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The international controversy (highlighted in Britain by the Bulger case) over the relationship between video nasties and crime is one that has a long prior history. Do books, films or magazines create a corrupting environment which encourages crime and moral decay? Dr. Springhall has written a highly perceptive and entertaining account of how commercial culture in Britain and America has been viewed, since its inception during the Industrial Revolution, as a force likely to undermine national morals. There has been wave after wave of scares: from the Victorian penny gaff theatres and penny dreadful novels to Hollywood gangster films, and American horror comics. A final chapter refers to video nasties, violence on television, 'gansta-rap' and computer games, each in turn playing the role of folk devils which must be causing delinquency. Why particular issues suddenly galvanize public attention, and why so many people have associated delinquency with entertainment, form the fascinating subjects of this groundbreaking book.
At one time in his life, author David K. Hudson was a college student who made the Deans List twice. But one January night, he made an errant decision that sent him to prison for life. In this inspirational memoir, Hudson takes youths on a journey to the other side of crime and the criminal justice systema story which often goes untold in the grandeur of rap music. His story travels through the daily life of incarceration, visitation, and the true rewards of street hustling. He shows what prison life is really about and the heartaches and the sufferings that result when one chooses to sell drugs, to commit crimes, to sell their body, or to take any of the other shortcuts street life offers in the pursuit of fast riches. In Gangsta Rap for the Youth, Hudson discusses the power of choice and the ability to reject crime. He makes a strong argument for regaining personal power and accepting the responsibility to be a productive member of society. This guide to self-empowerment communicates that youth have the ability to take control of their future and make the right choices in life.
How gangsta rap shocked America, made millions, and pulled back the curtain on an urban crisis. How is it that gangsta rap—so dystopian that it struck aspiring Brooklyn rapper and future superstar Jay-Z as “over the top”—was born in Los Angeles, the home of Hollywood, surf, and sun? In the Reagan era, hip-hop was understood to be the music of the inner city and, with rare exception, of New York. Rap was considered the poetry of the street, and it was thought to breed in close quarters, the product of dilapidated tenements, crime-infested housing projects, and graffiti-covered subway cars. To many in the industry, LA was certainly not hard-edged and urban enough to generate authentic hip-hop; a new brand of black rebel music could never come from La-La Land. But it did. In To Live and Defy in LA, Felicia Viator tells the story of the young black men who built gangsta rap and changed LA and the world. She takes readers into South Central, Compton, Long Beach, and Watts two decades after the long hot summer of 1965. This was the world of crack cocaine, street gangs, and Daryl Gates, and it was the environment in which rappers such as Ice Cube, Dr. Dre, and Eazy-E came of age. By the end of the 1980s, these self-styled “ghetto reporters” had fought their way onto the nation’s radio and TV stations and thus into America’s consciousness, mocking law-and-order crusaders, exposing police brutality, outraging both feminists and traditionalists with their often retrograde treatment of sex and gender, and demanding that America confront an urban crisis too often ignored.
A critical overview of the highly explosive and widely discussed musical artform popularly called gangsta rap. Bakari Kitwana examines the ways Black culture, male-female relationships, sexism, white supremacy (racism) and gun violence converge in the controversial rap music. Despite their attempts to forge Black unity, current heated debates about gangsta rap--across genders and generations--seem to create a greater divide. This handbook provides us with a starting point from which rap artists, community activists, religious groups, women's organizations, youth, and parents can view gangsta rap in its political, cultural, and social context.--Page [4] of cover.
What many readers have wished for is now reality: a richly descriptive ethnography of street rappers. Blowing up refers to rappers dream of becoming rich and famous, or, at the least, successful as recording artists. Jooyoung Lee adds a shape to his story of Flawliis, VerBS, E. Crimsin, Psychosiz, and Tick-a-Lott: how do young black men from the inner city navigate their twenties? Blowin Up is a vibrant look at the young-adult stage of people who grow up in the shadow of gangs, dead-end jobs, and a glittering entertainment industry (the setting is Los Angeles). No other account of ghetto youth affords us this particular angle of vision. Lee discovers that in South Central L.A., rap can create bridges that bring young men together with peers from different neighborhoods (underscoring the importance of a healthy alternative to gangs). A rapper s underground artistic career is rooted in battle skills and crowd appeal, and, to boot, is meritocratic (whereas mainstream career success is based on branding, timing, funding, networks, and gimmicks). Rapping is an embodied artit takes much practice to learn, and requires body skills in dance, stance, and voice. Lee homes in on the skills and personalities of individual rappers, but he also illuminates the complex hip-hop scene around which these young men orbit, giving us detailed understandings of how young men navigate the intricate, tightly-wound world of tragedy and opportunity in the city. Lee balances the prospect of risk and existential uncertainty for youth entering a young adult life-stage with the hope for a big break in forging an entertainment career. In the end, Lee shows us how the arts can shape the lives of at-risk youth."
The Hip Hop Generation is an eloquent testament for black youth culture at the turn of the century. The only in-depth study of the first generation to grow up in post-segregation America, it combines culture and politics into a pivotal work in American studies. Bakari Kitwana, one of black America's sharpest young critics, offers a sobering look at this generation's disproportionate social and political troubles, and celebrates the activism and politics that may herald the beginning of a new phase of African-American empowerment.
From terrorism to social inequality and from health care to environmental issues, social problems affect us all. The Encyclopedia will offer an interdisciplinary perspective into these and many other social problems that are a continuing concern in our lives, whether we confront them on a personal, local, regional, national, or global level.
This book provides an enlightening, representative account of how rappers talk about God in their lyrics—and why a sense of religion plays an intrinsic role within hip hop culture. Why is the battle between good and evil a recurring theme in rap lyrics? What role does the devil play in hip hop? What exactly does it mean when rappers wear a diamond-encrusted "Jesus" around their necks? Why do rappers acknowledge God during award shows and frequently include prayers in their albums? Rap and Religion: Understanding the Gangsta's God tackles a sensitive and controversial topic: the juxtaposition—and seeming hypocrisy—of references to God within hip hop culture and rap music. This book provides a focused examination of the intersection of God and religion with hip hop and rap music. Author Ebony A. Utley, PhD, references selected rap lyrics and videos that span three decades of mainstream hip hop culture in America, representing the East Coast, the West Coast, and the South in order to account for how and why rappers talk about God. Utley also describes the complex urban environments that birthed rap music and sources interviews, award acceptance speeches, magazine and website content, and liner notes to further explain how God became entrenched in hip hop.
Rap music and its gangster rap variant are now far too important and influential in American life to be ignored by the general public and research communities alike. Artists and promoters alike have made a number of questionable claims about the authenticity and impact of their music that have been taken for granted and not been critically assessed. Those who have written about from communications, music and cultural studies have provided an important but relatively fixed narrative that leaves the central claims and impacts of this entrepreneur unaddressed. It is in this context that the author Benjamin Bowser began studying hip hop and gangster rap precisely because the influence of this movement and music on African American adolescents HIV infection risk takers. At the same time, the frequent use of the N-word by gangster rappers has become a major unaddressed issue in civil rights that has also not been studied. Furthermore, an important reason to study these unaddressed issues is to not only better understand them, but to offer solutions to the problems they pose and to improve the quality of life of all involved. Within the rapidly growing literature on hip hop and gangster rap, Gangster Rap and Its Social Cost stands out from the rest because it provides a number of unique contributions. First, based upon a community case study, the author asserts that gangster rap has empowered white racists and, as a consequence, has reduced the quality of life and civil rights of listeners and non-listeners alike. Second, this book goes to great length to make a serious distinction between gangster rap and hip hop. Disentangling one from the other opens the door to a more focused and critical analysis of gangster rap and provides an outline of the unmet potential of rap in hip hop. Third, national surveys are used as evidence in the debate about the size and characteristics of the rap and hip hop listener audiences. There are some surprises here that should reframe the controversy on who listens to and buys rap music. Fourth, there is a first generation of psychological and social scientific research on rap music that is summarized through 2011. Finally, the problems in gangster rap are not inevitable and we do not have to live with them. They can be effectively addressed without attacking the civil liberties of gangster rappers or their corporate sponsors. Gangster Rap and Its Social Cost is must reading for young adults, parents, those who both enjoy and dislike rap music, and students in sociology, psychology, ethnic studies, communication, music, community studies and public health.
Presents a comprehensive guide for parents, teachers, and youth workers to help them understand and address the issues that influence the behaviors, values, and attitudes of young people in their care.