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Hip-Hop Digital Essay: The Evolution of Hip-Hop into the Modern Era- By Matt Scott

Trinity College

Digital Essay: The Evolution of Hip-Hop into the Modern Era (Essay #2)

Matt Scott FYSM 212: Introduction to Hip-Hop Professor Markle Due: 12/15/19

Looking back at the history of hip-hop, and the rich culture surrounding the art form, it’s clear that the roots of the genre have been stripped down to almost nothing over the years. I believe hip-hop is an art form, a mix of breaking, DJing, and MCing all coming together under one roof with emphasis on the sound and rhythm of the music, created in black communities as an outlet. In its early days, hip-hop lyrics weren’t preaching any particular message, but the movement and its impact on communities sent a powerful message. The movement was about bringing together communities, stopping violence, and inspiring a generation of youth – and its impact on black culture was positive and powerful. Today we see the art form being used to promote violence, the disrespect of women, drug abuse, and other negative messages that are at odds with hip-hop’s origins. It is now about making money, selling records, and gaining popularity at all costs. The popularity of hip-hop opened the door for many talented black artists and created new opportunities for a community of people who have been mistreated at every turn throughout history. I think the new era of hip-hop has had a negative impact on the art form itself, and it puts a bad label on the community. Without its core principles, hip-hop loses what made it special. When all the lyrics are just hollow and meaningless words, it leaves you with something that’s not hip-hop at all, but just a way to make money. In this essay I’m going to be looking at five hit songs from top artists from each decade, starting with Sugar Hill Gang’s “Rappers Delight” and ending with Migos’s “Bad and Boujee”. The purpose of this essay is to show the evolution of hip-hop from its roots in the Bronx through the present day by exploring the lyrics and message behind each song.

Hip-hop without the other forms of creative expression tied to it is a way of mixing lyrics and beats to convey a meaningful message about the culture and community from which it emerged. If you take away the powerful message of justice and equality that many true hip-hop songs convey, you’re left with a money hungry industry doing whatever it takes to sell records. When hip-hop is being fueled by money, and not by meaning, we see the most damage being done to the community of people the art form represents. This era of hip-hop is hurting the image and meaning that hip-hop once stood for, but there’s still hope for hip-hop moving forward. If we can go back its roots, to some of those early songs from the 80s, 90s and into the early 2000s that represent the true ideals behind hip-hop, there is a chance for the industry and genre to regrow with its strong roots back in place.

Work Cited “Song Lyrics & Knowledge.” Genius, https://genius.com/. Chang, Jeff, and DJ Kool Herc. Can’t Stop Won’t Stop: a History of the Hip-Hop Generation. St.Martins Press, 2008.

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Hip Hop History: From the Streets to the Mainstream

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From the street corner to the world stage, hip hop has grown into one of the world’s most prominent musical genres and cultural influences. Explore significant events in hip hop history and its explosive evolution.

In 1982, Afrika Bambaataa and the Soul Sonic Force released “Planet Rock,” one of the most influential early hip hop songs. Instead of rapping over funk beats, Bambaataa created an electronic sound by sampling Kraftwerk and using the Roland TR-808 drum machine. The song helped popularize the TR-808, which became a staple of hip hop music.

Grandmaster Flash

In 2007, Grandmaster Flash and the Furious Five made history again. The group became the first hip hop act inducted into the Rock and Roll Hall of Fame.

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Essay Samples on Hip Hop

Who said that the college essays must be boring and deal only with formulas and lots of complex reading? Sometimes you have a great chance to write about something as cool and inspiring as hip hop music and culture. Just let the world know about what you have discovered about hip hop and explain how this amazing culture is a way of life. We know that it may be difficult to put in words, yet you can use our hip hop essay example to get started. Start by introducing the subject in your introduction part and then proceed with the ideas that you would like to discuss by writing them down in advance in your outline. Once ready, you can use them as the topic sentences for your writing.

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Droppin' science : critical essays on rap music and hip hop culture

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• 1. The Rap Attack: An Introduction William Eric Perkins Part I: Roots
• 2. Women Writin' Rappin' Breakin' Nancy Guevara
• 3. Rap's Latino Sabor Mandalit del Barco
• 4. Puerto Rico Rocks: New York Ricans Stake Their Claim Juan Flores Part II: Genres
• 5. Kickin' Reality, Kickin' Ballistics: Gangsta Rap and Postindustrial Los Angeles Robin D. G. Kelley
• 6. Making the Strong Survive: The Contours and Contradictions of Message Rap Ernest Allen, Jr.
• 7. Who Wants to See Ten Niggers Play Basketball? Armond White Part III: Flavas
• 8. Hip Hop 101 Robert Farris Thompson
• 9. Dance in Hip Hop Culture Katrina Hazzard-Donald
• 10. Hidden Politics: Discursive and Institutional Policing in Rap Music Tricia Rose
• 11. Global Village: An Epilogue William Eric Perkins About the Contributors.
• (source: Nielsen Book Data)

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When the People Cheer: How Hip-Hop Failed Black America

This is the first in a weekly series of six essays looking at hip-hop’s recent past, thinking about its distant past, and wondering about the possibility of a future. Read the second one here , the third one here , and the fourth one here .

There are three famous quotes that haunt me and guide me though my days. The first is from John Bradford, the 16th-century English reformer. In prison for inciting a mob, Bradford saw a parade of prisoners on their way to being executed and said, “There but for the grace of God go I.” (Actually, he said “There but for the grace of God goes John Bradford,” but the switch to the pronoun makes it work for the rest of us.) The second comes from Albert Einstein, who disparagingly referred to quantum entanglement as “spooky action at a distance.” And for the third, I go to Ice Cube, the chief lyricist of N.W.A., who delivered this manifesto in “Gangsta Gangsta” back in 1988: “Life ain’t nothing but bitches and money.”

Those three ideas may seem distant from one another, but if you set them up and draw lines between them, that’s triangulation. Bradford’s idea, of course, is about providence, about luck and gratitude: You only have your life because you don’t have someone else’s. At the simplest level, I think about that often. I could be where others are, and by extension, they could be where I am. You don’t want to be insensible to that. You don’t want to be an ingrate. (By the by, Bradford’s quote has come to be used to celebrate good fortune — when people say it, they’re comforting themselves with the fact that things could be worse — but in fact, his own good fortune lasted only a few years before he was burned at the stake.)

Einstein was talking about physics, of course, but to me, he’s talking about something closer to home — the way that other people affect you, the way that your life is entangled in theirs whether or not there’s a clear line of connection. Just because something is happening to a street kid in Seattle or a small-time outlaw in Pittsburgh doesn’t mean that it’s not also happening, in some sense, to you. Human civilization is founded on a social contract, but all too often that gets reduced to a kind of charity: Help those who are less fortunate, think of those who are different. But there’s a subtler form of contract, which is the connection between us all.

And then there’s Ice Cube, who seems to be talking about life’s basic appetites — what’s under the lid of the id — but is in fact proposing a world where that social contract is destroyed, where everyone aspires to improve themselves and only themselves, thoughts of others be damned. What kind of world does that create?

Those three ideas, Bradford’s and Einstein’s and Cube’s, define the three sides of a triangle, and I’m standing in it with pieces of each man: Bradford’s rueful contemplation, Einstein’s hair, Ice Cube’s desires. Can the three roads meet without being trivial? This essay, and the ones that follow it, will attempt to find out. I’m going to do things a little differently, with some madness in my method. I may not refer back to these three thinkers and these three thoughts, but they’re always there, hovering, as I think through what a generation of hip-hop has wrought. And I’m not going to handle the argument in a straight line. But don’t wonder too much when it wanders. I’ll get back on track.

I want to start with a statement: Hip-hop has taken over black music. At some level, this is a complex argument, with many outer rings, but it has a simple, indisputable core. Look at the music charts, or think of as many pop artists as you can, and see how many of the black ones aren’t part of hip-hop. There aren’t many hip-hop performers at the top of the charts lately: You have perennial winners like Jay Z, Kanye West, and Drake, along with newcomers like Kendrick Lamar, and that’s about it. Among women, it’s a little bit more complicated, but only a little bit. The two biggest stars, Beyoncé and Rihanna, are considered pop (or is that pop-soul), but what does that mean anymore? In their case, it means that they’re offering a variation on hip-hop that’s reinforced by their associations with the genre’s biggest stars: Beyoncé with Jay Z, of course, and Rihanna with everyone from Drake to A$AP Rocky to Eminem.

It wasn’t always that way. Back in the late ‘80s, when I graduated high school, you could count the number of black musical artists that weren’t in hip-hop on two hands — maybe. You had folksingers like Tracy Chapman, rock bands like Living Colour, pop acts like Lionel Richie, many kinds of soul singers — and that doesn’t even contend with megastars like Michael Jackson and Prince, who thwarted any easy categorization. Hip-hop was plenty present — in 1989 alone, you had De La Soul and the Geto Boys and EPMD and Boogie Down Productions and Ice-T and Queen Latifah — but it was just a piece of the pie. In the time since, hip-hop has made like the Exxon Valdez (another 1989 release): It spilled and spread.

So what if hip-hop, which was once a form of upstart black-folk music, came to dominate the modern world? Isn’t that a good thing? It seems strange for an artist working in the genre to be complaining, and maybe I’m not exactly complaining. Maybe I’m taking a measure of my good fortune. Maybe. Or maybe it’s a little more complicated than that. Maybe domination isn’t quite a victory. Maybe everpresence isn’t quite a virtue.

Twenty years ago, when my father first heard about my hip-hop career, he was skeptical. He didn’t know where it was all headed. In his mind, a drummer had a real job, like working as music director for Anita Baker. But if I’m going to marvel at the way that hip-hop overcame his skepticism and became synonymous with our broader black American culture, I’m going to have to be clear with myself that marvel is probably the wrong word. Black culture, which has a long tradition of struggling against (and at the same time, working in close collaboration with) the dominant white culture, has rounded the corner of the 21st century with what looks in one sense like an unequivocal victory. Young America now embraces hip-hop as the signal pop-music genre of its time. So why does that victory feel strange: not exactly hollow, but a little haunted?

I have wondered about this for years, and worried about it for just as many years. It’s kept me up at night or kept me distracted during the day. And after looking far and wide, I keep coming back to the same answer, which is this: The reason is simple. The reason is plain. Once hip-hop culture is ubiquitous, it is also invisible. Once it’s everywhere, it is nowhere. What once offered resistance to mainstream culture (it was part of the larger tapestry, spooky-action style, but it pulled at the fabric) is now an integral part of the sullen dominant. Not to mention the obvious backlash conspiracy paranoia: Once all of black music is associated with hip-hop, then Those Who Wish to Squelch need only squelch one genre to effectively silence an entire cultural movement.

And that’s what it’s become: an entire cultural movement, packed into one hyphenated adjective. These days, nearly anything fashioned or put forth by black people gets referred to as “hip-hop,” even when the description is a poor or pointless fit. “Hip-hop fashion” makes a little sense, but even that is confusing: Does it refer to fashions popularized by hip-hop musicians, like my Lego heart pin, or to fashions that participate in the same vague cool that defines hip-hop music? Others make a whole lot of nonsense: “Hip-hop food”? “Hip-hop politics”? “Hip-hop intellectual”? And there’s even “hip-hop architecture.” What the hell is that? A house you build with a Hammer?

This doesn’t happen with other genres. There’s no folk-music food or New Wave fashion, once you get past food for thought and skinny ties. There’s no junkanoo architecture. The closest thing to a musical style that does double-duty as an overarching aesthetic is punk, and that doesn’t have the same strict racial coding. On the one hand, you can point to this as proof of hip-hop’s success. The concept travels. But where has it traveled? The danger is that it has drifted into oblivion. The music originally evolved to paint portraits of real people and handle real problems at close range — social contract, anyone? — but these days, hip-hop mainly rearranges symbolic freight on the black starliner. Containers on the container ship are taken from here to there — and never mind the fact that they may be empty containers. Keep on pushin’ and all that, but what are you pushing against? As it has become the field rather than the object, hip-hop has lost some of its pertinent sting. And then there’s the question of where hip-hop has arrived commercially, or how fast it’s departing. The music industry in general is sliding, and hip-hop is sliding maybe faster than that. The largest earners earn large, but not at the rate they once did. And everyone beneath that upper level is fading fast.

The other day, we ran into an old man who is also an old fan. He loves the Roots and what we do. Someone mentioned the changing nature of the pop-culture game, and it made him nostalgic for the soul music of his youth. “It’ll be back,” he said. “Things go in cycles.” But do they? If you really track the ways that music has changed over the past 200 years, the only thing that goes in cycles is old men talking about how things go in cycles. History is more interested in getting its nut off. There are patterns, of course, boom and bust and ways in which certain resources are exhausted. There are foundational truths that are stitched into the human DNA. But the art forms used to express those truths change without recurring. They go away and don’t come back. When hip-hop doesn’t occupy an interesting place on the pop-culture terrain, when it is much of the terrain and loses interest even in itself, then what?

Back to John Bradford for a moment: I’m lucky to be here. That goes without saying, but I’ll say it. Still, as the Roots round into our third decade, we shoulder a strange burden, which is that people expect us to be both meaningful and popular. We expect that. But those things don’t necessarily work together, especially in the hip-hop world of today. The winners, the top dogs, make art mostly about their own victories and the victory of their genre, but that triumphalist pose leaves little room for anything else. Meaninglessness takes hold because meaninglessness is addictive. People who want to challenge this theory point to Kendrick Lamar, and the way that his music, at least so far, has some sense of the social contract, some sense of character. But is he just the exception that proves the rule? Time will tell. Time is always telling. Time never stops telling.

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Home — Essay Samples — Life — Impact — Exploring the Impact of Chief Keef and Famous Dex on Modern Hip-Hop

Exploring The Impact of Chief Keef and Famous Dex on Modern Hip-hop

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Published: Jun 13, 2024

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Introduction, body paragraphs, chief keef: the pioneer of drill music, famous dex: a new wave in hip-hop, comparative analysis and cultural impact.

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Essays on Hip Hop

While doing research for your hip hop essay you will discover that nowadays hip-hop is one of the most commercially successful genres of music. Hip hop essays often explore its roots. Hip-hop originated in the African American and Latino communities of the Bronx, New York City, in the first half of the 1970s. Some essays on hip hop revisit early hip-hop artists of the 80s like Curtis Blow and Grandmaster Flash. Rolling Stone magazine named The Message by Grandmaster Flash (1982) was the most influential song in hip-hop history. Some of the most influential hip-hop artists of all time are Tupac Shakur, Notorious B.I.G., Jay Z, Snoop Dogg, and Dr. Dre. Check out our hip hop essay samples below for more information about this genre. The essay samples we listed are informative and will broaden your scope on the topic.

Heading 1 Williams Wimsatt's book, Bomb the Suburbs is an inspiring book about race relations that discusses the white, middle-class male who was accepted into the world of Chicago hip-hop due to their b-boying and graffiti writings. He explains an intimate account of the conditions of hip-hop in the early nineties,...

Culture defines how a particular social group lives and makes sense out of their given conditions in life. It refers to practices, values, and ideas a specific group holds to draw meaning in their world. Culture can be constructed from a local or a global perspective (Baker, Robards, " Buttigieg, 2016,...

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Introduction Cool is an elusive attribute as it is a subtle word that changes meaning that is dynamic through different generations (Vuolo). At its simplest form cool refers to something or the weather that is neither hot nor too cold. At the turn of the 16th century, the word cool metamorphosed...

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The essay involves the analysis of various spectrums of cultural, gender and sexuality evaluations through using the examples of famous hip-hop artists such as Janelle Monae and Nicki Minaj. The ‘Make Me Feel’ and ‘Pynk’ videos of Janelle Monae and ‘Chun Li’ video of Nicki Minaj are in focus within...

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It is exhausting to battle against misogyny and anti-blackness. Rap and hip-hop are common forms of misogyny. For instance, black women may be denigrated or even completely erased in videos, and male artists may not be held responsible for aggression against black women. On the other hand, despite their mediocrity,...

The main pre-writing technique for this essay is the use of the Six Journalistic queries. The artists who perform in the rap genre serve as the main players in this essay. The feminine artists will be the primary subject of this essay. Rap music consumers are secondary actors because they are integral...

Words: 2010

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The evolution of the hip hop genre in politics has less to do with ideals and more to do with enlightenment and the popularity of its teachings. Hip hop charts and billboards in the current decade incorporate statements that address key social and political concerns. To begin, a basic history...

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The article The Stage Hip-Hop Feminism Built: A New Directions Essay by Durham, Cooper, and Morris provides excellent comprehension of the multi-feature presence for the liberation of hip-hop women. By identifying challenges and pressures, reviewing current writing or drawing on issues, and highlighting emerging segments aiming towards development within the...

The Stage Hip-Hop Feminism Built: A New Approach A review of the intersections of the hip-hop generation, feminism, and the development of hip-hop feminist philosophy is provided in the essay by Durham, Cooper, and Morris. Hip-hop feminism is contrasted with traditional black feminism and womanism; it also refers to third...

My study paper is on the social influence of hip-hop. This music genre has both positive and negative connotations, and it mostly degrades women while encouraging bad boys to commit crimes. Aside from it, hip-hop allows rappers to express themselves freely, as they can claim anything they want. Hip-hop is a...

Hip hop was created with the intention of uplifting, empowering, and illuminating the negative facets of culture as a driving force for social change. However, after several years and decades, these initial intentions have steadily disappeared. Musical artists have transformed the face of hip hop and rap around the world...

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Hip-hop culture emerged as an urban shockwave in the late 1970s from the Bronx, New York, as a result of global instability that allegedly ignored black Americans and Latinos. Although the Bronx was instrumental in the development of Hip Hop, it continues to be an integral part of black American...

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Hip-Hop in Japan Essay

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Debates Emerging from Hip-hop Popularization

Hip-hop music has become popular in Japan despite dismissal by the country’s major media companies. This revolution has provided Japanese youths with an opportunity to express their views as well as sharpen their skills in music. Most of the artists have developed through underground club scenes. They have gained support from the Japanese youth who love their music. The local name for the underground club scenes is Gemba (Condry, 2006).

There have been debates against development of hip-hop in Japan despite the efforts by fans and artists to grow this music. Critics against localization of this music argued that it would result in division. However, localization of culture has proved to be a path towards globalization. This paper will focus on the debates following the revolution of hip-hop music in Japan.

Major corporations in Japan dismissed hip-hop music as a transient fad which would come to an end. However, the Japanese youth pressed on with this culture, and have proved these corporations wrong by making hip-hop popular.

Today, hip-hop culture matches the Japanese powerful media companies in driving globalization. Since this culture was adopted from America, there was fear that it would result in conflict between the two nations. It was argued that adopting hip-hop and localizing it would hinder globalization, but it has amounted in interconnectedness and global sharing.

Borrowing culture and localizing it, is a form of interaction among the artists, the fans and the general audience. The revolution of this culture rescued youths from the economic uncertainty experienced in Japan in the early twenty first-century (Condry, 2006).

Hip-hop artists have challenged the world on crime issues, for example, the American government’s response to terrorism attacks. The artists seek to know what the government has planned in response to these attacks. This is a form of communication to the governments, and not offensive stereotype as initially assumed. While clubbing, the Japanese youths socialize, network and share business ideas.

This is a scene that offers more than just mere stage performance and entertainment. It provides a forum for the artists, fans, producers and even the organizers to network. The issue of commercialization of hip-hop music came about when a smaller fraction of the artists went for major record labels to promote their music.

This caused a stir, and it was assumed that the artists were driven by economic benefits. However, this was not the case, most of the artists focused on refining their music in the Japanese languages to give it a Japanese flavor. This was done in the gembas , fans segregated themselves according to artist preference (Condry, 2006).

Hip-hop culture has also encouraged the youths to be socially responsible. For instance, environmentalists would visit and teach the youth on proper waste disposal and recycling. They were also taught about the best beer products for their consumption. So, contrary to the assumption that these activities would ruin morals, they also served to educate the youths on social responsibility and united them.

Unity gave them one voice for them to address the authorities. An example of such representation is when one of the emcees Utamaru challenged the government on backroom dealings. The fans joined him with screams and cheers to show their support for this message.

The artist represents the rest of the group in disapproving corrupt activities that the government is involved in. The messages are not only limited to Japanese politics, but also on global ones. Through these expressions, the artist challenges the cultural hegemony in the west; he portrays hip-hop in Japan as a global style and not Americanization.

This shows that the hip-hop culture in Japan is not interested in competing with other nations, but rather promoting globalization through music localization. The artists have diversified their music to become very dynamic and competitive, a fact doubted by many hip-hop critics in the past (Condry, 2006).

Cultural globalization has always been symbolized by multinational organizations like Coca-cola. However, the Japanese hip-hop culture has changed this fact. Japan has attracted attention from the hip-hop culture which concentrates on the local languages and peer groups of different generations. The culture is distinct and stands out from the multinational corporations; it promotes global sharing and networking.

Cultural globalization is achieved by connecting hip-hop scenes world-wide to create diversity in styles. In contrast to the expectations that global culture would be homogeneous, localization of music works best. When nations with different cultural backgrounds borrow music ideas and localize them, this becomes a form of sharing.

It brings nations together through music exploration to build cultural flows and interactions. Hip-hop revolution in Japan shows the importance of networking. Through the Japanese peers, hip-hop music has expanded to be recognized by major record labels that had rejected it at first (Condry, 2006).

The revolution of hip-hop music in Japan was met with objection. It was assumed that the culture would die if not supported by the major music record labels, or the media.

However, this worked out to introduce the concept of cultural globalization in which nations are interconnected by sharing music. The artists are popularized by their own music and not through the media. Therefore, the belief that media is the only tool that drives globalization is misguided, culture can also be used to promote globalization.

Condry, I. (2006). Hip-hop Japan: Rap and the paths of cultural globalization . Durham, NC. Duke Univ. Press.

• Hip-Hop and the Japanese Culture
• “Moving from Musician as Performer to Musician as Pastor” by William Bradley Roberts
• Can’t Stop Won’t Stop: A History of the Hip-Hop Generation
• Jeffrey O.G. Ogbar, Hip-Hop Revolution: The Culture and Politics of Rap
• Hip-Hop Subculture as Answer to Social Inequality
• How Music Influenced English Poetry Until 1750
• History of Jazz Music
• Importance of Sound
• Popular Music and Thinking Errors
• Alternative Culture and Postmodernism
• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2018, June 19). Hip-Hop in Japan. https://ivypanda.com/essays/hip-hop-in-japan/

"Hip-Hop in Japan." IvyPanda , 19 June 2018, ivypanda.com/essays/hip-hop-in-japan/.

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IvyPanda . 2018. "Hip-Hop in Japan." June 19, 2018. https://ivypanda.com/essays/hip-hop-in-japan/.

1. IvyPanda . "Hip-Hop in Japan." June 19, 2018. https://ivypanda.com/essays/hip-hop-in-japan/.

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IvyPanda . "Hip-Hop in Japan." June 19, 2018. https://ivypanda.com/essays/hip-hop-in-japan/.