Theme Of Violence In Music Videos

This article focuses on the color-blind ideology that allows white people to participate in and appropriate hip-hop culture. Rodriquez notes that they do so by using the guise of inclusivity of all races to justify their participation in hip hop and to adapt characteristics of the culture without respecting Black identity. He uses his own interviews of several white audience members of hip hop concerts who identified as participants of hip hop culture. Rodriquez identifies two groups resulting from social collectivity to reinforce his argument: consciously collective white groups, who actively reinforce racial segregation and passively collective white groups, who unknowingly unite and reinforce systematic racism through their adherence to color-blind ideology. The participants of his research are part of the latter, who unconsciously reinforce systematic racism through treating cultural objects, namely aspects of hip hop culture, as shareable products and experiences.

The media has underrepresented Hip-pop by sending negative stereotypes towards teenagers. Therefore, the hip-pop cultures and movements of the 1880s through the 2000s had a negative impact on contemporary young African American identities. This is due to the fact that Hip-pop influences the youth to do better than being negatively impacted by the society. In addition, hip hop teaches the youth that social media is going to throw negative stereotypes, in which teens could be aware of. Furthermore, hip-pop allows African Americans to overcome stereotypes through expression of the music and culture.

Many of the misconceptions that may have someone correlate Hip Hop music and any form of violence may be because of the image and coverage that Hip Hop music is given through thing such as news and social media. Arguably, one of the most momentous and memorable Hip Hop moments in recent memory are the murders of rappers Tupac Amaru Shakur and Christopher “Biggie Smalls” Wallace. Many may look upon these deaths and see what they assume is a fair and balanced picture of what Hip Hop is all about: murder, drugs, and money. LA Times reporter Mikael Woods states that the times of Tupac and Biggie, although not completely, are over.

In contemporary society, technology has influenced access and consumption of hip hop, changing its origins from social commentary to parasocial relationships, as seen through Tupac and Nicki. Combinations of unlimited access and contestant validation have perpetuated toxic parasocial relationships. Over the years hip hop has developed into a trans-global phenomenon, its messages of renaissance, social awareness and community engagement have transcended its days of locality in the Bronx, to a sustained voice for individuals. Emerging technologies have revolutionised the consumption of hip-hop for artists allowing them to produce high-quality music which has enabled hip-hop to expand on a macro level. Hip-hop has grown into a universal phenomenon with significant impacts on popular culture, art and fashion.

Many songs in the rap genre have an air of violence or sexism against women. Some of the artists who create this music sing about having sex with women, the bodies of women, violence against women, or the inability of a woman to be on her own. Women who listen to this music may find themselves believing what is said, and gaining an implicit bias against other women or men. They might begin to consider other women as ‘sluts,’ ‘whores,’ or ‘gold diggers,’ and men as ‘sexist pigs’ or ‘perverts.’ Also, when women believe what is said about them in any type of media, they may start to become somewhat like the women described in that media.

In her essay “hip hop’s betrayal of black women,” Jennifer McLune implies that “(h)ip-hop owes its success to the ideology of women-hating” (193). She does not agree with Kevin Powell’s article that hip-hop does not mean to “offend” black women, but instead artists are only letting out their temper throughout their music. McLune feels infuriated that many artists in hip hop (including black men) rap about their community and downgrade their own women. In the hip-hop genre, sexism is mainly used, not only by black men but also by many other race hip-hop artists. Artists assume that women-hating in their rap songs will be accepted by women, but do not realize that it is affecting all women.

Michael Omi argues that popular culture is shaping America’s attitude towards race and says, “Since popular culture deals with the symbolic realm of social life, the images which it creates, represents, and disseminates contribute to the overall racial climate.” (540). Popular culture shapes how society views people of other races through, music, movies, the media and in print ads. These stereotypical images that we see of other races on a daily basis have an enormous influence on racism. For example, if we were to turn on the radio and hear a rap song, most people would assume that the rapper is black, and when you think of a gardener the majority of people would assume that they are Hispanic.

Hip Hop is seen as something inspiring, but most people see it as a way to speak out the truth about a problem. As in “Hip Hop planet” being able say the truth can sometimes worsen any situation because sometimes what we say can promote violence and whatever happens after is not in our control. The essay is about how hip hop has changed into speaking out the issues that need to be taken care of in order to maintain a proper society. McBride talked about how rappers use violent lyrics to degrade women and gays and because of this it shows how the music has evolved into something entirely different that no one would have ever expected to have changed. In James McBride's essay “Hip Hop Planet,” he argues that hip hop has a negative influence on American Culture despite people thinking of it as inspirational and how people live through different experiences in life despite of your race.

Hip-hop encourages and glorifies violence, high class living without working to get there, and promiscuity. Hip-hop culture isn’t considered scholarly because it drives people to attain a lifestyle of laziness, not working to attain goals, and demeaning the value of schoolwork. At this time hip-hop is viewed in a negative connotation while other genre of music, like jazz, are seen in a positive

Sut Jhally’s documentary Dreamworlds 3 focuses primarily on the concept of heterosexual relations in music videos, but how do things change, or stay the same, when applied to a homosexual music video? By analyzing the music video titled “Lost on You” by female artist LP, it is apparent that Sut Jhally’s themes techniques of storytelling and constructing femininity hold ground even in homosexual music videos. The visuals, meaning the people and setting, as well as the roles being played lead to the conclusion that masculine and feminine stereotypes persist no matter how different media might be. The main theme being utilized is Jhally’s techniques of storytelling.

Domestic violence is not often discussed in broad daylight. However, a numerous amount of songs from multiple genres and multiple time periods weave the topic into their lyrics. From tales of a past abusive relationships to hate-filled monologues of derogatory rap and violent allusions, they all have a part to play in the vast understanding of domestic violence. Contrary to popular belief, domestic violence is not only caused by men. Women can be abusive as well and, in fact, both partners in the relationship can harm each other.

Abstract Taylor Swift has been marked by her many fans as an icon of feminism and empowerment. Inspiring girls on how their own experiences and personal truths are something worth singing about. Illustrating what she claims to be female empowerment through ‘squads’ and award speeches. With the rapidly increasing influence of mainstream media, it is imperative to highlight how big icons such as Taylor Swift are manipulating and being manipulated by the masses, society and the market itself for profit and personal gains.

Media literacy, the ability to critically engage with media through processes of deconstruction or contextualization, is critical within hip hop feminist studies (Durham, 2010). Media studies if inefficient in this context, for Black women and girls are not centered in media studies, and this warrants a ‘hip hop feminist media studies’ to develop this framework (Durham, 2010). Representation of women and girls is a common theme and takes the form of both underrepresentation and overrepresentation (Durham, 2010). The female body is overrepresented as the media exploits it through sexual objectification. Many mainstream music videos and rap lyrics portray Black women as oversexualized and objectified in the form of referring to them as ‘bitches’ or them being scantily dressed.

The Hip hop industry consists of mostly African American musicians. Since blacks are often alienated in society, their music seems to be too. People often give rappers negative labels such as “gangster” or “thug”, which are discriminatory words that people have often used to describe African Americans in the media. There is an everlasting double standard in music. as people bash rap music for being sexist and violent, other genres of music such as country or alternative have the same themes, but they’re vulgar lyrics go

To understand gender and the media, one needs to understand how feminism, masculinity and gender relations are being constructed in a world filled with rapid changes. From changes in gender relations, introduction of newer media technologies and the variety of control now available today, a multitude of factors influence how gender representations are made by the media. Construction of Gender There are a number of contradictions in how ‘gender’ is constructed by the media today. Stories of rape fill the evening news