Modern youth are deeply involved in hip-hop culture, showing great admiration for the artists and fully immersing themselves in every aspect of it, including the beats and lyrics. Hip-hop has had a profound influence on American society since the 1970s, originally tackling issues of inequality, empowerment, and perseverance. Nevertheless, contemporary hip-hop frequently revolves around themes such as sexuality, wealth, male dominance, and substance abuse.
The correlation between hip-hop and detrimental aspects of society has grown, specifically among young African American males, who make up the primary audience for this genre. The controversial and provocative content found in both the lyrics and visuals of hip-hop music frequently influences the actions of these young black men. Consequently, these lyrics and visuals contribute to perpetuating negative stereotypes linked to black men.
The lack of a positive male influence often leads young black men to view hip-hop figures as their main role models. Today’s hip-hop culture promotes the notion that men must assert their masculinity, engage in drug use and promiscuity, or associate with gangs to be considered masculine. This portrayal of hip-hop adversely affects how young black men dress, communicate, and interact with others. In the music industry, there is a prevalent stereotype of rap artists sporting baggy trousers, durags, oversized shirts, and exhibiting a materialistic mindset.
One of the main reasons why young people imitate the clothing style of rappers is because they observe these artists being adorned with money and women. The innocence of young black men allows them to believe that mimicking this fashion will bring them wealth and attention from women – although this belief is misguided. Consequently, society disapproves of males dressing in hip-hop attire as it is seen as unprofessional. An immediately recognizable feature of hip-hop clothing is sagging, which involves wearing pants below the waistline, exposing a significant portion of underwear.
By choosing to sag his pants, a person of color inadvertently perpetuates stereotypes that are associated with all people of color, according to Taj Madhoo, a 21-year-old college student who has personally experienced the negative consequences. Madhoo recalls an incident at a post office where an associate assumed he sagged his pants and commented on it, despite the fact that he was wearing sweatpants tied tightly around his waist (Miller). This situation exemplifies how individuals often make assumptions about young men of color and their fashion choices.
Madhoo expressed her opinion about sagging pants, stating that she believes it does not look good and implies a lack of concern for one’s appearance and what they represent (Miller). On the other hand, Lorna Neil associates sagging pants with the image of criminals and individuals engaged in illegal activities (Miller). Although Neil did not provide reasons for her viewpoint, it may be linked to the connection between sagging pants and their origins in prison (Miller).
Within hip-hop culture, sagging pants have gained immense popularity and are attributed to its influence. Many artists, some with criminal backgrounds, view this style as a rebellious expression in their music. Esteemed figures like Kanye West, Jay-Z, Snoop Dogg, and Lil Wayne have all embraced sagging pants at some point in their careers. However, the unfortunate consequence is that their impact on vulnerable young men promotes the perception of it being acceptable despite the negative associations it holds.
Hip-hop has not only changed the perception of attire but also had an impact on communication. People’s communication skills have weakened due to the influence of hip-hop, known for its abundant slang usage. Slang words, often associated with improper grammar and questionable language, are now ingrained in our everyday speech, seen as a standard and acceptable part of our language.
The impact on young black males is adverse as they acquire slang prior to beginning formal education, resulting in increased illiteracy rates for the black community. These individuals, who adopt slang before acquiring proper English skills, then incorporate slang into their interactions with others, thereby hindering efforts to improve societal perceptions of black individuals. Hip-hop music employs a wide range of slang terms that evolve and adapt with the genre. Many of these terms are influenced by African-American vernacular English. Hip-hop slang imparts novel interpretations to commonplace words.
The song “Ebonics” by Harlem rapper Lamont Coleman (stage name Big L), featured on his posthumous album “The Big Picture”, explores various hip-hop slang terms and their meanings. Within the song, Big L explains that a burglary is referred to as a jook, and a wolf is synonymous with a crook. The rap duo Mobb Deep has already elucidated the meaning of being shook. If someone has been convicted of a felony, it is colloquially described as being caught an F. Similarly, if someone has been killed, it is expressed as being left. Having bad breath is indicated by having the dragon, while being 7:30 signifies being crazy. Being contacted through a pager is denoted by hitting someone on the hip. The term angel dust represents sherm, and contracting AIDS is commonly referred to as having the germ. If a woman has transmitted a disease to someone, it is said that they got burned – as exemplified in lyrics from Big L’s track “Ebonics” (Doody).
This text offers a direct and straightforward analysis of slang and its users. It serves as a typical example of what many individuals perceive slang to be, as they have been conditioned to do so since a young age. For those who regularly employ slang, regardless of their environment, it functions as a social barrier. When individuals hear someone speaking in ebonics, they often dismiss the speaker’s words due to their judgement that the dialect indicates a lack of education. Consequently, they assume that the speaker has not acquired proper English communication skills and therefore lacks intelligence in other aspects as well.
Within the workplace, examples of this discrimination are frequently observed. Two individuals with equal skills and qualifications may occupy the same role, but if one communicates in a proper and professional manner, while the other uses slang, the latter is often stereotyped as lazy, disrespectful, and unintelligent. In many cases, these individuals may even face difficulties in being hired. Despite this, hip-hop culture continues to endorse the use of slang as though it does not contribute to the hindrance of young African Americans’ progress in society. Furthermore, hip-hop also promotes negative treatment of others through the exploitation of women and the degradation of men.
The decline in women’s status is a prevalent consequence of hip-hop, as it leads to an increasing gender divide. Within hip-hop music, women are often derogatorily labeled as bitches, tricks, or hoes. The majority of the music and videos notably communicate, endorse, and sustain unfavorable portrayals of women. Popular hip-hop culture perceives all women, especially African-American women, as mere sexual objects. Today, virtually every regularly broadcasted hip-hop video features multiple women scantily clad in bikinis, with close-ups accentuating their sexualized body parts.
The displayed images are adjacent to numerous explicit lyrics which frequently involve derogatory language, indicating that women are only valued for their financial worth. The Tip Drill video by Nelly serves as a notable demonstration of this concept. In the video, African American women are portrayed wearing bikinis while engaging in suggestive dances and mimicking various sexual acts. Additionally, men are depicted tossing money onto the breasts and buttocks of these women, and Nelly himself swipes a credit card between a woman’s buttocks, causing it to bounce. Rappers commonly describe women solely in terms of their sexual capabilities and liken their own lifestyles to that of a pimp.
Many popular rap songs glorify the lives of pimps and refer to all women as prostitutes. They also promote violence against women for disobedience. When African-American women are seen dancing in these music videos, it often leads to general assumptions about their behavior. This false image spreads throughout the community, negatively influencing young African-American girls who see these videos. Television has recognized this issue and now uses hip-hop as a way to connect with viewers.
Shows like Flavor of Love exemplify how the media creates content influenced by rap music, showcasing multiple women vying for the attention of a single celebrity through physical competition. These shows exhibit a profound disrespect towards women. Additionally, various songs and other media perpetuate negative portrayals of women, rationalizing their mistreatment. The utilization of offensive language when referring to females has become widely normalized as a result of hip-hop culture’s influence. Moreover, hip-hop artists frequently demean men they perceive as lacking masculinity.
Michael Dyson argues that questioning a man’s masculinity and using derogatory terms associated with women is the utmost disrespectful act in American culture (“Homophobia and Hip-Hop.”). This form of insult is found commonly in both political discussions, such as when California Governor Arnold Schwarzenegger referred to his opponents as “economic girlie men,” and in the rap industry, where rappers frequently demean one another as bitch niggas. By employing this offensive language, individuals not only show disrespect towards women but also perpetuate societal norms and beliefs about what it means to be masculine.
Jelani Cobb suggests that homophobia frequently arises from feelings of insecurity about one’s own masculinity. This sense of insecurity is intensified by the restricted range of acceptable expressions for men and boys. Cobb argues that homophobia undermines a person’s sense of manhood and sexuality, insinuating that those who do not conform must be gay, often using derogatory language to label them. Furthermore, this generation has embraced the belief that adhering to rules and abstaining from drug use signifies inferiority.
Talented young individuals who recognize the significance of preparing for their future often get discouraged and pressured to conform to hip-hop norms. This hip-hop culture can result in top-performing minority students being labeled as “acting white” or not being authentic. These notions are instilled in the minds of young black males, who are particularly vulnerable and easily influenced. Undoubtedly, hip-hop music greatly impacts the younger generation of black males.
Hip-hop’s impact on our youth is predominantly negative, as evidenced by their behavior, attire, and demeanor. It undermines the values of young individuals and distorts their understanding of what is considered acceptable or unacceptable. For young black men in particular, education becomes essential to surpass the stereotypes imposed by hip-hop culture. The prevalence of sagging pants and the use of derogatory language towards both sexes only reinforce hip-hop’s significant influence on the younger generation.
Unless there is a notable shift in the industry or the mindset of present-day youth, upcoming generations might face the potential influence of hip-hop. Regrettably, even when those passionate about hip-hop take positive steps to enter the conventional job market, they frequently lack the essential skills for pursuing prosperous careers. Given that hip-hop often sets the cultural standard for young black men, it is understandable that these individuals may not perceive any harm in seeking employment while sporting unappealing cornrows, loose clothing, and using improper English.
A significant change would occur in the African-American community and beyond if young black men could see hip-hop music only as entertainment, rather than embracing it as a lifestyle.
Works Cited
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Doody, Mr. “List of Slang Used in Hip-hop Music. ” Scribd. Web. 1 Nov. 2012.
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“Homophobia and Hip-Hop. ” PBS. PBS, 20 Feb. 2007. Web. 1 Nov. 2012.
