The Secret Meeting that Changed Rap Music and Destroyed a Generation

Gangsta Rap Promotes Violence in the Black Community (From Violence in the Media, P 159-162, 1995, Carol Wekesser, ed.

NCJ-160238)

Author(s)- N Mccall
Date Published
1995
Annotation

Rap, the popular Black music of today, is filled with violent and sexist messages that motivate some young blacks, especially those without positive role models, to commit violence.

Abstract 

The history of African-Americans shows that, from the days of slavery to the present, music has always been an agent of change. Rap is more than rhyming words. It is the central part of a powerful cultural movement (“hip-hop”) that influences the way young Blacks walk, talk, dress, and think. The key element is aggression — manifested in the rappers’ body language, tone, and witty rhymes — that often leaves listeners hyped, on edge, and angry. In gangsta rap, women are disposable playthings who exist only for men’s abusive delight; it is “cool” to use any means to get what you want; and it is admirable to be cold-blooded and unfeeling about how your behavior affects someone else.

Although gangsta rap as a cause of violent behavior by its listeners cannot be proven, there is certainly a correlation. Black-on- Black violence has escalated sharply since the late 1980’s, when the popularity of gangsta rap was on the rise. The change in the values and behavior of young blacks in rural towns is another example. There are actions that can be taken to counter the influence of gangsta rap. The recording companies that produce this music can be attacked economically. Some black stations recently banned airplay of recordings that glorify drugs, sex, violence, and the abuse of women.

Black leaders should denounce misguided rappers who spread messages of hate. Monitoring and reining in gangsta rap is no panacea to stop violence in the Black community, but Black America must give our children something more positive than violence and abuse to think about and emulate.

Sale Source
Greenhaven Press

P.O. Box 9187, Farmington Hills, MI 48333-9187, United States

Publication Type
Legislation/Policy Analysis

Language

English

Country – United States of America

 

~*~

The claim that rap and hip-hop music are inherently violent is a complex one, with arguments both for and against it. While some studies suggest a correlation between rap music exposure and violent behavior, especially in specific subgenres like gangsta rap and drill rap, others argue that this is a misinterpretation of the music’s role in reflecting and amplifying social issues rather than causing violence.


Here’s a more detailed look at the different perspectives:
Arguments supporting the link between rap and violence: 


Gangsta Rap and Violence:
Gangsta rap, with its lyrical content often depicting violence, drug use, and misogyny, has been criticized for potentially glorifying these behaviors and influencing listeners, particularly young people.


Research on Rap and Aggression:
Some studies suggest that exposure to rap music, especially with violent lyrics, can lead to increased aggression, distrust of authority, and support for censoring lyrics.  


Priming and Association:
The association between rap and violence is so strong that exposure to rap music can trigger negative associations and even make listeners more prone to aggressive behavior.


Context and Subgenres:
The link is often stronger with specific subgenres like drill rap, which is known for its explicit and violent lyrics.  


Arguments against the link and refuting the claim:
Correlation vs. Causation:
While there may be a correlation between rap music and violence, it doesn’t necessarily mean that the music causes the violence. Rap often reflects and amplifies the realities of street life, including violence, without necessarily promoting it.  


Limited Scope of Studies:
Some studies on rap and violence have been criticized for their methodology and limited scope, failing to consider the broader social context and the influence of other factors.


The “Scapegoat” Theory:
Some argue that rap music is unfairly blamed for violence, while ignoring the systemic issues like poverty, lack of opportunities, and social inequalities that contribute to violence.


Diversity of Rap Music:
Rap is a diverse genre with many subgenres, and not all rap music is violent. Some artists and sub-genres focus on social commentary, positive messages, and activism.


Therapeutic Use of Hip-Hop:
Hip-hop music has also been shown to have therapeutic benefits, reducing depression, anxiety, and improving emotional expression.


Conclusion:
The relationship between rap music and violence is complex and multifaceted. While there is evidence suggesting a potential link, it’s crucial to avoid oversimplification and recognize that rap music is often a reflection of the realities of street life and the struggles faced by marginalized communities. It is also important to consider the role of other factors like social, economic, and political forces in contributing to violence.

QUOTES * 

Rap Music highlights its power as a tool for storytelling, a catalyst for social change, and a profoundly American art form built on making something out of nothing.

The Power & Culture of Hip Hop

  • Killer Mike: “What’s more American than young people speaking their mind over things they had to create over pots and pans and electronically because music was taken out of schools? What’s more American than making something out of nothing? What’s more gospel than rap music?“
  • Nelly: “Hip-hop is more than music, it’s a culture. It’s bigger than hit songs.“
  • Eminem: “Personally, I just think rap music is the best thing out there, period. If you look at…“

Social Impact & Vulnerability
  • Talib Kweli: “Sometimes I feel like rap music is almost the key to stopping racism.“
  • Mos Def: “Hip-hop is a poetic art form. The stories hip-hop artists’ paint are uniquely creative, rugged and often times autobiographical.“
  • Sylvia Rhone: “Rap music is the only vital form of music introduced since punk rock.“

The Misunderstood Art
  • A-Trak: “The art of rap is deceptive. It seems so straightforward and personal and real that people read it completely literally, as raw testimony or autobiography.“

JEFF CHANG

 

Spike Lee

 

Earl Simmons

 

Pages:

iforcolor

ARCHIVIST, EDUCATOR, HISTORIAN, and ARTiST
Dale Ricardo Shields is highly accomplished African American actor, director, producer, and educator with a distinguished career in theatre and academia.

Here's a summary of his background and achievements:

Early Life and Family:
Born on November 4, 1952, in Cleveland, Ohio.
His family has a strong musical background; his grandfather and father were founding members of the Shields Brothers Gospel Quartet of Ohio, and his mother was part of the Turner Gospel Singers.
He is a cousin of boxing promoter Don King.
Education:
Graduated from John F. Kennedy High School in 1970.
Holds both a BFA (1975) and MFA (1995) from Ohio University.

Career and Contributions
Theatre Professional:
Actor: Has appeared on Broadway, Off-Broadway, Off-Off-Broadway, and in regional productions. His television credits include The Cosby Show, Another World, Guiding Light, Saturday Night Live, and the ITV series Special Needs. He has also appeared in commercials and films.
Director and Stage Manager: Has extensive professional credits in these roles, including projects at Lincoln Center, The Henry Street Settlement House (New Federal Theatre), The Negro Ensemble Company, and The Joseph Papp Public Theatre.
Assistant Director: Served as assistant to Lloyd Richards and assistant director for the New Federal Theatre premiere of Ossie Davis's play A Last Dance With Sybil starring Ruby Dee and Earl Hyman.

Educator:
Professor: He is a Professor of Acting, Directing, Black Theatre, Black Studies, and Stage Management. He has taught at various institutions, including Ohio University, The College of Wooster, Denison University, Macalester College, Susquehanna University (as artist-in-residence), and SUNY Potsdam.
Workshops and Programs: Conducted workshops for Joseph Papp's Playwriting in the Schools Program (PITS) at The Public Theatre for six seasons and represented the United States at the ASSITEJ Theatre Festival in London, England, in 1988.
Artistic Activist and Historian:

Iforcolor.org: Creator and archivist for the Black History website Iforcolor.org, dedicated to preserving and sharing information about African Americans and artists of color. He also maintains the "Black Theatre/African American Voices" website on Facebook.
Project1VOICE Liaison: Serves as the Project1VOICE Liaison for the state of Ohio, directing "One Play One Day" events in Cleveland since 2011.

Awards and Recognition:
The Kennedy Center/Stephen Sondheim Inspirational Teacher Award: Recipient in 2017.
Paul Robeson Award: Recipient in 2021 (jointly presented by the Actors' Equity Association and Actors' Equity Foundation).
AUDELCO/"VIV" Special Achievement Award: Received in 2017.
Tony Award Nominee: Nominated for the "Excellence in Theatre Education Award" in 2015 and 2017.
Ebony Bobcat Network (EBN) Legend Award: Received from Ohio University in 2022.
ENCORE AWARD / The Actors Fund: Received in 2020, 2021, 2022, and 2024.
Outstanding Professor Awards: Has received two of these and three "Educational Program of the Year" awards as a university professor.
The HistoryMakers archives: Interviewed and included in The HistoryMakers archives, permanently housed in the Library of Congress.
Dale Ricardo Shields is recognized for his profound impact on the lives of his students and his unwavering dedication to preserving and promoting Black theatre history and culture.