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The Slums That Shimmer: Rap And Hip Hop

1628 words - 7 pages

Rap and hip-hop is an artistic mirror reflecting society, which is violent in some places, and needs not a moral dismemberment via the glorification of fictional violence. The history of hip-hop has some sting to it, being that deaths have been caused and childhoods are under affect; the actions that younger listeners who enjoy hip-hop are not influenced by the songs or the artists, but only by perception of their surroundings. All that hinders a strong faith in hip-hop is its “gangsta rap” counterpart. Violence is a reaction, not an action.
Hip-hop started out as a parade of songs that were celebration-suitable, stemming from artists such as LL Cool J and Marky Mark. Eventually, there were some minor miscalculations. Whenever artists began to not compete or collaborate with one another, but to murder their rivals from particular areas of the country: the East Side and the West Side (Merino 88), hip-hop took a downward spiral. Rappers began feuding with one another, which, primarily may seem like a petty squabble, evolved into something far from minor: violence.
A great example would be 21-year-old E.J. Duncan. He and two friends were part of a hip-hop trio called Graveside. Their lyrics were composed of harsh language and gruesome violence that drew, like moths to flame, youths to their collective fanbase. The only problem that they had was their influence; Graveside comprehended that the only way to get anywhere in the hip-hop industry is to dish out the music they want to hear. And these young adults, being titular rather than a true example, threw away their lives for fame that never came. (Merino 83)
The music and the musician: neither one of these can kill a human being; if the violence is as the violence does then the only weaponry drawn is by that of influence and the lessening of the degree of the cultural origin. Not all violence is a physical harm, but a moral harm, such as degrading females. Children are also subject to the influence, especially young girls, who find dancing provokingly and imitating women in rap videos to be an entertainment, a refuge: an outlet not suited for girls five to six years old. (Thompson 63) It can be said that the sexism hip-hop contains and the desecration of the female work in tandem with one another so that listeners’ thoughts are plagued with the notion that all African American women are associated with terms such as “hoes” or “bitches”. (Sharpley-Whiting)
Where does the aggressiveness of hip-hop come from? Though its earlier origins are in southern Africa, the genre was born in the Bronx. It was freedom from gang violence in 1971, as well as the genesis of an artistic expression known as graffiti and a celebratory moment made for the kids to talk of how they made their living, and how it paid off. (Thompson 72) Rap is reality and, though anything else can be reality, music is a powerful tool of expression and can be used as a powerful implement, to either empower a political leader or...

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