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Hip Hop Culture and Identity, 2005.
A thorough examination of the hip hop culture and its impact on a person's identity.
34,125 words (approx. 136.5 pages), 150 sources, MLA, £ 176.95
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Abstract
This research explores the hip hop 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 hip hop 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 hip hop 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 hip hop culture's tendency toward visualization as opposed to aural. Finally, hip hop as a global force is reviewed. In the end, it becomes clear that hip hop 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 Hip Hop
Overview of Current Literature Regarding Hip Hop
Defining Hip Hop Culture
The Four Pillars of Hip Hop and Others
The Ghetto, Hip Hop Culture and the Divergent Styles of West Coast and East Coast
East Coast versus West Coast Conflict
Geographical Diversity of Hip Hop Today
Hip Hop and the Jail Culture
Graffiti as a Subversive and Sublime Cultural Arm of Hip Hop
African Americans and Spatial Mobility
The Ghetto Environment and its Effects on the Lyrical Content of Hip Hop
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 Hip Hop
Hip Hop Culture and Misogyny
Hip Hop Culture and the Poetry of the Dispossessed
The Controversy About Selling Out and Hip Hop Culture
Representing the Ghetto
Hip Hop Culture and Sports Marketing
Hip Hop Sales Statistics and the Thug Image for Sales Controversy
Hip Hop as a Force in American Pop Culture and the Displacement of Other Genres of Music
Tastes and Decadence in Hip Hop Culture
The Hip Hop Culture and Political Influence
Hip Hop 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). "
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The Hip-Hop Culture, 2007.
This research study examines the effects, both positive and negative, that the hip-hop culture has had on the world at large.
3,040 words (approx. 12.2 pages), 6 sources, MLA, £ 63.95
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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."
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Def Jam Recordings: The Hip-Hop Mogul, 2008.
An analysis of the rise of Def Jam Recordings and the the hip-hop cultural movement.
1,756 words (approx. 7.0 pages), 4 sources, MLA, £ 39.95
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Abstract
This paper discusses how, through the analysis of hip-hop culture and its golden era, we can see the growth and influence of Def Jam Recordings, as well as the rise of the hip hop mogul'. The paper then looks at how the hip-hop mogul has transcended many societal boundaries such as class and has led to the shift in socio-cultural practices of hip-hop culture. In addition, the paper contends that the hip-hop mogul has been accepted by the dominant society that the hip-hop industry transformed the regular white middle aged male CEO into what we call today the hip-hop mogul.
From the Paper
"Hip hops golden era is very often perceived through the emergence and influential rise of Def Jam Recordings. From its very first recordings of LL Cool J's "I Need A Beat" along with the Beastie Boys "Rock Hard", Russell Simmons and Rick Rubin proved that hip hop was a genre that represented the single most significant development in pop culture since rock 'n' roll. These two individuals believed in the success of hip-hop and established a company, which defined and nationalized hip-hop culture. Along with the establishment of Def Jam defining the golden era, many would attribute the decline in graffiti and b-boying and the eventual move towards dance fads as another factor during the golden era in hip hop. "
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Hip Hop Dance History, 2006.
The history of Hip hop dance and its effects on society.
4,296 words (approx. 17.2 pages), 7 sources, MLA, £ 80.95
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Abstract
The paper is an in-depth study of the history of hip hop dance, 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 hip hop is very much an American product. The hip hop 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 hip hop is racist in theme, while others are sexist. Many hip hop musicians concentrate on such issues like social inequity and the dangers of heroin use. The conclusion is that hip hop 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)"
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Punk and Hip-Hop, 2005.
A paper looking at the close connection between the two musical genres, punk and hip-hop.
10,537 words (approx. 42.1 pages), 17 sources, MLA, £ 148.95
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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."
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Hip Hop Music and BEV, 2004.
A dissertation that addresses the evolution of speech patterns that have developed from black music during the past half-century, focusing on hip-hop music.
6,700 words (approx. 26.8 pages), 17 sources, APA, £ 107.95
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Abstract
The phenomenon of hip hop has spawned a new way of dressing, acting, and speaking adopted by black young people, as well as an increasing number of young whites, especially males. Hip hop and its music and speech patterns, known as hip hop or rap or gangsta rap, has moved out of the ghettos and into suburban, middle-class neighborhoods, especially among the young males in those neighborhoods. This paper questions whether it is a bona fide language type, such as Black English Vernacular (BEV), in and of itself, or whether it is a dialect of BEV. Also investigated are the vectors by which this speech might have crossed the color divide and why. Finally, how hip hop/rap/gangsta came to be and what it owes to previous black dialects, as well as to African and West Indian influences, are considered. What emerges is a constantly changing dialect that appeals to the same populations that generally cause language change, the lower classes, which start it, and the middle classes, which carry it upward.
Table of Contents
Abstract
Introduction: Statement of Problem
Review of the Literature and Research Questions
Language of the Black Diaspora
Other Cultural Factors
Black English Vernacular Dialects: Africans via the West Indies
Use of ?Downmarket? Speech among Britons, White and Black
Is Estuary English Equivalent to BEV Dialects?
Lowest Common Denominator?
Hip-hop Language and Women
Women as Primary Musicians/Speakers of BEV Dialects
Other Voices
Methodology and Results
Appendix
From the Paper
"Kopano argues, in essence, that in their defiant states, both bebop and rap (hip-hop) artists create a rhetoric that is creative in the verbal and nonverbal mode. Both obviously include, either by contribution or adoption, other lifestyle factors, such as clothing choices. And, by extension, the dialect of Black English each one has engendered is likewise dispersed throughout the Black community, and adopted, at least in some ways, by the White community, particularly by the White males who are arguably attracted to the inherent subversive/aggressive message contained in it."
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Hip-Hop, 2007.
This paper discusses the social-cultural-musical phenomenon called Hip-Hop. circa 1965 to 1985.
1,830 words (approx. 7.3 pages), 10 sources, MLA, £ 41.95
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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."
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Hip Hop and Homosexuality, 2004.
Argues that the modern music genre of hip hop is not homophobic in nature.
7,000 words (approx. 28.0 pages), 18 sources, APA, £ 111.95
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Abstract
Those outside of its culture generally perceive hip-hop as very homophobic and misogynistic. While it is undoubtedly hyper-masculine and grounded in a culture that has traditionally not been very accepting of homosexuality, hip hop is not generally perceived by those within the culture as being homophobic. This study shows that a majority of hip hop fans are more accepting of homosexuality than the white Christian majority and that the perceived homophobia of the lyrics may be a misunderstanding by those outside the culture of the hip hop dialogue, which uses extreme language and extreme metaphor to express social truths.
Paper Outline
Abstract
Introduction
Investigation and Statement of the Problem
Qualitative Study
Conclusion
Bibliography
From the Paper
"As mentioned earlier, there are two significant reasons why such homophobia may be present in the hip-hop genre. The first is religious. While Hip-Hop lyrics are generally extremely profane and amoral (to say the least), it nonetheless has deep roots in a religious culture. According to Umar ben-Ivan Lee, one hip-hop defender of anti-gay lyrics, ? Hip Hop has always celebrated God... unlike Hollywood or American pop culture which vilifies [religion] ... in Hip Hop Islam is generally held in high regard. [Meanwhile] countless rappers pay tribute to their faith in Jesus over the years ... [because] God, Jesus and the Prophet Muhammad have not been removed from the Hip Hop Lexicon.? (Political Palace) Certainly historically Hip Hop, like most other culturally black music, has its roots in soul and gospel. Additionally, it draws strongly from a culture where religion continues to be one of dominant forces for goodness. Just as hip-hop has a tendency to be misogynistic and yet demonstrate great respect for motherhood, it is often irreligious and yet inspired to anti-gay sentiment from these religious sources. It is this religious sentiment which gives a sort of moral legitimacy to the more rabid expressions of homophobia."
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Hip Hop and Rap as Political Expression, 2001.
This paper examines how hip hop 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, £ 78.95
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Abstract
This paper discusses how the musical styles of hip hop 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 hip hop, analysis of politically significant songs and the effects of mass media on hip hop.
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."
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The Two Meanings of Hip Hop, 2004.
Explores the cultural origins and the significance of Hip Hop.
1,554 words (approx. 6.2 pages), 3 sources, MLA, £ 36.95
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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."
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The Association of Hip Hop and Black Teens, 2006.
A discussion regarding the culture that surrounds hip hop and it's association with black teenagers.
1,800 words (approx. 7.2 pages), 5 sources, £ 50.95
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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."
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Music, Culture and Hip Hop Dance, 2007.
This paper examines hip hop dance and its place in music and culture.
861 words (approx. 3.4 pages), 3 sources, APA, £ 21.95
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Abstract
This qualitative study seeks to examine the hip-hop dance 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."
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Hip Hop, 2005.
A comparison of two books on hip-hop by Bakari Kitwana and Chuck D.
1,150 words (approx. 4.6 pages), 2 sources, MLA, £ 27.95
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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 ..."
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Street Dance and Hip Hop, 2006.
An overview of the evolution and influence of street dance and hip hop.
2,985 words (approx. 11.9 pages), 12 sources, APA, £ 62.95
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Abstract
Hip hop 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 hip hop dance: 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."
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