Influence of Hip-hop Music to Black Americans

To identify the posts of the linkage, however, an account of Kitwana's line of argument and political analysis is necessary. The spine of his thesis is that young African American males are uniquely disadvantaged by social structure on a single hand but on the other are also uniquely opaque to self-scrutiny or criticism from non-African American sources--to the former in no tiny part because of hip-hop culture's practically programmatic hostility to bourgeois literacy and mainstream convention, and for the latter on account of would-be critics' apparent reluctance to risk owning any such criticism reduced towards label of racism (xxi).

Kitwana sees this being a crisis simply because imperviousness to seeing hip-hop clearly and whole (i.e., for great and/or ill) rather than as an icon of glamour along with a beacon of anything like hope has maybe unintended effects. For example, that attitude may be preventing black male youth from achieving entry to a whole range of social goods.

Nothing about Kitwana's subtext must be interpreted as his dismissal of rap/hip-hop, which he characterizes as "the most essential cultural success of our generation" (22). Indeed, the industry achievement of hip-hop produced heroes and cultural icons where none had existed just before and from among he most unlikely of sources. What he does insist on, however, is that hip-hop culture and the values it sanctions are rife with contradictions that an assertion of its complexity does not sufficiently answer. The trouble is how the contradictions also do not, in Kitwana's view, sufficiently permit hip-hop to address issues which are inside background of its subjects of discourse--poverty, relationship chaos, and inequitable distribution of other social goods.

Chuck D. is at pains not to produce an apology to your in-your-face attitude and contentiousness of Public Enemy, each ahead of audiences and in dealing with media as well as other exponents of pop culture, for ones reason that his subtext is often a message of black pride and elevated social power. Ought to that occur about at the expense of white social and economic power, Chuck D. is perfectly content. His text inside book, while perfectly literate, can be a discover in street language, that is certainly being contrasted on the formal diction of Kitwana.

He does, however, indirectly acknowledge that his judgment as artist and person might be fallible. He cites his association of the (etiquette-challenged) artist Professor Griff, which produced a series of public-relations issues for Public Enemy, and like Kitwana, he deplores the "gangsta" cult from the rap/hip-hop scene. Further and maybe more important, Chuck D. is right to recognize that rap and hip-hop art has uniquely communicated with its principal audience of young black male youth, who either can not or usually do not communicate with parents, teachers.

Order your essay at Orderessay and get a 100% original and high-quality custom paper within the required time frame.