A Rhetorical Analysis Of Rappers

Rap music, also known as hip-hop, is a popular art form. Having risen from humble origins on the streets of New York City during the mid-1970s, hip-hop has since become a multifaceted cultural force. Indeed, observers say, hip-hop is more than just music. The culture that has blossomed around rap music in recent decades has influenced fashion, dance, television, film and—perhaps what has become the most controversially—the attitudes of American youth. For many rappers and rap fans during it’s early time, hip-hop provided an accurate, honest depiction of city life that had been considered conspicuously absent from other media sources, such as television. With a growing number of rap artists within this period, using hip-hop as a platform to call for social progress and impart positive messages to listeners, the genre entered a so-called Golden Age

The decade of hip-hop is what some may call it. Tupac, Naz, Biggie Smalls, as well as other artists, were major contributions. Not only for the people who are trying to find their footing, but Buck as well. Throughout the book various lyrics were embedded in order to create a better understanding for its readers. In addition, this book is based upon a 90s lifestyle within Philadelphia, which included drugs, gang activity, crime, hip-hop, and havoc. Malo was directly in the center of everything, the girls, the fights, the guns. His experiences shed light towards what it’s like to as an African American individual living in or near the hood. Not everyone realizes what people go through while living there, but now it gives some readers an image of what goes on. Though times have changed, not all previous feelings

Vanilla Ice uses a stereotypical approach to establish credibility from other rappers and his audience. With the use of literary devices, Vanilla Ice illustrates himself as an MC capable of “cooking [other] MC’s like a pound of bacon.” This simile comparing other MC’s to bacon gives the audience the impression that Vanilla Ice can out-perform any competitor. This is essentially challenging others as though they were no match for him. He also uses the stereotype that successful rappers constantly have female attention when he claims he has “girlies on standby.” However, he insinuates he is too good for these women after he “just drove by.” This implies that he not only has admirers, but it is not worth his time to stop and acknowledge them. He also makes his music seem desirable by comparing its value to that of drugs, claiming “if [his] rhyme was a drug [he’d] sell it by the gram.” This comparison demonstrates how addictive he believes his music is. Vanilla Ice uses these methods to appeal to the conventions of rap in order to create an image comparable to that of an established

‘From the margins to the mainstream: the political power of hip-hop’ by Katina R. Stapleton

"Can you still be a rapper at 50-years-old?," my father asked in reference to hip-hop paragon Jay-Z, who'll be 48 in a few months. I said "Given that rap is young in comparison to the other genres, there's not a precedent for what would be odd in regard to age." Jay-Z's laid the groundwork for many things in his career; now, he shows what it looks like to still be thriving in a "young man's game" on the cusp of a golden anniversary with his 13th album, 4:44. Developmental psychology submits that the late 40's to early 60's is a time of reflection that often leads to self-loathing, a "midlife-crisis" and/or a needling desire to contribute to the next generation. 4:44 seems to be the "middle-adulthood" stage on wax. Jay-Z mulls over his egomaniacal

In his book, Making Beats, specifically the chapter titled “It’s about Playing Records”; Joseph Schloss attempts to discuss the relationship between deejays and producers, and the connection between individuals and collective hip-hop identity and history. He argues that academics who write on this topic tend to center more on economic, political, and social concerns instead of the individuals (Schloss 2004). His main points of this chapter are how deejaying relates to sampling, how individuals shape the aesthetic quality of hip-hop, and female producers in a masculine profession. While Schloss makes a convincing argument against writing about hip hop as if it were a conglomeration of millions of black youth’s tastes, he leaves a few things

The Bobbed hair style dates back to the early 1900s. This era was known as the roaring twenties. Women in the United States were changing, and developing a new sense of self-expression. Women who bobbed their hair were historically known as the “Flappers,” and to bob the hair was a bold statement and it symbolized her independence. Marjorie was certainly sure of who she was and did not want her hopeless cousin Bernice, ruining her popularity. Bernice went along with Marjorie’s plans, but was having second thoughts about cutting her long dark hair, and wondered what her mother would think of her. Her hopeless and boring ways will soon change, and the men will see her in a different light.

The connection that is drawn between the formerly economically challenged rapper and the child whose parent works two jobs, and can’t pay his child’s college tuition is paramount in making this point. The illusion of the American dream is set through many hip-hop songs. The picture of the evolution of the rags to riches story is set by many rappers in current hip-hop culture, this picture is the basic premise

New styles and culture were experimented in the 1950s. This decade, towards women hairstyle emphasized a more informal look and less ornate look than those in the1940s, concentrating more on hairstyling products. The hair was styled by the influence of the people across the world and the way they wore their hair and the product that was being used such as the hair cream, hair oil and setting sprays. Women in this decade hairstyle was diverse, the length of the hair varied from short to medium length hair. Women would often get their style and the colour of their hair by pivoting role models such as a actresses and models from fashion magazines.

Their hair went from long and feminine to a very short bob. They began wearing long strings of glass beads and pearls. Although most of these new fashion changes were disliked by many people, they

Hairstyles not only let us bring out our inner shine and creative personality, but the importance of hairstyles in the 1950s has emphasized the way we do our hair today. Even though we have different tastes in trendy hairstyles today, men, women, and children back in the day still turned it up a notch and expressed themselves in extraordinary ways. Women, men, and children’s Hairstyles grew significant importance. Society today has over thousands of different hairstyles for women, men, and children giving us an opportunity to all be unique in our own way.

The business that is brief cut. This design is obviously popular with both women and men. This is all company hairsytle and an easy, but refined. It's popular because of the truth that it tkes small upkeep repair on a blustery day or immediately to stay in place. Sometimes it can not become virtually shaved long. This version is likely to be somewhat more on coming and top back and to nearly zero from the ears. As the females function in company and society grows so will the earnestness of her hair. Locate a noticeable increase in extremely snug, styled and short hairdo's not dissimilar in part to numerous male hairstyles that are present.

Hair was elaborately dressed, held in place with waxes and fats, usually powdered white, sometimes using hair pieces and wigs (Cressy, 2010).

“Rap is poetry” (xii). To any avid fan of the genre, it is a statement that seems obvious. The words could easily be the musings of a listener first introduced to the art form, not the focal point of an entire work of contemporary criticism. Yet in Book of Rhymes: The Poetics of Hip Hop, Adam Bradley’s primary focus is this very point, the recognition of traditional poetic elements within rap music. With the global cultural and economic phenomenon that hip hop has become, it is easy to forget that the style of music is barely thirty years old, that scholarly criticism of it has existed for only half of that time. When viewed within this relatively new arena of scholarship, the importance of Bradley’s text is

One of the main reasons I listen to hip-hop is to understand what the rappers did to get where they are now. One example is Kendrick Lamar. In his song “Duckworth,” he explains that if many situations didn’t go just right, then his uncle would have gone to jail and he would’ve grown up