I M H O T E P
J O
U IMHOTEP JOURNAL R N A
L A Discourse Analysis of Value Orientations
A
D in Hip Hop Lyrics i s c o u r s e
A Volume 9, May 2012 n a l y s i s o f
By The Students V a l u e
O r i e n t a t i o n s i n
H i p
H o p
L y r i c s
B y
T h e
S t u d e n t s
V o l u m e
9 A Treble Clef
M a y
2 0 1 2 (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&
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"#*-'$1&,1*0%1* "<',%*&/%".,1*'"4&!-*011.,--,1*&%*'3,*2(.&!-*"<*3&4*3"4*0.'&-'-5**=-*0%*0.'*<".#)*3&4* hop is in large part an extension of the African oral tradition; a means of conveying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
______Imhotep Journal)*Q"2$#,*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 30.1-3&4)*1.$/-)*;&"2,%!,)*0%1*;$2/0.&'(*-,'*D(*1,4&!'&"%-*&%*#$2'&#,1&05*N3,*4."D2,#* &-*4"-,1*&%*6.&/3'M-*XKCCZY*0%02(-&-*&-*'30'*!".4".0',*=#,.&!0M-*!"%'."2*"<*3"4B3"4M-* 4."1$!'&"%)*#0.E,'&%/*0%1*1&-'.&D$'&"%*-$D-,[$,%'2(*'.0%-20',-*&%'"*0*/.,0'*1,/.,,*"<* !"%'."2*"<*'3,*=<.&!0%*=#,.&!0%*�/,*0%1*;"&!,5**=-*'3,*0%!&,%'*P.,,E*43&2"-"43,.* @"!.0',-*:"$21*4.,-$#,)*,;,.(*"44"-&',*!"#,-*'"*D,*<."#*&'-*"44"-&',*X&5,5*3"'*!"#,-* <."#*!"21Y5*8'*&-*4"--&D2,*'30'*'3,.,*&-*0*4"-&'&;,*'"*'3,*%,/0'&;,*!.&'&!&-#-*&%*3&4B3"4* #$-&!5*\"'*"%2(*1",-*3&4B3"4*1,4&!'*'3,*2&;,-*0%1*,I4,.&,%!,-*"<*=<.&!0%*=#,.&!0%-)* D$'* &'* 02-"* 1,4&!'-* '3,* 4"-&'&;,* D,30;&".-* "<* -,2 ______Imhotep Journal)*Q"2$#,*R)*G0(*KCAK 8 Imhotep Journal "%*'3,*=<.&!0%*=#,.&!0%*4-(!3,5*]%1,.-'0%1&%/*'30'*3&4B3"4*#$-&!*!0%*D,*-,,%*&%* 0*D.&/3',.*2&/3'*&-*,I,#42&H,1*&%*?&!30.1-"%*0%1*@!"''M-*XKCCKY)*0--,.'&"%*'30'*3"4B hop is the only one of many music genres that captures the attention of a vast amount "<* ("$'3* 0!."--* 1&-'&%!'&"%-* "<* .0!,)* ,'3%&!&'()* 0%1* -"!&",!"%"#&!* !20--5* 6&'3* &'-* growing popularity, hip-hop music has changed conceptualizations of success from &'-*D,/&%%&%/-*!"#40.,1*'"*'3,*3&4B3"4*#$-&!*'"10(5* @!3"20.-* -,21"#* 1&-!$--* -$!!,--* 0%1* &'-* .,20'&"%* '"* 3&4B3"4* #$-&!)* D$'* &'-* !"$%',.40.'*"<*%,/0'&;,*D,30;&".*&-*'3,*!,%',.*4"&%'*"<*#0%(*0.'&!2,-5*^D-,.;&%/*'3,* 0#"$%'*"<*;&"2,%'*2(.&!-*&%*.,20'&"%*'"*!.&#,*.0',-*1$.&%/*AR_RBARR_)*9,.1*XKCCRY*$-,1* content analysis and found that hip-hop artists’ portrayal of violence and graphic -,I$02&'(*:0-*0*1&-420(*"<*1,!2&%&%/*0.'&-'&!*!.,0'&;&'(*0%1*[$02&'(*1$,*'"*'3,*&%!.,0-,1* 1.&;&%/*<".!,*"<*4."H',,.&%/5*N3,*2(.&!-*,;"E&%/*;&"2,%!,*1$.&%/*'3,*20'',.*(,0.-*:,.,* 4$'*&%*0*D.&/3',.*2&/3'*0-*-3":%*&%*'3,&.*&%!.,0-,1*0--"!&0'&"%*:&'3*/20#"$.)*:,02'3)* #0-!$2&%&'()*0%1*4,.-"%02*4.":,--5*>"22":&%/*'3,*!30%/&%/*'3,#,-*.,4.,-,%',1*&%*3&4B 3"4)*9,%1,.-"%*XARR`Y*0/.,,-*'30'*3&4B3"4*30-*!30%/,1*<."#*&'-*".&/&%-*"<*#0E&%/* 4"2&'&!02*-'0',#,%'-5*90;&%/*"$'2&%,1*'3,*-(%"%(#"$-*',.#-*"<*3&4B3"4*#$-&!)*.04* #$-&!*0%1*/0%/-',.*.04*0-*,0!3*30;&%/*1&<<,.,%'*!30.0!',.&-'&!-)*9,%1,.-"%*XARR`Y)* 0--,.'-*'30'*.044,.-*-3"$21*.,'$.%*'"*'3,*%0'&"%02&-'&!*<"!$-*&%*3&4B3"45*8%*1"&%/*-")* '3,*.044,.-*:"$21*3,24*'"*4."#"',*0*%0'&"%02*!$2'$.,*'"*.,420!,*'3,*4"4$20.*X<011&-3Y* !$2'$.,*"<*;&"2,%!,*0%1*-,I&-#5*G03,.*XKCCaY*D.,0E-*3&4*3"4*#$-&!*1":%*&%'"*'3,*':"* -$D$%&'-*"<*!"##,.!&02*3&4B3"4*0%1*$%1,./."$%1**b!"%-!&"$-c*3&4B3"45*G03,.*XKCCaY* ,I42".,-*'3,*,<<,!'-*"<*3&4B3"4*2(.&!-*"%*'3,*("$'35*9,*H%1-*'30'*'3,*U$."*!"%'."22,1* &%1$-'.(* "<* #$-&!* ;&220%&7,-* O20!E* #,%5* N3,* #".,* 4."H'0D2,* '3,#,-* "<* 3&4B3"4)* violence and sexualism, are the most outputted in multimedia over the underground b!"%-!&"$-c* 3&4B3"4* '3,#,-5* N3,* $%1,./."$%1* '3,#,-)* :3&!3* 0.,* 4"2&'&!02)* -"!&02* 0%1*4"-&'&;,)*0.,*D$.&,1*0%1*0.,*%"'*,I4"-,1*'"*'3,*#,1&0*1.&;,%*("$'35*=-*:&'3*0%(* #";,#,%'*'3,*%$#D,.*"<*40.'&!&40%'-*0%1*&%<".#,1*!&'&7,%-*1,',.#&%,-*'3,*-$!!,--)* &%*"'3,.*:".1-*b4":,.*D(*%$#D,.-c5*6&'3"$'*'3,*,I4"-$.,*"<*4"2&'&!02*!"%-!&"$-*0%1* 4"-&'&;,*0''&'$1,-*'3,*("$'3*30;,*D,,%*!"..$4',1*0%1*<$.'3,.#".,)*'3,.,*&-*%"*-,2 1,',.#&%0'&"%*0%1*0*2"--*"<*!30.0!',.*&%*'3,*-',.,"'(4,5 Methods @$!!,--)* -,2 Results !"#$#%&'#(%)*+,-./-0'1%.'2%3.'1 Upon analyzing the different phrases one of the themes that success is most ,I4.,--,1*D(*&-*1,H%,1*D(*0*.044,.M-*0 @"%/*ACe*@$/0.3&22*P0%/*f*g'3*6"%1,. AC*****************8#3"',4*J"$.%02 b6,22*8M#*'3,*G0-',.*P)*0%1*8M#*'3,*D,-'W*=22*'3,*201&,-*-0(*#(*;"&!,*&-* .0',1*hW*8M#*0*'"$!3*"<*2&/3'%&%/)*0*'0-',*"<*H.,W*6,22*8M#*'3,*G0-',.*P)* 0%1*8M#*("$.*1,-&.,W*i"$%/*201&,-)*8*-0&1*8*."!E*'3,*%0'&"%W*S0$-,*8*/"'*#(* ":%)*'.0%-4".'0'&"%W*8*!0%*."!E*L$-'*0D"$')*0%(*0/,W*@"*2,'*("$.*H%/,.-*1"* '3,*:02E&%*'3."$/3*'3,*(,22":*40/,c* @"%/*A_e*F.0E,* bP"''0*.B.B.":)*/"''0*.":*("$.*D"0'W*8'M-*T&%E*>.&10(*?,!".1-*0%1*^5Q5^5W* F"%,*1&1*'3,*4"4*'"$.)*8M#*'3,*.,02,-'*-'&22W*N3,*D,-'*2,/02*',0#*-"*'3,*1,02-* &-*&22W*8'M-*G0!)*^T8)*0%1*0*<.0/.0%!,*'""W**=440.,2)*8M#*1"#&%0'&%*,;,.(* 0;,%$,c @"%/*KKe*S3.&-*O.":%* b8*/,'*:30'*("$*/,'*&%*',%*(,0.-)*&%*':"*10(-W*jV01&,-*V";,j*#,)*8M#*"%* #(*S""2*J5c Claim O"'3* '3,* "21* -!3""2* 0%1* %,:* -!3""2* 3&4* 3"4* 2(.&!-* 1&-420(,1* D(* -"%/* AC* 0%1*-"%/*KK*#,%'&"%*3":*'3,*044.";02*"<*'3,*<,#02,*0$1&,%!,*&-*0*<0!'".*'"*-$!!,--5* 8%*-"#,*:0(-*'3,*0 Theme Two: Career/ Talent N3,*-,!"%1*'3,#,*"<*-$!!,--*&-*2&%E,1*'"*!0.,,.*0%1*'02,%'*"<*'3,*0.'&-'5*8%*'3&-* 0-4,!')*0.'&-'-*4."#"',*'30'*-$!!,--*&-*1,',.#&%,1*D(*:30'*"%,*1",-*0%1*3":*-E&22<$22(* '3,(*1"*&'5*=!!".1&%/*'"*'3,*!0.,,.*"<*0%*0.'&-')*'3,-,*-"%/-*1,#"%-'.0',*'30'*"%,*#$-'* D,*".&/&%02*0%1*:".E*30.15*@,;,%*"$'*"<*'3&.'(B-&I*-"%/-*301*2(.&!-*'30'*.,4.,-,%'*'3&-* N3,*S"%!,4'$02&70'&"%*"<*@$!!,--*****************AA '3,#,5**N3,*<"22":&%/*0.,*'3.,,*,I0#42,-5* @"%/Ade*S"21*S.$-3*O."'3,.-e*>.,-3)*6&21)*>2(*0%1*O"21* “Cause it’s about makin ryhmes like no one else can design\ I do everything I can to make myself better\ Live on a steady diet of stages” @"%/*AAe*F0%0*F0%,e*S&%1,.<,220*F0%0*F0%,* “If you can rap, also dress fresh\ You might win a date with the sweet princess” @"%/*KCe*FJ*k302,1* b*8M#*/,''&%*-"*'3.""":,1W*8*0&%M'*:".E*'3&-*30.1*-&%!,*8*:0-*,&/3',,%c Claim N3,.,*0.,*<,:*"<*'3,*!$..,%'*,.0*-"%/-*'30'*<"!$-*"%*!0.,,.*0%1*'02,%'5*G"-'* "<*'3,*-"%/-*-0#42,1*<."#*'3,*D,/&%%&%/-*"<*3&4B3"4*<"!$-,1*"%*'3,*/,%$&%,*".&/&%-* "<*3&4*3"4)*:3&!3*&-*0*#,0%-*"<*,I4.,--&"%)*0%*0.')*0%1*%"'*0*-*,*L"D5*=2'3"$/3* '3."$/3*'3,*(,0.-*'3,*30D&'-*"<*/.,,1*0%1*4."H',,.&%/*D,!0#,*&%+$,%!,-*"<*'3,*022* #,1&0*0%1*,%',.'0&%#,%')*@"%/*KC*-$D'2(*%"',-*'3,*1& Theme Three: Extravagance and Money Lastly, another theme that has had many song lyrics associated with it, is ,I'.0;0/0%!,*0%1*#"%,(5*6&'3&%*'3&-*'3,#,)*&'*&-*,#430-&7,1*'30'*#"%,(*0%1*-4,%1&%/* &'*"%*2$I$.&"$-*'3&%/-*&-*0%*&%1&!0'".*"<*-$!!,--5*\&%,*"$'*"<*d`*-"%/-*301*[$"',-*'30'* .,4.,-,%',1*'3&-*40.'&!$20.*'3,#,5**N3,*<"22":&%/*0.,*'3.,,*,I0#42,-5 @"%/*ARe*F.0E,e*9,012&%,- “And Drizzy got the money, so Drizzy gon’ pay it\ Those my brothers, I ain’t even gotta say it\ That’s just somethin they know” @"%/*KAe*O&/*@,0%* “I work too hard to be ballin’ on a budget\ Me and my people do it big out in public\ Cause if you don’t do it Big bitch, you ain’t doing nothing” @"%/*Kge*F.0E,* Claim N3,*#0L".&'(*"<*'3,*-"%/-*<."#*'3,*!$..,%'*D&22D"0.1*!30.'-*"<*3&4B3"4*#$-&!* 4.,-,%'* '3&-* '3,#,* "<* -$!!,--* :3&2,* "21* -!3""2* 3&4B3"4* 1",-* %"'5* N3,* '3,#,-* "<* 4"4$20.*3&4B3"4*2(.&!-*30;,*!30%/,1*";,.*'&#,*0-*'3&-*'3,#,*1,#"%-'.0',-5 Conclusion =#"%/* -,;,.02* '3,#,-* "<* -$!!,--)* '3,* #"-'* -&/%&H!0%'* "%,-* ,I4.,--,1* <."#*'3,*-0#42,*"<*#$-&!*$-,1*&%*'3&-*-'$1()*0.,*!0.,,.e*'02,%')*0 0/,5*N3,*'3,#,-*&1,%'&H,1*D(*'3&-*.,-,0.!3*4."L,!'*0.,*".'0%'*<".*$%1,.-'0%1&%/*"<* 3&4*3"4*D,!0$-,)*:3&2,*-,I$02*/.043&!-*0%1*;&"2,%!,*0.,*-'&22*4.,-,%'*&%*'3&-*<".#*"<* #,1&0)*'3,.,*&-*02-"*0*/.,0',.*&%+$,%!,*'30'*'3,-,*2(.&!-*4"-,5*=22*#$-&!*30-*0*#,--0/,)* and for the well-known genres of music, they speak to a large audience, and for hip- 3"4)*&'*4."#"',-*1&<<,.,%'*<".#-*"<*-$!!,--5* Works Cited =2D,.'-"%)*S5)*l*,'*02*XKCAKY5*Old school rap (top songs)5*?,'.&,;,1*<."#**** * 3''4mee:::5022#$-&!5!"#e,I42".,e-'(2,e"21B-!3""2B.04B1KRK`e-"%/- 9,%1,.-"%)*U5*XARR`Y5*O20!E*%0'&"%02&-#*0%1*.04*#$-&!5*Journal of Black Studies, 26XdY)*dCgBddR5* 9,.1)*F5*XKCCRY5*S30%/&%/*�/,-*"<*;&"2,%!,*&%*.04*#$-&!*2(.&!-m*AR_Rf*** * ARR_5*Journal Of Public Health Policy, 30XZY)*dRaBZC`5*1"&mAC5ACa_e** * L4345KCCR5d` G03,.)*P5*XKCCaY5*O.,!3'&0%*3&4B3"4m*F&10!'&!-*0%1*-,2 T,',.-"%)*V5*XKCCRY5*N$.%&%/*'3,*'0D2,-5*Bitch Magazine: Feminist Response To Pop Culture)*XZKY)*daBZC5 Rap songs5*XKCAKY5*?,'.&,;,1*<."#*3''4mee:::5D&22D"0.15!"#e!30.'-e.04B*** songs ?&!30.1-"%)*J5)*l*@!"'')*k5*XKCCKY5*?04*#$-&!*0%1*&'-*;&"2,%'*4."/,%(m**** * =#,.&!0M-*!$2'$.,*0%1*;&"2,%!,*&%*!"%',I'5*The Journal of Negro Education, 71XdY)*A_aBARK5*?,'.&,;,1*<."#555 @0:(,.)*F5*XKCCgY5*@'$4&1<>.,-3m*9&4B3"4*!$2'$.,*0%1*4,.!,&;,1*0%'&B*** * &%',22,!'$02&-#*&%*$.D0%*O20!E*("$'35*S"%<,.,%!,*T04,.-*BB**** * =--"!&0'&"%*>".*N3,*@'$1(*^<*=<.&!0%*=#,.&!0%*V&<,*l*9&-'".()*** * AR`5 AZ*****************8#3"',4*J"$.%02 The original hip-hop lyrics archives5*XKCAKY5*?,'.&,;,1*<."#*3''4mee:::5*** * "33205!"#e N.0H#":)*F5)*N.&0%1&-)*95)*l*P"'")*@5*XARRAY5*@"#,*',-'-*"<*'3,***** * 1&-'&%!'&"%*D,':,,%*'3,*4.&;0',*-,2<*0%1*'3,*!"22,!'&;,*-,2<5*Journal of Personality and Social Psychology, 60XaY)*`ZRB`aa5 6.&/3')*k5*XKCCZY5*?&-,*$4*3&4*3"4*%0'&"%m*>."#*1,!"%-'.$!'&%/*.0!&02**** * 4"2&'&!-*'"*D$&21&%/*4"-&'&;,*-"2$'&"%-5*Socialism & Democracy, 18XKY)*RBKC5 Appendix Song List ABAa*N"4*^21B-!3""2*9&4*9"4*@"%/- A`Bd`*N"4*4.,-,%'*10(*9&4B*9"4*@"%/- A5* k$.'&-*O2":*f*O0E,'D022 K5* VM'.&##*f*S0.-*N30'*P"*O""# d5* 63"1&%&*f*>.,0E-*S"#,*^$'*='*\&/3' Z5* k""2*G",*F,,*f*N"*P"*N"*6".E a5* P.0%1#0-',.)*G,22,*G,2)*0%1*F$E,*O""',,*f*N3,*G,--0/, `5* F0%0*F0%,*f*\&/3'#0.,- _5* =<.&E0*O0#D00'0*f*T20%,'*?"!E g5* ]N>^*f*?"I0%%,)*?"I0%%, R5* F"$/*U*>.,-3*0%1*'3,*P,'*>.,-3*S.,:*f*N3,*@3": AC5* @$/0.3&22*P0%/*f*g'3*6"%1,. AA5* F0%0*F0%,*f*S&%1,.<,220*F0%0*F0%, AK5* U/(4'&0%*V";,.*f*U/(4')*U/(4' Ad5* S"21*S.$-3*O."'3,.-*f*>.,-3)*6&21)*>2(*0%1*O"21 AZ5* k""2*G",*F,,*f*9":*i0*V&E,*G,*\": N3,*S"%!,4'$02&70'&"%*"<*@$!!,--*****************Aa Aa5* O,0-'&,*O"(-*f*?3(#&%M*0%1*@',02&%M A`5* F.0E,* Transitions from Poverty to Wealth in Hip Hop By Brittany Galland 6&'3&%*'3,*:".21*"<*3&4*3"4*#$-&!*'3,.,*&-*"%,*#,--0/,*'30'*-4,0E-*'"*#0%(m** &'*&-*0*#,--0/,*"<*3"4,)*,#4":,.#,%')*0%1*1,',.#&%0'&"%5**N3&-*#,--0/,*&-*'3,*0D&2&'(* '"*'.0%-&'&"%*<."#*4";,.'(*'"*:,02'35*=*/""1*,I0#42,*"<*3&4*3"4*,#,./&%/*<."#*0*2":* &%!"#,*0.,0*:"$21*D,*&%*='20%'0)*P,"./&0*:3,.,*'3,)*b&%%,.*!&'(*-'&22*.,'0&%,1*2,;,2-* of crime, spatial segregation, and racial poverty that ranked among the highest of any =#,.&!0%* #,'."4"2&'0%* 0.,0o* ='20%'0M-*H.-'* .044,.-* ,#,./,1* <."#* '3&-* <"./"'',%* ,%;&."%#,%'*op:&'3*'3,q*-'(2,*D0--*#$-&!*"<**.044,.-*2&E,*G"L")*k&2")*0%1*?03,,#** XP.,#)KCC`)*4/*a_Y5*N3,*1& ______Imhotep Journal)*Q"2$#,*R)*G0(*KCAK N.0%-&'&"%-*<."#*T";,.'(*****************A_ D,&%/*-4.,01*'3."$/3*3&4*3"4*0%1*'3,*,#4":,.&%/*#,--0/,*'30'*0%("%,*!0%*'.0%-&'&"%* <."#*4";,.'(*'"*:,02'35* N3,* #,--0/,* "<* '.0%-&'&"%* <."#* 4";,.'(* '"* :,02'3* &-* ".'0%'* D,!0$-,* &'* -3":-*'30'*0%("%,*&-*!040D2,*"<*0!3&,;&%/*'3,&.*1.,0#-5*N3,*4$.4"-,*"<*.,-,0.!3&%/* '3,*'.0%-&'&"%*<."#*4";,.'(*'"*:,02'3*&-*'"*D.&%/*2&/3'*'"*'3,*3&-'".(*"<*'3&-*'"4&!*0%1*'3,* -'.$//2,*4,"42,*30;,*,%1$.,15*8'*&-*".'0%'*'"*-3":*'30'*3&4*3"4*0.'&-'-*30;,**:".E,1* 30.1*<".*:30'*'3,(*30;,*!"%-&1,.&%/*'3,*!&.!$#-'0%!,-*'30'*'3,(*301*'"*";,.!"#,5 Review of Existing Literature Hip hop music is used to express stories, experiences, or thoughts through #$-&!*0%1*2(.&!-5*G0%(*30;,*0%02(7,1*'3,-,*#,--0/,-*0%1*30;,*!"%1$!',1**.,-,0.!3* "%*'3&-*'"4&!*'"*-"2&1&<(*'3,&.*H%1&%/-5*^%,*'3,".(*"<*3":*3&4*3"4*0.'&-'-*-&%/*0D"$'* !,.'0&%* '"4&!-)* -$!3* 0-* 4";,.'()* &-* ,I,#42&H,1* &%* 4.,;&"$-* .,-,0.!3* <."#)* b=10#* k.&#-*p:3"q*4."4"-,-*'30'*3&4B3"4*%,!,--&'0',-*0*s-(#D"2&!*!"2204-&%/M*"<*'3,*0.'&-'* "%'"*'3,*4,.<".#,.)*-"*'30'*&%*2(.&!-*'3,*0.'&-'*#$-'*044,0.*'"*-4,0E*s<."#*0$'3,%'&!* ,I4,.&,%!,M*b*X9,--)*KCC`)*4/5*`AY5*N3&-*-3":-*'30'*4,"42,*:3"*2&-',%*'"*.04*4.,<,.* '"*2&-',%*'"*0%*0.'&-'*:3"*30-*,I4,.&,%!,1*0*2&<,*"<*4";,.'(*";,.*'3"-,*:3"*30;,*%"'5* 8'*!0%*D,*-,,%*'30'*3&4B3"4*0.'&-'-*#$-'*,-'0D2&-3*!.,1&D&2&'(*0%1*'30'*&-*'3,*"%2(*:0(* '"*/0&%*0!!,--*&%'"*'3,*#$-&!*&%1$-'.(*0%1*D,*.,-4,!',1r*-"*'3,*0.'&-'-*:3"*.04*0D"$'* 4";,.'(*#$-'*!"#,*<."#*0*4"".*D0!E/."$%15*9,--*30-*'0E,%*.,-,0.!3*1"%,*D(*"'3,.-* 0%1*,I420&%,1*3":*&'*.,20',1*'"*'3,&.*.,-,0.!35*630'*9,--*30-*<"$%1*<."#*'3,*.,-,0.!3* &-*'30'*0.'&-'-*bD".%*&%'"*4";,.'()*'3,*1,-&.,*<".*:,02'3*D,!"#,-*0*#".,*-$.;&;02&-'* form of consumerism, and artists often connect the disadvantages of their formative (,0.-*'"*'3,&.*1,-&.,*'"*/,'*.&!3*'3."$/3*-$!!,--*&%*'3,*#$-&!*D$-&%,--c*XG&!E,(*9,--)* KCC`)*4/5*`AY5*>."#*'3&-*4,.-4,!'&;,*&'*&-*-4,!$20',1*'30'*"%,*.,0-"%*3&4B3"4*0.'&-'-* 4$.-$,*:,02'3*&-*D,!0$-,*'3,(*0--"!&0',*:,02'3*:&'3*-$!!,--5*O,!"#&%/*-$!!,--<$2* !"#4,%-0',-*<".*'3,*0.'&-'-*4.,;&"$-*,I4,.&,%!,-*:&'3*4";,.'(5* 8%*'3,*0%02(-&-*"<*=<.&!0%B=#,.&!0%-*0%1*4";,.'(*&'*!0%*D,*-,,%*'30'*<0!'".-* such as poverty, family structure, community violence, child welfare, and education 0<<,!'*&%!"#,*2,;,25*=<.&!0%*=#,.&!0%-*<0!,*4";,.'(*D,!0$-,*'3,(*0.,*%"'*4.";&1,1* Ag*****************8#3"',4*J"$.%02 '3,*%,!,--0.(*.,-"$.!,-*&%*".1,.*'"*-$!!,,15*N3&-*0.'&!2,M-*4,.-4,!'&;,*:0-*"%,*'30'* 2""E,1*0'*'3,*D0!E/."$%1*"<*0*4,.-"%M-*2&<,*0%1*<"$%1*"$'**:3(*'3,(*/.":*$4*0%1*2&;,* "$'*'3,*!&.!$#-'0%!,-*'3,(*1"5*8'*&-*<"$%1*'30'*4,"42,*:3"*/.":*$4*&%*4";,.'(*0%1*'3,* !$2'$.,*0--"!&0',1*:&'3*&')b*;&,:*.04*-'0.-)*:&'3*b'3$/c*#,%'02&'&,-)**0-*'3,&.*3,.",-*0%1* D,2&''2,*'3,&.*!"22,0/$,-*:3"*:".E*30.1*'"*0!3&,;,*0!01,#&!*-$!!,--*X?"7&,BO0''2,)* KCCK)*4/*dY5*T";,.'(*&-*0<<,!'&%/*0%*=<.&!0%*f=#,.&!0%M-*!$2'$.,*0%1*!.,0'&%/*0*2&<,B -'(2,r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a universal form of music that creates a strong sense of community to all African- Americans; this is seen as hip-hop music spreads the same message of poverty, violence 0%1*.0!&-#*'3."$/3"$'*'3,*:".215*9&4B3"4*&-*".'0%'*'"*'3,*=<.&!0%*!$2'$.,*D,!0$-,* &'* 30-* '3,.04,$'&!* !040D&2&'&,-)* &-* !040D2,* "<* -4.,01&%/* $%&;,.-02* '3,#,-* 0!."--* '3,* world, creates a sense of community, empowerment, and inspiration among Africans, 0%1*/&;,-*=<.&!0%B=#,.&!0%-*-"#,'3&%/*'"*.,20',*'"5 Methods 63,%*.,-,0.!3&%/*'3,*'"4&!*"<*'3,*'.0%-&'&"%*<."#*4";,.'(*'"*:,02'3*'3,.,* :,.,*#0%(*#,'3"1-*$-,1*&%*".1,.*'"*H%1*'3,*#"-'*H''&%/*-"%/-5*63,%*.,-,0.!3&%/* '3,*'"4&!*'3,*#0&%*/,%.,*"<*#$-&!*$-,1*:0-*3&4*3"4*&%*'3,*<".#*"<*.045*N3&-*/,%.,* 0%1*'(4,*"<*#$-&!*&-*1,H%,1*D(*&'-*2(.&!02*"./0%&70'&"%-*"<*:".1*.3('3#5*8'*&-*"<',%* -0&1*'30'*.04*&-*b'3,*4",'.(*"<*'3,*("$'3*:3"*0.,*"<',%*1&-.,/0.1,1*0-*0*.,-$2'*"<*'3,&.* .0!,*0%1*!20--*-'0'$-c*X=10#-*l*>$22,.)*KCC`)*4/5*RdgY5*N3&-*#,0%-*'30'*.04*#$-&!*&-* 0*<".#*"<*,I4.,--&"%*$-,1*D(*'3"-,*&%*0.,0-*"<*4";,.'(*0%1*0-*0*:0(*'"*&1,%'&<(*:&'3* 0*40.'&!$20.*.0!,5*8%*".1,.*'"*H%1*'3,*-"%/-*D,-'*-$&',1*'"*,I4.,--*'3,*#,--0/,*"<*'3,* '.0%-&'&"%*<."#*4";,.'(*'"*:,02'3*'3,*H.-'*-',4*'0E,%*:0-*'"*.,-,0.!3*0.'&-'-*'30'*30;,* ,I4,.&,%!,1*0*2&<,*"<*4";,.'(*0%1*0.,*%":*:,02'3(5*N3&-*:0-*1"%,*&%*0*;0.&,'(*"<* :0(-5*^%,*#,'3"1*:0-*-,0.!3&%/*"%*'3,*&%',.%,'*10'0*D0-,)*b^.&/&%02*9&4*9"4*V(.&!-* =.!3&;,c*<".*'3,*:".1-*.,20'&%/*'"*4";,.'()*0-*:,22*0-*-,0.!3&%/*"%*bO&22D"0.1-c*<".* 4"4$20.*-"%/-*'30'*301*2(.&!-*.,20'&%/*'"*4";,.'(5*8'*:0-*".'0%'*'"*2""E*<".*0.'&-'-* '30'*30;,*,I4,.&,%!,1*0*2&<,*"<*4";,.'(*&%*".1,.*<".*'3,*.,-,0.!3*"<*'3&-*'"4&!*'"*D,* '3"."$/35**=*;0.&,'(*"<*0.'&-'-*!0#,*$4*-$!3*0-*J5*S"2,)*k0%(,*6,-')*=@=T*?"!E()* =!,*9""1*0%1*#0%(*#".,5*N3,-,*0.'&-'-*!"#,*<."#*0*D0!E/."$%1*"<*4";,.'(*:3&!3* &-*1,H%,1*0-*)*b@"!&"!$2'$.02*'3,".&,-*"<*4";,.'(*30;,*<"!$-,1*"%*4,"42,*0%1*,I420&%* 4";,.'(* 0-* 4.&%!&4022(* '3,* .,-$2'* "<* D,30;&".02)* 4-(!3"2"/&!02)* 0%1* !$2'$.02* '.0&'-* 0#"%/*'3,*4"".*'3,#-,2;,-cXV0:-"%*l**J0."-7)*KCAC)*4/*`a`Y5*^%!,**'3,*0.'&-'-*301* D,,%*,-'0D2&-3,1*'3,*%,I'*-',4*:0-*'"*-,0.!3*<".*'3,-,*0.'&-'-*&%*'3,*b^.&/&%02*9&4*9"4* KC*****************8#3"',4*J"$.%02 V(.&!*=.!3&;,c*0%1*H%1*"$'*:30'*-"%/-*'3,(*30;,*4,.<".#,15*^%!,*'3,*0.'&-'-M*-"%/-* 30;,*D,,%*<"$%1*'3,*%,I'*-',4*:0-*'"*/"*'3."$/3*'3,*-"%/-*'30'*'3,(*30;,*:.&'',%*0%1* .,01*'3,*2(.&!-*'"*2""E*<".*-"%/-*.,20'&%/*'"*4";,.'(5*N3,*-"%/-*<"$%1*1,-!.&D,1*,&'3,.* the artists struggle to the top, the struggle of their lives during poverty, the challenges they had to overcome during poverty, or their life of wealth coming from a life of 4";,.'(5*N3,*-"%/-*#$-'*D,*<"$%1*&%*0*:0(*'30'*&-*%"'*D&0-,1*&%*".1,.*'"*4.";&1,*'3,* #"-'*0!!$.0',*&%<".#0'&"%5 Theme One: Individual Struggle N3,*>&.-'*'3,#,*<"$%1*:3&2,*.,-,0.!3&%/*'3,*'"4&!*"<*b'.0%-&'&"%*<."#*4";,.'(* '"*:,02'3c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uotes: @"%/*u$"',*^%,m*XUI3&D&'*e*J0(*U2,!'."%&!0*eUI3&D&'*SY “When I was sleepin’ on the train Sleepin’ on Meserole Ave out in the rain Without even a single slice of pizza to my name Too proud to beg for change mastering the pain” @"%/*u$"',*N:"m*X>$%*6&'3*F$#De*F$#D<"$%1,01e**=.,*:,*N3,.,*i,'vY N.0%-&'&"%-*<."#*T";,.'(*****************KA “Look at what I worked for, everything I built When I really think about it, it be giving me the chills Cause I’m eating off my music and I’m paying all my bills I think I made it y’all, I don’t need a f*ckin’ deal” @"%/*u$"',*N3.,,m*X=#D&'&"%e602,*X<,0'5*G,,E*G&22-*0%1*?&!E*?"--Ye*** * =#D&'&"%Y “Uh, only hope I had was selling dope !"#$%&$'($)*+&,$-".#/$0+'/#$1/*/$2"*,/*$02"&$"$-/33"*$4%%*5 Claim N3,*S20&#*'30'*!0%*D,*#01,*<."#*'3,*-"%/-*4.";&1,1*&-*'30'*'3,*'3,#,*"<* &%1&;&1$02&-#*-3":-*'30'*'3,*0.'&-'-*&%*'3,-,*-"%/-*30;,*-'.$//2,1*<."#*'3,*D"''"#*0%1* made their way to the top, however this struggle was one that was overcome without 0%(*3,245*N3,*#,%*&%*'3,-,*-"%/-*0.,*;,.(*4."$1*&%1&;&1$02-)*'3,(*-"$/3'*3,24*<."#* %"*"%,*0%1*#01,*'3,&.*":%*<".'$%,5*?0'3,.*'3,%*'$.%*'"*!"##$%&'(*".*<0#&2(*'3,-,* &%1&;&1$02-*-'.$//2,1*0%1*.,0!3,1*-$!!,--*"%*'3,&.*":%5*N3,*0.'&-'M-*/"02*"<*D,!"#&%/* :,02'3(*:0-*1"%,*<".*'3,&.*":%*D,%,H'*0%1*%"'*<".*'3,*D,%,H'*"<*'3,*!"##$%&'(5*N3&-* is a more European centered way of thinking, in which the individual must overcome -'.$//2,-*:&'3"$'*'3,*3,24*"<*'3,*!"##$%&'(*&%*".1,.*'"*D,*4."$1*0%1*&%1,4,%1,%'5* 8%1&;&1$02&-#*&-*%"'*-,,%*0-*40.'*"<*'3,*=<.&!0%*6".21;&,:*D,!0$-,*&'*-'.0(-*<."#*'3,* '.01&'&"%02*D,2&,<*'30'*'3,*!"##$%&'(*#$-'*D,*4$'*0D";,*0%*&%1&;&1$02M-*%,,1-5*N3&-* '3,#,*&-*".'0%'*D,!0$-,*&'*-3":-*'3,*&%1&;&1$02&-'&!*;&,:*"<*0!3&,;&%/*-$!!,--*0%1* 3":*#0%(*=<.&!0%*=#,.&!0%-*30;,*D,!"#,*'""*4."$1*'"*'$.%*'"*'3,*!"##$%&'(*<".* 3,24*D,!0$-,*'3,(*0.,*0D2,*'"*0!3&,;,*"%*'3,&.*":%5 Theme Two: Communalism N3,*'3,#,*"<*!"##$%02&-#*0%1*3":*&'*.,20',-*'"*b'3,*'.0%-&'&"%*<."#*4";,.'(* to wealth’ is seen as the individuals who have overcome poverty and then they .,0!3,1*"$'*'"*'3,&.*!"##$%&'(*".*<0#&2(5*N3,*'3,#,*"<*!"##$%02&-#*.,+,!'-*'3,* 22 Imhotep Journal =<.&!0%*D,2&,<*'30'*<0#&2(*-3"$21*D,*'3,*4.&".&'(*0D";,*0%*&%1&;&1$02M-*%,,1-5*N3"-,* &%1&;&1$02-*:3"*0.,*0D2,*'"*"D'0&%*-$!!,--*'3."$/3*#"%,(*&%*'3,*#$-&!*&%1$-'.(*.,+,!'* '3,*&1,02*"<*!"##$%02&-#*0-*'3,(*#0E,*/&;&%/*D0!E*'"*'3,&.*!"##$%&'(*'3,&.*4.&".&'(* 0%1*-,,E*-$!!,--*<".*'3,*D,%,H'*"<*'3,*!"##$%&'(5*8'*&-*D,2&,;,1*'30'*'3,*#0&%*4$.4"-,* <".*-$!!,,1&%/*&-*'"*/&;,*D0!E*'"*"%,M-*<0#&2(5*N3,*!"##$%02&-'&!*0-4,!'*"<*.04*#$-&!* shows that artists are grateful for those who were in their life during poverty and now '30'*'3,*0.'&-'*&-*%"*2"%/*4"".*'3,(*D,2&,;,*'30'*'3,&.*4"".*!"$%',.40.'-*-3"$21*%"*2"%/,.* D,*4"".*0-*:,225*N3,-,*0.'&-'-*:&-3*'"*-30.,*'3,*:,02'3*D,!0$-,*'3,&.*!"##$%&'(*&-* ".'0%'*'"*'3,#5*63,%*'3&-*&-*1"%,*'3,*&%1&;&1$02*-30.,-*'3,&.*-$!!,--*0%1*-$!!,--* &-*%"'*1"%,*<".*,/"'&-'&!02*.,0-"%-5 Quotes: Song Quote One: ( Blood, Sweat & Tears./ Ace Hood/ Hustle Hard) “Out here tryna get it, each and every way Mama need a house, baby need some shoes Times are getting hard, guess what I’ma do” Song Quote Two: (Firewater/Tha Alkaholiks/Poverty’s Paradise) “And when you do make it big give back to the hood So when you gotta go back it’s still to the good Stay loyal to your people, show ‘em that you care Cause in the end you know they be right there, just remember that” @"%/*u$"',*N3.,,m*XV&<,*=<',.*F,0'3e*\"'".&"$-*O585P5e*N3,*@E(M-*'3,*V&#&'Y “If the game shakes me or breaks me I hope it makes me a better man Take a better stand N.0%-&'&"%-*<."#*T";,.'(*****************Kd Put money in my mom’s hand Get my daughter this college plan so she don’t need no man Stay far from timid Only make moves when your heart’s in it And live the phrase ‘sky’s the limit’” Claim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heme Three: Racial Identity in Hip Hop Lyrics (Determination) N3,* '3,#,* "<* 1,',.#&%0'&"%* &-* .,+,!',1* &%* '3,* '.0%-&'&"%* <."#* 4";,.'(* '"*:,02'3*D,!0$-,*&'*-3":-*'30'*"%,*#$-'*D,*1,',.#&%,1*0%1*#"'&;0',1*&%*".1,.*'"* 0!!"#42&-3*'3,&.*/"025*N3&-*:0(*"<*'3&%E&%/*&-*%"'*&%1&;&1$02&-'&!*D,!0$-,*&'*1",-*%"'* 4."#"',*'3,*-,2<*";,.*'3,*!"##$%&'()*%".*1",-*&'*4."#"',*!"#4,'&'&;,%,--5*8'*&-*0* '3,#,*'30'*1&.,!'2(*-3":-*3":*0.'&-'-*'.0%-&'&"%*<."#*4";,.'(*'"*:,02'35*8'*-3":-*'3,* inner motivation and mind set of the artists who have had to start out in poverty and :".E*'3,&.*:0(*'"*-$!!,--5*N3,-,*0.'&-'-*:3"*30;,*0*4"-&'&;,*.0!&02*&1,%'&'(*30;,*3&/3* -,2 D,!0$-,*'3,(*0.,*!040D2,*"<*1"&%/*0%('3&%/*'3,(*:0%'*'"5*=*-'."%/*0--"!&0'&"%*:&'3* .0!&02*&1,%'&'(*/&;,-*=<.&!0%*=#,.&!0%-*'3,*!"%H1,%!,*0%1*-'."%/*#,%'02&'(*'"*D,*0D2,* '"*,%;&-&"%*0*1.,0#*0%1*30;,*'3,*-'.,%/'3*'"*"D'0&%*&'5 Quotes: @"%/*u$"',*^%,m*X=#D&'&"%e602,e\"*F0(-*^< @"%/*u$"',*N:"m*X@,!'&"%*gCe*k,%1.&!E*V0#0.e*T",*G0%-*F.,0#-Y “You gotta get up off your ass and get it, man Thats the only way your pockets gonna expand, I Tell you everyday, you know what i’m talkin about Apply yourself to supply your wealth, only Limitations you’ll ever have are those you 63"-/$.7%&$(%.*#/389$-2.*-2$+#$,/:&+0/3($%& The move, you know what i’m talkin about Exercise your ism and don’t depend on no one Else, cathedral, chuch. Ism`” Song Quote Three: (Firewater/Tha Alkaholiks/Poverty’s Paradise) “I know what it feels like to wake up broke And face another day wit’cha back against the ropes And I also know how to survive the struggle When shit gets tough you gotta up your hustle Set some new goals, raise your selfesteem Transitions from Poverty 25 Don’t let nothin intervene or get in between If you gotta push weight, keep your money clean” Claim N3,* !20&#* '30'* !0%* D,* #01,* <."#* '3,* -"%/-* <"$%1* $%1,.* '3,* '3,#,* "<* determination is that in order to succeed African Americans must have a strong racial &1,%'&'(5*=*-'."%/*.0!&02*&1,%'&'(*&-*.,[$&.,1*D,!0$-,*&'*/&;,-*'3,#*'3,*!"%H1,%!,*'"*$4* .&-,*<."#*0*D0!E/."$%1*"<*4";,.'(*0%1*D.,0E'3."$/3*'30'*"44.,--&;,*,%;&."%#,%'5*8'* &-*1& Conclusion N.0%-&'&"%&%/*<."#*4";,.'(*'"*:,02'3*&-*0*1& ':"*.,20',*D,!0$-,*'3,*'3,#,*"<*!"##$%02&-#*<"$%1*&%*.04B#$-&!*&-*02-"*<"$%1*&%*'3,* -'$1(*f*'3,(*0.,*D"'3*$-&%/*.04*0-*0*#,0%-*"<*/&;&%/*D0!E*'"*'3,*!"##$%&'(5* N3,* '3,#,* "<* &%1&;&1$02&-#* &-* -,,%* &%* 0* -'$1(* 1"%,* D(* 9,--* XKCC`Yr* &'* &-* D,2&,;,1*'30'*=<.&!0%*=#,.&!0%-*<,,2*0*%,,1*'"*!"#4,%-0',*<".*'3,&.*D0!E/."$%1*"<* 4";,.'(*D(*-$!!,,1&%/*&%*'3,*#$-&!*&%1$-'.(5*N3&-*&-*0*'3,#,*!"##"%2(*-,,%*&%*.04* #$-&!*D,!0$-,*#0%(*"<*'3,*0.'&-'-*.04*0D"$'*D,&%/*'""*4."$1*'"*0-E*<".*3,24*D,!0$-,* '3,(*:0%',1*'"*b#0E,*&'*D&/c*"%*'3,&.*":%5*?0!&02*&1,%'&'(*&-*0%*".'0%'*'"4&!*0-* !&',1*&%*'3,*.,-,0.!3*4.,;&"$-2(*1"%,*D(*?"7&,BO0''2,*XKCCKYr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that their dreams can come true, and how their individual determination is the reason <".*'3,&.*-$!!,--5*?04*#$-&!*&-*'.,#,%1"$-2(*".'0%'*'"*'3,*O20!E*!"##$%&'(*B* ,-4,!&022(*'3"-,*<0!&%/*4";,.'(*B*D,!0$-,*&'*/&;,-*'3,#*&%-4&.0'&"%*E%":&%/*'30'*'3,* %":*:,02'3(*.044,.-*:,.,*"%!,*&%*'3,&.*4"-&'&"%5 Works Cited P.,#)*F5*U5*XKCC`Y5*N3,*-"$'3*/"'*-"#,'3&%/*'"*-0(m*='20%'0M-*1&.'(**** * -"$'3*0%1*'3,*-"$'3,.%&70'&"%*"<*3&4B3"4*=#,.&!05*Southern Cultures5*AKXZY)*aaB_d5 9,--)*G5*XKCC`Y5*>."#*D.&!E-*'"*D&22D"0.1-m*9&4B3"4*0$'"D&"/.043(5**** Mosaic: A Journal For The Interdisciplinary Study Of Literature)*dRXAY)*`AB__5 Transitions from Poverty 27 V0:-"%)*Q5)*J0."-7)*V5)*l*O"%1-)*=5*XKCACY5*=.'&!$20'&"%-*"<*420!,)*4";,.'()*0%1*** race: Dumping grounds and unseen grounds in the rural * =#,.&!0%*\".'3:,-'5*Annals Of The Association Of American Geographers, ACCXdY)*`aaB`__5 ^2-"%BG!O.&1,)*V5)*l*T0/,)*N5*>5*XKCAKY5*@"%/*'"*-,2 ?"7&,BO0''2,)*J5*V5*XKCCKY5*=<.&!0%*=#,.&!0%*("$'3*&%*'3,*\,:***** * G&22,%%&$#m*=%*^;,.;&,:5*Journal of Health & Social Policy, AaXKY)*ABAK5 ?$1"243)*J5*XKCAAY5*T&1&,."%*S0!0"*V0'&%&101*0%1*O20!E*&1,%'&'(*&%*'3,**** * .,//0,'"%*"<*F"%*^#0.5*Centro Journal, KdXAY)*dCB**** * ad5 @&##"%-)*?5)*l*S30;&-)*O5*XKCC`Y5*=*3&4B3"4*-02$',*'"*S".,''0*@!"''**** * k&%/m*S"%'&%$&%/*'3,*-'.$//2,*<".*<.,,1"#)*L$-'&!,***** * 0%1*,[$02&'(5*New York Amsterdam News, Ad5 N,..&*=10#-)*G5)*l*F"$/20-*>$22,.)*O5*XKCC`Y5*N3,*:".1-*30;,*!30%/,1**** * D$'*'3,*&1,"2"/(*.,#0&%-*'3,*-0#,m*G&-"/(%&-'&!*2(.&!-*&%*.04**** music, Journal of Black Studies)*d`X`Y)*RdgBRa_ Appendix A5*********=#D&'&"%B*602,*X<,0'5*G,,E*G&22-*0%1*?&!E*?"--Y K5*********\"*F0(-*"< Z5*********9"$-'"%*^21*9,01B*=@=T*?"!E( a5*********P,'*T0&1B*S$..,%w(*X>,0'5*N.01,#0.E*0%1*i"$%/*?"11(Y `5*********V&/3'*-4,,1B**P.&,;,- _5*********S0%**8*2&;,B*J5*S"2, g5*********UI3&D&'*S*f*J0(*U2,!'."%&!0 R5*********9""1*P"%,*V";,*8'B*J0(*?"!E*X<,0'5*k,%1.&!E*V0#0.Y AC5*******P""1*V&<,B*k0%(,*6,-' AA5*******9"#,!"#&%/B*k0%(,*6,-' AK5*******P.":&%/*T0&%B*V$10!.&- Ad5*******V0./,*=#"$%'-B*V$10!.&- AZ5*******P"21*60'!3B*V$4,*>&0-!" Aa5*******@'.,,'*F.,0#X?,#&IYB*\0- A`5*******N3,*@E(M-*'3,*V&#&'B*\"'".&"$-*O585P A_5*******T",*G0%-*F.,0#-B*k,%1.&!E*V0#0. Ag5*******]4*&%*'3,*=&.B*F$#D<"$%1,01 AR5*******=.,*:,*'3,.,*(,'B*F$#D<"$%1,01 KC5*******N30*=2E03"2&E-*B*T";,.'(M-*T0.01&-,m 29 Religion and Spirituality in Hip Hop Lyrics By Bria Grant 9&4*9"4*&-*0*#$-&!*/,%.,*'30'*-'0',1*&%*&%%,.*!&'(*\,:*i".E*&%*'3,*AR_C-5* @&%!,*'3,%*&'*30-*,I42"1,1*&%'"*0*:".21:&1,*43,%"#,%"%5*9&4*9"4*&-*0*#,0%-*"<* !"##$%&!0'&"%* 0%1* 0%* 0.'* <".#5* 9":,;,.)* ,;,%* #".,* :&1,2(* .,!"/%&7,1* &-* '3,* -$D!$2'$.,*'30'*3&4*3"4*#$-&!*30-*!.,0',15*N3,.,*&-*0*<0-3&"%*-'(2,)*0*10%!,*-'(2,)* ,;,%*0*2&<,-'(2,*'30'*&-*0--"!&0',1*:&'3*3&4*3"45*N3,*4,"42,*:3"*!"%'.&D$',*/.,0'2(* '"*'3,*/.":'3*"<*'3&-*#$-&!*0.,*'3,*0.'&-'-5*6&1,2(*.,!"/%&7,1*<".*D,&%/*0*4&"%,,.*"<* '3&-*#$-&!*/,%.,*&-*FJ*k""2*9,.!*XO0',()*KCAAY5*N"10(*4"4$20.*3&4*3"4*0.'&-'-*0.,* F.0E,)*602,)*0%1*i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�.&2(*'":0.1*."#0%'&!*40.'%,.-5* N3&-*4.,-,%'*.,-,0.!3*4."L,!'*:&22*2""E*&%'"*0*1&<<,.,%'*<".#*"<*2";,*D(*$-&%/*!"%',%'* analysis of hip hop lyrics to search for themes of platonic love for a higher spiritual 4":,.* &%* 0* ;0.&,'(* "<* 3&4* 3"4* 2(.&!-5* N3,* 4"4$20.&'(* 0%1* <"!$-* "%* '3,* '3,#,* "<* -,I$02&'()*."#0%'&!*2";,)*".*"'3,.*#0&%-'.,0#*3&4*3"4*.,<,.,%!,M-*#0E,*&'*1& ______Imhotep Journal)*Q"2$#,*R)*G0(*KCAK dC*****************8#3"',4*J"$.%02 0%1*'3$-*'3,*-4&.&'$02&'(*,I4.,--,1*&%*'3,*3&4*3"4*!"##$%&'(*0%1*'3,*,;,%*D."01,.* =<.&!0%*=#,.&!0%*!"##$%&'(5 Review of Existing Literature N3,*/.":'3*"<*'3,*!"%'.";,.-&02*-$DB/,%.,*!022,1*S3.&-'&0%*3&4*3"4*0%1*3":* 4,"42,* &%* '3,* O."%I)* \,:* i".E* 0.,* .,0!'&%/* '"* &'* &-* 1&-!$--,1* &%* 0%* 0.'&!2,* &%* '3,* O."%I* J"$.%025* k.(-'02* 6&2-"%* XKCAKY* &%',.;&,:-* 2"!02* !&'&7,%-* :3"* 0.,* &%;"2;,1* :&'3*S3.&-'&0%*3&4*3"45*9,.*.,-,0.!3*,I42".,-*'3,*#"'&;0'&"%*"<*-"#,*S3.&-'&0%*3&4* 3"4*0.'&-'-*2&E,*N3,*=#D0--01".)*N3,*N.$'3)*0%1*V,!.0,*X6&2-"%)*KCAKY5*bS3.&-'&0%* 0H!&"%01"-* $-,* &'* X3&4* 3"4Y* '"* ,I4.,--* '3,&.* 2";,* <".* J,-$-* S3.&-'* 0%1* P"1c* -0(-* 6&2-"%*XKCAK)*45AY5*N3&-*#$-&!*&-*,I4.,--&%/*2";,*<".*-"#,'3&%/*:3&!3*&-*%"'*"<',%* 1&-!$--,1*&%*#0&%-'.,0#*.04)*0*2";,*<".*0*3&/3,.*4":,.5*N3,*!"#D&%0'&"%*"<*3&4*3"4* 0%1*S3.&-'&0%&'(*.,20',-*'"*4,"42,*:3"*-30.,*&%*'3,*<0&'35*N3,(*!0%*D,*!"%%,!',1*'"* '3,-,*-"%/-*0%1*-30.,*&%*.,2&/&"$-*2";,5*F02&20*G"2&%0)*0*-'$1,%'*0'*V,3#0%*S"22,/,* &%*'3,*O."%I)*.$%-*0*S3.&-'&0%*3&4*3"4*.01&"*-'0'&"%5*=-*-3,*-'0',-)*bS3.&-'&0%*3&4*3"4* &-*0*.,&%',.4.,',1*;,.-&"%*"<*/"-4,25*8'M-*'3,*-0#,*#,--0/,*0-*/"-4,2*#$-&!*:&'3*0*3&4* 3"4*+0;".*'30'*&-*0''.0!'&%/*("$%/,.*4,"42,c*X6&2-"%)*KCAK)*45*AY5 O0.%,-*XKCCgY*,I42".,-*3":*'3,*=<.&!0%*=#,.&!0%*!"##$%&'(*0%1*'3,*3&4* 3"4* !"##$%&'(* ,;02$0',* .,2&/&"$-* 3&4* 3"4* #$-&!5* S3.&-'&0%* 3&4* 3"4)* 02-"* !022,1* holy hip hop or gospel rap, has increased in popularity throughout the last few years ,-4,!&022(*0#"%/*("$'35*S3.&-'&0%-*30;,*[$,-'&"%,1*'3&-*/,%.,-M*.,2&/&"$-*".*-4&.&'$02* 0$'3,%'&!&'(*XO0.%,-)*KCCgY5*N3,*#0',.&02&-#*0%1*-,I$02&'(*"<*#0&%-'.,0#*3&4*3"4* #0E,-*&'*30.1*'"*-,,*'3&-*/,%.,*#&I&%/*!"#<".'0D2(*:&'3*'3,*.,2&/&"$-*!"##$%&'(5* O0.%,-* XKCCgY* 02-"* -'0',-* '30'* -,!$20.* .04* ,%'3$-&0-'-* 30;,* [$,-'&"%,1* &'-* !$2'$.02* 0$'3,%'&!&'(5*@"#,*#0(*0./$,*'30'*1&-!$--&%/*-,%-&'&;,*'"4&!-*2&E,*.,2&/&"%*'0E,*0:0(* <."#*'3,*30.1!".,*0%1*/.&''(*<,,2*"<*3&4*3"45**N3,-,*':"*"4&%&"%-*#0E,*&'*1& Methods In this research content analysis was used to examine songs for themes of .,2&/&"%*0%1*2";,*<".*0*3&/3,.*-4&.&'$02*4":,.5*V""E&%/*<".*:0(-*.044,.-*1&-!$--*".* &%!".4".0',*0*3&/3,.*4":,.*&%*'3,.,*2(.&!-5*N:,%'(*H;,*-"%/-*:,.,*-,2,!',1*<."#*N3,* ^.&/&%02*9&4B9"4*V(.&!-*=.!3&;,5*=<',.*-,0.!3&%/*:&'3*'3,*E,(:".1*bP"1c)*H;,*-"%/-* :,.,*4&!E,1*X@,,*044,%1&I*=*@,!'&"%*AY5*U;,.(*"'3,.*-"%/*:0-*4&!E,1)*.,4,0'&%/*'3,* -0#,*0.'&-')*0%1*2""E&%/*<".*2(.&!-*'30'*301*-4&.&'$02*.,<,.,%!,-5*@"%/-*'30'*L$-'*#,.,2(* 301*'3,*:".1*P"1*&%*'3,#*:,.,*0;"&1,15*^%2(*-"%/-*'30'*1&-!$--,1*P"1*&%*0*-4&.&'$02* #0%%,.*:,.,*!3"-,%5*N3,*%,I'*-,0.!3*:0-*"%*'3,*E,(:".1*bJ,-$-c)*.,4,0'&%/*'3,*-0#,* 4."!,--*0%1*0..&;,1*:&'3*H;,*011&'&"%02*-"%/-*X@,,*044,%1&I*=*@,!'&"%*KY5*N3,*-0#,* -',4-*:,.,*!"%'&%$,1*:&'3*'3,*:".1-*b8-20#c)*b>0&'3c)*0%1*b6".-3&4c*0%1)*H;,*-"%/-* :,.,*4&!E,1*,0!3*:".1*X@,,*044,%1&I*=*@,!'&"%*d)*Z)*0%1*aY5**8-20#*:0-*!3"-,%*-"* '3,.,*!"$21*D,*0*;0.&,'(*"<*.,2&/&"%-5*=2-"*S3.&-'&0%&'(*0%1*8-20#*0.,*'3,*':"*20./,-'* .,2&/&"%-*&%*'3,*:".21*0%1*'3,(*30;,*-,;,.02*4"&%'-*"<*!"%'0!'*XS"#40.&-"%*S30.'m* S3.&-'&0%&'(*0%1*8-20#Y5*N3,.,*:,.,*0*:&1,*.0%/,*"<*.,-$2'-*<."#*#0&%-'.,0#*0.'&-'* 2&E,*aC*!,%')*'"*2,--*E%":*0.'&-'*2&E,*='#"-43,.,5 dK*****************8#3"',4*J"$.%02 Results Theme One: Religion vs. Society N3,* H.-'* '3,#,* 3&/32&/3'-* '3,* D0''2,* D,':,,%* -4&.&'$02&'(* 0%1* -"!&,'()* ':"* '3&%/-*'30'*#&/3'*0--$#,*1"%M'*#&I*:,22*'"/,'3,.5*N3,*<"22":&%/*'3.,,*-"%/*[$"',-* -'0',*'3.,,*-$D'"4&!-*&%!2$1&%/m*.0!&02*1&-!.,40%!()*-4&.&'$02&'(*&%*#0&%-'.,0#*#$-&!)* 0%1*.,2&/&"$-*',%-&"%*&%*4"2&'&!-5*N3,.,*0.,*_*"$'*"<*KC*-"%/-*'30'*30;,*'3&-*'3,#,* 4.,-,%'5 Quotes: Takin elder advice, read the Bible, the Koran Searched scrolls from the Hebrew Israelites Hold on, this ain’t right, Jesus wasn’t White (Common f/ CeeLo, G.O.D. #1) So here go my single dog radio needs this They say you can rap about anything except for Jesus That means guns, sex, lies, video tapes But if I talk about God my record won’t get played Huh? (Kanye West, Jesus Walks #6) The Question is not whether Islam can embrace Democracy, the question is, can democracy embrace Islam (The Brotherhood, Taking Charge #14) Claim In Common’s song he refutes the idea that Jesus Christ was of Anglo-Saxon 1,!,%'5*63(*30-*'3,*-"%*"<*P"1*D,,%*1,4&!',1*0-*63&',*'3."$/3"$'*3&-'".(v*N3&-* [$,-'&"%* !0%* D,* '&,1* &%* '3,* &%<0#"$-* #0-',.* .0!,* &1,0)* '3,* &1,0* '30'* 63&',-* 0.,* -"#,3":*#".,*-$4,.&".*'"*"'3,.*.0!,-5*8%*'3,*]%&',-*@'0',-*'3,*20./,-'*.0!&02*1&;&1,* ?,2&/&"%*0%1*@4&.&'$02&'(*****************dd !0%*D,*-,,%*D,':,,%*63&',*=#,.&!0%-*0%1*=<.&!0%0*=#,.&!0%-5*N3,*-,!"%1*[$"',* 1&-!$--,-*'3,*0!!,4'0%!,*&--$,-*:&'3*.,2&/&"%e-4&.&'$02&'(*0%1*#0&%-'.,0#*#$-&!)*#".,* -4,!&H!022(*.04*".*3&4*3"4*#$-&!5*N3,*20-'*[$"',*1&-!$--,-*0*#".,*4"2&'&!02*D0''2,)* D,':,,%*'3,*]%&',1*@'0',-*0%1*'3,*.,2&/&"$-*;&,:-*"<*8-20#5 Theme Two: Gods Love N3,*-,!"%1*'3,#,*<"$%1*:0-*'3,*!"%!,4'*"<*2";,*.,!,&;,1*<."#*P"15*N3,-,* 0.'&-'-*30;,*!"#42,',2(*1&<<,.,%'*'"%,-*0%1*-'(2,-5*N3,-,*-"%/-*-30.,*0*!"##"%*'3,#,* "<*P"1M-*2";,)*,&'3,.*<".*'3,#*0-*&%1&;&1$02-*".*<".*"'3,.-5*N3,.,*0.,*Z*"$'*"<*'3,*KC* -"%/-*'30'*H'*'3&-*'3,#,5 Quotes: “Our lives are the worst, on top of that, we broke That’s the main reason why God, love us the most (Nas, God Loves Us #2) Listen you can call me what you want, black and ugly But you can’t convince me the Lord don’t love me When my CD’s drop, they sell the best You call it luck, why can’t it just be I’m blessed (50 Cent, God Gave Me Style #4) See what we now know is nothing compared to the love that was shown when our lives were spared (Lauryn Hill, Tell Him #16) Claim N3&-*'3,#,*,I4.,--,-*0*<,,2&%/*"<*$%!"%1&'&"%02*,;,.20-'&%/*2";,5*=*E&%1*"<* b%"*#0'',.*:30'*3044,%-*3,*-'&22*2";,-*#,c*E&%1*"<*<,,2&%/5*>".*,I0#42,)*&%*'3,*P"1* V";,-*]-*-"%/)*\0-*-'0',-*b:,*D."E,*'30'M-*'3,*#0&%*.,0-"%*:3(*P"1*2";,-*$-*'3,* #"-'5c*9,*&-*.,<,..&%/*'"*'3,*4,"42,*&%*3&-*!"##$%&'(5*N3,.,*0.,*"<',%*-&'$0'&"%-*'30'* dZ*****************8#3"',4*J"$.%02 !"#,*:&'3*2&;&%/*&%*0%*";,.&-3,1*!"##$%&'(*'30'*0.,*!3022,%/&%/5*@"#,*"<*'3,-,* 4."D2,#-*!0%*30;,*0%*,<<,!'*"%*0*4,.-"%-*".*/."$4*"<*4,"42,M-*#&%1*-,'*".*:&22*4":,.5* 9":*!0%*"%,*D,2&,;,*&%*'3,*/""1%,--*"<*0*3&/3,.*4":,.*:3,%*"%,*&-*/"&%/*'3."$/3* !"%'&%$02* 30.1-3&4-v* 9":,;,.)* :&'3* ,;,.20-'&%/* 2";,* '3,(* 0.,* 0--$.,1* '30'* '3,.,* &-* 2&/3'*0'*'3,*,%1*"<*'3,*'$%%,2)*0*<,,2&%/*"<*02:0(-*D,&%/*2";,1*%"*#0'',.*:30'*!0%*/&;,* &%1&;&1$02-*&%*";,.&-3,1*!"##$%&'&,-*0*-,%-,*"<*3"4,5*N3,.,*&-*02-"*0*.,20'&"%*'"* '3,*.0!&02*',%-&"%*'30'*044,0.-*&%*#&%".&'(*-&'$0'&"%-5*8%*aC*!,%'M-*-"%/)*P"1*P0;,* G,*@'(2,)*3,*-'0',-)*b("$*!0%*!022*#,*:30'*("$*:0%')*O20!E*0%1*$/2(*D$'*("$*!0%M'* !"%;&%!,*#,*'3,*V".1*1"%M'*2";,*#,5c*N3&-*&-*-&#&20.*'"*'3,*!"##$%&'(*.,<,.,%!,-* &%*'3,*4.,;&"$-*'3,#,5*aC*!,%'*0--"!&0',-*D,&%/*O20!E*:&'3*-"#,'3&%/*2""E,1*1":%* $4"%*D(*"'3,.-r*'3,.,*0.,*4,"42,*:3"*1"%M'*2&E,*3&#*-*(*D,!0$-,*"<*3&-*,'3%&!&'(5* 9":,;,.)*!"%-&1,.&%/*'3&-)*3,*.,#0&%-*!"%H1,%'*&%*'3,*<0!'*'30'*P"1*2";,-*3*N3&-* theme of Gods unconditional love for people represents a sense of hope that Gods follower process, the idea is even more explicate in less fortunate communities or :&'3*/."$4-*"<*4,"42,*:3"*0.,*<".!,1*'"*1,02*:&'3*1&-!.&#&%0'&"%5*>".*,I0#42,)*'3,* African American impoverished community, which is whom some of the hip hop 0.'&-'*0.,*<"!$-&%/*"%*:3,%*'3,(*1&-!$--*'3&-*'3,#,*"<*P"1M-*2";,5 Theme Three: God as the Ultimate Leader This theme represents exactly what it states, God as a leader in the lives "<*'3,*4,"42,*'30'*D,2&,;,*&%*3*63,'3,.*&'*&-*/$&1&%/*'3,#*&%*0!'&;&'&,-*".*-*,* -,.;&%/*0-*0*-".'*"<*E&%/*H/$.,*&%*'3,&.*2&;,-)*P"1*&-*-,,%*0-*-"#,'3&%/*".*-"#,"%,* :3"*!0%*/$&1,*'3,#5*N3,.,*0.,*`*"$'*"<*KC*-"%/-*'30'*30;,*'3&-*'3,#,*4.,-,%'5* Quotes ;%,$+#&<0$:&+#2/,$1+02$'/$(/0 I feel his hand on my brain When I write rhymes I go blind and let the Lord do his, thang (2 pac, Ghetto Gospel #3) ioung Islamic brother, you with Christ, the world is cool ?,2&/&"%*0%1*@4&.&'$02&'(*****************da Do what, ever the Lord tells you, and the reward is good (Bone Thugs, Its Still Love #7) I was made to worship and adore you—enjoy you Put you on a pedestal and lay there before you The more you do work in me the more I can’t ignore you (The Ambassador, We Worship You #21) Claim This larger than life attitude that the artists express represents the larger !"##$%&'(M-*"4&%&"%*"<*P"15*90;&%/*0*2,01,.*4.";&1,-*0*-,%-,*"<*-,!$.&'(5*@"#,:30'* like how having a parent or guardian provides some type of security for a young !3&215*8<*"%,*30-*0*4,.-"%*".*-4&.&'*/$&1&%/*'3,#*'3."$/3"$'*2&<,*'3,(*2&;,*:&'3*2,--* <,0.)*&<*'3,.,*&-*0*#&-'0E,*#01,)*D,2&,;,.-*"<*P"1*2""E*'"*3&#*<".*0%-:,.*0%1*01;&!,5* =-*:,22*0-*:3,%*-"#,'3&%/*-$!!,--<$2*&-*0!!"#42&-3,1r*P"1*&-*4.0&-,1*0%1*'30%E,15* N3&-*&1,0*"<*P"1*0-*0*2,01,.*!0%*&%-'&22*0*'(4,*"<*!"%H1,%!,*&%*D,2&,;,.-5*N0E,)*<".* ,I0#42,)*[$"',*x_*'3,*0.'&-'*3&%'-*0'*'3,*%"'&"%*'30'*1"&%/*:30',;,.*P"1*-0(-*.,-$2'-*&%* 0*4"-&'&;,*"$'!"#,5*@"*&%1&;&1$02-*:3"*30;,*'3&-*D,2&,<*0%1*2&;,*'3,&.*2&;,-*0!!".1&%/2(* 0.,*2,--*0<.0&1*"<*'3,*<$'$.,5*N3,(*4"--,--*0*-".'*"<*D2&%1*"4'&#&-'&!*<0&'3*&%*P"1*0%1* '3$-*&%*'3,&.*1,-'&%(5*90;&%/*'3&-*"4&%&"%*.,4.,-,%'-*0*-'."%/*<0&'3*&%*P"1)*0-*0*3&/3,.* 4":,.)*0%1*3&-*0D&2&'&,-*'"*1"*'.0%-<".#&%/*'3&%/-*&%*'3,&.*2&;,-5*=%*,I0#42,*"<*'3&-*&-* &22$-'.0',1*&%*K*T0!M-*-"%/*P3,''"*P"-4,2*:3,.,*3,*-0(-)*b63,%*8*:.&',*.3(#,-*8*/"* D2&%1*0%1*2,'*'3,*V".1*1"*3&-)*'30%/5c*K*T0!*"D;&"$-2(*30-*'.$-'*&%*P"15*P"1*D,&%/*'3,* ultimate leader also means he has the most powerful of all leaders there is no one else 0D";,*3*N3&-*02#&/3'(*P"1*&-*4$'*"%*4,1,-'025*N3,-,*0.'&-'-*1,;"',*'3,&.*2&;,-*'"* 4.0&-&%/*0%1*:".-3&4&%/*3 Conclusion The present research project as stated earlier is the use of content analysis to d`*****************8#3"',4*J"$.%02 2""E*'3."$/3*Ka*3&4*3"4*-"%/*2(.&!-*&%*-,0.!3*"<*'3,#,-*"<*-4&.&'$02&'(5*=*:".1*-,0.!3* :0-*$-,1*'"*H%1*,0!3*-"%/5*N3,*:".1-*P"1)*J,-$-)*8-20#)*<0&'3*0%1)*:".-3&4)*-,'*'3,* !.&',.&0*"<*'3&-*.,-,0.!35*=<',.*0%*,I0#&%0'&"%*"<*'3,*2(.&!-*'3.,,)*#0&%*'3,#,-*:,.,* 4&!E,1*0%1*0%02(7,15*N3,-,*'3,#,-*:,.,*.,2&/&"%*;-5*-"!&,'()*P"1-*2";,)*0%1*P"1*0-* '3,*$2'�',*2,01,.5*N3,*H.-'*'3,#,*"<*.,2&/&"%*;-5*-"!&,'(*"$'2&%,-*'3,*1& Works Cited =%"%(#"$-5*XKCCZY5*S"#40.&-"%*!30.'m*S3.&-'&0%&'(*0%1*8-20#5*?,2&/&"$-*>0!'-5* O0',()*=5**XKCAAY5*=*3&-'".(*"<*#"1,.%*#$-&!m*T0.'*'3.,,m*9&4B3"4*0%1*?lOm*A5*** * FL*k""2*9,.!*FJ-*3&-*H.-'*D2"!E*40.'(5*i".E*60()*V"%1"%m**** * 3''4mee:::5/$0.1&0%5!"5$Ee5* O0.%,-)*@5*V5*XKCCgY5*?,2&/&"%*0%1*.04*#$-&!m*=%*0%02(-&-*"<*D20!E*!3$.!3*$-0/,5*** Review of religious research5*P02;0)*8Vm*?,2&/&"$-*?,-,0.!3*=--"!&0'&"%)*** 8%!5 O&22D"0.15*XKCAKY5*?lOe9&4*9"4*@"%/-5*:::5O&22D"0.15!"#5* 90..&-)*S5*@5*XKCACY5*Gods, God, & soul food: Young black spirituality in rap music5** * S".02*P0D2,-)*>Vm*T."u$,-'*F&--,.'0'&"%-*0%1*N3,-,-5 N3,*U!"%"#&-'5*XKCCRY5*V,'*%0'&"%-*-4,0E*4,0!,5*The Economist Newspaper Limited5 6&2-"%)*k5*XKCAKY5*S3.&-'&0%*3&4*3"4m*N3,*$%E%":%*/,%.,5*O."%I)*\im*N3,*O."%I** J"$.%025* Appendix @,!'&"%*A*P^F A5S"##"%* Section 2 JESUS `5k0%(,*6,-'*f*J,-$-*602E-* dg*****************8#3"',4*J"$.%02 _5O"%,*N3$/-*XO&77(*O"%,*l*V0(7&,*O"%,Y*B*8'M-*@'&22*V";, g5FS*'02E*f*J,-$-*<.,0E* R5k&2203*T.&,-'*f*O20!E*J,-$- AC5FGh*f*'30%E*("$*** @,!'&"%*d*8-20# AA5kB?&%"*B*>."#*'3,*9,0.' AK5N,!3*\R%,*f*k2$-',.<$E Ad5O.0%1*\$D&0%*B*60E,*]4*X?,4.&-,*&%*'3,*@$%-3&%,Y AZ5N3,*D."'3,.3""1*B*N0E&%/*S30./,** Aa5*\,<,.'&'&B*G,!!0*'"*60''- Section 4 Faith A`5V0$.(%*9&22*f*N,22*9&# A_5@!0.<0!,*f*<0&'3 Ag5@"%%(*@,,70* @,!'&"%*a*6".-3&4* KA5N3,*=#D0--01".*f*6,*:".-3&4*("$ KK5FJ*G$//-*;-5*T20%,'*=-&0* Brotherhood in Hip Hop Lyrics By Jimmy Commins Themes in Music are found in every aspect of life; whether they are love, -01%,--)* 2&<,)* 1,0'3* ".* D."'3,.3""15* G$-&!* 022":-* 4,"42,* '"* <,,2* !"%%,!',1* '"* '3,* :".21)* 0%1* D.&%/-* '3,#* '"/,'3,.* '3."$/3* -&#&20.* &%',.,-'-* 0%1* &1,0-5* 9&4B3"4* 0%1* .04*30;,*0*$%&[$,*3,.&'0/,*'30'*1&-'&%/$&-3,-*&'*<."#*"'3,.*/,%.,-*"<*#$-&!5*9&4B3"4* :0-*1,.&;,1*<."#*"'3,.*/,%.,-*&%*'3,*AR_CM-*2&E,*L077)*1&-!")*0%1*/"-4,2)*:3&!3*:,.,* 4.�.&2(*"<*=<.&!0%*=#,.&!0%*&%+$,%!,*X^:0.,)*KCACY5*@&%!,*9&4B3"4*0%1*.04*!0#,* from the African oral tradition, most of the music in this genre relates to the African =#,.&!0%*,I4,.&,%!,5*N3,*&%+$,%!,*3":,;,.*1&1*%"'*-'0(*&%*'3,*=<.&!0%*=#,.&!0%* !"##$%&'(r*&'*-4.,01*'"*"'3,.*4,"42,*0%1*022":,1*<".*0*D,'',.*$%1,.-'0%1&%/*"<*'3,* =<.&!0%*=#,.&!0%*!$2'$.,5*G0%(*"<*'3,*'3,#,-*1&-!$--,1*0."$%1*=<.&!0%*!$2'$.,*0%1* "%'"2"/(*<,-',.*&%*'3,*2(.&!-*"<*.04*-"%/-5*=*42,'3".0*"<*0.'&-'-*022":*'3,*2&-',%,.*'"*3,0.* #0%(*1&<<,.,%'*"$'2""E-*"%*0*!$2'$.,*'3,(*#&/3'*E%":*%"'3&%/*0D"$'5*^%,*".'0%'* value common among hip-hop that is deeply rooted in traditional African culture &-*!"22,!'&;&-#)*".*D."'3,.3""15*@&%!,*'3,*,0.2&,-'*=<.&!0%*!&;&2&70'&"%-)*!"22,!'&;&-#* 30-*D,,%*3&/32(*;02$,1*D(*#,#D,.-*"<*'30'*-"!&,'(*&%*".1,.*'"*D,*-$!!,--<$2*0-*0* 4"4$20'&"%* XN(2,.)* V";,* 0%1* O.":%)* KCACY5* N"10(* '3&-* ;02$,* &-* -'&22* ;,.(* 4.,-,%')* '3"$/3*&'*&-*#".,*!"##"%2(*.,<,..,1*'"*0-*D."'3,.3""15*^%,*.,0-"%*'30'*D."'3,.3""1* has remained an important part of African American culture today comes from the 3&-'".(*"<*"44.,--&"%*'3,(*,%1$.,1*0-*:,22*0-*4"-'*-20;,.(*'"*'3&-*10(5*N3,(*!"#,* '"/,'3,.*'"*-$44".'*,0!3*"'3,.*0%1*"<<,.*!"#<".'*'"*"'3,.-*&%*1& ______Imhotep Journal)*Q"2$#,*R)*G0(*KCAK ZC*****************8#3"',4*J"$.%02 Review of Existing Literature ]%<".'$%0',2(* '3,.,* 30-* D,,%* 2&''2,* .,-,0.!3* 1"%,* -4,!&H!022(* "%* =<.&!0%* =#,.&!0%*D."'3,.3""1*&%*/,%,.02*0%1*&%*3&4*3"4*&%*40.'&!$20.5*G"-'*0.'&!2,-*<."#* -!3"20.2(*L"$.%02-*<"!$-*"%*.,2&/&"%*0-*'3,*4.�.(*.,0-"%*<".*D."'3,.3""1)*:3,'3,.* &'*&-*S3.&-'&0%&'(*".*8-20#5*N3"$/3*=<.&!0%-*0.,*#".,*2&E,2(*'"*D,*.,2&/&"$-*0-*0*.,-$2'* "<* =<.&!0%* !"##$%02&-#)* '3&-* &-* %"'* '3,* 4.�.(* ".* -"2,* .,0-"%* <".* D."'3,.3""1* &%*=<.&!0%-5*G0'3,:*^:0.,-M*0.'&!2,*,%'&'2,1*Brotherly Love: Homo-sociality and Black Masculinity in Gangsta Rap Music)* 011.,--,-* '3,* '3,#,* "<* D."'3,.3""1* &%* 3&4B3"4*#$-&!*:&'3*.,2,;0%!,5*^:0.,*1,H%,-*b3"#"B-"!&02&'(c*0-*&%1&;&1$02-*"<*'3,* -0#,*-,I*,I3&D&'&%/*-'."%/*-"!&02*D"%1-*'":0.1*"%,*0%"'3,.*&%*0*%"%B-,I$02*#0%".* XT0(%,*KCC`Y5*N3&-*&-*,--,%'&022(*-(%"%(#"$-*:&'3*'3,*',.#*D."'3,.3""1*&%*'3&-*-'$1(5* ^.:0.,*'0E,-*'3,*'&#,*'"*!2,0.2(*&1,%'&<(*'3,*4.,1"#&%0%'*0-4,!'-*0%1*'3,#,-*'30'* 0.,*#"-'*!"##"%2(*0--"!&0',1*:&'3*4"4$20.*.04*#$-&!)*-$!3*0-*3"#"43"D&0)*3(4,.B #0-!$2&%&'()*0%1*#&-"/(%(5*N3,-,*0--"!&0'&"%-*$%<".'$%0',2(*1,4&!'*3&4B3"4*#$-&!)*0-* :,22*0-*=<.&!0%*=#,.&!0%*#,%)*;,.(*%,/0'&;,2(5*O."'3,.3""1)*".*b3"#"B-"!&02&'(c)*&-*0* 4"-&'&;,*0-4,!')*:3&!3*&-*4.,-,%'*&%*3&4B3"4*D$'*1",-*%"'*.,!,&;,*'3,*-0#,*0'',%'&"%5*8'-* goal is to see past the usual depiction of African American rappers as hardened, hyper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ince many of the hip-hop artists grew up in a low socio-economic positions, when they have come upon success and wealth they express the desire to share that feeling 0%1*#"%,(*:&'3*'3,&.*!2"-,-'*<.&,%1-5*^.:0.,*1",-*0*/""1*L"D*"<*&1,%'&<(&%/*D."'3,.2(* aspects of hip-hop culture and clearly indicates the validity of his points through 2(.&!02* ,I0#42,-5* ^%,* :0(* 3,* !"$21* 30;,* 4.";&1,1* #".,* &%<".#0'&"%* !"%!,.%&%/* Brotherhood in Hip Hop Lyrics ZA '3,*<".#0'&"%*"<*'3,-,*#02,*D"%1-*:"$21*30;,*D,,%*'"*,I420&%*3":*'3,(*".&/&%022(* !0#,*&%'"*D,&%/*0%1*:3(*'3,(*0.,*-"*.,-&2&,%'5*i0--,.*=.0<0'*T0(%,M-*0.'&!2,*,%'&'2,1* Gangster and a Gentleman 1",-*,I42".,*:3,.,*'3,-,*D"%1-*0.&-,5*9&-*:".E*<"!$-,-* "%*'3,*$%1,.-'0%1&%/*"<*#0-!$2&%&'(*"<*=<.&!0%*=#,.&!0%*#,%*0-*0*.,-$2'*"<*b-'.,,'* 2&<,5c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ethods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r*#(*3"#&,-r*#(*1"/-*X1"/-e10:/-Yr*#(*%&//0-r*0%1*#(* 40.'%,.-5*>."#*'3,*0--,--#,%'*"<*'3,-,*2(.&!-*!,.'0&%*'3,#,-*D,/0%*'"*,#,./,*:3,%* 0%*0.'&-'*:0-*!"#4,22,1*'"*'02E*0D"$'*D."'3,.3""15 42 Imhotep Journal Results Theme: Brotherhood through Death @&I*"$'*"<*':,%'(B,&/3'*-"%/-*.,<,.,%!,1*D."'3,.3""1*'3"$/3*1,0'35**F,0'3* &-*0*;,.(*!"##"%*'3,#,*'3."$/3"$'*#0%(*"<*'3,-,*-"%/-5*N3,.,*0.,*#0%(*1&<<,.,%'* :0(-*'30'*0.'&-'-*'02E*0D"$'*1,0'3*022*1,-&/%,1*'"*!"%%,!'*'3,*0$1&,%!,*'"*'3,*0.'&-'5* The artist is using the fact that death is present in all lives to connect the audience and !.,0',*0*<".#*"<*D."'3,.3""1*'3."$/3*-30.,1*,#"'&"%-*0%1*2&<,-'(2,-5*N3,*<"22":&%/* 0.,*,I0#42,-*"<*'3&-*'3,#,5 Quotes: b@"#,D"1(*'""E*#(*D"(*<."#*#,e*#(*D,-'*<.&,%1-*/"%,)*0%1*8M#*-"*022* 02"%,e*8*.,022(*#&--*#(*3"#&,-e*,;,%*'3"$/3*'3,(*/"%,*0:0(e*8*E%":*("$* &%*0*D,'',.*420!,e*0%1*8*3"4,*'"*-,,*("$*-""%*-"#,10(c*G0-',.*T*<,0'5*T* C, Silkk and the Shocker, I MISS MY HOMIES b@"#,10(*8M#*/"%%0*D,*:02E&%*1":%*'3,*-'.,,'-e*#&%1&%*#(*":%*D$-&%,--555* 0%1*O=Gyye*8M#*/"%M*D,*-3"'*D(*-"#,*4&/*:3"M-*/"%%0*@6U=?e*'30'*&'* :0-*0*#&-'0E,5*8*0!!,4'*'30'*0-*0*40.'*"<*#(*1,-'&%(5c*6$*'0%/*!20%*<,0'5* \0-) LET MY NIGGAS LIVE b8#0/&%,*'3&-)*#,*1.,--,1*&%*022*D20!Ee*0'*0*<$%,.02*-'.044,1*:&'3*0*!3."#,* /0')*:3"*1&,1*T)*8*/$,--*&'*:0-*#(*3"#&,)*D20!Ee*-"#,D"1(*."22,1*$4*0%1* -3"'*3&#*&%*'3,*D0!E)*&'*:0-*-01e*#(*3"#&,*'""E*0*10#%*<022c*@&2EE*<,0'5* C-Murder, Master P, MY HOMIE Claim 8%*'3,*H.-'*-"%/)*'3,*'3,#,*"<*1,0'3*&-*;,.(*4.,;02,%'5*N3,*$-,*"<*'3,*:".1-* b02"%,*0%1*b#&--c*,I4.,--*'3,*#0/%&'$1,*"<*'3,*0.'&-'-*<,,2&%/-5*N3,*$-,*"<*<,,2&%/-*&%* this song allows the artist to connect to his listeners through the potential for shared Brotherhood in Hip Hop Lyrics Zd ,#"'&"%-5*8'*&-*%"'*"%2(*0*:0(*<".*'3,*0.'&-'*'"*;,%')*D$'*#".,*".'0%'2(*0:0(*<".* the artist to help the listener with similar experiences, understand that they are not 02"%,5*N3,*<0!'*'30'*#0%(*30;,*2"-'*4,"42,*!2"-,*'"*'3,#*!0%*<".#*0*D."'3,.3""1*"<* &'-*":%5*N3&-*-"%/*&-*%"'*"%2(*0D"$'*'3,*1,0'3*"<*-"#,"%,*!2"-,*D$'*&'*&-*02-"*0*-"%/*"<* D."'3,.3""15*N3,*$-,*"<*'3,*:".1-*b3"#&,-c*0%1*b<.&,%1-c*-3":*0*1,,4*.,20'&"%-3&4* '30'*'3,*0.'&-'*301*:&'3*'3,*;&!'&#-5 N3,*%,I'*[$"',*4.";&1,-*0*#$!3*1&<<,.,%'*2""E*"%*1,0'35*N3&-*&-*'3,*1,0'3* "<*'3,*0.'&-'*3&#-,2<5*N3&-*0.'&-'*E%":-*'30'*"%,*10(*3,*&-*/"&%/*'"*1&,*0%1*0!!,4'-* &'*'3."$/3*'3,*$-,*"<*'3,*:".1*b1,-'&%(5c*N3&-*[$"',*&22$-'.0',-*3":*1,0'3*&-*40.'*"<* ,;,.(10(*2&<,*<".*#0%(*"<*'3,*4,"42,*&%*'3,*.04*0%1*3&4B3"4*!$2'$.,5*N3&-*,I4.,--&"%* D(*'3,*0.'&-'*!"%;,(-*'"*3&-*0$1&,%!,*'30'*3,*E%":-)*0-*:,22*0-*'3,#)*'30'*2&<,*&-*/"&%/* '"*,%1*0%1*4"--&D2(*1,0'3*!"$21*!"#,*4.,#0'$.,2(5*\"'*"%2(*&-*'3,*0.'&-'*$-&%/*3&-* own death as a way to connect people through the idea of death, he is also using a !"##"%*'3.,0'*'"*'3,*!$2'$.,*D(*'3,*$-,*"<*'3,*:".1*b4&/5c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b!3."#,*/0'c*'"* '3,*<$%,.025*9,*$-,-*'3,*�/,*"<*D,&%/*-3"'*&%*'3,*D0!E*:&'3*'3,*�/,*"<*3&#-,2<* D.&%/&%/*0*/$%*'"*-3":*'30'*1,0'3*&-*:0&'&%/*<".*("$*:3,'3,.*("$*0.,*.,01(*".*%"'5*N3&-* &1,0*"<*<,0.*D.&%/-*4,"42,*'"/,'3,.*0%1*022":-*'3,#*'"*044.,!&0',*<.&,%1-)*0%1*!"%-&1,.* '3,#*0-*-"#,"%,*:3"*:0'!3,-*";,.*'3,#5 !"#$#(%450/"#5"002%/"5067"%890'0$-9%:-*+96,/; @,;,%* "$'* "<* ':,%'(B,&/3'* -"%/-* .,<,.,%!,* D."'3,.3""1* '3."$/3* ,!"%"#&!* 1& 0%"'3,.*:0(*0%*0.'&-'*!"%%,!'-*'"*'3,&.*0$1&,%!,*0%1*!.,0',-*0*-,%-,*"<*D."'3,.3""1* '3."$/3*0*-30.,1*,I4,.&,%!,5 Quotes: b=%1* '3,* /3,''"* 0&%M'* %"* L"E,e* !0$-,* ,;,.(* #"'3,.<$!E&%/* 10(* 0%"'3,.* %&//0* /,'-* -#"E,155555e* O$'* (M022* %&//0-* 2""E* 0'* 0* %&//0* 3$-'2&%/* 2&E,* &'-* <$%%(e*D$'*&*/"'*'"*<,,1*'3,*<0#&2(c*G0-',.*T)*NEVER ENDING GAME b8*:0-*'"21*&'M-*022*2";,e*D$'*:3,.,M-*'3,*2";,*:3,%*8*%,,1*&'e*902<*'3,-,* %&//0-*8*#,,')*0.,*1&-/$-',1*0%1*/.,,1(e*302<*'3,-,*%&//0-*0.,*:,0E)*0%1* ,I4,!'&%/*0*<.,,D&,e*N30'M-*:3(*8*/.&%1*1"/)*&'-*<".*#(*":%*/""15c*V&2M* Head, YOU MY DOG RIGHT b8M#*'.(%0*-3":*2";,*D$'*4,"42,*'0E,*'3,*D01*0%1*4.";"E,e*&<*8*/&;,*'3&-* D$#*0*1"220.*:&22*3,*,0'*&'*".*-#"E,*&'v*kB?&%")*DOIN’ BAD Claim N3,*$-,*"<*,!"%"#&!*1& 022*0D"$'*3*=22*"<*'3,*b/.,,1(c*4,"42,*'30'*-$.."$%1*3&#*0.,*-*(*!3022,%/,-* '30'*3,*30-*'"*";,.!"#,*&%*".1,.*'"*'0E,*!0.,*"<*3&#-,2<5*N3&-*#&/3'*%"'*-,,#*2&E,* 0%*&1,0*"<*D."'3,.3""1*D$'*0*1,,4,.*,I0#&%0'&"%*-3,1-*2&/3'*"%*&'5*N3,*"%2(*:0(*'"* 30;,*'3,*0D&2&'(*'"*4.";&1,*<".*'3"-,*("$*!0.,*0D"$'*&-*D(*4$''&%/*("$.-,2<*&%*0*-'0D2,* ,!"%"#&!*4"-&'&"%5*N3,*&1,0*"<*D,'',.&%/*("$.-,2<*:&'3"$'*'3,*%,,1*'"*.,2(*"%*"'3,.-* &-*0*;,.(*-'."%/*&1,0*'30'*!0%*!"%%,!'*4,"42,5*8'*&-*0*!"##"%*/"02*'30'*#0%(*0.,* '.(&%/*'"*/0&%*0%1*'3&-*-"%/*&-*1,-!.&D&%/*3":*'30'*!0%*3044,%5*i"$*30;,*'"*b/.&%1c* '"*#0E,*&'*<".*("$.-,2<5*N3&-*-3":-*'30'*'3,*0.'&-'*:0%'-*4,"42,*'"*#0E,*&'5*9,*:0%'-*0* !"22,!'&;,*/."$4*"<*4,"42,*'"*.&-,*<."#*:3,.,*'3,(*0.,5*i"$*!0%M'*b,I4,!'*0*<.,,D&,c*&<* ("$*0.,*/"&%/*'"*1"*-"#,'3&%/*<".*("$.*b":%*/""15c*i"$*30;,*'"*:".E*<".*:30'*("$* :0%'5*N3."$/3*'30'*&1,0*'3,*0.'&-'*&-*!"%%,!'&%/*0*/."$4*"<*4,"42,*:3"*:&-3*'"*D,'',.* '3,#-,2;,-5* N3,* 20-'* -"%/* "<<,.-* 0%"'3,.* 1&<<,.,%'* ;&,:* "%* ,!"%"#&!* 1& Brotherhood through Devotion \&%,* "$'* "<* ':,%'(B,&/3'* -"%/-* .,<,.,%!,* D."'3,.3""1* '3."$/3* 1,;"'&"%5** Devotion is the knowledge that no matter what the situation is; certain people will 3,24*("$*"$'5*N3,.,*&-*%"*,%1*'"*3":*#0%(*1&<<,.,%'*:0(-*0*4,.-"%*!0%*-3":*1,;"'&"%5* 8'*&-*'3,*0D&2&'(*'"*'.$-'*-"#,"%,*<$22(*0%1*30;,*%"*1"$D'*'30'*%"*#0'',.*:30'*("$*!0%* 1,4,%1*"%*'30'*4,.-"%5*N3&-*&-*,I,#42&H,1*&%*'3,*<"22":&%/*,I0#42,-5* bi")*8*-,%1*'3&-*'"*022*#(*F^Pe*N"*#(*.,02*%&//07*'30'*0.,*'.$,*F^Pe* 46 Imhotep Journal \&//07*:3"*:&22*D$-'*/$%-*<".*'3,(*F^Pe*\&//07*:3"*:&22*-4&'*"%,*<".* '3,(*F^Pc*?,1#0%)*D.O.G.S b6"$21*("$*'0E,*0*D$22,'*<".*("$.*3"#&,e*8*/"'*'.$-'*$4*&%*#(-,2<*!0$-,* #"-'*'3,-,*<""2-*0.,*2&;&%/*43"%(5c*N.$*<*<,0'5*O&/*,1)*WOULD YOU TAKE A BULLET FOR YOUR HOMIE b8<*8*1&,1)*:"$21*("$*!.(e*\,,1)*6"$21*("$*4.";&1,e*&<*8*/"'*D,,<*:"$21* ("$*D,*-[$,,7&%*-&1,*D(*-&1,e*&<*8*<0!,*'&#,)*:"$21*("$*/&;,*#,*0*420!,*'"* 3&1,e*:"$21*("$*-%0E,*#,*<".*404,.)*2""E*&%*#(*,(,-c*S".#,/0)*R U MY NIGGA? Claim N3,*&1,0*"<*1,;"'&"%*0%1*D."'3,.3""1*/"*30%1*&%*30%1)*,-4,!&022(*&%*'3,*2(.&!-* "<*.04*0%1*3&4*3"45*>."#*4,"42,*D0!E&%/*("$*$4*%"*#0'',.*:30')*'"*4,"42,*!0.&%/*0D"$'* :3,'3,.*".*%"'*("$*0.,*1,01*1,;"'&"%*&-*,;,.(:3,.,*&%*'3,-,*2(.&!-5*8%*'3,*-"%/*D.O.G.S ?,1#0%*!"%%,!'-*1,;"'&"%*'"*;&"2,%!,5*8%*3&-*,(,-*'.$,*1,;"'&"%*0%1*D."'3,.3""1*&-* D."$/3'*"%*D(*'3,*0!'*"<*;&"2,%!,*'30'*0*bF^Pc*:&22*1"*<".*("$5*N3&-*&-*0*;,.(*1,,4* 1,;"'&"%*D,!0$-,*&'*&-*0-E&%/*<".)*4"--&D2()*("$.*2&<,*'"*<,,2*!"%%,!',1*'"*-"#,"%,5*8<* a person will kill for you they automatically have gained a sense of trust and family '&,-*'"*("$5*N3&-*&1,0*&-*<$.'3,.*,I42".,1*D(*'3,*-"%/*Would you take a bullet for your homie5*8%*'3&-*-"%/)*'3,*0.'&-'*&-%M'*0-E&%/*<".*0*<.&,%1*'"*!"##&'*;&"2,%!,*<".*'3,#)* &%-',01*3,*0-E&%/*&<*'3,*4,.-"%*:&22*-$..,%1,.*'3,&.*":%*2&<,*'"*-0;,*3&-5*N3&-*&-*02-"* !"%%,!',1*'"*;&"2,%!,*D$'*&%*0*1&<<,.,%'*:0(5*N3,*1,;"'&"%*/",-*40-'*'3,*0!'*"<*E&22&%/* 0%1*&-*#01,*,;,%*-'."%/,.*D(*'3,*0!'*"<*1(&%/5*8<*("$*0.,*%"'*0*b43"%(c*<.&,%1*("$* :&22*4$'*("$.-,2<*0'*.&-E*"<*1(&%/*<".*("$.*<.&,%1-*0%1*'30'*&-*0*D."'3,.3""1*'30'*2&;,-* <".,;,.5*8<*0*<.&,%1*:&22*1&,*<".*("$*:30'*#".,*1"*("$*%,,1*'"*-,,*'3,*'.$,*D."'3,.3""1* '30'*30-*D,,%*!.,0',15*8%*'3,*-"%/*R U my nigga, Cromega uses a different approach '"*1,;"'&"%5*=2'3"$/3*'3&-*&1,0*1",-*&%;"2;,*;&"2,%!,*-&#&20.*'"*'3,*"'3,.*':"*&'*&-* %"'*&'-*!,%'.02*'3,#,5*N3,*!,%'.02*'3,#,*"<*'3&-*-"%/*&-*'3,*E%":2,1/,*'30'*%"*#0'',.* Brotherhood in Hip Hop Lyrics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onclusion =<',.*0%02(7&%/*3&4B3"4*2(.&!-*'30'*.,20',*'"*D."'3,.3""1)*&'*30-*D,!"#,*!2,0.* '30'*&'*.,#0&%-*<".,<."%'*&%*=<.&!0%*=#,.&!0%*;02$,-5*O."'3,.3""1*&-*4.,;02,%'*$%1,.* 0* %$#D,.* "<* 1&<<,.,%'* !&.!$#-'0%!,-5* F,0'3* &-* 0* ;,.(* 4":,.<$2* ,I4,.&,%!,)* :3&!3* !0%* D.&%/* 4,"42,* !2"-,.* 0%1* -'.,%/'3,%* '3,* '&,-* "<* D."'3,.3""15* 8'* #0E,-* 4,"42,* .,02&7,*:30'*'3,(*30;,*!"$21*D,*/"%,*&%*0*-,!"%1*0%1*'"*044.,!&0',*'3"-,*:3"*0.,* -'&22*0."$%15*@&%!,*b'3,*/3,''")c*0-*#0%(*0.'&-'-*30;,*.,<,..,1*'"*'3,*%,&/3D".3""1-* &%*:3&!3*'3,(*30;,*/.":%*$4*!0%*D,*10%/,."$-)*&'*&-*".'0%'*'"*30;,*4,"42,*:3"* :0'!3*"$'*<".*,0!3*"'3,.)*-"2&1&<(&%/*'3,*".'0%!,*"<*D."'3,.3""15*G"-'*"<*'3,*0.'&-'* :3"*2(.&!-*:,.,*,I0#&%,1*'02E*0D"$'*!"#&%/*<."#*0*2":*,!"%"#&!*4"-&'&"%*&%'"*0* ;,.(*!"#<".'0D2,*"%,5*8'*&-*'(4&!022(*'3,*1,-&.,*'"*-30.,*'3,*1.0#0'&!*.";,#,%'* of economic standing with those whom the artist feels tightly connected with as 0*.,-$2'*"<*=<.&!0%*D."'3,.3""15*@&%!,*'3,(*'3,#-,2;,-*30;,*!"#,*<."#*0*1& ";,.2""E,1*<".*'3,*&22,/02*".*;&"2,%'*0-4,!'-5*O."'3,.3""1*30-*D,,%*!,%'.022(*.""',1*&%* O20!E*-"!&,'(*<".*3$%1.,1-*"<*(,0.-*0%1*:&22*!"%'&%$,*'"*D,*4.,1"#&%0%'*<0!,'*"<*'3,* =<.&!0%*=#,.&!0%*,I4,.&,%!,5 Appendix # Artist A* N?]* KZ* 6$BN0%/*S20% 25 Cormega 26 Snoop Dogg K_* i"$%/*n,, 28 Lil’ Head Works Cited ^:0.,)*G5*XKCACY5*O."'3,.2(*2";,r*3"#"-"!&02&'(*0%1*D20!E*#0-!$2&%&'(*&%*/0%/-'0** * ?045*Springer Science and Business Media)*KKBdd5 T0(%,)*i5*=5*XKCC`Y5*b=*/0%/-',.*0%1*0*/,%'2,#0%c5*City University of New York, 08XCdY)*KggBKR_5 @#&'3,.#0%)*P5*XARR_Y5*S"##$%&!0'&;,*4.0!'&!,-*&%*'3,*3&4B3"4*%0'&"%5*The Journal of Black Studies, 28XAY)*dBKa5 N(2,.)*k5)*V";,)*k5)*O.":%)*N5)*l*?"0%BO,22,)*S5*XKCACY5*V&%E&%/*!"##$%02&-#*'"** * 0!3&,;,#,%'*<".*D20!E*0%1*:3&',*$%1,./.01$0',-5*International Journal of Teaching and Learning in Higher Education, 22XAY)*KdBdA aC*****************8#3"',4*J"$.%02 African American Interdependence and Collectivism in Political Hip Hop By Patrick Tuck N3,*=<.&!0%*!$2'$.,*0%1*'3"-,*D,2"%/&%/*'"*&'-*0%!,-'.(*30;,*0*',%1,%!(*'"* 30;,*!"22,!'&;&-'&!*&1,02-*0%1*044."0!3,-*'":0.1-*-"!&02*4."D2,#-*0%1*$%1,.-'0%1&%/-* XS0.-"%)* KCCRY5* 8%',.1,4,%1,%!,)* :3&!3* &-* 0440.,%'* &%* '3,* D,30;&".-* "<* =<.&!0%* =#,.&!0%-)*&-*1,.&;,1*<."#*6,-'*=<.&!0%*!$2'$.,*X9$%',.*l*J"-,43)*KCACY5*b=#"%/-'* =<.&!0%*4,"42,-)*0*!"22,!'&;&-'&!*:".21;&,:*3,24,1*'"*,%-$.,*'3,*-$.;&;02*"<*'3,*'.&D,* 0%1* :0-* !30.0!',.&7,1* D(* .,-4"%-&D&2&'(* <".* "'3,.-)* 0%1* 4."',!',1* #,#D,.-* <."#* 02&,%0'&"%* 0%1* 2"%,2&%,--c* XS0.-"%)* KCCR)* 45dKgY5* N3,* !"##"%02&'&,-* D,':,,%* '3,* African and African American worldviews are indicators that Black psychology has a !"##"%*/."$%1*'30'*&-*%"'*%,!,--0.&2(*/,"/.043&!025*6&'3*'3&-*E%":2,1/,)*0%02(7&%/* the African culture’s most fervent addition to American culture for indications of interdependence and collectivistic ideals should yield results telling of African =#,.&!0%* !$2'$.,5* b=<.&!0%* =#,.&!0%* #$-&!)* 10%!,)* 0%1* -'(2,)* 0'* '3,* ,4&!,%',.* "<* =#,.&!0%*!$2'$.,)*0.,*%"'*"%2(*40.'*"<*'3&-*',!3%"2"/(B#,1&0',1*/2"D02*("$'3*!$2'$.,)* D$'* 0.,* 0D-"2$',2(* ,--,%'&02* '"* &'c* X^-$#0.,)* KCCA)* 45A_AY5* 9&4* 3"4* &-* !"##"%2(* .,<,..,1*'"*0-*bD20!E*#$-&!c*D(*D"'3*20(4,.-"%*0%1*.,-,0.!3,.-*02&E,*X^-$#0.,)*KCCRr* @3"%,E0%)*KCAAY5*N3&-*.,-,0.!3*,I42".,-*0%1*3&/32&/3'-*'3,*-"!&02*&%',.1,4,%1,%'*0%1* !"22,!'&;&-'&!* .,+,!'&"%-* "<* 4"2&'&!02* 3&4* 3"4* #$-&!* ;&0* !"%',%'* 0%02(-&-* "<* 3&4* 3"4* 2(.&!-5*P&;,%*'30'*O20!E*#$-&!*0%1*=<.&!0%*!$2'$.,*0.,*-"*'&/3'2(*&%',.!"%%,!',1)*'3,* H%1&%/-*"<<,.*.,-,0.!3,.-*0*1&<<,.,%'*4,.-4,!'&;,*"%*'3,*!"%%,!'&"%*D,':,,%*=<.&!0%* 0%1*=<.&!0%*=#,.&!0%*!"22,!'&;&-'&!*&1,02-5 Review of Existing Literature T,.304-*'3,*#"-'*%"'0D2,*.,-,0.!3,.*"%*'3&-*'"4&!)*902&<$*^-$#0.,*XKCCAY)* ______Imhotep Journal)*Q"2$#,*R)*G0(*KCAK African American Interdependence aA 30-*1"%,*,I',%-&;,*.,-,0.!3*"%*'3,*!$2'$.02)*4-(!3"2"/&!02)*0%1*/2"D02*(!'*"<*3&4* 3"45*^-$#0.,M-*bO,0'*@'.,,'-*&%*'3,*P2"D02*9""1m*S"%%,!'&;,*G0./&%02&'&,-*"<*'3,* 9&4*9"4*P2"D,c*&-*'3,*#"-'*.,2,;0%'*'"*'3,*.,-,0.!3*"<*!"22,!'&;&-#*&%*3&4*3"45*8%* 3,.* .,-,0.!3)* ^-$#0.,* XKCCAY* ,;02$0',1* -,40.0',* -'$1&,-* "<* 3&4* 3"4* &%* 40.'&!$20.* cultures as well as hip hop music from around the world in hopes to connect the 1&<<,.,%'*/,"/.043&!02*.,/&"%-*D(*H%1&%/*'3,*-&#&20.&'&,-*&%*3&4*3"4*<0%-*0%1*0.'&-'-5* b9&4*3"4M-*!"%%,!'&;,*#0./&%02&'&,-o0.,*-"!&02*.,-"%0%!,-*D,':,,%*O20!E*,I4.,--&;,* !$2'$.,*:&'3&%*&'-*!"%',I'$02*4"2&'&!02*3&-'".(*0%1*-&#&20.*1(%0#&!-*&%*"'3,.*%0'&"%-c* X^-$#0.,)*KCCA)*45A_KY5*^-$#0.,*XKCCAY*#0E,-*0*4"&%'*'30')*:3&2,*.,-,0.!3&%/*:".21* 3&4*3"4)*&'*b&-*%"'*1& ='20%'&!c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ethods N3&-*.,-,0.!3*:&22*0%02(7,*4"2&'&!02*3&4*3"4*2(.&!-*-4,!&H!022(*D,!0$-,*"<*&'-* .,4$'0'&"%*0-*'3,*#"-'*,I4.,--&;,*"<*=<.&!0%*=#,.&!0%*!$2'$.02*-'0%10.1-*0%1*2&<,5*N3,* 4"2&'&!02*3&4*3"4*/,%,.,*&-*1,H%,1*0-*3&4*3"4*0.'&-'-*"<',%*&%-4&.,1*D(*s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esults Theme One: Interdependence as a Negative Contradictory to what this research originally proposed, many political hip- 3"4*2(.&!-*.,<,.*'"*&%',.1,4,%1,%!,*0-*0*%,/0'&;,*0-4,!'*"<*2&<,5*=*'"'02*"<*d)*"$'*"<*'3,* KC*-"%/-*0%02(7,1)*301*-30.,1*'3&-*'3,#,5*N3,*<"22":&%/*2(.&!-*.,+,!'*'30'*.,2(&%/*"%* "'3,.-*',%1-*'"*D,*$%.,2&0D2,*".*%"'*D,%,H!&02*'"*"%,M-*-&'$0'&"%*:3,'3,.*&'*&-*0*-&'$0'&"%* African American Interdependence ad "<*4";,.'(*".*<,0.*"<*;&"2,%!,5**N3&-*-,%'&#,%'*-*,I4.,--,1*&%*'3,*<"22":&%/*[$"',-m bS0$-,*&%-&1,*'3,*L$%/2,)*,&'3,.*("$*1"*".*("$*1&,ei"$*/"'*'"*D,*0:0.,)*("$* /"'*'"*30;,*'3,*L$%/2,*,(,eN0E,*&'*<."#*0*D."'3,.*:3"*E%":-*#(*<.&,%1e N3,*0%-)*'3,*!0%%&D02-*:&22*1"*("$*&%c*XJ$%/2,*O."'3,.-)*@'.0&/3'*^$'* '3,*J$%/2,)*@"%/*xKY5 O".%*'"*',..".&7,*-&-',.-*0%1*,;,.(*D."'3,.W^%,*2";,*:3"*-0&1*&')*8*E%":* 63"1&%&* -0%/* &'WO$'* '3,* 30',.* '0$/3'* 30',* '30'M-*:3(* :,* /0%/* D0%/* &'W O,:0.,*"<*'3,*30%1*:3,%*&'M-*!"#&%M*<."#*'3,*2,<'W8*0&%M'*'.&44&%)*L$-'*:0'!3* #,*-',4WS0%M'*'.$--*&'c*XT$D2&!*U%,#()*S0%M'*N.$--*8')*@"%/*xaY5 b&'M-*0*10#%*-30#,)*s!0$-,*'3,(*<".#*'3,*40!EW"<*'3"-,*:3"*.,4.,-,%'*#(* -4"')* (,'* '3,(* 20!EW'3,* -E&22* '"* /,'* .0:* :&'3* :".1-* 0%1* !"21* -3""'* s,#W -'$!E*&%*'3,*40-')*4$''&%M*.04-*'"*0*1.$#*!"#4$',.W%"'*,;,%*:"..&,1*'30'*'3,* -"%/-*%"'*0D2,WM!0$-,*'3,(*/"'*L$&!,*0%1*3""E*$4-*0'*D&/*20D,2-W%"*$%&[$,B %,--)*%"*/"02-*".*1.,0#-W%"*!.,0'&;&'(M-*,I0!'2(*3":*&'*-,,#-c*X>.,,-'(2,* >,22":-3&4)*@$%-3&%,*G,%)*@"%/*xAaY5 Claim Each song refers to interdependence whether with association to society, their !"##$%&'()*".*<,22":*.044,.-*0-*0*%,/0'&;,*0-4,!'*"<*'3,&.*2&;,-5*N3&-*.,-,0.!3*-$//,-'-* that even though the rappers are speaking of interdependence in a negative light, the 2(.&!-*1"*%"'*.,+,!'*'3,#,-*"<*&%1&;&1$02&-#5*=-*-,,%*&%*'3,*2(.&!-)*&%1&;&1$02&-#*&-*%"'* %,!,--0.&2(*.,/0.1,1*0-*0*-"2$'&"%*'"*'3,*4."D2,#-*'30'*&%',.1,4,%1,%!,*D.&%/-*0D"$'5* Perhaps interdependence is so deeply rooted in the African culture that individualism &-*%"'*0*4,.-"%02*"4'&"%5**9":,;,.)*,0!3*-"%/*30-**&!0'&"%-*"<*'.$'3*-0(&%/*&%*:3&!3* '3,*.044,.*,I420&%-*'30'*'3,(*0.,*'.(&%/*'"*3,24*'3,*2&-',%,.5 54 Imhotep Journal Theme Two: Individualism as a Negative 63&2,*'3,*#0&%*4"&%'*"<*'3&-*.,-,0.!3*:0-*'"*H%1*'3,#,-*"<*!"22,!'&;&-#*0%1* interdependence as a positive aspect within political hip-hop lyrics, there are many 3&4B3"4*-"%/-*'30'*4."#"',*'3,-,*'3,#,-*D(*,;02$0'&%/*&%1&;&1$02&-#*0-*0*%,/0'&;,5* =*'"'02*"<*d)*"$'*"<*'3,*KC*0%02(7,1)*-30.,1*'3&-*'3,#,5*N3,*<"22":&%/*2(.&!-*4".'.0(* '3"-,*:3"*1"*%"'*:"..(*0D"$'*'3,*!"22,!'&;,*:3"2,*0-*'3,*,%,#(5**N3&-*-,%'&#,%'*&-* ,I4.,--*&%*D(*'3,*<"22":&%/*[$"',-m bi"$*0&%M'*&%*'"*&')*022*("$*:0%'*&-*4."H'e@"*8*0-E*("$*42,0-,*'"*-'"4*&'eV,0;,* #,*02"%,)*/,'*"<<*#(*D"%,eS0$-,*8M#*1"&%/*#(*":%oc*XJ$%/2,*O."'3,.-)* F"&%M*^$.*^:%*F0%/)*@"%/*xAY5 bS?=@9)*@G=@9)*1"%M'*0-EW:3,%*'3,*%,/0'&;,*1&-.$4'-*'3,*!20--W9":* #$!3*2"%/,.v**P,'*-'."%/,.WN3,*D0''2,*&-*/,''&%/*2"%/,.W6".21)*4,0!,)*".* :".21*'02EWF"*:,*.$%v**^.*1"*:,*:02Ev**XS9=?PUYW8<*("$*:0%'*:".21* 4,0!,)*'0E,*&'WS0$-,*0*2"'*"<*"$.*2,01,.-*>=kU*8N*X<.0$1YW8'M-*-&#&20.*'"* =.#0/,11"%c*Xk?@B^%,)*6".21*T,0!,)*@"%/*xAgY5 bN3,* 4":,.* "<* :".1-)* 1"%M'* '0E,* &'* <".* /.0%',1W:3,%* ("$* 3,0.* 0* #0%* .0%'&%/WF"%M'*L$-'*.,01*'3,*2&4-)*D,*#".,*-$D2&#,*'30%*'3&-WT$'*,;,.('3&%/* &%*!"%',I')*&-*'3&-*0*'02,*"<*."$/3*L$-'&!,W&%*0*20%1*:3,.,*'3,.,M-*%"*L$-'&!,*0'* 022vW63"*&-*.,022(*'3,*;&!'&#v*^.*0.,*:,*022*'3,*!0$-,)*0%1*;&!'&#*"<*&'*022vc* XN3,*F&-4"-0D2,*9,.",-*"<*9&43"4.&-()*V0%/$0/,*"<*Q&"2,%!,)*@"%/*xARY5 Claim 6&'3&%*'3&-*-,'*"<*2(.&!-)*&%1&;&1$02&-#*&-*-'.$!E*1":%*0-*0*%,/0'&;,*0-4,!'* "<*=<.&!0%*2&<,*0%1*'3,*!0$-,*"<*40&%*0%1*-$<<,.&%/)*".*,;,%*0%*b=.#0/,11"%5c*O(* proposing that individualism is the cause of these negative parts of society, these rappers are implying dissatisfaction with capitalist society and those who are very African American Interdependence 55 <"!$-,1*"%*'3,&.*":%*%,,1-5*U0!3*-"%/**&,-*'3,*&1,02*"<*40(&%/*0'',%'&"%*'"*,0!3* "'3,.M-*%,,1-*&%-',01*"<*<"!$-&%/*"%*"%,-,2<5 Theme Three: Shift Towards Collectivism to Better Future The most prevalent theme out of the set of political hip-hop lyrics analyzed :0-*'3,*2(.&!02*-$//,-'&"%*<".*0*-3&<'*'":0.1-*!"22,!'&;&-#*'"*D,'',.*'3,*<$'$.,5*=*'"'02* "<*`)*"$'*"<*'3,*KC*0%02(7,1)*-30.,1*'3&-*'3,#,5*N3,*<"22":&%/*2(.&!-*1,02*:&'3*:".E&%/* '"/,'3,.*'"*#0E,*0*!30%/,*<".*'3,*D,'',.*".*'"*!0.,*<".*"'3,.-*&%*".1,.*'"*D,'',.*"%,-,2 bO."'3,.-* /"%%0* :".E* &'* "$'W=%1* -'"4* !30-&%MWO."'3,.-)* D."'3,.-* /"%%0* :".E*&'*"$'Wi"$*/"'*&'555:30'*&'*'0E,-WP"*/,'*&'555:3,.,*("$*:0%'*&'vWS"#,*/,'* &'555/,'*&%;"2;,1WMS0$-,*'3,*D."'3,.-*&%*'3,*-'.,,'*0.,*:&22&%/*'"*:".E*&'*"$'c* XT$D2&!*U%,#()*O."'3,.-*P"%%0*6".E*8'*^$')*@"%/*x`Y5 b=22*0D"0.1)*<.,,1"#*'.0&%*4."/.,--W=22*0D"0.1*0-*:,*4&,.!,*'3,*10.E%,--W O"%0H1,*-"21&,.-*D$&21*'3."$/3*#&!*!3,!EW6,*"%*'.0!E*<".*"$.*<.,,1"#)W >$22* -',0#* :,* 4$-3* '3,* %,,12,-* 2&E,* '30'WV"!"#"'&"%* '3."$/3* '3,* #&!."43"%,*!".1WG";&%/*4,%*30-*#&/3'*";,.*'3,*-:".1W>.,,1"#*'.0&%*:,* D$-'*1":%*'3,*1"".-WU;,.(*.0!,)*!"2".)*!.,,1*'30'*D0%/-*3&4*3"4*0D."01W G"'&;0',c*XhBS20%)*V"!"#"'&"%)*@"%/*x_Y5 b0*4"!E,'<$2*"<*!30%/,*&'*1"%M'*#,0%*02"'*'"*#,W#(*!$4*&-*302<*<$22*D$'*3&-*&-* ,#4'(*W8*4$'*D0!E*"%*#(*!04*0%1*8*-'0.'*3,01&%M*D0!EW8*.,0!3*&%'"*#(*4"!E,'* 0%1*8*30;,*0*3,0.'*0''0!EW:,22*0-*8M#*1&//&%M*1,,4*8*-!.,0#*b"3*%"ycW'3,.,M-* %"'3&%M*&%*'3,*4"!E,'*D$'*0*/.,0'*D&/*3"2,W63&2,*8*:0-*D$-(*'3&%E&%M*&<*3,* :"$21*D$(*-#0!EW'3,*L&%/2,*&%*#(*4"!E,'*&'*-2&44,1*'3."$/3*'3,*!.0!E-W%"* "%,*30-*'3,*!30%/,*0%1*&'M-*<$!E&%M*$4*#(*3,01WO$'*%":*8*E%":*'3,*.,0-"%* :3(*8*301*'"*D$(*'3,*'3.,01yc*X@4,0.3,01)*9"2,*&%*'3,*O$!E,')*@"%/*xAAY5 56 Imhotep Journal Claim All of the lyrics display implications of working together for common /"02-)*:3&!3*0.,*'3,*-"!&,'(M-*!"22,!'&;,*%,,1-5*U0!3*-"%/*,I4.,--,1*0*1,-&.,*'"*:".E* '"/,'3,.*'"*#";,*<".:0.1)*D$'*%"'*'"*:".E*'"/,'3,.*'"*-'"4*0*!,.'0&%*"$'-&1,*<".!,5*N3&-* .,-,0.!3*-$//,-'-*'30'*'3,*=<.&!0%B=#,.&!0%*!$2'$.,*',%1-*'"*D,2&,;,*'30'*#&-<".'$%,-* 0%1*-3".'!"#&%/-*0.,*%"'*-"2,2(*1$,*'"*"$'-&1,*<".!,-)*D$'*'30'*&'*#0(*02-"*D,*1$,*'"* &%0!'&;,%,--*".*3,-&'0'&"%*'"*'0E,*40.'*&%*0*-"2$'&"%*-,,E&%/5 Conclusion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are shaping the perceptions of consumers of hip-hop, while shaping their cultural and -"!&02*1,-&.,-5*N3,-,*4,.!,4'&"%-*D,!"#,*1,,42(*.""',1*0%1*,<<,!'*'3,*0!'&"%-*0%1* 1,-&.,-*"<*,;,.(10(*2&<,)*#0E&%/*3&4*3"4*0%*,;,.*!30%/&%/)*0%1*&%-4&.&%/*0.'5 6".E-*S&',1 S0.-"%)*V5*?5*XKCCRY5*b8*0#*D,!0$-,*:,*0.,mc*S"22,!'&;&-#*0-*0*<"$%10'&"%02*** characteristic of African American college student identity and academic * 0!3&,;,#,%'5*Social Psychology of Education, 12*XdY)*dK_BdZZ5 9$%',.)*S5F5*l*J"-,43)*\5*XKCACY5*?0!&02*/."$4*&1,%'&H!0'&"%*0%1*&'-*.,20'&"%-*'"*** * &%1&;&1$02&-#e&%',.1,4,%1,%!,*0%1*.0!,B.,20',1*-'.,--*&%*=<.&!0%*** * =#,.&!0%-5*Journal of Black Psychology, 36*XZY)*ZgdBaAA5 African American Interdependence 57 ^-$#0.,)*95*XKCCRY5*O,0'*-'.,,'-*&%*'3,*/2"D02*3""1m*S"%%,!'&;,*#0./&%02&'&,-*"<*** * '3,*3&4*3"4*/2"D,5*Journal of American & Comparative Cultures, 24*XABKY)*A_ABAgA5 @3"%,E0%)*@5*XKCAAY5*@30.&%/*3&4B3"4*!$2'$.,-m*'3,*!0-,*"<*\&/,.&0%-*0%1*=<.&!0%*** * =#,.&!0%-5*American Behavioral Scientist, 55*XAY)*RBKd5 Appendix Song Name Artist Album bF"&%M*"$.*":%*F0%/c** J$%/2,*O."'3,.-** F"%,*O(*'3,*>".!,-*"<*** *******\0'$., b@'.0&/3'*^$'*'3,*J$%/2,c** J$%/2,*O."'3,.-** @'.0&/3'*^$'*'3,*J$%/2, bO.""E2(%c*** G"-*F,<** * O20!E*"%*O"'3*@&1,- b>,0.*\"'*"<*G0%c** G"-*F,<** * O20!E*"%*O"'3*@&1,- bO."'3,.-*P"%%0*6".E*8'*^$'c* T$D2&!*U%,#(** >,0.*"<*0*O20!E*T20%,' bS0%M'*N.$--*8'c*** T$D2&!*U%,#(** =4"!02(4-,*RAm*N3,*U%,#(* Strikes Back bV"!"#"'&"%c*** hBS20%*** ?,'$.%*>."#*G,!!0 b6,04"%*hc*** hBS20%*** ?,'$.%*>."#*G,!!0 bN3,*V&/3'c*** S"##"%** V&E,*60',.*>".**** Chocolate b@"$2*T":,.c*** S"##"%** U2,!'.&!*S&.!$- bV";,*&-*F0*@zz'c**@4,0.3,01** 9"#, b9"2,*&%*'3,*O$!E,'c** @4,0.3,01** 9"#, bN,%%,--,,c*** =..,-',1*F,;,2"4#,%'* d*G"%'3-)*a*i,0.-)*0%1*K*** *******F0(-*&%*'3,*V&<,*^ 59 Racial Identity in Hip Hop Lyrics By TanDraya Eckert Berry 63,'3,.* &'* &-* /0%/-'0M* .04)* 4"2&'&!02)* !"##,.!&02* ".* $%1,./."$%1)* 022* .04* in some ways showcases the ways that rap artists see themselves, their cultures 0%1* !"##$%&'&,-5* ?0!&02* &1,%'&'(* &-* '3,* .0!&02* D0!E/."$%1* '30'* 0* 4,.-"%* &1,%'&H,-* :&'35*?0!&02*&1,%'&'(*&-*&1,%'&H,1*0-*0%*".'0%'*!"%-'.$!'*.,20',1*'"*4-(!3"-"!&02* outcomes for African Americans, including self-esteem, psychological distress, [$02&'(*"<*2&<,*0%1*0''&'$1,*'":0.1-*,1$!0'&"%*XS"E2,()*KCC_Y5*?0!&02*81,%'&'(*0''&'$1,-* 30;,*D,,%*E%":%*'"*D,*b-'."%/*4.,1&!'".-*"<*4-(!3"2"/&!02*1&-'.,--*0%1*:,22BD,&%/c* XS"E,2(*l*S304#0%)*KCCRY*X45ARd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he limitations of research on this topic is that much of the research and information do not come directly from the artists; it comes from researchers that have already 4."!,--,1*'3&-*&%<".#0'&"%*&%*'3,&.*H%1&%/*0%1*&%',.4.,',1*&'*&%*'3,&.*":%*:0(5*8'*&-* unwise to make an over- generalization on an entire group of people, such as the Black !"##$%&'(*-&%!,*%"'*,;,.("%,*2&-',%-*'"*.04*#$-&!5*N3,*4.,-,%'*.,-,0.!3*&-*0'',#4'&%/* '"*2""E*0'*'3,*#,--0/,-*'30'*0.,*D,&%/*,I4.,--,1*0D"$'*.0!&02*&1,%'&'(*&%*3&4*3"4*2(.&!-5* In what light do they paint how the Black community should act and if this really is '3,*-"!&02*-'0%10.1-*'30'*4,"42,*3"21*'3,#-,2;,-*'"*0%1*02-"*3":*'3,(*-,,*'3,&.*.0!,v* N3,*:0(*'3&-*.,-,0.!3*&-*/"&%/*'"*011.,--*'3,*#$-&!*&-*D(*2""E&%/*0'*1&<<,.,%'*/,%.,-* ______Imhotep Journal)*Q"2$#,*R)*G0(*KCAK `C*****************8#3"',4*J"$.%02 "<*.04*#$-&!*0%1*'3,&.*".&/&%-*0%1*<."#*'3,.,)*!"%1$!'*0*:".1*-,0.!3*:&'3*b?0!&02* 81,%'&'(*&%*9&4*9"4*V(.&!-c*D,&%/*'3,*E,(*',.#5*=11.,--&%/*'3,*1&<<,.,%'*/,%.,-*"<*.04* :&22*4.";&1,*0*#".,*D."01*.,4.,-,%'0'&"%*"<*'3,*<$22*.0%/,*"<*4,.-4,!'&;,-*&%*3&4*3"45 Existing Research The existing research on this topic ranges from political and hip hop in .,20'&"%*'"*.0!&02*&1,%'&'(*'"*3":*3&4*3"4*#$-&!*,<<,!'-*.0!&02*&1,%'&'(5*P"-0M-*XKCACY* addresses the fact that many rappers expressed their political opinion in rap songs 1$.&%/*'3,*KCCg*,2,!'&"%5*O,<".,*'3,*,2,!'&"%)*-"#,*"21,.*=<.&!0%*=#,.&!0%-*<,0.,1* '30'*3&4*3"4*.,4.,-,%',1*'3,*#".02*1,H!&'-*"<*'3,*("$%/)*$.D0%*0%1*4"".*XP"-0)*KCACY)* '3&-*-',.,"'(4,*30-*D,,%*'3,*4,.!,4'&"%*"<*#0%(*$.D0%*("$'3*<".*/,%,.0'&"%-5*P"-0M-* XKCACY*.,-,0.!3*,I420&%-*3":*^D0#0M-*O20!E*#0-!$2&%&'(*D,!0#,*0*#0L".*-"$.!,*"<* &1,%'&H!0'&"%*<".*.044,.-5*N3,*0%02(-&-*,I42".,-*3":*^D0#0*:0-*1,4&!',1)*,#D.0!,1* and defended from scrutiny in hip-hop; he also mentioned how political views in .04*301*-"#,3":*,-!04,1*'3,*,2,!'&"%-*"<*KCCC*0%1*KCCZ*D$'*#";,1*'3,*<".,<."%'* :3,%*0*O20!E*#0%*.0%*<".*" O20!E-*'"*'3,*-',.,"'(4,-*"<*D,&%/*4"".*0%1*20./,2(*&%+$,%!,1*D(*3&4*3"4*#$-&!5*N3,(* found that there is incomplete knowledge on the topic on hip hop and racial identity &%*O.07&25**=-*'3,(*-'0',1)*b'3,.,*30-*D,,%*2,--*-(-',#0'&!)*[$0%'&'0'&;,)*0%02(-&-*'"* ',-'* '3,* ."D$-'%,--* "<* '3,* .,20'&"%-3&4* .0!&02* !"%-!&"$-%,--* ".* D20!E* .0!&02* &1,%'&'(* 0%1*,I4"-$.,*'"*3&4*3"4*!$2'$.,c*X?,&',.*l*G&'!3,22)*KCCg)Y*X45AaaY5*N3,(*!0#,*'"* '3,* !"%!2$-&"%* '30'm* b:,* $-,1* '3&-* 0-* 0* 4."I(* <".* .0!&02* !"%-!&"$-%,--* 0%1* H%1* 0* 4"-&'&;,)*0%1*-'0'&!022(*-&/%&H!0%'*.,20'&"%-3&4*D,':,,%*2&-',%&%/*'"*3&4*3"4*0%1*.0!&02* !"%-!&"$-%,--*5*5*5*%"'*"%2(*30;,*=<."BO.07&2&0%*9&4*9"4*0%1*.04*0.'&-'*,#D.0!,1*'3&-* !$2'$.02*0.'*<".#*0-*'3,&.*":%)*D$'*'3,&.*4"2&'&!02*#,--0/,-*3,24*'"*<$.'3,.*.0&-,*D20!E* !"%-!&"$-%,--* 0#"%/* '3,&.* 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comments towards the government and 20:*,%<".!,#,%'5*N3,(*-3":*0*!"##"%*1&-'.$-'*0$'3".&'(*&%*.,20'&"%-3&4*'"*'3,*O20!E* !"##$%&'(5*=$'3".&'(*&-*%"'*-,,%*0-*0*4"-&'&;,*".*3,24<$2*.,-"$.!,*'"*O20!E*4,"42,r* 64 Imhotep Journal '3,(*0.,*2""E,1*0'*0-*%,/0'&;,*0%1*30.#<$25*N3,.,*0.,*_*"$'*"<*Ka*-"%/-*'30'*30;,* ,I4.,--,1*'3&-*'3,#,5*N3&-*'3,#,*&-*,I4.,--,1*'3."$/3*'3,-,*2(.&!-m P.,0',-'*9&')*N$40!)*S30%/,-m*bS"4-*/&;,*0*10#%*0D"$'*0*%,/."eT$22*'3,* '.&//,.)*E&22*0*%&//0)*3,M-*0*3,."eP&;,*'3,*!.0!E*'"*'3,*E&1-m*:3"*'3,*3,22* !0.,-v*e"%,*2,--*3$%/.(*#"$'3*"%*'3,*:,2<0.,yc N3,* G0.'(.)* 8##".'02* N,!3%&[$,)* ]2'�-* T020D.0-m* bG0%(* "<* '3,* <"$%1,.-*"<*'3&-*%0'&"%*:,.,*'3,#-,2;,-*G0-"%-eN30'*&-*%"'*0*V,<'*:&%/*".* ?&/3'*:&%/*!"%-4&.0!(*'3,".(e8'*&-*0*:&1,2(*E%":%*0%1*0!!,4',1*<0!'e@"* '3,%*,I420&%*'"*#,*3":*0*%0'&"%*<"$%1,1*D(*#,%e63"*%"'*"%2(*$%1,.-'""1* '3,*2"%/*0%1*!"#42&!0',1*3&-'".(*"<*U$."4,eO$'*02-"*'30'*"<*=<.&!0eS"$21* 4,.#,0',*-$!3*0*2&,*&%*!"%;&%!&%/*'3,*=#,.&!0%*4$D2&!eN30'*"%,*.0!,*"<* #,%*:0-*-$4,.&".*0%1*"%,*&%<,.&".c G(*O,0$'&<$2*F0.E*N:&-',1*>0%'0-()*k0%(,*6,-'*>'5*k&1*S$1&)*P"./,"$-* b>0!,*&')*J,."#,*/,'*#".,*'&#,*'30%*O.0%1"%e=%1*0'*'3,*0&.4".'*'3,(*!3,!E* 022*'3."$/3*#(*D0/e=%1*',22*#,*'30'*&'M-*.0%1"#eO$'*:,*-'0(*:&%%&%/)*'3&-* :,,E*30-*D,,%*0*D01*#0--0/,e8*%,,1*0*3044(*,%1&%/*0%1*0*%,:*D,/&%%&%/e =%1*0*%,:*H'',1)*0%1*-"#,*L"D*"44".'$%&'&,-*'30'M-*2$!.0'&;,eN3&-*'3,*.,02* :".21)*3"#&,)*-!3""2*H%&-3,1eN3,(*1"%,*-'"2,*("$.*1.,0#-)*("$*1$%%"* :3"*1&1*&'e8*'.,0'*'3,*!0-3*'3,*:0(*'3,*/";,.%#,%'*'.,0'-*=8F@e8*:"%M'*D,* -0'&-H,1*'&2*022*#(*%&//0-*/,'*&')*/,'*&'vc Claim Based on the theme, it is evident that there is a larger amount of distrust of 0$'3".&'()*,I4.,--,1*D(*.044,.-5*8%*'3,*O20!E*!"##$%&'(*'3,.,*&-*0*20./,*0#"$%'*"<* 1&-'.$-'*"<*0$'3".&'(5*\,/0'&;,*"4&%&"%-*0D"$'*0$'3".&'(*30;,*D,,%*4.,-,%',1*&%*2(.&!-* <".*(,0.-*0%1*0.,*-'&22*D,&%/*;"&!,1*'"10(5 Racial Identity 65 Theme Two: Appreciation of Blackness N3,*-,!"%1*'3,#,*<"$%1*&-*'3,*044.,!&0'&"%*"<*O20!E%,--5*8%*'3,-,*-"%/*'3,.,* :3,.,*0%*";,.:3,2#&%/*0#"$%'*"<*O20!E*044.,!&0'&"%5*@"%/-*0D"$'*D,&%/*4."$1*'"* D,*O20!E)*4."$1*"<*!$2'$.,)*0%1*4."$1*"<*"%,M-*!"##$%&'(*0.,*1,#"%-'.0'&;,*"<*'3&-* '3,#,5*N3&-*044.,!&0'&"%*"<*O20!E%,--*1,#"%-'.0',-*'3,*4"-&'&;&'(*!"#&%/*<."#*'3,* 3&4*3"4*!"##$%&'(*'":0.1-*.0!&02*&1,%'&'(5**N3,.,*0.,*`*"$'*"<*KC*-"%/-*'30'*30;,* ,I4.,--,1*'3&-*'3,#,5*N3&-*'3,#,*&-*,I4.,--,1*'3."$/3*'3,-,*2(.&!-m Intelligent Hoodlum, Tragedy the Intelligent Hoodlum, Black and Proud: b=-*2"%/*0-*:,*H/3'*0%1*/"*022*"$'*<".*,0!3*"'3,.eO20!EM22*D,*'3,*!"2".*"<* #(*D."'3,.-e>&%1*("$.*0%!,-'".-*0%1*:30'*'3,(*1&1eS0$-,*&%',22&/,%'*D20!E-* D$&2'* 4(.0#&1-e@,,E* 0%1* "D'0&%)* ("$M22* H%1* 1,-!.&4'&"%-eT(.0#&1-* :,.,* D$&2'*D(*U/(4'&0%-e63"*4$'*$4*420%'0'&"%-*'"*:".E*'3,*<0-',-'eG"'3,.-*0%1* -&-',.-*.04,1*D(*-20;,#0-',.-eP0#,1*D(*'3,*1,;&2*0%1*-:&<'*'02E,.-e=%1*'&22* '3&-*10(*#(*D."'3,.-*0.,*-2,,4:02E,.-eN.&!E,1*D(*'3,*1,;&2*'"*<,,2*&%<,.&".e 8%*022*.,02&'(*#(*4,"42,*0.,*-$4,.&".e>.,,1"#*"<*-4,,!3)*8*-!.,0#*&'*2"$1e T."$1*'"*D,*D20!E*!0$-,*D20!E*8M#*4."$1c N3,*?,!,--&"%)*i"$%/*J,,7()*G(*T.,-&1,%'*&-*O20!Em*bP"''0*-'0(*'.$,*'"* :3"*("$*0.,*0%1*:3,.,*("$*!0#,*<."#eS0$-,*0'*'3,*'"4*:&22*D,*'3,*-0#,* 420!,*("$*30%/*<."#e\"*#0'',.*3":*D&/*("$*!0%*,;,.*D,e*>".*:30',;,.*<,,* ".*4$D2&!&'()*%,;,.*2"-,*("$.*&%',/.&'(c O20!E-M*G0/&!)*@02'*\*T,40)*\,/."*6&'*0%1*U/"m*bT$'*-"#,*<0&'3*&%*("$.* .0!,e8M#*D20!E)*0%1*8M#*4."$1*'"*D,*0*=<.&!0%B=#,.&!0%*-"$2*-&-',.e]-&%M* #(*#&%1*0-*0*:,04"%)*0*2,'302*&%L,!'&"%c Claim N3,* 9&4* 9"4* !"##$%&'(* 420!,-* ".'0%!,* "<* D,&%/* 0%1* <,,2&%/* 4"-&'&;,* 0D"$'* "%,-M* .0!,5* N3&-* 4"-&'&;&'(* &-* .,20(,1* '"* '3,* O20!E* !"##$%&'(* '30'* '3,(* '""* 66 Imhotep Journal -3"$21*D,*4."$1*"<*'3,&.*.0!,5*N3&-*044.,!&0'&"%*"<*O20!E%,--*&-*0%"'3,.*4"-&'&;,*'3,#,* ,I4.,--,1*0D"$'*.0!&02*&1,%'&'(*'3."$/3*.04*#$-&!5 Theme Three: The “Struggle” N3,*'3&.1*'3,#,*&-*'3,*b@'.$//2,)c*'3&-*'3,#,*.,4.,-,%'*'3,*10&2()*10(*'"*10()* -'.$//2,*'3,-,*.044,.-*0%1*022*4,"42,*<0!,5*N3,*-'.$//2,*&-*-"#,'3&%/*,;,.("%,*30-*'"* 1,02*:&'3*022*'3,*'&#,5*N3&-*'3,#,*&-*,I4.,--,1*D(*'3,*-'.$//2,*"<*30;&%/*2&''2,*'"*,0')* 2&;&%/*0."$%1*;&"2,%!,*0%1*<0!&%/*.0!&-#*,;,.(*10(5*N3,.,*0.,*a*"$'*"<*Ka*-"%/-*'30'* 30;,*,I4.,--,1*'3&-*'3,#,5*N3&-*'3,#,*&-*,I4.,--,1*'3."$/3*'3,-,*2(.&!-m k5?585N*6$7*9,.,)*O&/*k.&')*KCCC*D,("%1m*b=&%M'*&'*!.07()*-!0.,1*'"*30;,* 0*D0D(e9":*!0%*8*4."',!'*&'*<."#*'3,*-0#,*-'.,,'-*'30'*#01,*#,veS"%!.,',* /201&0'".*D2""1*-3,1*";,.+":&%c 60'!3* '3,* N3."%,)* k0%(,* 6,-'* * 0%1* J0(Bn)* G$.1,.* '"* UI!,22,%!,m* b&-* &'* /,%"!&1,veS0$-,* 8* !0%* -'&22* 3,0.* 3&-* #0#0* !.(ek%":* '3,* <0#&2(* '.0$#0'&7,1e@3"'-*2,<'*3"2,-*&%*3&-*<0!,*0D"$'*4&.0%30B-&7,1eN3,*"21*40-'".* !2"-,1*'3,*!"21*!0-E,'c P.,0',-'*9&')*N$40!)*S30%/,-*m*b8*-,,*%"*!30%/,-)*022*8*-,,*&-*.0!&-'*<0!,-e G&-420!,1*30',*#0E,-*1&-/.0!,*'"*.0!,-e6,*$%1,.)*8*:"%1,.*:30'*&'*'0E,-* '"*#0E,*'3&-e^%,*D,'',.*420!,)*2,'M-*,.0-,*'3,*:0-',1c Claim ?044,.-*0<<,!'*.0!&02*&1,%'&'(*D(*1,#"%-'.0'&%/*'3,*,;,.(10(*-'.$//2,5*N3&-* -3":-*022*#,#D,.-*"<*'3,*!"##$%&'(*'30'*:,.,*'3,(*!"#,*<."#*&-*0*-'.$//2,)*0*/.,0'* 0#"$%'*"<*4,"42,*!0%*.,20',*'"*'30'*0%1*&1,%'&<(*:&'3*&'5 Conclusion: 8%*'3&-*.,-,0.!3*8*1&-!";,.,1*'3.,,*'3,#,-*0D"$'*.0!&02*&1,%'&'(*&%*.04*#$-&!5* Racial Identity 67 N3,*H.-'*'3,#,*:0-*0*.0!,*D0-,1*.,L,!'&"%*"<*0$'3".&'(r*#,0%&%/*'30'*'3,.,*&-*-"#,* 1,/.,,* "<* 1&-'.$-'* "<* 0$'3".&'(* ,I4.,--,1* D(* .044,.-5* N3,* %,I'* '3,#,* <"$%1* :0-* 044.,!&0'&"%* "<* D20!E%,--r* #,0%&%/* '3,* 3&4* 3"4* !"##$%&'(* 420!,-* ".'0%!,* "%* D,&%/*0%1*<,,2&%/*4"-&'&;,*0D"$'*"%,-M*.0!,5*N3&-*4"-&'&;&'(*&-*.,20(,1*'"*'3,*O20!E* !"##$%&'(* -$!3* '30'* '3,(* '""* -3"$21* D,* 4."$1* "<* '3,&.* .0!,5* N3&-* 044.,!&0'&"%* "<* D20!E%,--*&-*0%"'3,.*4"-&'&;,*'3,#,*,I4.,--,1*0D"$'*.0!&02*&1,%'&'(*'3."$/3*.04*#$-&!5* N3,*'3&.1*'3,#,*<"$%1*:0-*'3,*b-'.$//2,)c*0%1*'3,*!20&#*&-*'30'*.044,.-*0<<,!'*.0!&02* &1,%'&'(*D,&%/*1,#"%-'.0'&%/*'3,*,;,.(10(*-'.$//2,5*N3&-*-3":-*022*#,#D,.-*"<*'3,* community that where they come from is a struggle; a great amount of people can .,20',*'"*'30'*0%1*&1,%'&<(*:&'3*&'5*N3&-*044.,!&0'&"%*"<*O20!E%,--*&-*.,20',1*'"*'3,* =<.&!0%* :".21;&,:* !30.0!',.&-'&!)* !"22,!'&;&-#)* D,&%/* 0!!,4'&%/* "<* "%,-M* -,2<* 0%1* /."$45* * V&E,* 044.,!&0'&"%* "<* O20!E%,--)* '3,* -'.$//2,* &-* 02-"* 0* !"22,!'&;,* ;&,:r* '3,* -'.$//2,-*%"',1*&%*'3,*2(.&!-*0.,*'3,*4."D2,#-*"<*022*4,"42,*&%*'3,*O20!E*!"##$%&'(5* 63,%*&'*!"#,-*'"*'3,*.,L,!'&"%*"<*0$'3".&'(*'3,.,*&-*0*3&/3*4":,.*1&-'0%!,*D,':,,%* '3,*4,"42,)*=<.&!0%*=#,.&!0%-)*0%1*'3,*/";,.%#,%'5*N3&-*3&/3*4":,.*1&-'0%!,*&-*02-"* 0*40.'*"<*=<.&!0%*6".21;&,:)*D,!0$-,*L$-'*2&E,*40.,%'-)*4,"42,*0.,*"<',%*,I4,!',1*'"* .,-4,!'*0$'3".&'(5*T,"42,*-'&22*-,,*0$'3".&'(*0-*0%*"D-'0!2,*D,!0$-,*"<*'3,&.*-E&%*!"2".5* As a race that is rewarded for rejecting their culture, it is a positive movement that .044,.-*,I4.,--*'"*,;,.("%,*'3,*".'0%!,*"<*D,&%/*4."$1*"<*:3"*'3,(*0.,*0%1*%"'* '$.%&%/*'3,&.*D0!E*"%*'3,*D20!E*!"##$%&'(5*=!!"#42&-3,1*=<.&!0%*=#,.&!0%*.044,.-* /&;,*4,"42,*-"#,"%,*'"*2""E*$4*'"5**=%1)*&<*'3,(*0!!,4'*'3,#-,2;,-*-"*!0%*'3,*4,"42,* "<*'3,*!"##$%&'(5*>&%022()*'3,*-'.$//2,**/&;,-*4,"42,*3"4,*'30'*"%,*10(*'30'*!0%*!"#,* '3."$/3*'3,&.*'"$/3*-&'$0'&"%-*0%1*D,*-$!!,--<$25** Works Cited S"E2,()*k5*^5*XKCC_Y5*S.&'&!02*&--$,-*&%*'3,*#,0-$.,#,%'*"<*,'3%&!*0%1*.0!&02*** * &1,%'&'(m*=*.,<,.,%1$#*"%*'3,*-'0',*"<*'3,*H,215*Journal of Counseling Psychology, 54)*KKZ*fKdZ5*1"&mAC5ACd_eCCKKBCA`_5aZ5d5KKZ 68 Imhotep Journal S"E,2()*k*l*S304#0%)*S5*XKCCRY*?0!&02*&1,%'&'(*'3,".(5*8%*\,;&22,)*95=5)*** * O.,%1,-30)*G5N5*l*]'-,()*@5^5*Handbook of African American Psychology5** * V"-*=%/,2,-)*S0m*@0/,*T$D2&!0'&"%-5 P"-0)*N5*V5*XKCACY5*\"'*0%"'3,.*.,#&Im*9":*^D0#0*D,!0#,*'3,*H.-'*3&4B3"4*4.,-&1,%'5* Journal of Popular Music Studies, 22XZY)*dgRBZAa5* P.0%')*U5*XKCCKY5*P0%/-'0*.04)*'3,*:0.*"%*1.$/-*0%1*'3,*2"!0'&"%*"<*=<.&!0%B** * =#,.&!0%*&1,%'&'(*&%*V"-*=%/,2,-)*ARggBRK5*European Journal of American Culture, 21XAY)*Z5 9,2D&/)*=5*XKCAAY5*sO.0&%-)*#,0%-)*2(.&!02*0##$%&'&"%Mm*9&4B3"4*0%1*-"!&"B.0!&02*** * 0/,%!(*0#"%/*=<.&!0%**-'$1,%'-*&%*k30.E&;)*]E.0&%,5*Popular Music, 30XdY)*dAaBddC5* G&22%,.)*F5*F5*XARRAY5*KC*(,0.-*'3,%*0%1*%":BBAR_C*'"*ARRC5*Black Collegian, 21XdY)** * AR5 ^20;0..&0)*G5*XKCCKY5*?04*0%1*.,;"2$'&"%m*9&4B3"4*!"#,-*'"*S$D05*NACLA Report On The Americas, 35X`Y)*Kg5 ?,&',.)*O5)*l*G&'!3,22)*P5*V5*XKCCgY5*U#D.0!&%/*3&4*3"4*0-*'3,&.*":%m*9&4B*3"4*0%1** * O20!E*.0!&02*&1,%'&'(*&%*O.07&25*Studies In Latin American Popular Culture, 27)*AaABA`a5