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Relevant bibliographies by topics / Gangsta rap (Music)

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Academic literature on the topic 'Gangsta rap (Music)'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Gangsta rap (Music)"

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Johnston, Sholeh. "Persian Rap: The Voice of Modern Iran's Youth." Journal of Persianate Studies 1, no. 1 (2008): 102–19. http://dx.doi.org/10.1163/187471608784772760.

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AbstractPersian Rap, or Rap-e Farsi, is the latest craze in contemporary underground Iranian music, both with Iran and its extensive Diaspora. In Iran, rap is met with strong opposition from the Islamic government, but continues to enjoy immense popularity amongst web-savvy Iranian youths who consume the songs online through internet chat forums, websites, blogs and radio. This article examines the development of Persian Rap from an imitation of Afro-American "Gangsta" Rap, to a unique style of fusion rap with a distinctly Iranian identity, grounded in cultural tradition and a powerful social conscience.

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Williams, Justin A. "The Construction of Jazz Rap as High Art in Hip-Hop Music." Journal of Musicology 27, no. 4 (2010): 435–59. http://dx.doi.org/10.1525/jm.2010.27.4.435.

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Multiple factors contributed to the elevation of jazz as "high art" in mainstream media reception by the 1980s. The stage was thus set for hip-hop groups in the late-1980s and early 90s (such as Gang Starr, A Tribe Called Quest, and Digable Planets) to engage in a relationship with jazz as art and heritage. "Jazz codes" in the music, said to signify sophistication, helped create a rap-music subgenre commonly branded "jazz rap." Connections may be identified between the status of jazz, as linked to a high art ideology in the 1980s, and the media reception of jazz rap as an elite rap subgenre (in opposition to "gangsta" rap and other subgenres). Contemplation of this development leads to larger questions about the creation of hierarchies, value judgments, and the phenomenon of elite status within music genres.

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Plotnitskiy, Yu E. "Ideology of rap music and its linguistic representation in the lyrics of English song discourse." Vestnik of Samara University. History, pedagogics, philology 30, no. 1 (April 22, 2024): 161–66. http://dx.doi.org/10.18287/2542-0445-2024-30-1-161-166.

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The article gives characteristics of rap as a music style and considers the process of its birth and formation of its ideology in late 1970-ies – early 1980-ies within the framework of a wider subcultural trend known as hip-hop. The main ideological principles of the early rap in the interpretation of one of its principal ideologists Africaa Bambaataa, as well as their linguistic representation in song lyrics are given. Further on, the article discusses such an important principle of rap ideology as its protest nature, which is also illustrated with fragments from song lyrics. Special emphasis is laid on anti-commercial nature of rap, which is also reflected in its lyrics. After that the principle of reliance on one’s community, also extremely important for understanding the ideological foundation of this music style, is discussed and provided with examples. Then the article presents and illustrates the principle of freedom, which has a very broad understanding in rap ideology. Distinction between «conscious rap» and «gangster rap» is made and the ideological principles of «gangsta rap» are presented and illustrated with examples from song lyrics. The final part discusses the reasons for rap’s popularity and the conclusion summarise the main points of the article.

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Wester, Stephen R., Cynthia L. Crown, Gerald L. Quatman, and Martin Heesacker. "The Influence of Sexually Violent Rap Music on Attitudes of Men with Little Prior Exposure." Psychology of Women Quarterly 21, no. 4 (December 1997): 497–508. http://dx.doi.org/10.1111/j.1471-6402.1997.tb00127.x.

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This article is among the first to focus on commercially available, sexually violent rap music, so-called “gangsta” rap (GR) and its influence on attitudes toward women. Collegiate males with little experience with GR were exposed to GR music, lyrics, both, or neither. Thus the effect of GR music and lyrics were isolated from each other and from acculturation to GR. Collapsing across all attitude measures, neither lyrics alone nor lyrics with music resulted in significantly more negative attitudes toward women than music-only or no-treatment control conditions. Participants in the lyrics conditions had significantly greater adversarial sexual beliefs than no-lyrics participants, however.

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QUINN, EITHNE. "“Who's The Mack?”: The Performativity and Politics of the Pimp Figure in Gangsta Rap." Journal of American Studies 34, no. 1 (April 2000): 115–36. http://dx.doi.org/10.1017/s0021875899006295.

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Mack: pimp; talk someone into something“Pimptionary,” Ice-TMack man: Short for Mackerel man, a pimp. Possibly from the French maquereau. Connotes the working side of pimping, especially the line, the “rap,” the psychological game.“Pimp Talk,” Christina and Richard MilnerMack, as these definitions attest, is synonymous with pimp and is so deployed in gangsta rap as both noun and verb. From this denotative meaning, the term has assumed secondary meanings: to persuade, or as Ice-T says “to talk someone into.” The mack comes to mean the persuader, the trickster, the rapper. This semantic shift strikes at the centre of the equivalencies between rap artist and pimp. As music critic S. H. Fernando asserts, “the one specific quality that pimps and rappers share is their way with words.” If broad parallels can be drawn between pimping and rapping, what is distinctive about the notorious and highly successful subgenre of gangsta rap, which emerged in late-1980s urban California, is that here this equivalence is literalized. Many gangsta rappers actually assume pimp personae, presenting oral narratives which fulfil both denotative and connotative meanings of the word mack.

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Martinez, Theresa A. "Popular Culture as Oppositional Culture: Rap as Resistance." Sociological Perspectives 40, no. 2 (June 1997): 265–86. http://dx.doi.org/10.2307/1389525.

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Bonnie Mitchell and Joe Feagin (1995) build on the theory of oppositional culture, arguing that African Americans, American Indians, and Mexican Americans draw on their own cultural resources to resist oppression under internal colonialism. In this paper, rap music is identified as an important African American popular cultural form that also emerges as a form of oppositional culture. A brief analysis of the lyrics of political and gangsta rappers of the late 1980s and early 1990s, provides key themes of distrust, anger, resistance, and critique of a perceived racist and discriminatory society. Rap music is discussed as music with a message of resistance, empowerment, and social critique, and as a herald of the Los Angeles riots of 1992.

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Oware, Matthew. "Brotherly Love: Homosociality and Black Masculinity in Gangsta Rap Music." Journal of African American Studies 15, no. 1 (March 20, 2010): 22–39. http://dx.doi.org/10.1007/s12111-010-9123-4.

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Lozon, Jeffrey, and Moshe Bensimon. "A Systematic Review on the Functions of Rap Among Gangs." International Journal of Offender Therapy and Comparative Criminology 61, no. 11 (November 27, 2015): 1243–61. http://dx.doi.org/10.1177/0306624x15618430.

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Although the field of gangs is well studied, information regarding the way gangs may use or misuse music for different needs is sparse. The aim of this systematic review is to gather descriptive and empirical information to ascertain the important roles rap music possesses within gang life. This review suggests five main functions of rap used within gangs with an emphasis on the subgenre of gangsta rap. First, rap facilitates antisocial behavior by reinforcing such messages in its lyrics. Second, its deviant lyrics serve as a reflection of the violent reality experienced in many urban ghetto communities. Third, it operates as a means for constructing individual and collective identity, as well as resistance identity. Fourth, it functions as an educating force by teaching its members how to act and respond in the urban ghetto. Finally, rap glorifies gang norms among newcomers and successfully spreads its values to the general population.

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Marques, Gustavo Souza. "Full of rage and references: Understanding Coronel’s Frenesi (Frenzy) (2022) in the Brazilian rap scene – An interview/review." Global Hip Hop Studies 3, no. 1 (December 1, 2022): 191–94. http://dx.doi.org/10.1386/ghhs_00063_5.

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Coronel is an underground Brazilian rapper and music producer who has a psychologizing and post-gangsta musical work. In his album Frenesi (2022), Coronel shows his rage against fake gangsterism in the Brazilian rap scene utilizing references from a diverse setting of cultural productions ranging from Hitchcock movies to Egyptian gods. This article examines the uniqueness of Coronel’s musical work in the Brazilian rap scene considering his initial maromba rap phase as well. Maromba rap is a subgenre of rap music made for working out comprising motivating but also dissing lyrics against other bodybuilders. As a product of Brazilian rap scene on the internet, maromba rap is an interesting phenomenon that had its apex in early 2010s. However, Coronel’s career moved beyond such a specific subgenre achieving deeper lyrics and more intricate music productions. In other words, this article examines not only Coronel’s Frenesi but also its career as a whole and how the content of his album relates to the different phases he went through as an artist. Coronel comes back with an aggressive album replete with references from cinema to Egyptian gods and videogames.

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Kubrin, Charis E. "“I See Death around the Corner”: Nihilism in Rap Music." Sociological Perspectives 48, no. 4 (December 2005): 433–59. http://dx.doi.org/10.1525/sop.2005.48.4.433.

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Rap is one of the most salient music genres of the late twentieth and early twenty-first centuries. Gangsta rap, in particular, with its focus on urban street life, has become a dominant means of expression within contemporary African American adolescent culture. As such, it speaks directly to issues of identity, culture, violence, and nihilism—themes that permeate recent research on inner-city black communities. Mostly ethnographic in nature, this work describes how structural disadvantage, social isolation, and despair create a black youth culture, or street code, that influences adolescent behavior. The current work builds on the community literature by exploring how the street code is present not only on “the street” but also in rap music. It addresses two important questions: (1) To what extent does rap music contain elements of the street code—and particularly nihilism—identified by Anderson (1999) and others? (2) How do rappers experience and interpret their lives, and how do they respond to conditions in their communities? These questions are explored in a content analysis of over four hundred songs on rap albums from 1992 to 2000.

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Dissertations / Theses on the topic "Gangsta rap (Music)"

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Symons, andrea L. D. "Unrapping the Gangsta: The Changing Role of the Performer from Toast to Gangsta Rap." W&M ScholarWorks, 2003. https://scholarworks.wm.edu/etd/1539626389.

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Quinn, Eithne. "Representing and affronting : the politics and poetics of gangsta rap music." Thesis, Keele University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311723.

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Conway, Jordan A. "Living in a Gangsta’s Paradise: Dr. C. DeLores Tucker’s Crusade Against Gansta Rap Music in the 1990s." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3812.

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This project examines Dr. C. DeLores Tucker’s efforts to abolish the production and distribution of gangsta rap to the American youth. Though her efforts were courageous and daring, they were not sufficient. The thesis will trace Tucker’s crusade beginning in 1992 through the end of the 1990s. It brings together several themes in post-World War II American history, such as the issues of race, gender, popular culture, economics, and the role of government. The first chapter thematically explores Tucker’s crusade, detailing her methodology and highlighting pivotal events throughout the movement. The second chapter discusses how opposition from rap artists, and the music industry, media coverage of Tucker and her followers, and resistance from members of Congress contributed to the failure of her endeavor.

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Prince, Rob. "Say Hello to My Little Friend: De Palma's Scarface, Cinema Spectatorship, and the Hip Hop Gangsta as Urban Superhero." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1256860175.

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Williams, Zaneh M. "American Influence on Korean Popular Music." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/500.

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South Korea is internationally well known for its ethnic and cultural homogeneity, economic and technical success, and strong sense of nationalism. The peoples of South Korea have flourished economically after a series of colonizations, industrialization and political chaos. Over the past few decades, Korea has gained interest internationally for its entertainment industry through the Korean Wave (or Hallyu in Korean). Korean Wave is a term that refers to the increase in the popularity of South Korean culture since the late 1990’s due to Korean music, television shows and fashion. The Korean Wave first swept and captivated the hearts of citizens in East and Southeast Asia and now has expanded its popularity beyond Asia and has captivated millions of people all over the world. After a steady increase in cultural exports as a result of the Korean Wave since 2005, the Korean Tourism Organization (KTO) has realized the value in the exportation of Korean culture and goods and has now created programs that capitalize on this popularity and increase tourists South Korea. Korean popular music or K-Pop is a large and profitable aspect of the Korean Wave. According to CNBC in Move Over Bieber — Korean Pop Music Goes Global “The [k-pop] industry’s revenues hit about $3.4 billion in 2011, according to the Korea Creative Content Agency (KOCCA), a government group that promotes the country’s cultural initiatives. K-pop’s exports also rose to $180 million last year — jumping 112 percent compared to 2010. Exports have been growing on an average annual rate of nearly 80 percent since 2007.” And that “for every $100 of K-Pop exports, there was an average increase of $395 worth of I.T. goods such as cell phones or electronics that were being exported” (Naidu-Ghelani). The exportation of K-pop music and cultural can be seen as an economic success story. But in fact, for the Black American community it is the exportation of cultural appropriation and the degradation of Black American culture. The Korean Wave is packaging, promoting and exporting a “window into Korean culture, society and language that can be as educational as a trip to Korea. South Korea is using the Korean wave to promote its traditional culture within Korea and abroad” (“Hallyu, the Korean Wave” 1). Despite South Korea’s strong sense of nationalism and cultural homogeneity, its pop music has a distinct Black American musical influence. Rap and hip-hop musical style/culture (which is distinctly affiliated with representative of Black Americans) is an integral, if not necessary, part of Korean popular music. The synchronized dance moves, attractive idols and “rap/hip hop” style draws in millions of fans from every walk of life all over the world. The “hip hop” dance moves, clothing and lyrics that dominate Korean popular music, however crosses the line of cultural appreciation and instead can be defined as cultural appropriation.

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Books on the topic "Gangsta rap (Music)"

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Zephaniah, Benjamin. Gangsta rap. London: Bloomsbury, 2004.

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Zephaniah, Benjamin. Gangsta rap. New York: Bloomsbury, 2004.

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Dogg, Snoop. Rhythm & gangsta: Snoop Dogg. canada: rhythm and gangsta, 2004.

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Ro, Ronin. Gangsta: Merchandizing the rhymes of violence. New York: St. Martin's Press, 1996.

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Woldu, Gail Hilson. The words and music of Ice Cube. Westport, Conn: Praeger Publishers, 2008.

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Siegmund, Cuda Heidi, ed. Got your back: Life as Tupac Shakur's bodyguard in the hardcore world of gangsta rap. London: Boxtree, 1999.

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Siegmund, Cuda Heidi, ed. Got your back: The life of a bodyguard in the hardcore world of gangsta rap. New York: St. Martin's Press, 1998.

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Brown, Ethan. Queens reigns supreme: Fat Cat, 50 Cent and the rise of the hip-hop hustler. New York: Anchor Books, 2005.

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Ferranti, Seth. The Supreme Team: The birth of crack and hip-hop, Prince's reign of terror and the Supreme/50 Cent beef exposed. St. Peters, MO: Gorilla Convict Publications, 2012.

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Cube, Ice. Straight outta L.A: June 17th, 1994. [Bristol, Conn]: ESPN Home Entertainment, 2010.

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Book chapters on the topic "Gangsta rap (Music)"

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Jagodzinski, Jan. "The Perversions of Gangsta Rap: Death Drive and Violence." In Music in Youth Culture, 61–75. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1057/9780230601390_5.

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Schumacher, Daniel. "»Immer wenn ich rede … episch« - Transmedialität zwischen Social Media und Musik beim Berliner Gangsta-Rapper Fler." In Deutscher Gangsta-Rap III, 155–78. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839460559-007.

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Oğlakcıoğlu, Mustafa Temmuz. "Gangsta-Rap: Lyrische Kunstform oder strafwürdiges Verhalten?" In Grenzüberschreitungen: Recht, Normen, Literatur und Musik, edited by Britta Lange, Martin Roeber, and Christoph Schmitz-Scholemann, 3–18. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110645699-003.

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Furtwängler, Charlotte. "The Representation of Gangsta Rap in Music Education Textbooks." In It's How You Flip It, 179–98. transcript Verlag, 2024. http://dx.doi.org/10.1515/9783839466674-013.

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"Zombic Hunger." In Deathlife, 125–47. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478027485-005.

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Focusing on horrorcore rap, this chapter notes a different arrangement vis-à-vis deathlife than that in other forms of rap or hip hop—a larger description and discussion of death consuming life. The zombie, as figured in music by Nas, Gangsta Boo, and Brotha Lynch Hung, is a particular blurring of Blackness and whiteness, and a form of existence marked and recognized only to the extent that it spreads death and entails a profound threat against life as a form of safety. This is death that cannot be bracketed, in the sense that it cannot be captured by traditional moral-ethical discourses of contact and conduct. It eludes an understanding of death as distinct and “personal” in presenting unpredictability as the inconceivable consumption of embodied life. Death by zombie involves an excess of death: death by the dead exposes the lie of a distinct life.

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Kubatanna, Kofi. "Message for the People Party." In Afrocentricity in AfroFuturism, 131–48. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496847836.003.0007.

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This chapter focuses on hip-hop art and culture, which is one of the most powerful mediums utilized to dispel the Western myths of Africa while internationalizing the diasporic experience. It presents an Africological approach totally encapsulated in Afrocentricity as a means to properly identify the importance of a specific utterance of hip-hop. Erudite individuals have analyzed the impact of what some call “unconscious,” “nonconscious,” and “commercial” rap with the hope of locating a coherent message, only to advocate for a bibliophilic redress of poetic prerogative. Gangsta rap is assigned placement in the mentioned categories. In the past, AfroFuturism was primarily regarded as a cultural mode of expression and philosophically as a form of aesthetics. What is less understood is how AfroFuturism is related to the cultural production of hip-hop music, that is, how AfroFuturism is linked to the hip-hop culture that emerged during the decline of urban inner-city cores in the latter half of the twentieth century and its digital transition in the twenty-first century, especially in visual culture. The chapter then considers hip-hop artists such as Nipsey Hussle and the poet Knowledge Reign Supreme Over Nearly Everyone, commonly called KRS-ONE.

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Scheffler, Uwe. "Russischer Blatnjak – Gulag-Schansons statt Gangsta-Rap." In Musik und Strafrecht, 151–64. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110731729-010.

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Schumacher, Daniel. "»Immer wenn ich rede … episch« – Transmedialität zwischen Social Media und Musik beim Berliner Gangsta-Rapper Fler." In Deutscher Gangsta-Rap III, 155–78. transcript Verlag, 2022. http://dx.doi.org/10.1515/9783839460559-007.

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