership of past artifacts, even those which once were oppressed or used for oppression, as a way to reclaim the artifact itself, to subvert it, or otherwise reconstitute meaning. When we examine remixing and sampling in pop music in an academic way, we must consider how it is consumed by and therefore affects a non-academic audience. Understanding the audience is foundational to communication, after all. Radio listeners will not necessarily know where sampled pieces originate from, let alone their original contexts. And those effects should be further examined in the future.

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Many artists who grew up in the drug trade during the 1980s would become labeled as veterans because it was the sole option they had to strive economically. And through this time period, hip hop will alter to a medium in response to a life of drug dealing, police brutality, violence, and incarceration. The effects of this period will lead to the mass incarcerations of African Americans and the lives of people being ruined, which will be further explored. By the middle of the 1990s, the United States Incarceration rate surpassed the rest of the world, damaging a large portion of the African American 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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Another point I think was interesting in the essay was how hip-hop constantly switches from seriousness to unseriousness. In rap and hip-hop artists can go from threatening to playful in one verse, the essay claims that this quality of the genre allows is to “push the boundaries of the political, in the process redefining the very structures of resistance” (15). This is why, the essay claims, rap and hip-hop are so influential in shaping opinions regarding resisting dominant

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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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New York was a prime location for the development of Rap. By focusing my ethnomusicology project on Rap, I will have the ability to outline the birth, the contributors, the hardships, the meaning behind and much more the lyrics and the people who listen to and create the music.

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This may lead to the loss of cultural integrity and the erosion of indigenous identity. 3. Exploitative commercialization: The commercial success of indigenous-influenced Hip Hop and R&B raises concerns of exploitation, as mainstream artists and record labels may profit from incorporating indigenous elements without adequately acknowledging or supporting the indigenous communities from which they draw inspiration. By analyzing the integration of indigenous music with Hip Hop and R&B through these supportive and negative arguments, we can gain a comprehensive understanding of the complex dynamics and potential implications surrounding this cultural

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European colonialism in Africa was a violent process of exploitation and dominance in the political, social, and cultural sphere of native society. Pop culture music and dance are dynamic social products that provide insight into the shifting sociocultural formations of a society. Through this analysis of pop culture I will discuss the classist social hierarchies established by colonialism and defined power by proximity to whiteness. I will explore native actors’ response to colonial social hierarchies in their alliances or resistance to colonialism and their influence on music and dance styles. Finally, we will evaluate ways in which music and dance are forms of resistance that challenge the status quo in colonial societies.

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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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