Once hip hop started developing in the South Bronx, it had become the voice of those who needed to be heard. Rappers were the voice of the hopelessness and suffering of urban youngsters and the poor. The artists themselves were victims of that actuality and it was communicated through their songs.
It was famous hip hop leader Chuck D who notoriously named rap the “CNN of the ghetto.” As soon as Public Enemy started infusing referrals to Black history symbols and Black specifics in the hip hop, a whole generation of young people were lifted into a new stage of awareness.
Today, a lot of hip hop performers, greatly inspired by the socially aware rappers of earlier times, are realizing the importance of activism and they are becoming a crucial voice of the younger generation, particularly dealing with political and social commentary. That is something that you may not realize by watching a lot of the news channels that are far more prone to talk about a hip hop artist’s problems with police rather than their altruistic actions and achievements.
Above the materialism and violence which is frequently linked to hip hop culture, a lot of artists are included in service focused activities showing their deep link with their people, as well as their wish to enhance existing social realties.
If hip hop music seems to be overly violent in comparison with country-traditional western or pop, it is due to the fact rap comes from a culture which has been seeped in the battle against social, politics, and monetary oppression. In spite of the theatrics occasionally put on for big-label albums or MTV, for a lot of musicians, talking about weapons and gang life is an expression of everyday life in racially- and financially -stratified ghettos. Violence in rap isn’t an affective factor which threatens to hurt America’s youngsters; instead, it really is the outcry of a currently -present issue from young people whose views of the world have been formed by going through deep financial inequalities broken down generally along racial lines.
The rebellious approach to criminal activity and violence for which hip hop is usually belittled is defended by some musicians as the easy to understand outcome of the disparities that confront African-American groups, from which hip hop started and remains grounded. Furthermore, some artists defend the existence of violence in their songs as the outward exhibition of American history and tradition. Additionally, these rappers state that it’s not just African-Americans who are gangsters, but instead that American history, likewise, has been seen as a rebellion, conquest, as well as bloodshed.
To be able to genuinely change the growing existence of violence in American culture, the ongoing problems of poverty and bias in America’s urban centers must be strongly tackled. Ironically, a lot of the same political figures and organizations who criticize violence in hip hop music are likewise prominent in the attack on Welfare, financing for education, Affirmative Action, and plans for general health care. It is gaps in political and economic power, not rap music, that produce violence in America.