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Imhotep Hip Hop Issue.Pdf A Treble Clef By The Students The By in Hip Hop Lyrics in Hip Hop Volume 9, May 2012 May 9, Volume IMHOTEP JOURNAL IMHOTEP A Discourse Analysis of Value Orientations Value of Analysis A Discourse IMHOTEP JOURNAL A Discourse Analysis of Value Orientations in Hip Hop Lyrics By The Students Volume 9 May 2012 (Blank Back of Front Cover) (Blank Back of Front Cover) San Francisco State University College of Ethnic Studies, Department Africana Studies Student Publications Imhotep Magazine Volume 1, February 2000 On Methodology Volume 2, February 2001 On African Philosophy Volume 3, February 2002 On African Education Ancient and Modern Volume 4, February 2003 Ideology of Race and Slavery from Antiquity to Modern Times Volume 5, May 2005 Essays on Ancient Egyptian Thought Volume 6, May 2008 African Rites of Passage Volume 7, May 2010 African Healing Traditions Volume 8, May 2011 African Ancestral Veneration Volume 9, May 2012 A Discourse Analysis of Value Orientations in Hip Hop Lyrics For further information contact: San Francisco State University College of Ethnic Studies, Department of Africana Studies 1600 Holloway Avenue San Francisco, California 94132 Tel: (415) 338­1054 Fax: (415) 405­0553 Editors Justin Metoyer and Christine Burke Production\ Design Kenric J. Bailey Contributors AFRS 111 Black Cultures and Personalities: 2008/9 Academic Year Faculty Advisor \ Co-Editor Serie McDougal, III, PhD We would like to express our thanks and appreciation to Madame Chair Dorothy Tsuruta PhD for her leadership and guidance, as well as the IRA for their support of this publication. Copyright © 2012 San Francisco State University All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photography, recording or any information storage and retrieval systems, without the prior express written permission of San Francisco State University, College of Ethnic Studies, Department of Africana Studies. Table of Contents EDITORIAL ...........…....…....…....…....…....…....…....…......…....…...…4 Tandraya Eckert-Berry INTRODUCTION …...……………………....…………….………….....…6 Serie McDougal, III, Assistant Professor A DISCOURSE ANALYSIS OF VALUE ORIENTATIONS IN HIP HOP LYRICS The Students The Conceptualization of Success in Hip Hop Lyrics .….............7 By Rejeane Biala Transitions from Poverty to Wealth in Hip Hop ...……..............16 By Brittany Galland Religion and Spirituality in Hip Hop Lyrics ...…….…..............29 By Bria Grant Brotherhood in Hip Hop Lyrics ..………….......................….....39 By Jimmy Commins African American Interdependence and Collectivism in Political Hip Hop …................................................................................50 By Patrick Tuck Racial Identity in Hip Hop Lyrics ..………................................59 By TanDraya Eckert Berry 4 Imhotep Journal Editorial By Tandraya Eckert­Berry Hip hop music is an important cultural component of the African American !"##$%&'()* &'* &%+$,%!,-* "$.* ("$%/* 0%1* "21* 0%1* -304,-* "$.* -"!&,'(5* 63,'3,.* &'* &-* .,!"/%&7,1*".*%"'*3&4*3"4*#$-&!*1&-420(-*#0%(*#".02-*'30'*'3,*!"##$%&'(*40--,-*"%5*8%* this ninth volume of the Imhotep Journal we implement a Discourse Analysis of Value Orientations in Hip Hop Lyrics5* 9,.,* ("$* :&22* -,,* '3,* #0%(* ;02$,* ".&,%'0'&"%-* '30'* :,*.,!,&;,*0%1*<"22":*<."#*9&4*9"4*#$-&!5*8%*'3&-*=>?@*AAABCA*!20--)*:,*30;,*D,,%* given the chance to look at hip hop lyrics in their different context and analyze them in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n Rejeane Bila’s The Conceptualization of Success in Hip Hop Lyrics, Biala looks at 3":*-$!!,--*&-*-,,#*&%*$%1,.-'""1*D(*-,;,.02*3&4*3"4*0.'&-'-5*@3,*1&-!$--,-*-$!!,--*0%1* 3":*&'*&-*1,H%,1*'3."$/3*<0%-)*'02,%'*0%1*#"%,(5*8%*O.&''0%(*P0220%1M-*Transitions from ___________________________________________________________ Imhotep Journal)*Q"2$#,*R)*G0(*KCAK Editorial 5 Poverty to Wealth in Hip Hop, she looks at the individual struggle, communalism and .0!&02*&1,%'&'(5*=22*'3.,,*'3,#,-*0.,*,I4.,--,1*&%*-"%/-*0D"$'*#";&%/*D,("%1*4";,.'(5* In Bria Grant’s Religion and Spirituality in Hip Hop Lyrics, she tells us how God and "'3,.*3&/3,.*D,&%/*0.,*$%1,.-'""1*0D"$'*&%*-"#,*3&4*3"4*-"%/-5*8%*J&##(*S"##&%-M* Brotherhood in Hip Hop Lyrics, he looks at themes of male collectivism as expressed D(*-"#,*3&4*3"4*0.'&-'-5*>."#*D."'3,.3""1*'3."$/3*1,0'3)*,!"%"#&!*1&<H!$2'()*0%1* 1,;"'&"%)* S"##&%-* ,I420&%-* :30'* D."'3,.3""1* #,0%-* 0%1* 3":* &'* &-* ,I4.,--,1* D(* -"#,*0.'&-'-5**8%*T0'.&!E*N$!EM-*African American Interdependence and Collectivism in Political hip Hop, Tuck takes this opportunity to demonstrate a major African 6".21;&,:*-3":%*&%*4"2&'&!02*9&4*9"45*>&%022()*&%*#(*404,.*Racial Identity in Hip Hop Lyrics)*8*'.(*'"*&1,%'&<(*'3,*!"%%,!'&"%*D,':,,%*.0!&02*&1,%'&'(*0%1*'3,*O20!E* !"##$%&'(*'"10(*0-*'3,*'"4&!*&-*,I42".,1*&%*3&4*3"4*2(.&!-5 From this journal we hope you take away the knowledge of hip hop value ".&,%'0'&"%-*,I4.,--,1*&%*2(.&!-5*9"4,<$22(*'3,-,*0.'&!2,-*:&22*!30%/,*'3,*:0(*4,"42,* 2&-',%*'"*3&4*3"4*#$-&!*0%1*02-"*3":*'3,(*4,.!,&;,*&'*0%1*.,20',*&'*'"*'3,&.*":%*2&;,-5*N3&-* L"$.%02*:0-*,1&',1*&%',%-&;,2(*D(*D"'3*F.5*G!F"$/02*0%1*'3,*-&I*-'$1,%'*!"%'.&D$'".-5* As you make your way through this Imhotep journal, we hope you are introduced to 4,.-4,!'&;,-*'30'*("$*'30'*("$*:,.,*%"'*4.,;&"$-2(*,I4"-,1*'"5 6 Imhotep Journal Introduction By Serie McDougal III, Ph.D. The student authors of this issue of Imhotep use the method of content analysis to /"*D,("%1*-$.<0!,*2,;,2*0%02(-&-*'"*0--,--*'3,*1,,4,.*#,0%&%/*&%*'3,*!"##$%&!0'&"%* #,--0/,-*<"$%1*&%*3&4*3"4*2(.&!-5**N3,(*40.'&!$20.2(*,I0#&%,*'3,*-,21"#*-'$1&,1*0%1* "<',%*&/%".,1*'"4&!-*011.,--,1*&%*'3,*2(.&!-*"<*3&4*3"4*0.'&-'-5**=-*0%*0.'*<".#)*3&4* hop is in large part an extension of the African oral tradition; a means of conveying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mhotep Journal)*Q"2$#,*R)*G0(*KCAK 7 The Conceptualization of Success in Hip Hop Lyrics By Rejeane Biala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ike other forms of art, Hip-Hop music was created in response to the environment and ,I4,.&,%!,-*"<*'3,*=<.&!0%*=#,.&!0%*4,"42,5*U#42"(&%/*'3,*3,.&'0/,*"<*'3,*O20!E*".02* '.01&'&"%)*.04*#$-&!*D,!0#,*0*!0'30.'&!*"$'2,'*X?&!30.1-"%*0%1*@!"'')*KCCKY5*=<.&!0%* American experiences are often improperly essentialized into the stereotype of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