Influence Of Rap Music Essay Research Paper

Influence Of Rap Music Essay, Research Paper

RAP MUSIC

Popular culture is defined as the ordinary culture people make for themselves (McLeish, 1993). From the nineteenth century onward the term popular culture took on new meaning, referring to pop culture as somewhat beneath higher culture (1993). In other words, things that the common people enjoyed were looked down upon as opposed to say, opera, cricket or intellectual pursuits. Popular culture belonged to the common man whereas the higher forms of entertainment were enjoyed by the upper crust. High culture is what those with refined tastes like (1993). Popular culture includes things enjoyed by the masses (1993). Such pursuits might include bowling, baseball, rock music and movies.

Yankelovich Clancy Shulman says that most of today s pop culture reflects neotraditionalism or a synthesis of positive aspects of traditional values along with personal freedoms that came forth in the wake of the sexual revolution and women s rights movements (Huey, 1991). In order to understand pop culture one must understand the difference between culture and counterculture (1991). The dominant culture embraces normative behavior whereas a counterculture develops its own set of rules. Ordinarily, pop culture breaks barriers and springs from discontent; rap music emerged from the ghettos where life is tough (1991).

Rap music certainly falls into the category of popular culture but has quite a bit of significance. In fact, rap music or hip-hop, is a genre that originated in the seventies in New York City (Columbia, 1993). The term rap emanated from sixties lingo, the word rap meaning conversation (1993). In the sixties and seventies, people would have rap sessions as opposed to group counseling, for example. Rap music consists of chanted; street poetry that is often improvised (1993). The rap is accompanied by music in the disco or funk area (1993). While some admire the creativity that rapers employ, others criticize the genre for promoting violence and misogyny (1993). Rap music has found its way onto mainstream pop radio stations, as well as having its own shows on MTV.

Understanding the roots of rap music will help in understanding its significance. Part of the reason for delving into the history is because hip-hop and rap is generally associated with African Americans but the roots of the genre did not originate in the black community. Also, rap sprang from social discord but contained no where near the anger that it displays today when it first appeared on the music scene.

The definition of rap music places its origins in New York but the story of hip-hop begins in quite a unique way. Hip-hop began with street parties in the Bronx during the seventies (Forward, 1997). In the early eighties, a New York University student named Rick Rubin began to sell rap records (1997). At the same time, a New Yorker called Tom Silverman was selling Afrika Bambaattaa records (1997). Several years later, Rubin, along with Russell Simmons, helped to create the single most successful white rap group of all time, the Beastie Boys (1997). All of them were Jewish (1997).

Soon, a whole contingent of Jewish men, along with a few women, were drawn to that music (Forward, 1997). In fact, a Jewish rap group called Blood of Abraham soon surfaced (1997). During the very beginnings of rap, there was social significance. The music and lyrics held some promise as a medium that could shed light on race relations in the United States (1997). While the medium began as a part of the Jewish community, entities such as KRS-One, Public Enemy and Queen Latifah sprang up; each stressing the betterment of blacks (1997). The very beginnings of rap held music of social and political significance.

Rap music was not a quick fad like disco. It was in the early nineties that things began to change. It was at this time that Tupac Amaru Shakur was shot, although a review of his life would reveal that he did not live the typical gangsta lifestyle; at the same time, he did have a criminal record that included rape (Forward, 1997). What followed was a series of murders in the rap community. Christopher Wallace, also known as Biggie Smalls, and the Notorious BIG, were killed less than a year after the demise of Shakur (1997).

While rap music has been embraced by a predominantly black, gangster culture, some Jews continued to remain involved with the music (Forward, 1997). Others left. It should be said that some black groups, such as the Fugees, have adopted a peaceful attitude (1997). Yet, there is an obvious lack of success by the white rappers, as black groups seem to shine in the genre. Mr. Shecter, someone involved with the music since its beginnings, says “Now, it’s the black artist making money and the Jew behind the scenes making money as well. They’re partners” (1997).

In some respects, Jews and blacks have traditionally bonded as oppressed groups. At the same time, there have been difficulties. Lemrick Nelson was accused of the murder of Yankel Rosenbaum, an incident sparked in a strained New York community (Jewish Exponent, 1997). An accidental death of a black child sparked controversy about the Lubavitcher Rebbe’s motorcade and the preferential treatment given to Jews in the area, which resulted in rioting and the death of Rosenbaum (1997). This Crown Heights case demonstrates some of the tension betw