How the Rap and Hip-Hop Industry Influenced Black Communities

Total Page:16

File Type:pdf, Size:1020Kb

How the Rap and Hip-Hop Industry Influenced Black Communities How The Rap and Hip-Hop Industry Influenced Black Communities during the 1980’s Hannah Osowski The Origin of Hip-Hop and Rap Hip-hop and rap was seen as a temporary form of expression for the black teens, but it soon went on to become a popular type of music and eventually spread around. It started in parts of the inner city of New York City, and went on to be developed further as a music genre. This genre was extremely popular, because artists were able to share their thoughts about the social, environmental, and political issues going on during the 1980’s. One of the issues that occured was that the songs and music was deemed too violent because it would often describe detailed stories of gang violence. Looking at rap as an outlet for those without a voice ● Many times the people who went into the rap industry used the lyrics and music to talk about all of their experiences ● They would even use songs to communicate between others and declare their identity or community ● For people in the Black community having someone speak out about bad experiences that are similar to theirs, allows them to connect and feel supported The Hip-Hop movement and what it did for the Black communities Most of the songs and music was used as a way of cultural expression and a sort of social protest. It often contained messages about the current political situations and would sometimes provoke others. But, this music was not the full representation of the different movements. This hip-hop movement was meant to spread and build upon the past Civil rights movement, and it should not be seen as something equally impactful as the past movements. It should still get much recognition as the point of hip-hop was to spread awareness of African Americans’ social and political situation in the US. Essentially the hip-hop movement should not be seen as rather in support as an artistic and political movement. “Straight outta Compton” “Straight Outta Compton” is a well known and popular rap song performed by the rap group N.W.A. Throughout the song the lyrics depict the lives of gangster living in the Los Angeles streets. The group raps about drugs, guns, and the dangerous things they would get into living as gangsters. They even talk about the police brutality that, unfortunately, many have to go through. These lyrics may sound harsh and some would stay away from the song, but these are first hand experiences that should be shared. Once this song came out in the 1980’s, it quickly became an anthem for anti-police brutality, and Even still today people can listen to this song and gain an understanding of what many African Americans have to go through. Works Cited Eazy-E Ruthless Records. 2017, March 3. N.W.A Rare Interview [Video]. YouTube. https://www.youtube.com/watch?v=3w3Th4lNMaY Lozon, Jeffrey, and Bensimon, Moshe. "A Systematic Review on the Functions of Rap Among Gangs." International Journal of Offender Therapy and Comparative Criminology 61.11 (2017): 1243-261. Web. “N.W.A. - Straight Outta Compton.” YouTube, 27 Feb. 2009, www.youtube.com/watch?v=TMZi25Pq3T8. Works Cited cont. Rabaka, Reiland. The Hip Hop Movement: From R&B and the Civil Rights Movement to Rap and the Hip Hop Generation. Lanham, Md.: Lexington, 2013. Web. "Race Relations." American Decades, edited by Judith S. Baughman, et al., vol. 9: 1980-1989, Gale, 2001. Gale eBooks, link.gale.com/apps/doc/CX3468303126/GVRL?u=sonomacsu&sid=GVRL&xid=2341b384. Accessed 4 May 2021. Wikipedia Contributors. “Golden Age Hip Hop.” Wikipedia, Wikimedia Foundation, 8 May 2019, en.wikipedia.org/wiki/Golden_age_hip_hop..
Recommended publications
  • Death Row Records
    The New Kings of Hip-Hop Death Row Records “You are now about to witness the strength of street knowledge.” —N.W.A. Contents Letter from the Director ................................................................................................... 4 Mandate .......................................................................................................................... 5 Background ...................................................................................................................... 7 Topics for Discussion ..................................................................................................... 10 East Coast vs. West Coast .................................................................................... 10 Internal Struggles................................................................................................. 11 Turmoil in Los Angeles ........................................................................................ 12 Positions ........................................................................................................................ 14 Letter from the Director Dear Delegates, Welcome to WUMUNS XII! I am a part of the class of 2022 here at Washington University in St. Louis, and I’ll be serving as your director. Though I haven’t officially declared a major yet, I’m planning on double majoring in political science and finance. I’ve been involved with Model UN since my freshman year of high school, and I have been an active participant ever since. I am also involved
    [Show full text]
  • Listening to Compton's Hip-Hop Landscape" (2016)
    University of Mary Washington Eagle Scholar Student Research Submissions Spring 4-29-2016 "Yo, Dre, I've Got Something To Say": Listening to Compton's Hip- Hop Landscape Ian T. Spangler Follow this and additional works at: https://scholar.umw.edu/student_research Part of the Geography Commons Recommended Citation Spangler, Ian T., ""Yo, Dre, I've Got Something To Say": Listening to Compton's Hip-Hop Landscape" (2016). Student Research Submissions. 55. https://scholar.umw.edu/student_research/55 This Honors Project is brought to you for free and open access by Eagle Scholar. It has been accepted for inclusion in Student Research Submissions by an authorized administrator of Eagle Scholar. For more information, please contact [email protected]. "YO, DRE, I'VE GOT SOMETHING TO SAY": LISTENING TO COMPTON'S HIP-HOP LANDSCAPE An honors paper submitted to the Department of Geography of the University of Mary Washington in partial fulfillment of the requirements for Departmental Honors Ian T Spangler April 2016 By signing your name below, you affirm that this work is the complete and final version of your paper submitted in partial fulfillment of a degree from the University of Mary Washington. You affirm the University of Mary Washington honor pledge: "I hereby declare upon my word of honor that I have neither given nor received unauthorized help on this work." Ian T. Spangler 04/29/16 (digital signature) o'Yo, Dre,I've Got Something to Say:" Listening to Compton's Hip-Hop Landscape By Ian Spangler A Thesis Submitted in Fulfillment of the Requirements for Honors in Geography Department of Geography University of Mary Washington Fredericksburg, VA 2240I April29,2016 Stephen P.
    [Show full text]
  • Eazy-E Eazy Duz It Mp3, Flac, Wma
    Eazy-E Eazy Duz It mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Eazy Duz It Country: UK Released: 2002 Style: Gangsta MP3 version RAR size: 1193 mb FLAC version RAR size: 1876 mb WMA version RAR size: 1922 mb Rating: 4.8 Votes: 514 Other Formats: DTS MOD AIFF AUD MIDI DXD AHX Tracklist 1 Still Talkin' 2 Nobody Move 3 Ruthless Villain 4 2 Hard Mutha's 5 Boyz-N-The-Hood (Remix) 6 Eazy-Duz-It 7 We Want Eazy 8 Eazy-er Said Than Dunn 9 Radio 10 No More ?'s 11 I'mma Break It Down 12 Eazy-Chapter 8 Verse 10 13 Intro: New Year's E-vil 14 Only If You Want It 15 Neighborhood Sniper 16 Niggaz My Height Don't Fight 17 Merry Muthafuckin' Xmas Notes Available From 23rd September 2002 For Promotional Use Only Not For Re-sale Barcode and Other Identifiers Matrix / Runout: P5409197980202 Other versions Category Artist Title (Format) Label Category Country Year Ruthless Records, SL 57100, Eazy-Duz-It (LP, Priority Records, SL 57100, Eazy-E US 1988 SL57100 Album) Ruthless Records, SL57100 Priority Records IMCD 124, Eazy-Duz-It (CD, Island Masters, 4th IMCD 124, Eazy-E Europe 1988 842 924-2 Album) & Broadway 842 924-2 ILPM 2070, Eazy-Duz-It (LP, Island Masters, 4th ILPM 2070, Eazy-E UK 1993 842 924-1 Album, RE) & Broadway 842 924-1 Island Records, Eazy-Duz-It (CD, Ruthless Records, 842 924-2 Eazy-E 842 924-2 Australasia Unknown Album, RE) Priority Records, 4th & Broadway Eazy-Duz-It (CD, Ruthless Records, CDL57100 Eazy-E CDL57100 US 1988 Album) Priority Records Related Music albums to Eazy Duz It by Eazy-E Eazy Mac - Nirvana Eazy-E / N.W.A - Boyz-N-The-Hood / Dopeman Eazy-E - Sippin' On A 40 Eazy & K Motionz - Blood Bath / Double Kill G-Eazy - Eazy-E - It's On (Dr.
    [Show full text]
  • “Straight Outta Compton”—NWA (1988)
    “Straight Outta Compton”—N.W.A (1988) Added to the National Registry: 2016 Essay by Ben Westhoff (guest post)* “Straight Outta Compton” LP N..W.A Gangsta rap existed before “Straight Outta Compton,” but N.W.A’s landmark 1988 album popularized the genre and serves as its standard bearer even today. The mythology of the artists behind its creation also continues to loom large: Eazy-E, the Compton crack dealer who used his profits to finance a hip-hop career; Dr. Dre, his neighbor who’d most recently been DJ-ing in flamboyant, sequined outfits for a song-and-dance group; Ice Cube, the ostentatious high school rapper from South Central Los Angeles whose writing gifts matched his aggressive delivery. But it was the characters they imagined--both militarized street kids sick of being humiliated by the cops and brash punks on the hunt for sex and cheap booze--that shaped the album, marching in time to Dr. Dre’s assault of chopped samples, wailing sirens, guitar riffs, and rapid drum machine beats, all of it more tuneful than it sounds on paper. Rounded out by the group’s other firebrand rapper, MC Ren, Dr. Dre’s production partner, MC Yella, and electro-rap holdover Arabian Prince--not to mention hugely influential ghostwriter D.O.C.--N.W.A reshaped hip-hop music in their own image. They called it “reality rap,” but in the beginning it was far from clear that N.W.A would rap unvarnished lyrics threatening the status quo. Dr. Dre and Ice Cube’s earlier music disparaged the gang lifestyle, and just about everyone in the group admired Prince.
    [Show full text]
  • MTV Studios to Reimagine “Celebrity Deathmatch” for a New Generation
    MTV Studios to Reimagine “Celebrity Deathmatch” for a New Generation December 5, 2018 Ice Cube and Cube Vision Set to Executive Produce, With Ice Cube to Lend Voice Talent in a Lead Role Original Creator Eric Fogel to also Executive Produce, With Additional Talent to Come NEW YORK--(BUSINESS WIRE)--Dec. 5, 2018-- MTV Studios today announced plans to reimagine “Celebrity Deathmatch,” the seminal stop-motion satire that skewered celebrities, politicians and everyone in between during its famed original run. Ice Cube joins the franchise for the first time and will both star and executive produce alongside his partner Jeff Kwatinetz through his Cube Vision production company. Series creator Eric Fogel will return to executive produce as well, with additional showrunners and talent to be named shortly. The all-new “Celebrity Deathmatch” will be available as a weekly series for an exclusive SVOD or premium broadcast partner in 2019. The move marks the first step in reinventing the franchise across consumer products, gaming, theatrical and more. Ice Cube/Cube Vision are represented by WME. “Celebrity Deathmatch” expands Ice Cube’s long-standing relationship with the MTV family, with Cube Vision currently producing “Hip Hop Squares” for MTV sister brand VH1. “We’re excited to grow our partnership with Ice Cube and Cube Vision to reimagine this fan favorite,” said Chris McCarthy, President of MTV, VH1 and CMT. “’Deathmatch’ was the meme before memes, remains a hot topic on social media and will be a smart, funny way to tackle the over-the-top rhetoric of today’s pop culture where it belongs – in the wrestling ring.” “Happy to once again be working with Viacom and MTV on a fan favorite like ‘Celebrity Deathmatch’ and to continue our success together,” said Ice Cube.
    [Show full text]
  • Federal Bureau of Investigation
    O O FEDERAL BUREAU OF INVESTIGATION FREEDOM OF INFORMATION AND PRIVACY ACTS SUBJECT: TUPAC SHAKUR FEDERALOF BUREAU INVESTICQION FOIPA DELETED PAGE INFORMATION SHEET Serial Description " COVER SHEET O1/03/1997 Total Deleted Page s! " 28 ~ Page Duplicate -| Page Duplicate ~ Page Duplicate ~ Page Duplicate ~ Page Duplicate ~ Page Duplicate ~ Page Duplicate ~ Page Duplicate ~ Page Duplicate ~ Page Duplicate ~ Page Duplicate ~ Page Duplicate ~ Page Duplicate ~ Page Duplicate ~ Page Duplicate ~ Page Duplicate -I Page Duplicate ~ Page Duplicate -: Page Duplicate ~ Page Duplicate 4-: Page Duplicate ~ Page b7C ~ Page b7C FREEDOM OF INFORMATION AND PRIVACY ACTS SUBJECTT O Tupap _S11:;kyr___ ii I _ FILE NUMBER __ 266A-OLA-2Q1_8Q74 VI-IQ!_ _ _ _ _ _ SECTION NUMBER: _ ,7 _1_ _ _ _ FEDERAL BUREAUOF INVESTIGATION 2/3:/1995! FEDERAL BUREAU OF INVESTIGATION Precedence: ROUTINE Date: 01/03/1997 4/{oz FBIHeadquarters Attn: NSD, CTBranch, DTS,DTOU From! Los Angeles NSD~6 ApprovedI By:I Drafted By: mpbh}I92'I'I'M' Case ID #= 266A-LA-2o1so7,¬3 - ECEASED!;I _ ERIC WRIGHT,AKA EAZY~EVICTIM DECEASED!; WC AOTDTDEATH THREATS 00; LOS ANGELES ARMED AND DANGEROUS synopsis: Status of investigation and request for extension to PI. Previous Title: | _| ET AL; TUPAC SHAKURVICTIM DECEASED!; EAZY-EVICTIM DECEASED!; ACT-DT-DEATH THREATS; O02 LOS ANGELE$ Preliminary Inquiry Initiated: 10/1'7/1996, set to expire 01/17/1995. Enclosures: One original and five copies of a Letterhead Memorandum, dated 01/O3/1997. Details: Title marked changed to reflect the true name of EAZY-E. Enclosed for the Bureau are one original and five copies of a Letterhead Memorandum, dated O1/03/1997, which contains the current status of captioned matter.
    [Show full text]
  • The Evolution of Commercial Rap Music Maurice L
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research.
    [Show full text]
  • N.W.A's Influence on Society
    #1 N.W.A’s Influence on Society Abstract I conducted research on the influence that the musical group N.W.A had on society in the late 80’s and as well as their influence on today's society. N.W.A is very well known for having changed the music industry, and they have been a controversial group since their debut album “Straight Outta Compton” was released on August 8, 1988. The album's songs were based on the group members' personal lives. N.W.A was putting out music and rapping about topics that at the time no one would dare to do.While conducting my research I found out why they were such a controversial group in the late 80’s; till this day they are still seen as controversial. Research Questions 1. In the 80s why was this group controversial? Is N.W.A still considered controversial today? 2. Why was “F _ _ _ Tha Police” one of their most popular and well known songs? 3. What are the members of the group doing now? “Who gave it that title, gangsta rap? It’s reality rap. It’s about what’s really going on.” - Eazy-E #2 How the Group Formed ● Was formed in 1987 by Eazy-E who co-founded a record label called “Ruthless Records”. ● Eazy-E recruited Dr. Dre and Ice Cube to write for his label. ● Ice-Cube & Dr. Dre wrote a song for a different group under Ruthless Records, but they decided not to record. So Eazy, Ice, & Dre recorded “Boyz-n-the-Hood” under the group name N.W.A.
    [Show full text]
  • MICHAEL ABRAMSON Ciets TOTALK ABOUT HIS NWA DAYS, Hl$ FRIEND EAZY-E, YELLA and Hl$ NEW ALBUM
    FIGURATIVELY FORCED TO PERFORM BY THE EMBARASSMENT OF PREVIOUS EFFORTS Arts and Entertainment Supplement -to the Da i I MICHAEL ABRAMSON CiETS TOTALK ABOUT HIS NWA DAYS, Hl$ FRIEND EAZY-E, YELLA AND Hl$ NEW ALBUM. Over the course of the past year, A rtsw eek has spent a significant amount of ink re­ I wanted Dre and Cube to do something, butat the time, it would have been invading flecting on the death from AIDS of gangsta rap pioneer and all-around music legend - their space or something. I didn’t want to just come to them, after not talking to them Eazy-E. This is for several reasons, the primaiy one being that Eazy is simply an inter­ for so long, and ask them for something. I just didn’t even go through it The people I esting guy to read about as well as an enigmatic figure who, since ms entrance into the got with on this one were the people that was around Ruthless [the record label started world of popular music, was destined to be an icon. by Eazy]. So, I just stayed the same, that’s all. Me and Dre still talk to this day. I just But today, we close a chapter of the A rtsw eek experience. Today is the day we actu­ talked to him yesterday. ally print an interview with an ex-compatriot of Eazy’s and have several of our most What do you think abopt how Ruthless Records is being handled right now? fantastic questions about Compton’s most notorious hip-hop thugsta answered.
    [Show full text]
  • They Solidified the Disparate Elements of Gangsta Rap Into a Groundbreaking Genre
    PERFORMERS They solidified the disparate elements of gangsta rap into a groundbreaking genre. NBY REGINALD C. DENNIS & ALAN LIGHTW Dr. Dre, DJ Yella, MC Ren, Eazy-E, and Ice Cube, (clockwise from top left), Los Angeles, 1989 50 W A 51 nexpected. Shocking. Flawed. Revolutionary. Worthy. N.W.A’s improbable rise from marginalized outsiders to the most controversial and complicated voices of their gener- ation remains one of rock’s most explosive, relevant, and challenging tales. From their Compton, California, headquarters, Eazy-E (Eric Wright), Dr. Dre (Andre Young), Ice Cube (O’Shea Jackson), MC Ren (Lorenzo Patterson), and DJ Yella (Antoine Carraby) would – by force of will and through unrelenting tales of street life – sell tens of millions of records, influence multiple generations the world over, and extend artistic middle fingers to the societal barriers of geography, respectability, caste, authority, and whatever else happened to get in their way. As enduringly evergreen as the Beatles and as shock- ingly marketable as the Sex Pistols, N.W.A (Niggaz Wit U Attitudes) made a way out of no way, put their city on the 52 Opposite page, from left: Eazy-E; Dr. Dre. This page, clockwise from top left: Ice Cube; MC Ren; DJ Yella. map, and solidified the disparate elements of gangsta rap into a genre meaty enough to be quantified, imitated, and monetized for decades to come. But long before they were memorialized in the blockbuster biopic Straight Outta Compton or ranked by Rolling Stone among the “100 Greatest Artists of All Time,” they were just five young men with something to say.
    [Show full text]
  • An Analysis of Slang Words Used by the Main Characters in Straight Outta Compton Movie
    PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI AN ANALYSIS OF SLANG WORDS USED BY THE MAIN CHARACTERS IN STRAIGHT OUTTA COMPTON MOVIE AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements For the Degree of Sarjana Sastra in English Letters By MARIA CYNTHIA SAPUTRI NDOA Student Number: 164214047 DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2021 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI AN ANALYSIS OF SLANG WORDS USED BY THE MAIN CHARACTERS IN STRAIGHT OUTTA COMPTON MOVIE AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements For the Degree of Sarjana Sastra in English Letters By MARIA CYNTHIA SAPUTRI NDOA Student Number: 164214047 DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2021 ii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI iii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI iv PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI STATEMENT OF ORIGINALITY I certify that this undergraduate thesis contains no material which has been previously submitted for award of any other degree at any university, and that, to the best of my knowledge, this undergraduate thesis contains no material previously written by any other person except where due reference is made in the text of the undergraduate thesis. December 31, 2020 Maria Cynthia Saputri Ndoa v PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS Yang bertanda tangan di bawah ini, saya mahasiswa Universitas Sanata Dharma Nama : Maria Cynthia Saputri Ndoa Nomor Mahasiswa : 164214047 Demi pengembangan ilmu pengetahuan, saya memberikan kepada Perpustakaan Universitas Sanata Dharma karya ilmiah saya yang berjudul AN ANALYSIS OF SLANG WORDS USED BY THE MAIN CHARACTERS IN STRAIGHT OUTTA COMPTON MOVIE Beserta perangkat yang diperlukan (bila ada).
    [Show full text]
  • In the Cinematic Hood:“Who You Callin'a Hoe?”
    European journal of American studies 12-2 | 2017 Summer 2017, including Special Issue: Popularizing Politics: The 2016 U.S. Presidential Election (Re)visiting Black Women and Girls in the Cinematic Hood: “Who you callin’ a hoe?” Emma Horrex Electronic version URL: http://journals.openedition.org/ejas/12080 DOI: 10.4000/ejas.12080 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference Emma Horrex, « (Re)visiting Black Women and Girls in the Cinematic Hood: “Who you callin’ a hoe?” », European journal of American studies [Online], 12-2 | 2017, document 11, Online since 01 August 2017, connection on 19 April 2019. URL : http://journals.openedition.org/ejas/12080 ; DOI : 10.4000/ ejas.12080 This text was automatically generated on 19 April 2019. Creative Commons License (Re)visiting Black Women and Girls in the Cinematic Hood: “Who you callin’ a ... 1 (Re)visiting Black Women and Girls in the Cinematic Hood: “Who you callin’ a hoe?” Emma Horrex 1. Introducing the Black Women and Girls in the Hood via Boyz 1 Amidst an ongoing debate regarding the lack of racial diversity in last year’s Oscar nominations (2016), Boyz N the Hood (Boyz, 1991) was honoured by the African American Film Critics Association during a “Celebration of Hip Hop Cinema” in February 2016, twenty-five years since capturing the public imagination and academic attention. Directed by John Singleton, the film emerged during and reflected an important moment of the post-Reagan political and cinematic landscape. President Bush’s inaugural address in 1989 claimed that America was “in a peaceful, prosperous time” but despite increasing the minimum wage, the economic recession in July 1990 undercut this notion as widespread poverty penetrated the ghettos.i Economic pressures in the late 1980s and early 1990s (largely due to Reagan’s exacerbation of unemployment rates amongst minority groups and dismantling of the welfare system) contributed to the proliferation of street gangs and the underground drugs economy in local urban environments.
    [Show full text]