Keyes, C. L. (2002). Rap music and street consciousness. Urbana: University of Illinois Press.
"Commercial exploitation of and within the hip-hop community also contributes to a growing polarization. As a result, some artists believe that hip-hop is headed for its demise"
"N.W.A veered away from this stance toward the controversial rap sub-genre labelled 'gangsta rap.' In the sensationalism generated by this sub-genre, non-gangsta rap artists fell by the wayside while one dimensional gangsta rappers signed six figure album deals and dragged hip-hop away from its roots"
-N.W.A essentially revealed a side to the hip-hop genre that caused controversy and was able to socially and politically comment on 'real life'
The portrayal of "gangstas. thugs, pushers, pimps, and sex-kittens" all "led the public to question the moral value of all rap music"
"Media coverage often reported violence at rap music concerts and called this music the catalyst for violent behaviour"
-This negative media coverage catalyses the stereotypes of rap music as a third party is unable to understand the music as something more than mere derogatory language
Julio Fuentes 19 year old- 'Dope Jam' rap concert at Long Island's Nassau Coliseum - Sept 10, 1987
"Malcolm X epitomizes to the Hip-Hop nation a northern urban black experience against racial injustice and the zeal for redefinition, redirection and self-respect that is reinforced in the mandate of the Universal Zulu Nation"
"It is embedded in a community-based system called the Zulu Nation, which endeavours to provide inner-city gang members with an alternative to violence"
-Malcolm X is a figure in history that provides a voice to the black community and more predominantly a voice for change - the idea of the Zulu Nation is something that consists within Lamar's work - 'Complexion (A Zulu's Love)' included in his album TPAB.
Journals
Korom. A, Yaya. (2006). Black Filmmaker.
"Cinema buffs and film industry people still scorn the possibility that music video has anything to offer their art while most in the music industry refuse to go back innovation preferring to churn out MOR MTV gunk"
Vernal Lis, Carol. (2001). Screen.
"This genre is most importantly the voice of inner-poor youth or the streets."
-the importance of the genre as a voice rather than just fruitless music for entertainment but obtains a message
(2003). National Film Theatre Programmes.
"Much of the particularity of music video editing lies in its responsiveness to the music. It can elucidate aspects of the song, such as rhythmic and timbral features, particular phrases in the lyrics, and especially the song's sectional divisions"
-the editing of a music video makes it an art form and not merely a piece to be enjoyed for entertainment but to further enhance the message behind the lyrics, this reinforces the 'Alright' video and how it poses more so as an art form rather than a mere conventional music video.
Leigh, Danny. (2004). Sight & Sound.
"Initially Hip-Hop referred to a symbiosis of several disparate elements including vocal ingenuity, vinyl dexterity and innovation in the field of DJ technology"
Goldie, Luan. (2004). Black Filmmaker.
"Hip-hop history clearly shows that disguising rap music as gospel music is not a positive career move."
-Kanye West is an example of this. The use of religious connotations within rap music and the gospel music beats is something that a lot of artists include to reveal their religious ideologies and focus back on their roots.
Smith, Stacy L. (2002). Journal of Communication.
"The results reveal that 15% of music videos feature violence, and most of that aggression is sanitized, not chastised, and presented in realistic contexts."
"characters involved with violence by genre
nature of perpetrator
% of adult - 96
% of male - 78
% of white - 13
% of black - 56
nature of target
% of adult - 96
% of male - 84
% of white - 12
% of black - 62"
-the results from the study reveals the effects of rap music on certain audiences and the racial group that are targeted are black and the perpetrators are also black revealing the extent of black on black crime.
Vernal Lis, Carol. (2001). Screen.
"This genre is most importantly the voice of inner-poor youth or the streets."
-the importance of the genre as a voice rather than just fruitless music for entertainment but obtains a message
(2003). National Film Theatre Programmes.
"Much of the particularity of music video editing lies in its responsiveness to the music. It can elucidate aspects of the song, such as rhythmic and timbral features, particular phrases in the lyrics, and especially the song's sectional divisions"
-the editing of a music video makes it an art form and not merely a piece to be enjoyed for entertainment but to further enhance the message behind the lyrics, this reinforces the 'Alright' video and how it poses more so as an art form rather than a mere conventional music video.
Leigh, Danny. (2004). Sight & Sound.
"Initially Hip-Hop referred to a symbiosis of several disparate elements including vocal ingenuity, vinyl dexterity and innovation in the field of DJ technology"
Goldie, Luan. (2004). Black Filmmaker.
"Hip-hop history clearly shows that disguising rap music as gospel music is not a positive career move."
-Kanye West is an example of this. The use of religious connotations within rap music and the gospel music beats is something that a lot of artists include to reveal their religious ideologies and focus back on their roots.
Smith, Stacy L. (2002). Journal of Communication.
"The results reveal that 15% of music videos feature violence, and most of that aggression is sanitized, not chastised, and presented in realistic contexts."
"characters involved with violence by genre
nature of perpetrator
% of adult - 96
% of male - 78
% of white - 13
% of black - 56
nature of target
% of adult - 96
% of male - 84
% of white - 12
% of black - 62"
-the results from the study reveals the effects of rap music on certain audiences and the racial group that are targeted are black and the perpetrators are also black revealing the extent of black on black crime.
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