Hip-Hop - Violent and Degrading Lyrics

Hip-Hop music includes violent and abusive lyrics that could possibly mirror other illegal activities used for sexual intent. The music identified as hip-hop verbally violates basic human rights, particularly the rights of women. Excessive and blatant sexual abuse connotations can be found in almost every musical score, as women are portrayed as whores and assets worth no more than existing for man's sexual pleasures. Much of the lyrics in rap songs are abusive and degrading to all women.

Hip-Hop - Violent and Degrading Lyrics

Ab-Soul talks Macklemore, Jimmy Iovine, Joey Badass, Chakras, Malcolm X + More

Tube. Duration : 10.72 Mins.

Ab-Soul talks Macklemore, Jimmy Iovine, Joey Badass, Chakras, Malcolm X + More

www.hardknock.tv Exclusive in-depth interview with Ab-Soul. Part 1 starts with Ab talking to Nick Huff Barili about the first rhyme he ever wrote, which was over Twista's Emotions instrumental. SnapG was Ab's first rap name and he even spit what he remembers from the verse. Soulo goes on to talk about how him and Joey Badass linked to record Enter the Void and explains what Chakras are for people that might not be knowing. Later, Ab states that he learned a lot from reading the Autobiography of Malcolm X and that it opened him up to different possibility and theories. When asked by Nick how he hooked up with Macklemore to record the track Jimmy Iovine, Soulo states that they met on the Groovy tour with Schoolboy Q. Ab goes on to say that Jimmy checked up on the song and he thought that Mr Iovine was gonna pull the plug on him but that Jimmy likes and gets the song now. For more, check out part 2 of this interview which will be up Monday at www.hardknock.tv S to truthstudios.com for letting us use their space! Subscribe to www.youtube.com/hardknocktv for our latest videos. You can also follow us at www.facebook.com/hardknocktv and @Hardknocktv @NickHuff on twitter.

Ab-Soul talks Macklemore, Jimmy Iovine, Joey Badass, Chakras, Malcolm X + More

Ab-Soul talks Macklemore, Jimmy Iovine, Joey Badass, Chakras, Malcolm X + More

Ab-Soul talks Macklemore, Jimmy Iovine, Joey Badass, Chakras, Malcolm X + More

Ab-Soul talks Macklemore, Jimmy Iovine, Joey Badass, Chakras, Malcolm X + More

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How to Make Hip Hop Beats - 10 Easy Steps

When you're just starting out how to make beats it can be fun and frustrating at the same time. Trust me I was there. But it really is easier then you think. If you're making a beat here are 10 tips that will get yo stated.

How to Make Hip Hop Beats - 10 Easy Steps

DIES DAS - NR.10 - TEIL 1 - XATAR (OFFICIAL HD VERSION AGGRO TV)

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DIES DAS - NR.10 - TEIL 1 - XATAR (OFFICIAL HD VERSION AGGRO TV)

Im "Dies Das - Nr.10" war Marcus Staiger zur Pre-Listening Session vom "Nr. 415" Album von XATAR in Bonn und hat für Euch festgehalten wer alles da war, hat mit den Azzlackz und vielen anderen über das Album gesprochen und Euch viel mehr mitgebracht... Nr. 415 VÖ: 27.04.2012 Album jetzt vorbestellen: Nr. 415 (Standard Edition): Amazon: amzn.to iTunes: tiny.cc Nr. 415 (Premium Edition): Amazon: amzn.to iTunes: tiny.cc XATAR: www.facebook.com AGGRO.TV: www.aggro.tv http www.twitter.com www.tiny.cc AGGRO SHOP: www.downstairs.com

DIES DAS - NR.10 - TEIL 1 - XATAR (OFFICIAL HD VERSION AGGRO TV)

DIES DAS - NR.10 - TEIL 1 - XATAR (OFFICIAL HD VERSION AGGRO TV)

DIES DAS - NR.10 - TEIL 1 - XATAR (OFFICIAL HD VERSION AGGRO TV)

DIES DAS - NR.10 - TEIL 1 - XATAR (OFFICIAL HD VERSION AGGRO TV)

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Hip-Hop Isn't Dead-But It's Dying-Here's 10 Reasons Why

1. Everybody wants to be a gangsta

Hip-Hop Isn't Dead-But It's Dying-Here's 10 Reasons Why

CLIP TLT - BOOBA

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CONCERNANT LE PASSAGE DE MARC-VIVIEN FOE : J'ai longuement hésité, puis j'me suis dit que ce passage colle parfaitement avec les paroles, puis en rajoutant la mention "RIP", je me suis dit que ça fait comme une sorte d'hommage à ce joueur de foot. UN LION NE MEURT JAMAIS, IL DORT. TOUT CECI POUR MONTRER QUE CE N'EST QUE DE LA MUSIQUE, IL NE FAUT PAS QUE CA PARTE TROP LOIN ( Donc merci mais niquez-vous, vos mères, vos tantes et vos grand-mères avec vos remarques sur le sujet et insultes à mon encontre, cordialement, Momo ) JE N'AI PAS DE MARCHE ARRIÈRE, JE N'POURRAI DONC PAS RECULER, LA VOIX DE MES PÈRES DE MES GRANDS FRÈRES ME DIT : TUE LES TUE LES TUE LES TOUS TUE LES TUE LES TUE LES TOUS TUE LES TUE LES TOUS TUE LES TOUS TUE LES TUE LES TUE LES ! Image 1 minute 08 : @LymphocyteT5 @blon93400 @ArchiSuceMoi FOLLOW ON TWITTER

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History Of Hip-Hop

Hip-hop music or rap music is an admired and famous style or genre of music in the USA. This well-known music genre is made up of two components, rapping and record scratching. Rapping is also known as MCing and DJing, which comprises of audio mixing. These two main components combined with graffiti and break dancing form the four core elements of hip-hop.

History Of Hip-Hop

Total Re-Carl

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Total Re-Carl

Frylock's new invention inadvertently destroys Carl's body, but the Aqua Teens manage to save his head.

Total Re-Carl

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Frylock's new invention inadvertently destroys Carl's body, but the Aqua Teens manage to save his head.

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Hip-hop was initiated as a cultural movement by inner-city youth, mostly Latinos, Hispanics, and African Americans in New York City, in the early seventies. The word "rap" was derived in the sixties, from a slang word that meant conversation.

Hip Hop

History Of Hip-Hop

Hip-hop has two main historical eras, the old school hip-hop era from 1970-1985 and the golden age hip-hop era from 1985-1993. The golden age of hip-hop began only when it entered the mainstream of music and it consolidated the sounds of the West Coast and the East Coast.

History Of Hip-Hop

The origin of hip-hop music is from African American and West African music. Contributions of griots like The Last Poets, Jalal Mansur Nurriddin, and Gil Scott-Heron were significant in a big way for the advent of hip-hop in the 1960s. Hip-hop had originally begun in the Bronx. Funk and soul music were played a lot in block parties. In the beginning, the DJs at these parties began separating the percussion breaks from hit songs. They started realizing that these breaks were more entertaining and groovy. This technique had become widespread in Jamaica and had spread considerably in the New York community via the Jamaican immigrants.

Kool DJ Herc and Grandmaster Flash were the pioneers in the hip-hop industry and other DJs had extended the short percussion interludes of funk records and created a more danceable sound. As a result, remixes had become popular with the advent of mixing and scratching techniques. Many styles of hip-hop had developed in the golden age of hip-hop.

At present, hip-hop is enjoyed all around the world. In spite, of all the controversies created by hip-hop artists they are still growing in number. Hip-hop music is sold all over the world in stores and even online.

History Of Hip-Hop

CONCERNANT LE PASSAGE DE MARC-VIVIEN FOE : J'ai longuement hésité, puis j'me suis dit que ce passage colle parfaitement avec les paroles, puis en rajoutant la mention "RIP", je me suis dit que ça fait comme une sorte d'hommage à ce joueur de foot. UN LION NE MEURT JAMAIS, IL DORT. TOUT CECI POUR MONTRER QUE CE N'EST QUE DE LA MUSIQUE, IL NE FAUT PAS QUE CA PARTE TROP LOIN ( Donc merci mais niquez-vous, vos mères, vos tantes et vos grand-mères avec vos remarques sur le sujet et insultes à mon encontre, cordialement, Momo ) JE N'AI PAS DE MARCHE ARRIÈRE, JE N'POURRAI DONC PAS RECULER, LA VOIX DE MES PÈRES DE MES GRANDS FRÈRES ME DIT : TUE LES TUE LES TUE LES TOUS TUE LES TUE LES TUE LES TOUS TUE LES TUE LES TOUS TUE LES TOUS TUE LES TUE LES TUE LES ! Image 1 minute 08 : @LymphocyteT5 @blon93400 @ArchiSuceMoi FOLLOW ON TWITTER

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There used to be all kinds of MCs rhyming about all aspects of life. Hip-Hop used to be fun. Hip-Hip used to be social conscious. Hip-Hop used to political and militant. Hip-Hop used to be grown and sexy before Jay-Z made the phrase popular on his song, "Excuse me Miss".

Hip Hop

Hip-Hop Isn't Dead-But It's Dying-Here's 10 Reasons Why

Hip-Hop has always been gangsta. Many credit Schoolly D with making the first Gangsta rap record, "P.S.K." Ice-T came out with "6 N in the morning". Boogie Down Productions released "Criminal Minded". And how could anyone fail to mention "the most dangerous group", N.W.A. and their infamous classic record, "Straight Outta Compton".

Hip-Hop Isn't Dead-But It's Dying-Here's 10 Reasons Why

What I'm saying is that Gangsta rap is not new and most of the so-called gangsta rap acts nowadays all sound the same (regardless of where they're from) and are not nearly as good and cutting edge as the pioneers of that sub-genre within Hip-Hop.

Bottom-line: Hip-Hop needs to diversify by returning to its true tradition of telling stories that reflect a variety of perspectives and not just the same ol', same ol', "shoot 'em up, bang, bang" mentality and lifestyle.

2. Hip-Hop is driven more by commercial success than cultural integrity

Hip-Hop is no longer a culture, it's a business. But the truth is Hip-Hop is indeed a culture that has been commercialized, therefore, compromised. Corporate America, whether you're talking about corporate-owned record labels, magazines or cable channels, are in complete control of Hip-Hop.

Hip-Hop is big business and is making a lot of people a lot of money. But how many of those who profit from Hip-Hop are actually true to the preservation of the culture? And how much of the profits are being recycled back in the communities all over the world that gave birth, raised and praise the culture like a proud parent?

Bottom-line: Hip-Hop, as a culture, needs to be resurrected and moved forward in having an impact on the world socially, politically, religiously, economically and not just exploited to make greedy opportunists rich.

3. BEEF

Let me start out by saying that there is a big difference between "beef" and "battling". Beef is what happens on the streets and even in the boardroom. Battling is competition; what happens in sports for example and of course Hip-Hop music. Battling is the foundation of MC'ing.

Battling separates the thorough MCs from the "Sucker MCs". There have been legendary "battles" throughout Hip-Hop history; KRS-ONE & BDP vs. MC Shan & The Juice Crew, L.L. Cool J vs. Kool Moe Dee to name a couple.

But beef is another whole can of "words". Beef can (and has) spread outside of records and onto the streets. Beef, real beef, is about more than words. Beef can be dangerous and should be taken serious. Beef is dangerous to Hip-Hop because it damages the culture's credibility and hinders its true intent. Hip-Hop as a culture and rap as a form of music was not founded on "greasy talk" and violence.

Bottom line: Beef may garner some publicity and sometimes, tragically claim lives but it does nothing to uplift Hip-Hop culture and the communities it represents.

4. The most popular MCs are often the most overrated

You can ask today's average fan to list their 10 favorite MC's and at least half of the ones they name are average at best or downright wack. The MCs who get the most attention in radio, print and television are often not MCs at all; they're rappers, or I guess you can say, entertainers that rap. Your favorite rapper may have a hit song getting 100's of spins a day on the radio but that doesn't necessarily mean that he or she is a true MC.

Most rap songs played on the radio are the weakest lyrically. Most of the elements of Hip-Hop are completely absent from the music videos that serve as a visual for the songs. These entertainers benefit from a variety of factors that put them at the forefront of Hip-Hop. But often lyrical prowess is not one of these factors. Meanwhile many of the best MCs that have mastered the art of MC'ing (see #9) receive little to no promotion from corporate America and their great talents are heard and witnessed by few.

Bottom line: True MCs who are in the game for the love of it should be more visible and the more popular MCs who dominate the charts and grace the covers of magazines should challenge themselves and be challenged to step their rhyme game up.

5. Hip-Hop journalism needs to step their game up

I'm a writer. I grew up an avid reader of Hip-Hop themed publications. There was a time when I thoroughly enjoyed reading these publications waiting anxiously for the new issues to hit the newsstand or be delivered in my mailbox.

But the last 5 years or so, the "Hip-Hop press" has let the culture down. For example, the two biggest and most successful magazines (I won't name them. You know...) in my opinion have perpetuated, instigated and contributed to pushing on-going beefs between rap crews. And these publications themselves have engaged in on-going beefs between each other!

This doesn't happen in other publications unless you're talking about the tabloids. And if it does happen within other publications, the ramifications are not as detrimental to the overall well being of the "profiles" featured in their pages or the readers of their publications.

Plainly, the Hip-Hop press has a responsibility to the culture it covers. It should challenge the culture while celebrating it. The Hip-Hop press shouldn't lower their journalistic standards or "dumb down" just to sell magazines. I hate to say this, but some of the best pieces I've read on Hip-Hop have come from mainstream publications which really have no authority to speak on matters of Hip-Hop.

Bottom line: At times, the Hip-Hop press comes across cartoon-ish and for many of us that grew up in Hip-Hop, we expect and deserve better. The younger generation of Hip-Hop desperately need better (even if they don't realize it). There are great writers within our culture but we all must present Hip-Hop in a shining light while being objective. The Hip-Hop press has a credibility problem (and I ain't talking about street cred).

6. Radio & TV has yet to step their game up

Radio and television programming as it relates to Hip-Hop is wack. The most popular Hip-Hop show on TV (You know what I'm talking about) is the wackest. And it's not because of the hosts or the young, ill informed audience. The blame could be spread across the board between the producers and the corporate companies who are responsible for putting the show on the air.

I don't want to pick on one particular television show. The point is radio and television do a terrible job of how they present Hip-Hop culture to the masses. And, frankly, advertisers don't care; all they want are the eyeballs to whatever they're peddling.

Bottom line: Radio & Television need to create more formats and programming that celebrate all the elements of Hip-Hop so that more eyes and ears will see and hear the many faces and sounds of Hip-Hop and not just the often negative stereotypical stuff.

7. The younger generation doesn't know or acknowledge the pioneers of the game

When I was a teenager, I loved Big Daddy Kane but I also loved and appreciated the soulful sounds of Marvin Gaye. I was a student of music, fairly knowledgeable about history and not just hung up on the latest song on the radio. Many of my peers were the same way.

On Nas' new record, "Hip-Hop is Dead", one of my favorite songs is "Carry on Tradition" where Nas challenges, "Let's see who can quote a Daddy Kane line the fastest." The younger generation need to be more informed about Hip-Hop pre-2004. I love fire-spittin', Lil' Wayne, or the charismatic, T.I., but there's been a lot of Hip-Hop before the new school or next school of Hip-Hoppers.

I've always said that the pioneers of the game don't get the proper platform that they deserve. That's why I like VH1's Hip-Hop Honors. It's not the best way to pay tribute to the MCs of the past but at least the producers are trying.

Bottom line: The pioneers of the game paved the way for the MCs that you see now. The MCs of today, radio, television, print and just the average Hip-Hopper on the street should pay homage to the legends. The culture has a history and that history is the foundation from which the future of Hip-Hop should be built upon.

8. Live performances are loud, crowded and wack

You might be a hardcore Hip-Hop fan but you'll have to admit that the live Hip-Hop performance is awful. It hasn't always been this way. As a matter of fact, in its short history, Hip-Hop is known for its performance element. There have been great performers within Hip-Hop and many of these performances were witnessed in the park before they reached the Grammy stage.

Nowadays, MCs just don't have a clue of what it takes to satisfy an audience. There's so much wrong with Hip-Hop performances today. The music is too loud. There are way too many people on stage. MCs are too cool or too tough to dance or simply groove with the music. The stage show just lack true excitement and creativity. Often what you have is a bunch of guys on stage as if they're standing on a street corner. Is that the best they can come up with? I think not.

Bottom line: MCs haven't shown true Hip-Hop heads nothing if they can't put on a solid show. MCs spend a lot of time on the road bringing their music to the people but they really need to spend more time working on their performance when they hit the stage.

9. "Real" MC'ing is a lost art

If I had to come up with a percentage, I would say that only about 25% of MCs today can actually rhyme. Some have very little skill at all. The MCing element within Hip-Hop is the most celebrated but the least mastered. Now I love beats and I get hooked on a catchy hook, but back in the day, when I heard a record, I zeroed in on the MC. If he or she couldn't rhyme, my ears closed quickly.

Too many songs are chorus/hook and basically nothing else. The MC really is the voice of the culture. What is said and how it's said is important. A MC should be able to articulate his or her message clearly and skillfully. A real MC would not compromise his or her lyrical prowess to make a hit record. Jay-Z, for example, has made many hits and yet he rarely disappoints lyrically. Biggie was like this as well.

Bottom line: MCs of today should study the MCs of the past and the great ones that are still doing their thing. These MCs are the true masters of wordplay.

10. The ladies are being denied the opportunity to shine and continue to be degraded and pushed to the background.

The women of Hip-Hop still haven't gotten their due. We can talk about any other music genre and some of its biggest names are females. Maybe it's the nature of Hip-Hop and rap music. But to have that position would be selling Hip-Hop culture short.

If you think back, women have been celebrated in Hip-Hop. Now too much of Hip-Hop degrades its own women just for the sake of doing so. Hip-Hop rarely makes the distinction between a bitch and a lady anymore. Bitch or Hoe are two words that have seemed to officially replace the words woman, lady or girl in the Hip-Hop lexicon.

Whatever happened to calling a woman a chick or honey?

Some feminists wouldn't like those terms but at least they're spoken as a compliment to women. Most women are offended by being referred to as a bitch or a hoe. Of course, nowadays some women embrace these derogatory terms, seeing themselves in this way and calling one another by these names.

But I won't simply dwell on how men treat women in Hip-Hop. That's a record that's been played many times. I agree with those who say that the degradation of women in Hip-Hop is influenced by society's treatment of women. But Hip-Hop could also be a leading influence in changing that.

What I'm really troubled by as far as women, is the fact that there are just not enough females in the game on the mic. Who's representing for the ladies? I don't mind saying that some of my favorite MCs are females. MC Lyte, Queen Latifah, Lauryn Hill...these ladies and others are great MCs in their own right. Foxy Brown and Lil' Kim both can go toe to toe lyrically with anybody in the game; past and present!

Bottom line: Hip-Hop needs to uplift our women more oppose to holding them down. There needs to be more females MCs in the game to represent all aspects (not just the "baddest bitch" perspective) of being women within Hip-Hop culture.

Hip-Hop Isn't Dead-But It's Dying-Here's 10 Reasons Why

Im "Dies Das - Nr.10" war Marcus Staiger zur Pre-Listening Session vom "Nr. 415" Album von XATAR in Bonn und hat für Euch festgehalten wer alles da war, hat mit den Azzlackz und vielen anderen über das Album gesprochen und Euch viel mehr mitgebracht... Nr. 415 VÖ: 27.04.2012 Album jetzt vorbestellen: Nr. 415 (Standard Edition): Amazon: amzn.to iTunes: tiny.cc Nr. 415 (Premium Edition): Amazon: amzn.to iTunes: tiny.cc XATAR: www.facebook.com AGGRO.TV: www.aggro.tv http www.twitter.com www.tiny.cc AGGRO SHOP: www.downstairs.com

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1. Pick a style- Know the style of beat you want to make before you start making it. Like rnb,rap,pop, etc. There have been plenty of beats that I made and could not figure out what style it was.

Hip Hop

How to Make Hip Hop Beats - 10 Easy Steps

2. Pick A Major Artist- Think of a known artist that you would want to make the beat for. Like if you chose a style a rap, think now what rap artist do you want to make the beat for. Try to imagine that artist on your beat. This will make your hip hop beat-making experience a whole lot easier.

How to Make Hip Hop Beats - 10 Easy Steps

3. Listen To Their Song- Take a listen to the rap artist you are making the beat for songs. See the style. Get a feel for the kind of hip hop beats the artist raps over.

4. Formatting The Song- Very important. formatting is, the intro, verse, chorus, verse, bridge, etc. That's all it is but basically you just change the order around however you feel like it. Turn on the radio and see how your favorite artist formats there song. When instruments come in, when they drop out. The most basic form to start with is, 2 or 4 bar intro, 16 bar verse, 8 bar chorus, 16 bar verse, 8bar chorus, 16 bar verse, 8 bars chorus. This is the most basic beat-making song format. This is very common in rap. If you want an even simpler way, you can create an 8 bar loop and keep it the same throughout the whole song. I have seen this done a lot.

5. Laying down the beat- I have learned that for starters, it's easier to start with the drums. Kick, Snare, Hi hat, are always a good start. Record a pattern for four bars with those first. Then layer that with maybe some toms, cow-bell, symbols, etc. Whatever you want to use. THE DRUMS ARE THE MOST IMPORTANT IN MAKING HIP HOP BEATS! Your drums must hit and hit HARD. The best way to get your drums hitting hard is by not using "pitty pat" free kits you downloaded from the internet for free. If your drums are weak, then your beat is going to be weak.

6. Laying Down A Melody- This is where most hip hop beat-makers have the most trouble. Because most eat makers can't play the keys. For starters, you might want to learn basic keyboard skills. The major thing you need to learn are, major and minor scales. After you learn that, try and do different combinations and patterns with the drum beat you have made. Use an instrument like, a lead guitar, horns, clav, something that will stand out. Your melody can be however you want it, but for starters, you could do a 4 bar melody, or an 8 bar melody.

7. Layering The Beat- What is done a lot in beat making is layering. If you have your whole beat finished. You can go and make it sound bigger by layering. All you do is fill in some gaps, do the same pattern you did with one instrument with another instrument. Do this throughout your beat. This will make you beat sound a lot fatter.

8. Pan- Panning is basically having an instrument all the way to the right, all the way to the left, and anywhere in between. You pan for all kinds of different reasons. It gives each track its own little space in the stereo field. There are no rules for panning, put you have to do it. So just try it out and see what you like best.

9. The Mixdown- Very important! Very Important! Very Important! If you have a poor mix on your beat, then you have pretty much wasted your time. When mixing a beat, start with each track individually. Solo each track and make sure it sounds good by itself. EQ it if you have to, but if each track sounds good by itself, the whole beat will sound that much better. DO NOT DISTORT! If your master levels are in the red before you bounce to disc or .mp3, your distorting. Don't worry about if its not loud enough. You never ever ever want to distort. If you are distorting, check any instrument that has boom or low end, Like a kick, bass, sub, etc. these tend to distort more often.

10. The Bounce- Now that you made you're beat, Its the hottest hip hop beat ever, you want to put it on cd or upload it to the internet. When you're exporting a beat for cd, Use .wav file. 44.1 16bit. If you want to upload to the internet use, 320kbps (the highest .mp3 quality) or 128kbps. Most websites wont accept 320kbps because the file size is too big. So go with 128kbps.

These are all just guidelines to help you get started. There are millions of ways to make a beat, But this is just to help you get your feet wet if you don't know where to start.

How to Make Hip Hop Beats - 10 Easy Steps

www.hardknock.tv Exclusive in-depth interview with Ab-Soul. Part 1 starts with Ab talking to Nick Huff Barili about the first rhyme he ever wrote, which was over Twista's Emotions instrumental. SnapG was Ab's first rap name and he even spit what he remembers from the verse. Soulo goes on to talk about how him and Joey Badass linked to record Enter the Void and explains what Chakras are for people that might not be knowing. Later, Ab states that he learned a lot from reading the Autobiography of Malcolm X and that it opened him up to different possibility and theories. When asked by Nick how he hooked up with Macklemore to record the track Jimmy Iovine, Soulo states that they met on the Groovy tour with Schoolboy Q. Ab goes on to say that Jimmy checked up on the song and he thought that Mr Iovine was gonna pull the plug on him but that Jimmy likes and gets the song now. For more, check out part 2 of this interview which will be up Monday at www.hardknock.tv S to truthstudios.com for letting us use their space! Subscribe to www.youtube.com/hardknocktv for our latest videos. You can also follow us at www.facebook.com/hardknocktv and @Hardknocktv @NickHuff on twitter.

Keywords:

Hip-Hop is a manifestation and spin on exploitation of African-American and Latino-American youth, and is often considered to have sexism and misogyny attributes. New York City blacks and Latino youths originally started the hip-hop culture, with included rapping, deejaying, break-dancing and graffiti-writing. But, it has evolved into something much more than just local expressions.

Hip Hop

Hip-Hop - Violent and Degrading Lyrics

Hip-Hop is a lifestyle for many people between the ages of 13 and 30. It involves music, videos, fashion, club-scenes, and the ways that young people interact with each other. The media has embraced and adopted the hip-hop culture, as well as big corporations, such as Coca-Cola and Burger King. Versions of hip-hop can be found in marketing media and corporate advertisements. The Brooklyn Museum of Art even has an exhibit dedicated to hip-hop culture.

Hip-Hop - Violent and Degrading Lyrics

The most influential part of hip-hop has become known as rap music. Rap music is a form of poetry, recited over musical instrumentation. Many consider rap music to be brutally honest, violent, and misogynistic. But to others, the violence to and hatred of women appears blatant and offensive.

Much of rap music portrays black women in negative images. The hip-hop culture views all women, but mostly black women, as sex objects. Most hip-hop videos show women dancing or displayed in explicit sexual poses, clothed in bikinis (or less), with the focus on their body parts. The images go hand in hand with the explicit language that suggest women are nothing more than sex objects or money-generating commodities. Many rappers describe themselves as 'pimps' and women as second-class and sexual commodities. Many rap songs, not only, glorify the pimp lifestyle, and refer to women in ways a pimp might describe their prostitutes, but the lyrics promote violence to women that "disobey."

Of course, not all rap music is misogynistic, and not all black men think of women in this light, but large percentages within the hip-hop culture do. The name calling in the rap music dishonors, disrespects, and dehumanizes women. When society accepts labeling women in this manner, will physical and psychological abuse become acceptable? Unfortunately, many black men battle racism or oppression within hip-hop culture, and have been conditioned to distrust intrusive feelings of trust and love.

Many women consent to these collaborations, and believe racism or subjugation are viable excuses or justification for the practice of degrading and exploitation of women. The numbers of women that show up for unpaid try-outs for video shoots indicate that significant amounts of hip-hop consumers are women. Groups of women can be seen loitering in concert backstage areas, expressing their willingness to perform sexually in return for money and jewelry, or perhaps realize a feeling of being wanted.

Black women have, historically, been used as sex instruments, and continue to fight for power and material wealth. When slavery was legal and rampant, black women were routinely sexually abused by any man that wanted her. They could be used for breeding purposes and create more slave trade for their owners. Black women, also, used sex in order to lower chances of cruel treatment by the slave masters. They were paying with their bodies to survive and achieve better treatment within the uncontrolled, abusive slave life.

Black women emerged out of slavery as oversexed and promiscuous. Some viewed themselves as society dictated, and believed they did not have control over their bodies. As they tried to fit into white societies, some black men wanted the women to be employed in subordinate roles in a white household; while some black women wanted the men to acquire jobs and be the sole provider. Hip-hop culture displays similar oppressive obsessions. Some black women prefer to use sexual powers to reap economical gain. And, many black men have learned how to manipulate women by using money. In order for many black women to get what they want, they accept mistreatment and allow themselves to be exploited through hip-hop images.

Sometimes black women are uneducated and have no job skills. Many believe their bodies are all they have to offer to gain status. Many dysfunctional relationships can be found within the hip-hop culture. Some women believe men are instruments of use to gain access to money; some men think women are only have value when it comes to sexual gratification.

Would censoring hip-hop music and lyrics be an answer? Perhaps, the solution would be to change the hip-hop society and ideology by discontinue negative and misogynistic lyric promotion. But, the first step to change gender relations within the hip-hop community is education. People need to be made aware of the negative and derogatory connotations that continue to violate women's rights, in sexist lyrics, physical interactions, and at hip-hop gatherings. But, of course, people need to be receptive to the devastating results that violating human rights cause, and be willing to change.

Are human flesh traders alive and well in the United States? Of course, we all know trafficking women is illegal, but considering the more than 45,000,000 dating websites on the Internet, is this a modern legal tool that continues the exploitation of women?

Speaking out against exploitation of women in hip-hop cultures, and for women everywhere, can help change ideologies. But, if women are not interested or willing to stop exploitation tactics, they will continue to be used and considered as just sexual instruments.

Although women have come very far, their work is not finished, and they have a long way to go before equality will be realized.

Hip-Hop - Violent and Degrading Lyrics