Rap Artists Focus Heavily On Race In Music And Music Videos

Rap Artists Focus Heavily On Race In Music And Music Videos

Rap Artists Focus Heavily On Race In Music And Music Videos

Question:

Discuss why rap artists focus heavily on race in music and music videos.

Answer:

Introduction

Over the years there have been number of research on content analysis of rap music and music videos. These researches have mainly focused on the controversial contents of music mainly used by rappers and hip hop music artists. The present report will take an opportunity to discuss why rappers and singers use race and racialisation as the subject for music making and underpin the study with relevant discussion.

Discuss Why Artists Focus Heavily On Race

For over a long period of time scholars have worked on the content analysis of rap songs and music videos that have used race as its mainstay. Race and racism has been a key aspect for rappers and their songs to delineate the constant atrocities on black folks. Some of the renowned rappers of contemporary music have showed their discontent and displayed their pain about the differentiation made between people only based on color. Their songs and lyrics have reflected their agony for black men (Conrad et al., 2009 p, 36). The legacy of slavery and racialisation has been the core subject for their lyrics and their music. For instance the song by Project Pat “I Ain’t Goin’ Back To Jail” shows how easily racism can take hold of men especially black men. Over the years black people have served as slaves and have worked in other inferior positions making them the inferior class of people by default.

It’s impossible to overstate how golden hip-hop shone in 2017 — the shattered Billboard records, the most-streamed genre recognition from Nielsen. Industry hype aside, rap reflected our collective conscience, and national crisis, like never before. While the power of playlists (and the ability to juke streaming stats with song loops) set new standards, the long-play album remained the definitive format for artists intent on making timeless creative statements. And artists got pretty (DAMN.) creative within those confines.

Jay-Z and Tyler, the Creator averted respective midlife and quarter-life crises with their most mature confessionals to date. GoldLink and Open Mike Eagle erected memorials to the erased cultures, and cribs, of their upbringing. Lil Uzi Vert and Future went hyper-emo over loves lost and loathed. Big K.R.I.T. and Cyhi The Prynce transcended the traps and clichés of Southern rap. Kendrick Lamar exposed his prophetic struggle on an altar of self-sacrifice. And Rapsody reigned supreme over nearly everybody.

In a year this robust, it would be easy to make an exhaustive list of the best releases. Indeed, the Internet is chock full of them. But hip-hop did not ascend to new heights in a vacuum. It’s sonic uprising happened amid a national backdrop of political upheaval, racial discord, violent demonstrations and revelatory reckoning around the systemic abuses of power and gender inequality that hits so close to home in this genre.