House Music Case Study

Over the past three decades, hip-hop has become an important element in every American’s journey, influencing everything from music, fashion, and language to politics and attitudes toward gender and race. In 2006 Kanye West told MTV, “Everyone in hip-hop discriminates against gay people.” While bravely condemning homophobia he added that the genre isn’t alone: “Not just hip-hop, but America just discriminates.” Still, till this day, the homophobic discrimination is uprising due to moral or religious

In the essay, McBride’s logical appeals are used to help his purpose by using facts and examples to describe the rise of hip hop culture, and explain its significance based on more than just opinion. A particular instance of McBride making a logical appeal would be “In the mid-1970s, New York City

Mr. Donald Ervin is Retied manager and music promoter at the Concord music hall center. He and his Lovely wife Evelyn Ervin now live in Elgin after living on the south side of Chicago for over thirty years. He and his wife have one kid named Edwin, who is an in the music line. I chose Mr. Ervin to be my interviewee for two causes, one Bing that I needed someone who was, I guess someone older because typically all the masses I have met in this assignment have been young pupils. Moreover, I needed a different perspective from someone of a different age. And equally for my second reason I picked Mr. Ervin, is because of the matters Mr. Ervin has attained over period of time. Being capable of working with some of the today's and past hip-hop hitters; such as Taylor the Creator, Kanye West, Q-Tip, Eric B. & Rakim, etc. is a huge asset to my research on trap culture.

Nearly every decade consists of at least one film that helps to define the development of a generation. The film is able to paint a clear enough picture that not only captures the cultural aspects of the generation but also portrays the social implications and complexities associated with the environment the culture thrives in. In regards to the genre of hip hop and rap and its relationship with black life and urban imagery for example, Cooley High may be representative for a generation that was in their 20’s during the debut of the movie. The next generation of the 1980’s would most likely be able to understand the interworking’s of the movie Krush Groove whereas the generation of the 1990’s would more than likely link themselves to such films as New Jack City and Juice. These films depicting the rise of black boys to black men were in rarity during their debut and because of the popular actors and underlining themes in them have had a significant long lasting impact on people of color as well as young white Americans that have been somewhat interested in the everyday struggle of their inner city counterparts. Through a careful analysis of films such as Krush Groove depicting black life in the 1980’s to the urban imagery displayed in the 1990’s movies of Juice and New Jack City the progression of the portrayal of young black males can be observed as well as the difference in viewpoints on black humanity, and stereotypes.

This is a way for African Americans to use hip hop as a full-time job instead of as leisure for themselves. The benefits, according to Chung, is that now there is an “achievement of black national acceptance … to become professional, productive, labors” (Chung, 129). Given the platform, blacks want to reshape the urban poverty and improve economic situations through hip hop and widespread of black culture. Another reason for improving black’s conditions, not only comes from hip-hop, but also white behavior, meaning that blacks who grew up in rough times have been looked at in stereotypical views of pathological behaviors, and drug users. But ABDC allows these young men black men to given a new identity and inclusion through the use of hip-hop rather than the premature neoliberalism view of African Americans in which they are looked at as

Thesis: the paper’s focus on hip-hop as a music genre that has changed the lives of the black Americans

Maximum Home Music (MHM) is a thriving arts organization located in Knoxville Tennessee. The premise of the organization is to provide individual students quality music instruction in their own home. MHM employees nine full time instructors, four part time instructors, two managers, and an executive director. Each MHM employee has a bachelor’s degree in music performance or music education with a specialization on a particular instrument (including voice) with the part time faculty filling in for the instruments that have a higher demand.

The Black house kids created tracks that solidify for people like Robert Williams that Chicago is the birthplace of house. Yet, this stance gets at the ways house music is solely viewed as electronic, upbeat songs that incorporate the 4/4 rhythmic pattern (four to the floor), synthesizers, and drum machines. And what this framing of house does is circumvent the first and second cohorts that produced the first soundscape of the music and well as the first iteration of the culture and spatialities that are connected to house in Chicago. It also ignores the many years of work that Black gay males in South Shore put forth that helped to cultivate house before and after Disco Demolition Night and Steve Dahl’s anti-black and anti-gay rhetoric. Therefore, I offer two critical insights that pinpoint the roots of house beginning with the first and second cohorts that lent themselves to the third and fourth. This history must be unearthed to understand the ways that house music is outlined within the Black house community in Chicago as two distinct soundscapes. Secondly, the lived experiences of Black gay males that fostered the spatialities of house in its infancy stages in South Shore in the early seventies—which led to the opening

In this chapter, black masculinity is examined alongside topics of conservative alignments and social construction homophobia in the hip-hop and black community. Atlanta is one of few series on network television that represents and/or creates a dialogue about the black community and the LBGTIQ community in relation to each other. The black community largely makes up the hip-hop industry. The hip-hop industry is believed to generally aligns with hegemonic conservative beliefs as it continues to uphold patriarchal conceptions of masculinity. Scholars, Tricia Rose and Mark Anthony Neal, argue that preconceived notions of rap culture and the hip-hop industry as homophobic are mostly socially constructed stereotypes perpetuated through hip-hop

Molefi Asante is the author of It’s Bigger than Hip-Hop: The Rise of the Post Hip-Hop Generation. In this article, Asante predicts that the post-hip-hop generation will embrace social justice issues including women’s rights, gay’s rights, and the anti-war movement. To challenge these stereotypes, Asante speaks to the personification of the African-American ghetto and the need to stop glorifying black suffering. For Asante, the post-hip-hop generation no longer expects hip-hop to mobilize disenfranchised youth. Asante states, “The post-hip-hop generation shouldn’t wait for mainstream musicians to say what needs to be said…No movement is about beats and rhythms…. it must be bigger than hip-hop.” Because hip-hop is controlled by corporations, Asante says hip-hop will never be the focus of political change. Asante argues that “old white men” have dictated hip-hop, and by extension the actions of black youth, since 1991. “Allowing white executives, not from the hip-hop culture, to control and dictate the culture is tragic because the music, and ultimately the culture, as we can see today, has not only lost its edge, but its sense of rebellion and black movement- the very principles upon which it was founded.” Asante calls for the rise of “artivism,” a new social movement that uses art to improve community police relations, failing schools and the criminal justice system. Asante encourages the post-hip-hop generation to unite with Latino/Immigration Rights and Black Civil Rights

In this essay, the influence of hip-hop politics, class unity and the internet will be explored to discover how the consumer became an active producer of culture. In the early days of hip-hop, particularly from its mainstream origins in the 70’s (Dimitriadis 2009) up until the 90’s, the underground scene rarely floated into the mainstream. Despite a good portion of the underground consisting of consumers, to achieve mainstream success one would need the right connections and musical equipment. Before these tools became affordable and accessible, the consumer wasn’t integrated as an active producer of culture. Thus the average consumer wasn’t capable of making major waves in the industry. In some respect, the mainstream producer carried a sense of prestige because there were only a few who garnered attention in the mainstream such as DJ Premier and Eric B and Rakim (Tom Terrell, 1998). During the early origins of hip-hop, as Josh Kun describes, hip hop was mainly a facet of African-American culture. As a result, many consumers from other backgrounds weren’t majorly included in developing the hip-hop culture. This, however, changed when icons such as Run DMC and Aerosmith broadened the scope of hip-hop and allowed more consumers to play an active role in producing the culture. The popularity of the internet rose in the early 2000’s and it allowed the consumer to actively shape the culture. The internet allowed the consumer to create their own sounds and message and deliver it

They present topics of love and love lost as well as present music techniques such as echoing and harmonizing to present the listener with a soulful experience that allows the listener to deeply reflect on the music. Today, the music has taken a turn to mimic that of hip-hop and pop music. This change presents a greater variety of musical themes in R&B and has presented a more lubricious representation of the music that is represented by topics of sex and the desire for sex. This change in the music is a depiction of the change in the urban culture in which R&B is based. The culture, like that of the music, has changed to represent a new time in which the desire for a woman is stronger than the desire to be in love with a woman. Additionally, it is due to this change that the desire for soul in R&B has diminished in popularity. The urban culture doesn’t represent a desire for soulful uplifting, but desires music that promotes their desire to dance, do drugs, and engage in healthy sex. This results in the music’s reduction in the depth of the music and the feelings of the music, and a rise in music that makes you want to get up and move. This change represents the current day diaspora of African Americans. This is represented in the belief that the music no longer displays the desire for love and longer-term happiness and now represents the desire for short-term happiness, fun, and the avoidance of topics that present feelings of loss or sadness. Instead, the music today represents the avoidance of love and the hardships that come with it because with everything else felt by urban African Americans, the hardships of love have now become undesirable. It is in this way that the change of R&B represents not only a change in culture for the US as a whole, but also the change in the diaspora that is felt by African

With the popularizing of club culture has come an equal mainstreaming of its components. As Fiona Buckland discusses in her book Impossible Dance: Club Culture and Queer World Making, “the music of today’s clubs such as garage, hard-house and Hi-NRG imply a historical continuity with gay parties of the 1970s with deep roots in disco” (2002, p. 67). Gay and black influences were a basic part of disco music, explored in Bernard Weinraub’s article “Here’s to Disco, It Never Could Say Goodbye.” The heritage that once put the music at odds with the more “straight-white-male” sensibility of the contemporary rock music of the era (Weinraub, 2002) is today a basic piece of the dance scene for straight and gay audiences alike. Now that club culture has become a commodity in the superclub, bought and sold by promoters and club owners,

The term ‘hip-hop’ refers to a complex culture compromising of four elements: deejaying, rapping, rhyming, graffiti painting, and b-boying. These elements incorporate hip-hop dance, style, and attitude. “Hip-hop originated in the primarily African American economically depressed South Bronx section of New York City in the late 1970s” (Tate, pg.1). Hip-hop is a culture of fashion, language, music, movement, visual art and expression. The genre of hip-hop comes with a very significant history and evolution with its own heroes, legends, triumphs and downfalls. “Real” hip-hop is often stressed in the 21st century due to what is being passed off as hip hop, and it is often made clear that just because one takes a hip hop class, or listens to hip-hop music, does not mean they conform to the true immersion of hip-hop culture. Therefore, “real” hip-hop encapsulates the true essence of hip-hop culture, untarnished by impurities such as rapacious record labels, and vapid, materialistic subject matter. Due to the background of how and where hip-hop first emerged, the African American culture often feel responsible to protect what is for them, and to protect the culture of hip-hop entirely. Boyd states that even though hip-hop as a culture was created as a social movement, the “commercializaiton” of hip-hop demonstrated in film and media construes it to another form of urbanization and popularity”(Boyd, 79). However, in the two movies being examined in this essay (Save the Last Dance

This essay will discuss the history, the sound, the most influential artists, and house music today. House music began in Chicago, in