The beauty and life force of hip hop have been squeezed out, wrung nearly dry by the compounding factors of commercialism, distorted racial and sexual fantasy, oppression, and alienation. “Hip Hop is not dead, but it is gravely ill. What Rose calls for is not a sanitized vision of the form, but one that more accurately reflects a much richer space of culture, politics, anger, and yes, sex, than the current ubiquitous images in sound and video currently provide. Or does it? In The Hip-Hop Wars, Rose explores the most crucial issues underlying the polarized claims on each side of the Does hip hop cause violence, or merely reflect a violent ghetto culture? Is hip hop sexist, or are its detractors simply anti-sex? Does the portrayal of black culture in hip hop undermine black advancement?Ī potent exploration of a divisive and important subject, The Hip Hop Wars concludes with a call for the regalvanization of the progressive and creative heart of hip hop. This both represents and feeds a problem in black American culture. For years, the most commercially successful hip hop has become increasingly saturated with caricatures of black gangstas, thugs, pimps, and hos. As scholar and cultural critic Tricia Rose argues, hip hop, in fact, has become one of the primary ways we talk about race in the United States.īut hip hop is in crisis. Hip hop is a distinctive form of black art in America-from Tupac to the Pulitzer Prize-winning Kendrick Lamar, hip hop has long given voice to the African American experience. How hip hop shapes our conversations about race - and how race influences our consideration of hip hop
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