Category: Hip Hop

The book Cant Stop Wont Stop: A History of the Hip-Hop Generation brings out the history of the United States from the eyes of a person who would have been considered a loser in the past. The book is about how the underdogs created the Hip hop culture and music and then struggled to make these well recognized arts in the America society.

It is somewhat a story about how these underdogs came from rugs to riches through developing the Hip-hop culture. The author depicts how Hip-hop grew from something that was practiced in the ghettos to the headlines in mainstream America.

In this book, Chang highlights the plight of Hip-hop entertainers such as graffiti artists, deejays and emcees from the ghettos of LA, NY and Kingston and how life struggles motivated them to success.

Chang captures how the pioneers of the Hip-hop culture faced economic, social and political struggles in their quest to make it in life. Chang divided the book into parts known as Loops which are arranged chronologically to show the history of Hip-hop.

Introduction

The Introduction was written by Kool Herc to depict the story about the Hip-hop culture. Herc brings out that Hip-hop is not only an art but also a means of expression for the current generation. Hip-hop has kept alive ideologies that were invented in the Bronx in the 1970s.

These ideologies and history have been preserved by the culture since even people who did not live during that time have a clear view of all that transpired then. Even though times have changed since the Bronx most struggles that the youth experience today are the same as those faced by minority groups during the 1970s.

Herc pointed out that Hip-hop gives the neglected youth a voice through which they can air their grievances to the society. In the Introduction Herc explains that Hip-hop today connects youths from all over the world given that it has become a powerful force.

From the Introduction, the modern generation can understand that Hip-hop is more than a form of music or lifestyle. Herc explained that Hip-hop provides a voice to the oppressed and it has been used successfully in the past. Hip-hop was used by youths in the ghettos to express their afflictions since society had neglected them and denied them of their rights as citizens.

They turned to Hip-hop as a source of expression where they turned their aggression into rap music and graffiti art. This later grew to become famous and a source of livelihood in addition to being a form of expression.

The Introduction points out the origin of Hip-hop and provides the current generation of youths with information about how the culture came into existence. This is important as it keeps the movement focused on relevant issues and not just the economic aspect of Hip-hop.

The First Loop. Babylon is Falling: 1968-1977

In the first Loop entitled Babylon is Falling: 1968-1977, Chang brings out how the Bronx was almost being turned into a neglected land that is forgotten. In the neglected ghettos, there were social issues as well as political tensions and these gave rise to the practices of Hip-hop artists. The problem of rebellion that was in these areas was because of oppression of the poor.

There was a deliberate attempt to turn the Bronx into an obsolete land with limited opportunities and this offended the residents. Other issues included poor education, criminal activity and abandoned project buildings. According to Chang and Herc (2008), the roots of the Hip-hop culture came from the gang culture that was prevalent in the Bronx during the late 1970s.

During this period, graffiti art and hip hop music were done in the streets by black and brown people. From the first Loop, Chang traces the roots of Hip-hop back to the rebellion that occurred in the Bronx and Jamaica and he establishes that oppression during this era gave birth to the culture today known as Hip-hop.

What emerges from Loop 1 is that the Hip-hop culture did not just emerge from the blues or from the creativity of an individual. Rather, the culture came into existence as a result of the many struggles that people living in marginalized ghettos were going through.

That being stated, it is likely that were it not for the discrimination and neglect of the poor people in Jamaica and The Bronx, Hip-hop culture could not have come out in the form that it did.

Even though people in other ghettos were going through similar unpleasant situations, they may not have been as courageous and creative as the pioneers of Hip-hop. Chang does well to highlight the origin of Hip-hop lest it be assumed that the culture just came into existence naturally.

Something else which emerges from the segment of Babylon is Falling is that the traits of Hip-hop are associated with resistance to oppression. Hip-hop was used by the youth during the 1970s to express themselves since they were neglected and considered as outsiders in their own country.

This form of discrimination pushed youths in the ghettos into activities such as drug abuse, crime and gang mentality. The political and social situation during that time forced youths into these vices since they were neglected and unable to access decent means of living.

This however raises the question that, are youths justified to adopt Hip-hop lifestyle in the current era when discrimination and poverty are addressed by the government?

What is seen today in the name of Hip-hop is a fusion of different genres of music with the themes of partying, making money or sex. There have been attempts to revive the Hip-hop culture and return it to what it used to be in the past.

Hip-hop artists such as Common, Nas and KRS 1 have tried to release music that emphasize on the need for a united movement which focuses on important issues in society and not the popular topics which jam the airwaves nowadays. These attempts have had little impact since the music which sells is still based on leisure topics such as partying.

The efforts put in by the pioneers of Hip-hop appear to be dwindling away because of the current breed of artists who have no regard for the struggles of the minority groups.

These artists are also not concerned with political issues and their implication on the poor and marginalized groups. Herc and Chang did well to educate people about the history of Hip-hop since without this information the movement could have already lost direction and meaning.

Reference

Chang, J. & Herc K. (2008). Cant Stop Wont Stop: A History of the Hip-Hop Generation. St. Martins Press, New York.

Introduction

Despite its modern popularity, Hip Hop has been an unambiguously African-American cultural heritage birthed from the unique amalgamation of hybrid social influences (Forman 1). As such, it has often reflected the voice of the African-American population in the national discourse surrounding heavy topics of race, social culture, and identity. The structure that is hip-hop has been often identified as resting upon four core elements, which are rapping (MCing), Disk-Jockeying (DJing), break-dancing (b-boying), and aerosol art (graffiti) (Forman 1-2).

Conscious hip-hop developed as a sub-genre of political hip-hop, which started as a platform of transforming rap music into a call for social activism and political or social action. While there is no overarching political hip hop ideology; with perspectives ranging from Marxism to the beliefs of Flat-Earth Theory, conscious hip hop seeks to challenge the dominant philosophical, economic, cultural, and political consensus. As such, it is decidedly antagonistic to the status quo, despite not aggressively advocating for specific paths or demanding revolution. Rather, conscious hip hop raises awareness on social, cultural, and political issues, leaving the listener to come to their own opinions. This is also its discerning feature versus political hip hop, with the latter being delivered in a charged, militant fashion (Adaso 1).

With hip hop being reflective of the lived-in conditions of its creators, and this population being predominantly African-American people, rap has often been emotionally, culturally, and politically charged. This undertone, both in the message and execution of the song, has been more predominantly pronounced within conscious hip hop. As a result, this essay will seek to review how the message in conscious hip hop has morphed to reflect the current racial and social fractures within the current political regime within the United States.

The History and Rise of Conscious Hip Hop

A significant influence on the emergence of political and conscious hip hop can be attributed to the Civil-Rights Movements and the Black Power Movements of the 60s and 70s in the United States. These movements provided an emphasis on black pride while providing commentaries on Black ideological elements. Some of the songs within this era, which proudly carried the theme of black pride may include James Browns Say it Loud (Im Black and Im Proud) in 1968, Nina Simones To Be Young, Gifted and Black in 1969, and Billy Pauls Am I Black Enough for You in 1972. These earliest conveyances of social and political commentary were mostly within the genres of soul, jazz, and funk, but would form an indisputable influence in the sound and message that would be later carried by hip hop (Forman 4).

The regime of President Ronald Reagan in 1980, however, brought worsening conditions for the impoverished urban African-American youth. As a result, hip-hop artists began to incrementally address their communities worsening conditions social issues including political apathy, police brutality, and incarceration or mass unemployment, and oppression (Forman 10). This situation creates the precedence of hip hop as reflective of the socio-political climate in the country, especially as influencing the African-American population. This particular amalgamation of issues and complex socio-political climate greatly influenced the birth of conscious hip hop, along with its genre cousins of political hip hop and gangsta hip hop; like the birth of music has often been in response to powerful events happening within the world of the artists (Burnimm 620).

Of these subgenres, the most sensationalized in media and research was Gangsta Rap. This was primarily due to its blunt, unapologetic approach to its political, cultural, and social commentary. Its pioneers are N.W.A, Ice Cube, and Ice T, who blended crime stories, the ideology of the street, and aggression towards perceived oppressive structures (Forman 2; Lawson 554). A toned-down version of this sub-genre political hip hop, with the focus being primarily still on the economically, culturally, and politically disenfranchised black community. However, conscious hip hop would be later coined by the term message rap which was developed following the release of pioneers Grandmaster Flash and the Furious Fives The Message in 1982. This term suggests an element of reflection and intellectual engagement on the prevalent social issues, primarily race and class struggle and this aligns with Dysons definition of conscious rap as rap that is socially aware and consciously connected to the historic patterns of political protest and aligned with progressive forces of social critique (Dyson 64). This ideology resonates strongly, and is tinged with the message of Du Bois, that the African-American strives not to influence, but rather for equality; to be accorded equal rights as those of his fellow citizen and not be discriminated against (Du Bois 41).

Ideology in Contemporary Society, and Popular Themes

Socially aware hip-hop artists will often dissect the ideals and attitudes proliferating mainstream culture. With the beginning of the current political regime of President Donald J. Trump; which has often been criticized for divisive and discriminatory politics, prevalent messages against institutionalized racism and classism, as well as promoting black liberation have been relayed consistently across modern conscious hip hop.

Anti-Racism, Black Liberation, and Nationalism

The 2016 Presidential elections were dominated in large part by a dominant catch-phrase by the would-be successful candidate, Donald Trump. This was the Make America Great Again slogan. This particular slogan was seen by many, especially the African-American community and other minorities, as a loaded phrase. This was partly due to the racist-coded undertones that appealed to the predominantly white population that may have felt their loss of status with the previous regime under an African-American president, and also the politics of the candidate which were often divisive across social and racial lines. The slogan also mirrors Ronald Reagans 1980 election bid slogan which was Lets make America Great Again.

Joey Bada$$ would later reveal that he released his song Land of the Free on January 20th, 2017 to coincide with the day that Donald Trump was inaugurated as president (Genius 1). This particular song featured heavily subliminal messages on racism, classism, and black liberation with lyrics such as & cant change the world until we change ourselves& which speaks to the liberation of the oppressed. Further, the lyrics allude to the Ku Klux Klan through the spelling of its America as Amerikkka to symbolize the racism that is prevalent in the country and the artists concerns that the entry of Donald Trump as the 45th President would only exacerbate the situation. This is further outlined in his lyric & Donald Trump is not equipped to take this country over. Lets face facts cause we know whats the real motives (Genius 1). This message of anti-racism and Black Liberation, such as his lyric Still got the last names of our slave owners is reiterated with other hip hop artists and songs in this period including Joyner Lucass Im not Racist and Childish Gambinos This is America.

Joyner Lucas Im Not Racist in particular is a comprehensive song with an ambient trip-hop beat that is an experimental sound sourced from funk, jazz, and R&B which may be a homage to the roots of conscious hip-hop. The songs lyrics represent an uncomfortable discourse on race and classist stereotypes that the population shies away from, without the artist explicitly taking one side or the other. However, in the music video, the white actor in it dons a Make America Great Again cap. On the other hand, Childish Gambinos This Is America addresses a wider issue of mass shootings and gun violence in the US, along with enduring racism and discrimination against African-American communities. As the title portrays, the music video to the song was a bleak representation of the state of America at the time, with the artist being both the purveyor of violence, and the subject of terror (Prettyman 156).

Anti-Poverty, Socialism, and Class Struggle

Many hip hop artists come from primarily underclass communities, and hence the ideals of anti-poverty, socialism, and class struggle are often reflected in their lyrics. This may also be politically exacerbated by the current regime, with the prevailing attitude among African-American communities being that the president and regime may be disconnected from their plight owing to his privileged background. A powerful example of a socially empowering song would be Logics 1-800-273-8255 featuring artists Alessia Cara and Khalid. Which passes an anti-suicide message right from the title, which is the US suicide hotline. In this song, which was released in partnership with the National Suicide Prevention Lifeline, the following lyric is featured; Ive been on the low, I been taking my time. I feel like Im out of my mind& Who can relate? (Genius 1). The artists collaboratively provide the message that there is help for anyone that is dejected, and that giving up is never the answer

Further, the Kendrick Lamar song XXX featuring U2 is seen as an allegory of the current political regime and the underlying class struggle. This is embodied in Kendricks lyric & God bless America you know we all love him. Yesterday I got a call like from my dog like 101. Said they killed his only son because of insufficient funds& and &Its murder on my street, your street, back streets Wall Street, corporate offices Banks, employees, and bosses with Homicidal thoughts; Donald Trumps in office& (Genius 1). The artist seeks to reflect the classism and struggle happening in the disenfranchised African-American communities, to which he belongs.

Conclusions and Reflections

Hip hop has been an unambiguously African-American movement, despite contemporary popularity and a more widespread acceptance. As a result, artists within the genre have often used the platform to voice their outlook on the issues that are plaguing their communities, ranging from social, cultural, and political problems, to personal ideologies and teachings. With the current regime being widely viewed as disenfranchising to the African-American community, and regular racially-loaded messages and controversies hitting both mainstream and social media platforms, conscious hip hop; which has always been concerned with social and political commentary, has evolved to reflect the situation. Further, this has seen the popularity of this particular medium grow, with artists identified primarily as conscious artists gaining mainstream popularity, and escaping the obscurity of the underground (Adaso 3). These may include Kendrick Lamar, J-Cole, Common, Lupe Fiasco, and Common among others. The message in contemporary conscious hip hop has been primarily on anti-racism, which may reflect on the current socio-political situation within the United States.

Works Cited

Adaso, Henry. Conscious Rap Reveals Genres Uplifting Side but Has Limited Appeal. LiveAbout, LiveAbout, 2018. Web.

Burnim, Mellonee V., and Portia K. Maultsby, eds. African-American music: an introduction. Routledge, 2014.

Du Bois, W. The Souls of Black Folks. Of Our Spiritual Strivings. Chicago: AC McClurg and Co (1903).

Dyson, Michael Eric. Know what I mean?: Reflections on hip-hop. Civitas Books, 2007.

Forman, Murray. Conscious hip-hop, change, and the Obama era. (2010).

Genius. Joey Bada$$  LAND OF THE FREE. Genius, 2017. Web.

Genius. Kendrick Lamar  XXX Featuring U2. Genius, 2017. Web.

Genius. Logic  1-800-273-8255 Featuring Alessia Cara & Khalid. Genius, 2017. Web.

Lawson, Aaron. Straight outta Compton: Witness the strength of disability rights taking one last stand for education reform. Syracuse L. Rev. vol. 67, 2017, pp 551.

Prettyman, Michele. The Persistence of Wild Style: Hip-Hop and Music Video Culture at the Intersection of Performance and Provocation. JCMS: Journal of Cinema and Media Studies, vol. 59, no. 2, 2020, pp.151-157.

Music has always been one of the main topics for discussion among scholars. The modern world has brought to society lots of different styles, genres, and directions in music. Hip-hop culture is one of the music genres which appeared in America in the 1970s. There are several ite3ms that create the hip-hop culture: MCing, DJing, graffiti writing, and break dancing. Hip-hop fashion and slang do play not the last role in the hip-hop culture.

Hip-hop has always been associated with men, but at the beginning of the 1990s women became an essential part of hip-hop. It is not that till that time women did not participate in hip-hop culture, they were not placed on one level with them. Black womens involvement in the fostering African-American community development forms the basis for community-based power (Forman Keyes 2004-267).

The prejudices that the only man can move the crowd (Forman Rose 2004-299) have been ruined many years ago. Women create their pieces of music on the same themes as men, they also read rap on racism, physical abuse of women and children, drug addiction and AIDS, teen pregnancy and black politics, and others. (Forman Rose 2004).

Women artists must be vigilant about keeping the history of their contribution to the art form of MCing top of mind. As the sole female on a song full of male rhymes, Mystic embraces the charge of representing the ladies (Hess 2007-66).

Non-white women entered the hip-hop culture with four categories of rap music performances: Queen Mother, Fly Girl, Sista with Attitude and Lisbian. Four of these categories are mirrors of images, voices, and lifestyle, they are introduced to rap by specific female rappers or MCs and are considered by the interpretive community in general as representative of and specific to African American female identity in contemporary urban culture (Forman Keyes 2004-266).

Some people worry that too much sex and violence are presented in rap music. The youth is listening to it and makes some conclusions, they live by this music and the society is worried about their outlook, which is created influenced by rap music. Cheo Coker said that rap is a direct reflection of society, and it will be able to change no sooner than the populace that influences it changes its audience (August 2000).

To be honest, we should not blame rap music for violence and sex, all the violence and sex which is observed in rap music are those negative things the rap musicians see in the society, in the country they live in. Hip-hop can give us the mirror the ills of the society and to tap that potential we need to look in that mirror and work to change the things we see (Forman Pough 2004-288).

Non-white women were in the male shade for a long time. The hip-hop culture society was not sure whether they will be able to create a great effect by their creations of the listener. But women were not afraid, they took the risk and compete with men and did not fail. Now non-white womens hip-hop culture flourish, and people consider them to be even better than men in some aspects, dance and body movements for example.

The hip-hop culture increases all the time and the part of women does not reduce, moreover, it increases. Black female identity took a worthy place in rap music performance.

Works Cited

Coker, Cheo. Whos gonna take the weight Essence magazine. August 2000.

Forman, Murray. Neal, Mark Anthony. Thats the joint! The hip-hop studies reader. Routledge, 2004.

Hess, Mickey. Icons of hip hop: an encyclopedia of the movement, music, and culture. Greenwood Publishing Group, 2007.

Introduction

Hip Hop is a culture of self expression musical art. It was started by Latino-Americans and African-Americans in the seventies. During this period, youth unemployment had risen to about 70% in the United States. The unemployed youths used it to address the hardships and social injustices that they experienced.

Hip Hop, since its ignition, has influenced the behaviour of youths from different social, cultural, and economic backgrounds all over the world. Oppressed ghetto people used Hip Hop to voice the social injustice, discrimination, and poverty they experience (Bradley and DuBois 253).

Hip Hop evolved from music written by Dj Kool Herc. He used to make reggae beats and recite rhymes over these beats. Before Hip Hop became popular in the United States, it used to be a local occurrence that spread out in the poor neighbourhoods around New York City borough. Since then, Hip Hop has grown to become a very influential culture. Hip Hop has influenced people in poor neighbourhoods to behave differently because it gives them an identity.

Today, Hip Hop has become a very popular genre of music and art. Its popularity has been as a result of the extensive air play it receives in radio stations and television channels like MTV. Hip Hop has provided an avenue for oppressed minoritys voice to be heard.

Hip Hop has been adopted and adapted by youths living in the ghettos all over the world regardless of the racial, social, or economic backgrounds. Youths living in the ghettos have had Hip Hop as one of the most effectual means to voice the social injustice that they experience.

Hip Hop as the Voice of the Ghetto

From a ghetto point of view, Hip Hop has been the most fruitful way of getting the peoples opinions heard. In his book, Chang is more concerned with Hip Hop as a revolutionary medium, a culture that has become political as people try to fight for their rights. Hip Hop has become a global movement that defines a generation (Ogbar 45).

The voiceless youths used Hip Hop to address the seismic changes during the post civil rights era which was rapidly transformed by globalization. It was necessary for unemployed youths to find a method of getting the government to consider the growing number of youths who did not have jobs.

In their pursuit for jobs, youths living in ghettos found that they could use Hip Hop music to earn a living. It has since become a job-making venture and the hope of youth revolution. Hip Hop has brought a multiracial worldview in the young generation. It has transformed culture and politics in different nations all over the world (Chang 230).

Hip Hop in many nations has been the integral part of race riots, urban flight, neighborhood reclamation projects, and grass roots movements. These issues have greatly influenced political agendas. As a result of Hip Hop, ghetto people have formed activist groups that have led to ideological movements in an attempt to voice the people in these poor neighborhoods (Chang 98).

In the song love is blind, the singer mentions his sister who has been oppressed by her lover. She suffered under the hands of a lover. Finally, she died from the beatings she received from her lover. After the death of his sister, the singer murders the husband to his sister. The singer finds Hip Hop music as the best way to inform people of the social injustice his sister experienced.

Ice T in his lyrics insists; If I had a chance like you, maybe I would be in school but Im not, Im out here living day to day surviving. Ice T communicates to his audience to inform them how he and many others living in the ghetto are discriminated. Most of the youths like Ice T never got the opportunity to go to school; this is due to poverty in their families.

Ice T reckons that what he and other Hip Hop artist do is not right, but insists that the hardships that he undergone has led him to his current lifestyle. Ice T also insists that if he had a chance he would have gone to school like other kids.

Eminem and Jay-Z use the song Renegade, which literally means traitor, to show how they experienced poverty and hardships as they grew up. My childhood didnt mean much, only raisin greener. Eminem and Jay-Z conclude that they are traitors.

This is because they have chosen to tell young people the truth, unlike their parents. Eminem and Jay-Z believe they have been misjudged. They have been regarded as bad role models to children and young adults. They claim they are traitors because they have decided to inform the young people what their parents would never have told (Rose 56).

Hip Hop was started by poor young people living in ghettos in the United States. This led to United States being tagged as a Hip Hop nation. However, Hip Hop has since evolved and now includes many cultures around the world. Hip Hop world is now used to refer to all the cultures in the world that use Hip Hop as a means to voice the injustices and discriminations in the society (Rose, 159). Hip Hop has helped many people especially those living in the ghettos when it comes to dealing with political and social issues.

Hip Hop is a tool used to shape the behavior of the society. However, Hip Hop is condemned by people who are not from poor backgrounds. This is because; some people believe that it spoils the youths minds. Musicians like Eminem claim that Hip Hop is real and what is mentioned in music is true; hence it is necessary for young minds to know the truth (Ogbar 69).

Conclusion

Hip Hop is not only about rap music and graffiti; it is about an attitude; a culture and a lifestyle of a certain class of people, a low class of people who have found it essential to voice their complaints, but can not identify a better way to do so. The impact of Hip Hop in todays culture is evident everywhere in the cities.

Hip Hop has become so popular because of its ability to voice the social injustices, poverty, and discrimination faced by many people living in the ghettos. Its popularity has also been contributed by the fact that it is everywhere around the globe. Generations use the powerful idea of Hip Hop to unite the people. It has helped generations to define their identity. Hip Hop has grown into something that frames the way the society sees the world.

Works Cited

Bradley, Adam and A. DuBois. The anthology of Rap. London: Yale University Press, 2010. Print.

Chang, Jeff. Cant stop Wont stop: A history of the hip-hop generation. New York: St. Martins Press, 2005. Print.

Ogbar, Jeffrey. Hip-Hop Revolution: The Culture and Politics of Rap (Culture America). Westbrooke Circle: University Press of Kansas, 2008. Print.

Rose, Tricia. The Hip Hop Wars: What We Talk About When We Talk About Hip Hopand Why It Matters. New York: Basic Civitas Books. 2008. Print.

Gangstagrass is a bluegrass/hip-hop band that mixes elements of traditional bluegrass music with hip-hop beats to stress the thematic similarity of lyrics in both genres. In the bands song Long Hard Times To Come, the following lyrics are recited by the guest hip-hop performer TONE-z: Hook the car uphit the bar upclean the scars uphey yo, the stars up / Hey this is the life of an outlaw / We aint promised tomorrowIm living now, dog (Long Hard Times To Come). The thematic closeness of the two genres is evident in this quote, where the life of the outlaw is described in a fashion more common for hip-hop performers, but the overall mood of the description resembles the bluegrass and country musics thematic unity about the life of an outlaw with his/her hardships, constant traveling, and hiding from the police.

The importance of this quote to the topic is that it reflects both the life of outlaws in ghettos where hip-hop was born and anti-authoritarian mood of outlaw country and Appalachian music that was based on traditional outlaw songs originating from England, Ireland, Scotland, and other countries. The description of a lonely traveler who is responsible to God only is more common in country and bluegrass lyrics rather than in hip-hop music, although both genres often address the theme of God, repentance, and hard (or tough) life of an outlaw, who has the devil behind his/her back (another marker of a traditional music).

The author of the article also pinpoints the resemblance between the two genres: For example, both have roots in West African music traditions, and both celebrate outlaw culture in their lyrics (Long). Indeed, Appalachian and country music, as well as blues, grew out of traditional slave songs, where the themes of God and the Devil were also common, but traditional European folk songs with a similar thematic sequence also influenced the genre. The outlaw culture represented in country music and hip-hop may be perceived differently due to their geographic specifics, where country music reflects the rural life, while hip-hop is predominantly urban or suburban. However, the overarching themes, such as a dangerous life, relationships with God and faith, love, longing for (the lost) home, walking through life help the band masterfully combine the two seemingly different genres in one song, also using musical instruments and techniques common for both genres (such as guitars and beats). Thus, Long correctly points out that both the roots of the genres and their focus on particular themes make it easier for the band to combine them in their music, leading to an unexpected mix.

The identified thematic unity of the genres is the outlaw life that is mentioned in the lyrics. The first evidence is a direct reference to the theme, and no specific markers that would label the lyrics as either country or hip-hop music are intentionally used by the author of the song to stress the similarity of the genres. At the same time, the second evidence, i.e., Longs notion about the roots and the culture reflected in country and hip-hop music demonstrates that thematic similarity is not accidental and goes back to the songs of slaves and West African music that influenced both genres despite their aesthetic differences. Thus, Gangstagrass use the culture reflected in both music genres to bring them together in their lyrics.

Works Cited

Long Hard Times To Come. YouTube, uploaded by Rench, 2015, Web.

Long, Kyle. Gangstagrass Brings Hip-Hop and Hillbilly Tunes to the Hi-Fi. Nuvo, 2018, Web.

The music industry has remained male-dominated for a long time in history. However, the current society has seen a few women come out as hip-hop artists and gain fame that is equal to that accorded to men. Such women include famous rappers such as Nicki Minaj, Cardi B, Shakira, and Rihanna, whose talents are visible through their ability to perform in different music genres. These women motivate other women in society when their albums and singles hit the market, and win prestigious awards. At the same time, these women have accepted the place of women in hip-hop through their skimpy styles of dressing. For instance, Rihanna has walked almost naked in various award ceremonies, and she seems very content with her body. Nicki Minaj has also posed nude in some of her videos, while the case is similar for all female artists, a strategy that is seen as one of the best ways of promoting their music. Nevertheless, the representation of women in hip-hop music is not all about dressing but also about how they are left out of prestigious awards while their male counterparts dominate these ceremonies.

The paper compares the depiction of women in hip-hop music and tries to answer the primary research question of what the representation of women in hip-hop music is. The paper utilizes a content analysis of various sources to get the answers to the research question. The primary hypothesis is that women are represented negatively in hip-hop, and this prevents them from fully participating in this kind of music.

Jamerson (2019) recognizes the fact that women are just as good as their male counterparts when it comes to pop music. He adds that women have proven adequate skills behind the scenes and that their hip-hop game is on top through their dancing, rapping, and writing chops. These skills have seen rappers such as Nicki Minaj, Rapsody, Tierra Whack, and Queen Latifah sitting at the top of the game. However, a problem exists in that women are still left out of the conversation concerning the ranking of the best in the hip-hop genre. Earlier this year, the Pew Podcast listed the fifty best rappers of all time, a move that sparked controversy all over social media for its lack of inclusion of any female rapper. A similar trend is also seen in BBC’s list of top hip hop artists which includes only two female artists, one of them Queen Latifah, and none of them featured among the top fifteen.

Grönevik (2013) is concerned with the cultural aspects of the involvement of women in hip-hop and rap music. According to him. Men mostly perform this form of music because the language is vulgar and straightforward, and most of the time, they are usually singing to their female counterparts. However, this form of music portrays women as sexual objects whose role is to please men. Grönevik uses the lyrics of a hip-hop song addressed to a woman with the words Baby you light up my world like nobody else, the way that you flip your hair makes me overwhelmed. Here, the artist uses the word baby to refer to the woman implicating that even a single act of flipping her hair has a sexual meaning for him. He refers to previous research on the depiction of women in hip-hop in Sweden and America conducted by Valsinger (2008) to reveal that the lyrics within hip-hop music focus on the female body and eventually portray women as sexual objects. The research also revealed that American hip-hop culture is more discriminatory compared to Swedish culture, and this limits the number of women in the industry.

Kistler and Lee (2009), state that the depiction of women in hip-hop music can influence people’s decisions about gender. The author analyzes the videos in Rihanna’s ‘Rude Boy’ and Shakira’s ‘Give it to me.’ In both cases, women are seen dancing erotically alongside men. The women are in skimpy clothing, and they wear makeup which suggests that they are seducing the men in the video. Women in both cases are depicted as sexual objects who seem like an easy targets for men’s sexual desires. Chung (2007) acknowledges that dressing is not the only attribute used to depict women in hip hop but also the fact that they have curvy bodies with hourglass figure that seems to be what the men. Such behavior can further influence the attitudes of other ladies in society so that they grow up knowing that that is acceptable behavior in society.

Ross and Colman (2011), acknowledge that hip-hop has a negative influence on young listeners’ ideas about sexuality and sex. Most of the scholars have focused on the impact of hip hop on the sexual self-concept and behavior of African American girls. The authors refer to a model developed by Stephens and Philips (2003) on a sexual scripting model that has the specific experiences of African American women. Their model involved eight sexual scripts, including the Gold Digger. Ross and Colman (2011) add another sexual script called the Video Girl, which includes 18 college African American women between the ages of 18 and 30. The existence of the Video Girl script was analyzed using the q methodology. The results of the research revealed that although the ninth script is distinct from the previous eight models, it is closely related to the Gold Digger model. The implication of the study is that a majority of hip-hop sexual scripts hold real meaning.

Peterson, Wingood, DiClemente, Harrington, and Davies (2007) reveal that women are not only depicted negatively in the hip-hop and rap music industry, but this is also likely to affect the behavior of other young women in society. The prevalent themes in rap music include violence, guns, alcohol, cigarettes, eroticism, violence, social deprivation, and dysfunctional families, among others. However, these videos often misrepresent African American women as greedy, amoral, and hypersexual. The researchers sought to determine the various ways in which this misrepresentation of African American women affects the behavior of other young women in society. The research used a sample of 522 adolescents from different community venues. The primary data collection method included a survey that contained information concerning socio-demographics, rap music viewing habits, and the portrayal of sexual stereotypes in rap music videos. The results revealed that the adolescents who perceived rap music as containing sexual stereotypes were more likely to engage in binge drinking, have a negative body image, and test negative for marijuana.

White (2013), acknowledges that the representation of women in hip-hop music can either help to objectify or empower women in the industry. The researcher mentions that there is a correlation between the sexuality of African Americans and their search for self-identity and self-control. The article considers two African American women who are influential in the field of hip hop: Nicki Minaj and Missy Elliot to determine whether their participation in rap music has helped to define their sexuality. The results revealed that the two powerful women empower women because they have dominated a field that was initially meant for the male gender.

The Perspective (2018) presents two sides of Nicki Minaj, the queen of hip-hop music and a renowned business mogul. In the first place, she is described as a woman who empowers other females by opening doors for them in a male-dominated industry. She has achieved this by winning multiple awards and nominations that have proven that her rap skills are on point. Most of her albums and singles have hit the top of the billboards, and she also became the first woman to appear on the Forbes list of hip-hop cash kings. Nicki Minaj uses her body to exemplify female sexuality. She enjoys her sexuality and uses it to earn income. Already, her net worth is estimated at $75 million, and this encourages other women to use their talent to make a living. On the other side, the female rapper is depicted as a woman who enforces sexist stereotypes. She unashamedly displays her body, and most of her performances portray an overly sexualized image of women. Nicki Minaj is also depicted as a woman who uses her body for sexual profit. Take the example of her album, the Anaconda, in which she uses her body and the idea of sex to sell her music.

The social power of Hip Hop during the late 1980s and the 1990s cannot be underestimated. Rap became in the most important musical genre of the period with huge commercial profits and public demand. However, as Wood emphasizes “like any industry or art form dominated by men, sexism was inherent” (Wood 2015). As the genre spread, more and more rap songs abandon social issues; these anthems were replaced by stories about excess that point out women as products worth having. Many rappers from the 1990s use the terms “bitch” and “whore” to refer to women, depicting them as gold diggers who were just interested in men´s money and fame.

In this context, Queen Latifah appears in the rap scene. She “called out the misogyny in hip-hop at a time when women in the industry weren’t being given opportunities to ask for much at all. She infused feminism into rap music when female artists were barely allowed through the door. And then she left it open” (Wood 2015). Latifah´s first album was released in 1990, containing feminist lyrics that search for the liberation of women from men´s abuses and violence. However, it would not be until the release of her third album in 1993, “Black Reign”, that Latifah turns a critical eye toward her own community.

U.N.I.TY (1993) becomes a symbol of feminist rap that directly denounces the sexism that exists within the African American community and the rappers who use offensive terms, descriptions, and images to refer to women. This song gained the Grammy Award for Best Rap Solo Performance in 1995.

U.N.I.T.Y. begins with a chorus that stands for the union of African American women in order to overpower sexist men that mistreat them and insult them (lines 1 and 3): “Uh, U.N.I.T.Y., U.N.I.T.Y. that´s a unity/ (Who you calling bitch?). Besides, Latifah also encourages women to instruct men that they are worth their respect (lines 6, 8, and 10): “U.N.I.T.Y., love a black woman from (you got to let him know)/ U.N.I.T.Y, U.N.I.T.Y. that´s a unity (You gotta let him know)/ U.N.I.T.Y, love a black man from (you gotta let him know). She emphasizes the notion of love between men, and women, and between each other as a way to defeat sexism and racism. The chorus is used to separate the three different stanzas of the song.

In the first stanza, Latifah begins by assessing rap the capacity to freely express her complaints about sexism (lines 12 and 13): “Instinct leads me to another flow/, every time I hear a brother call a girl a bitch or a ho´”. Notice hear the use of the term “brother”, in order to point out the African American race as responsible for this misogynist behavior. Now, Latifah addresses the sexist discourse that excuses this behavior by saying that men refer to women in these terms as just joking. She denounces this pretext and asks women to do the same (lines 16, 17 and 19): “Now everybody knows there´s an exception to this rule/ now don´t be getting mad, when we playing, it´s cool/ I bring wrath to those who disrespect me like a dame”. Latifah ends the stanza depicting a sexist scene in which a man feels free to touch her, she encourages women to face this man as she does in the song by hitting him, if necessary (line 27): “Huh, I punched him dead in his eye and said ‘Who you calling a bitch?’.

In the second stanza, Latifah is able to portray an image of women that emphasizes their marginal position in the gender and race discourse. Women are at the lowest of the social rank (line 38): “I hit the bottom, there ain´t nowhere else to go but up” because they suffer from racism for being black and from sexism for being women. Thus, Latifah is able to connect rap with African American feminist theories and literature by depicting the term “multiple jeopardies” which is explained in Deborah King´s Multiple Jeopardy, Multiple Consciousness: The Context of a Black Feminist Ideology.

She describes how men discharge their anger and frustration on women, (lines 39 and 40): “Bad days at work, give you an attitude then you were rough/ and take it out on me but that´s about enough”. In these lines, Latifah tries to encourage women to stand up against abusers men, and intends to overturn the social conventions that tell women that they need a man to be someone (lines 44, 45, and 46): “All I knew was you, you were all the man I had/ and I was scared to let you go, even though you treated me bad/ you say I´m nothing without ya, but I´m nothing with ya”. The stanza ends with a warning towards men, she has awakened as a woman and she is not willing to keep putting up with men´s abuses, sexist jokes, and violence (line 50): “This is my notice to the door. I´m not taking it no more”

Finally, the third stanza mocks African American men´s attitude that trying to look hard. Latifah depicts them as ignorant that instead of doing something productive, act like gangstas (lines 68, 72, and 73): “I saw you wilding, acting like a fool/ now you wannabe… hard/ you barely know your ABC´s please”. In the final lines, Latifah points out women who remain quiet, she criticizes their silence and their lack of rebellion against men (line 76): “Uh, and real bad girls are the silent type”. She ends the song depicting how sexism mark women for life, not only physically but also psychologically (lines 77, 78, and 79): “Ain´t none of this work getting your face sliced/ cause that´s what happened to your homegirl, right? Bucking with nobody/ she had to wear that for life.”

It is clear, that, taking a look at rap, there are much more songs that depict sexist images of women than those which spread feminist theories. Bonnette tries to explain the causes of rap for being so conservative in this issue by pointing out the close relation that exists between rap and Black Nationalist organizations such as the Nation of Gods and Earths or the Nation of Islam, which: “allowed beliefs about subservient roles of women” (Bonette 2015, 95).

Nevertheless, Latifah´s song proves that the reason rap as a music genre and cultural manifestation cannot be described as sexist, or homophobic. Instead, it shows how rap is incapable to be labeled. Rap is born in an African American environment of poverty and evolves as a tool of self-expression for the disenfranchised. Consequently, the power of rap resides in its capacity to stand in opposition against anything, and Latifah proves it, by using a rap song to criticize and attack the own community in which it was born. As Rose explains: “These transformations […] reflect the initial spirit of rap and Hip Hop as an experimental and collective space where contemporary issues and ancestral forces are worked through simultaneously”.

In 1973, Hip-hop grew out of the South Bronx ruins when DJ Kool Herc developed the breakbeat, a distinguishing feature of hip-hop, which highlights the bridge of the song over tedious parts. As Kool Herc’s breakbeat gained traction, other artists took notice, two of these being Afrika Bambaataa and Grandmaster Flash. Eventually, these three together would be known as the “Founding Fathers,” and with the help of other hip-hop influences, created what would be known as hip-hop. As time moved forward, hip-hop slowly became ingrained in the culture, developing into a form of resistance to the subjugation of working-class African Americans in urban centers. Mostly, but not exclusively geared towards African Americans, hip-hop in its early, “most real” time could act as a unifying voice for social, economic, and political issues. Tricia Rose, the author of “The Hip-hop Wars” talks about these early times of hip-hop in her chapter, “Just Keeping it Real.” In this chapter, she says, “Just keeping it real, refers to talking openly about undesirable or hard-to-hear truths about black urban street life.” Additionally, hip-hop supporters make the “just keeping it real” argument: “in response to criticism that hip-hop lyrics are contributing to negative social conditions: encouraging violence, representing the criminal life, supporting sexism and homophobia” (Rose). However, Rose points out that the problem with making such a stance is that it denies the immense corporate influence on hip-hop’s storytelling. She explains that hip-hop defenders do not recognize the negative impact that corporate record companies have on the industry. She also mentions that as a result of the commercialization of hip-hop, rappers’ stories reflecting the “fullness of black life, humanity, and depth of perspective do not turn a profit the way stories of ghetto street criminality and excess do.” In this paper, I will prove that the commercialization of hip-hop has undoubtedly moved it into a stereotyped genre, advancing the caricatures of gangstas, pimps, and hoes. However, as illustrated in the chapter, “Just Keeping it Real” and in the works of numerous artists, contributable investments made in the principle of “Just Keeping it Real,” and the backbone of hip-hop since its origination, can steer hip-hop towards a more beneficial medium for hip-hops audience.

To best explain hip-hop’s, “just keeping it real” ideal, I analyzed examples of original hip-hop songs. One of the songs that showcase this idea is “The Message” by Grandmaster Flash and the Furious Five. This song was arguably one of, if not the first, hip-hop song to talk about social and political issues that were occurring in society. It gave its audience members a realistic representation of the Black Urban experience in America at the time. In the song, Flash says, “God is smiling on you, but he’s frowning too because only God knows what you’ll go through. You’ll grow in the ghetto living second-rate, and your eyes will sing a song of deep hate.” These lyrics manifest the reality of Blacks living in poor communities in the early Reagan years treated as second-class citizens. In a voice of these social and political issues, Grandmaster Flash and the Furious Five were “just keeping it real.” After the creation of this song, hip-hop’s platform was about speaking “hard-to-hear truths” that people in society needed to hear.

“Straight Outta Compton” by N.W.A. is another song that proves that “just keeping it real” was ingrained in hip-hop’s origins. By talking about street life, “Straight Outta Compton” voiced hard-to-hear truths that members of society could relate to. For example, Ice Cube says, “Boy, you can’t fuck with me, so when I’m in your neighborhood, you better duck.” In this way, Ice Cube is speaking on the fact that drive-by shootings are too common in Los Angeles, and the victims were mainly bystanders who failed to get out of the way. Again, this example is similar to the one in “The Message” in that N.W.A. is simply voicing their realities. While critics may say N.W.A. promotes violence, in reality, they just keep it real in portraying the dangers of gangster life. They serve as a powerful voice for the less-represented African American people. Thus, both songs provide excellent frameworks for understanding the “keeping it real” ideal established in hip-hop’s origins.

As hip-hop became commercialized, the majority of the content put out became controlled by the corporate powers, which affected the material. Corporations were more worried about making money, instead of hip-hop’s positive cultural impact. According to Rose, corporate powers want to sell records and help artists that both “sell as many copies as possible and what won’t cause too much negative attention, friction, or resistance from society and government.” An additional effect of this is that hip-hop perpetuated stereotypes of violence, and misogyny, along with other demeaning factors while all the while making these seem okay to its audience members. Thus, “just keeping it real” had become a race to replicate the stereotypes affecting the industry, not in an attempt to keep it real, but to comply with models of industry success. Furthermore, the principle of authenticity was diverted, changing hip-hop from a powerful, meaningful platform to one focused primarily on money.

50 Cent is one artist that was affected by commercial appeal and seemed to do whatever it took to attain wealth. In his song, P.I.M.P. 50 Cent says, “I ain’t that nigga tryin’ to holla ’cause I want some head, I’m that nigga tryin’ to holla ’cause I want some bread.” Clearly and explicitly, 50 Cent makes a sexist remark while saying he only cares about money. I cannot say for definite that this may be 50 Cent “just keeping it real,” but this just goes to show that the commercialization of hip-hop undoubtedly advanced the stereotypes of gangstas, pimps, and hoes. A more recent song that proves this point is 6ix9ine’s, Gummo. Often characterized for his outspokenness of the gang he is a part of, NineTrey gang, 6ix9ine is undoubtedly a factor in the commercialization of hip-hop. With lyrics like, “Put my dick in her backbone, I pass her to my bro” and “I’ ma fuck her, then I dash home, to the cash, ho” inevitably, 6ix9ine does not care about the negative impacts of his words, but instead cares about the money and fame that comes along with it. His lyrics are clearly both sexist and demeaning towards women. In essence, this proves that the commercialization of hip-hop altered what “just keeping it real” means. Consequently, hip-hop’s supporters are not provided with any meaningful content to improve their values in life.

Undoubtedly, the commercialization of hip-hop distorted and exaggerated the use of “just keeping it real” all while fueling the stereotypes of the gangsta, pimp, and hoe. However, the commercialization did not affect every artist, and there is plenty of hope for hip-hop to revert to its roots. Many artists incorporated the “just keeping it real” motto in their music content, but few artists were able to be heard through the noise of the commercial powers.

Kendrick Lamar’s “The Blacker the Berry” was one song that progressed through this barrier. “The Blacker the Berry” is a song that deals with racialized self-hatred, an aspect that has always been part of the African American experience. The lyrics further emphasize this: Kendrick says, “I’m African-American, I’m African, I’m black as the moon, heritage of a small village.” Kendrick explores what it means to be black in today’s society, saying that just as the dark side of the moon is never lit up, the real face of black culture is not visible in today’s America. While Kendrick Lamar is not a perfect artist when it comes to “keeping it real” all the time, this example goes to show that there are songs that still comply with “just keeping it real” and offer reflective content that is meaningful to the hip-hop audience.

Furthermore, in Kanye West’s song “Gorgeous” he describes the ugly nature of social injustice in America, ironically calling the nation “gorgeous” because of it. In a time when hip-hop seemed to be dominated exclusively by economic powers that streamlined violent, misogynistic, and sexist content, Kanye proves that he did not always become victimized by those pressures. Instead, what Kanye did was go against the grain, and he still does to this day. In the time of commercialization, Kanye and Kendrick demonstrate the truth of “just keeping it real” and pleasure us supporters in knowing that hip-hop still maintains some of its original roots.

In conclusion, the commercialization of hip-hop has had detrimental effects on the genre’s “just keeping it real” ideal. But as shown in some songs created by Kanye West, Kendrick Lamar, and others, hip-hop can be steered back towards its founding ideal, which gave it authenticity in the music world in the first place. In light of this, this change is not accomplishable without some significant investments by the contributors in the hip-hop music industry and the audiences that listen to its content. Best put by Rose, ‘We can turn the tide by expanding our contributions in the principle of telling hard-to-hear undesirable truths that underwrite “keeping it real” to emphasize a full exploration of the historical and contemporary realities of economic, social, and political oppression that have created a definition of realness as equivalent to black criminality and street culture.” Surely, with the help of key players that help promote the notion of “just keeping it real,” along with an informed audience that is aware of the destruction of commercialization on hip-hop’s content, detachment from “gangsta” fictions and subsequent attachment to “realness” can undoubtedly be, once again, an ordinary reality in the hip-hop scene.

Hip Hop and R&B are two distinct genres of music that have made significant impacts on the music industry and popular culture. While both genres share some similarities, they also have notable differences in terms of their origins, musical styles, lyrical content, and cultural influences. In this essay, we will compare and contrast Hip Hop and R&B to gain a deeper understanding of their unique characteristics.

Hip Hop emerged in the 1970s in the Bronx, New York, as a form of cultural expression among African American and Latino communities. It is characterized by its rhythmic beats, spoken word delivery, and emphasis on lyrical storytelling. Hip Hop artists often use rap as a means to convey personal experiences, social issues, and cultural commentary. The genre has expanded globally and encompasses various sub-genres such as gangsta rap, conscious rap, and trap music.

On the other hand, R&B, which stands for Rhythm and Blues, originated in African American communities during the 1940s. R&B is rooted in gospel, jazz, and blues, and it features soulful vocals, melodic harmonies, and a strong focus on emotions and relationships. R&B artists often explore themes of love, heartbreak, and personal introspection. The genre has evolved over time and has incorporated elements of pop, funk, and hip hop into its sound.

In terms of musical styles, Hip Hop is characterized by its use of samples, drum machines, and synthesizers to create its distinctive beats. It often features repetitive hooks and catchy melodies. R&B, on the other hand, typically incorporates live instrumentation, such as guitars, pianos, and horns, to create a soulful and melodic sound. R&B songs often have more complex vocal arrangements and showcase the vocal abilities of the artists.

Lyrical content is another area where Hip Hop and R&B differ. Hip Hop lyrics often revolve around social and political issues, personal experiences, storytelling, and braggadocious wordplay. The lyrics can be explicit and confrontational, addressing topics such as racism, inequality, and urban life. R&B lyrics, on the other hand, focus more on themes of love, romance, relationships, and personal emotions. R&B songs often convey feelings of longing, heartbreak, and empowerment.

Culturally, Hip Hop and R&B have had significant impacts on popular culture and have influenced fashion, language, and attitudes. Hip Hop has been associated with urban street culture, graffiti art, breakdancing, and a distinct fashion sense. It has also provided a platform for marginalized voices and served as a form of protest and empowerment. R&B, on the other hand, has been closely linked to love and sensuality, and it has played a major role in shaping contemporary R&B artists’ careers.

In conclusion, while both Hip Hop and R&B are genres of music that originated within African American communities, they have distinct characteristics and influences. Hip Hop is known for its rhythmic beats, spoken word delivery, and socially conscious lyrics, while R&B focuses on soulful vocals, melodic harmonies, and themes of love and relationships. Despite their differences, both genres have made lasting impacts on the music industry and continue to evolve and shape popular culture.

Introduction:

Hip hop, beyond being a genre of music, encompasses a vibrant culture that has shaped my life in profound ways. In this narrative essay, I will recount my personal journey and experiences with hip hop as a lifestyle. From the music and fashion to the dance moves and mindset, hip hop has become a significant part of my identity and a means of self-expression.

Body:

Discovering Hip Hop:

My journey with hip hop began during my teenage years when I stumbled upon a hip hop track that resonated with me on a deeper level. The raw lyrics, infectious beats, and storytelling elements captivated me. As I delved further into the genre, I discovered the rich history and cultural significance behind hip hop, making it more than just music.

The Power of Lyrics:

Hip hop lyrics became a source of inspiration and empowerment for me. Through their authenticity and storytelling prowess, artists articulated the struggles and triumphs of their lives, mirroring my own experiences. The lyrics touched on topics such as social justice, personal growth, and the resilience of marginalized communities, fueling my desire to create change and overcome obstacles.

Expressing Identity:

Hip hop provided a platform for me to express my identity and voice. The fashion trends associated with the culture allowed me to showcase my unique style, embracing streetwear and bold accessories. The ability to create my own identity within hip hop allowed me to feel a sense of belonging and acceptance.

Dance as Liberation:

In addition to the music, hip hop dance became an essential part of my journey. From breakdancing to freestyle, the expressive movements allowed me to channel my emotions and release any pent-up energy. The dance floor became a space of freedom and self-discovery, where I could connect with others who shared the same passion.

Hip Hop Mentality:

Beyond the artistic elements, hip hop instilled in me a mindset of resilience and determination. The stories of artists who overcame adversity and used their platforms to create change inspired me to pursue my dreams fearlessly. The hustle and work ethic prevalent in hip hop culture motivated me to strive for excellence in all aspects of my life.

Hip Hop Community:

One of the most rewarding aspects of embracing hip hop as a lifestyle was becoming part of a vibrant and supportive community. Through attending concerts, open mic nights, and local events, I connected with like-minded individuals who shared a love for hip hop. The sense of camaraderie and shared passion fostered lifelong friendships and collaborations.

Conclusion:

Hip hop has transformed my life in profound ways, becoming more than just a genre of music. It has become a lifestyle that has shaped my identity, provided a means of self-expression, and connected me with a community of like-minded individuals. Through the power of lyrics, dance, fashion, and a resilient mindset, hip hop has taught me the importance of embracing authenticity and striving for personal growth. As I continue on my hip hop journey, I am grateful for the impact it has had on my life and the opportunities it has presented for self-discovery and artistic expression.