Literal Paraphrase Assignment Teacher Response & Hip Hop Beyond Beats and Rhymes
I posted comments to the 11-11:50 class's paraphrase assignments. Make sure you read Hacker 57c (466-467). Read 56-57 (460-468).
I have instructed students to re-post. Ian and Keelan do not have to re-post their paraphrase. The original is posted in Keelan's, not in Ian's, but as they worked together, we will let former be the definitive post.
In the 8-8:50 class this morning, we started with Literature Circles and completed most of the film. We will complete it tomorrow. Read the Dyson/Hurt interview. Summarize it's key points. I annotated it. I couldn't find my clean copy. It's from Dyson's book: Know What I Mean http://www.michaelericdyson.com/knowwhatimean/
For students who missed the film. Visit http://video.google.com/videoplay?docid=-2020029531334253002
For an interview with the director: http://www.youtube.com/watch?v=d-ZXMIElRmg
See http://www.pbs.org/independentlens/hiphop/film.htm
The assignment:
Hip Hop:
Beyond Beats and Rhymes Writing Assignments
1. Initial response Cyber-Assignment due: October 4
Think about Hurt's argument(s). In a short response (250-500 words), discuss the evidence Hurt presents in the film and whether or not you agree with his premise that commercial rap is misogynistic, violent, and promotes a negative stereotype of black manhood. Here is a link to Part 1 of 6: http://video.google.com/videoplay?docid=-2020029531334253002
At the PBS.org link there is further information about the issues Hurt raises divided into categories: masculinity, misogyny, homophobia, or media literacy. http://www.pbs.org/independentlens/hiphop/issues.htm
Also visit http://www.pbs.org/independentlens/hiphop/ for background information on the film and director. In your essay cite a song which supports Hurt's claim(s) or refutes it. You can include the URL in your essay as the reference.
1. Initial response Cyber-Assignment due: October 4
Think about Hurt's argument(s). In a short response (250-500 words), discuss the evidence Hurt presents in the film and whether or not you agree with his premise that commercial rap is misogynistic, violent, and promotes a negative stereotype of black manhood. Here is a link to Part 1 of 6: http://video.google.com/videoplay?docid=-2020029531334253002
At the PBS.org link there is further information about the issues Hurt raises divided into categories: masculinity, misogyny, homophobia, or media literacy. http://www.pbs.org/independentlens/hiphop/issues.htm
Also visit http://www.pbs.org/independentlens/hiphop/ for background information on the film and director. In your essay cite a song which supports Hurt's claim(s) or refutes it. You can include the URL in your essay as the reference.
Homework: Read the
interview with Dyson, Hurt conducts.
2. Part 2 due Monday, October 8, 2012.
After reading the Dyson interview with Hurt bring in an expanded freewrite or an entirely different essay discussing Hurt's claims made in his film and to Dyson in the interview. In a 3 page essay (750 words min.), using citations from Dyson's interview, Holler and Hurt's film talk about Tupac's work in light of Hurt's critique. How would Tupac hold up?
Use lyrics from at least two songs to support your argument re: Tupac Shakur's contributions to the genre and the industry both positive and negative.
Students will have up to five citations: 1 film (B. Hurt), two rap songs, one article (from Michael Eric Dyson's Know What I Mean? Reflections on Hip Hop, one book (Holler)
The citations need to be: 1 block quote, paraphrases, and shorter citations.
Students will turn in an Initial Planning Sheet with the essay and an outline. Make sure everything is stapled together. The exercise here is to see how well students are able to manipulate facts and incorporate evidence in support of an argument without getting lost or inadvertently plagiarizing. Make sure the signal phrases are clear and both introduce the subject and connect the ideas so that the discourse is succinct and makes sense.
Hip Hop Beyond Beats and Rhymes
Directed by Byron Hurt
From http://www.pbs.org/independentlens/hiphop/
Filmmaker Byron Hurt, a life-long hip-hop fan, was watching rap music videos on BET when he realized that each video was nearly identical. Guys in fancy cars threw money at the camera while scantily clad women danced in the background. As he discovered how stereotypical rap videos had become, Hurt, a former college quarterback turned activist, decided to make a film about the gender politics of hip-hop, the music and the culture that he grew up with. “The more I grew and the more I learned about sexism and violence and homophobia, the more those lyrics became unacceptable to me,” he says. “And I began to become more conflicted about the music that I loved.” The result is HIP-HOP: Beyond Beats and Rhymes, a riveting documentary that tackles issues of masculinity, sexism, violence and homophobia in today’s hip-hop culture.
2. Part 2 due Monday, October 8, 2012.
After reading the Dyson interview with Hurt bring in an expanded freewrite or an entirely different essay discussing Hurt's claims made in his film and to Dyson in the interview. In a 3 page essay (750 words min.), using citations from Dyson's interview, Holler and Hurt's film talk about Tupac's work in light of Hurt's critique. How would Tupac hold up?
Use lyrics from at least two songs to support your argument re: Tupac Shakur's contributions to the genre and the industry both positive and negative.
Students will have up to five citations: 1 film (B. Hurt), two rap songs, one article (from Michael Eric Dyson's Know What I Mean? Reflections on Hip Hop, one book (Holler)
The citations need to be: 1 block quote, paraphrases, and shorter citations.
Students will turn in an Initial Planning Sheet with the essay and an outline. Make sure everything is stapled together. The exercise here is to see how well students are able to manipulate facts and incorporate evidence in support of an argument without getting lost or inadvertently plagiarizing. Make sure the signal phrases are clear and both introduce the subject and connect the ideas so that the discourse is succinct and makes sense.
Hip Hop Beyond Beats and Rhymes
Directed by Byron Hurt
From http://www.pbs.org/independentlens/hiphop/
Filmmaker Byron Hurt, a life-long hip-hop fan, was watching rap music videos on BET when he realized that each video was nearly identical. Guys in fancy cars threw money at the camera while scantily clad women danced in the background. As he discovered how stereotypical rap videos had become, Hurt, a former college quarterback turned activist, decided to make a film about the gender politics of hip-hop, the music and the culture that he grew up with. “The more I grew and the more I learned about sexism and violence and homophobia, the more those lyrics became unacceptable to me,” he says. “And I began to become more conflicted about the music that I loved.” The result is HIP-HOP: Beyond Beats and Rhymes, a riveting documentary that tackles issues of masculinity, sexism, violence and homophobia in today’s hip-hop culture.
posted by Professor Wanda's Posse at 10:34 AM
11 Comments:
Jonas Sota
Kyaira Talton
Professor Sabir
English 1A 11-11:50
October 3 2012
Literal Paraphrase - Dyson
Original:
“Crouch’s argument underscores the urgent need to address not only rhetorical but literal violence, the causes of which cannot be exclusively or primarily located within hip hop cultura. Although Crouch is tough on Tupac, he avoids blaming him directly for the scourge of violence in the culture or even in black communities” (126).
Paraphrase:
Crouch’s argument addresses the necessity to discuss the literal violence on top of the rhetorical violence, of which hip hop culture cannot take all of the blame for. While Crouch targets Tupac, he restrains himself from directly blaming him for the painful effects of violence in black communities (126).
Works Cited
Dyson, Michael Eric. Holler If You Hear Me. 2nd ed. New York, NY: Basic Civitas
Books, 2006. Print.
Nafi Watson
Tabari Davis
Professor Wanda Sabir
English 1A
10/03/2012
Paraphrase: Holler Chapter 5
“The difference now is that hip-hop culture’s global influence has authorized the promiscuous use of ‘nigger’ beyond black circles. As a result, the sordid history of the term is obscured, or at least lessened, for many young whites and blacks. ‘Nigger’ began as a term of derision for blacks by slave masters who had stolen them from Africa and forced them into slavery in America. That one word collected the contempt that many whites felt for blacks” (Dyson 146).
The opposition currently is that rap custom’s worldwide impact has sanctioned the philandering usage of the term “nigger” outside black groups. Accordingly, the wretched background of the word is overlooked, or at any rate diminished, for numerous youthful whites and blacks. “Nigger” started as an expression of disrespect for blacks by slave owners who had taken them from Africa and drove them into slavery in America. This single term gathered the scorn that countless whites amassed for blacks (Dyson 146).
Works Cited:
Dyson, Eric Dyson. Holler If You Head Me. New York, NY: Basic Civitas, 2001
Lhadze Bosiljevac
Mrs. Sabir
English 1A
10/3/12
8:00a.m.-8:50 a.m.
PART 1
Hip Hop: Hurt’s Interview and Views Response
Hip hop is a genre we give a dirty vibe for, a ethnological divide created by beats and words. Remember that childhood quote, “ Sticks and stones may break my bones but words will never hurt me.”? According to society today, we are divided half an half with the music. One portion of society thinks that the songs are “slappin” and “helluh beast”. While some cringe at the lyrics or don’t even care about what libretto is utilized only listening to the beat. Hip hop at the peak of it’s career in the younger generation latter-day is now become something to monopolize the big business, intimidate women and gay men, as well as insult cultures and races. In pure honesty I love to dance to hip hop at clubs and parties to ‘get down’. Because I was practically raised in the Bay Area longer than near L.A. which is for a while I loved to listen and go crazy to the songs. It is my person belief that the rap music these days has lost value in what it originally stood for and only critiques the imperfections as well as differences society holds from sex, abuse to racism.
Bryson Hurt who created the movie “ Hip Hop: Beyond Rhymes was inspired when watching the BET awards and that almost all the shows were similar in the women dancing and the money flying at the screen. The pressure of media literacy, sexism and masculinity. He tackles these issues over the course of the film and how women are perceived, therefore how should we protect future generations?1
When Bryson Hurt explains to his viewers the perceptions of rap artists and society. What we see as a group of people in present day and what the singers portray. Again and again we hear from Busta Rhymes the goal is to look ‘hard’ as well as to be the player and pimp. From my perspective, rap music these days make women make the men look like their money can simply buy ‘bitches’ and ditch them after a good nights partying. Masculinity seems to be associated with men being strong and aggressive. I see this much to often in rap music these days. With the reminder that the men rule the streets followed by maybe his ‘bad bitch’ who is the one lucky woman that has partial say on situations. Rarely we see the love aspect besides she loved him but he happily left her like a player does or she broke his heart by being drunk and sleeping with another male. A rapper I really like in some moments is Eminem.
Lhadze Bosiljevac
Mrs. Sabir
English 1A
10/3/12
8:00a.m.-8:50 a.m.
PART 2
Being a white rapper the movie “8 Mile” tells his story and his hardships with a drunk mother who slept with men to find housing. But the one thing about his rapping is the anger he portrays in his music that shows full blown masculinity, violence, power and rage. In his song “Kim” which starts off a sweet talk to his daughter with errie music in the background leading to full blown domestic violence. One of the lines I find in this song as striking is, “ Don’t make me wake this baby, she don’t need to see what I’m about to do/ Quit crying bitch, why you always make me shout at you?...Too a bad bitch , your gonna finally hear me out this time...Look at Kim/ Look at your husband now/He ain’t so hot now is he?” When you really hear the vexation of words in the actual song, at certain points you can hear him spit and cringe his face. Creating mocking and taunting of his wife and imitating her pleas for him to stop hitting or verbally abusing her. Throughout the whole song not one sorry is given to her in fact he tells the listener it was all her fault and this was his way to show is outrage on her apparently cheating. The line that made my blood cold was, “ His son just woke up and walks in/ She panics and he gets his throat cut (Oh MY GOD!)/ So now their both dead and you slash your own throat/ So now it’s double homicide and suicide with no note/ I should have known better when you started to act weird/ We could’ve...Hey! Where are you going, get back here!... (Ahhh!)/ Ha! Go ahead yell!/ Here I’ll scream with you!/ AHHH SOMEBODY HELP/...NOW BLEED BITCH BLEED...”2. This song explains in great terrible detail domestic abuse and revenge from a cheating spouse. Most logical responses would be to get mad but not make death threats while beating the living soul and torturing the mind. Violence in this song is dreadful and gives you a mental picture of the woman covering her head because you can hear in the track screams and cries as well as defense as to why he should stop. This type of masculinity takes the negative and lets the world sing about how ‘bad’ the lyrics are. Clearly, this proves the statement that Hurt made with the tough male appearance they wish to depict.
Lhadze Bosiljevac
Mrs. Sabir
English 1A
10/3/12
8:00a.m.-8:50 a.m.
Part 3
Rap has gone to new levels in the past decade. From singing about living a real tough life to surviving gunshots as well as drug abuse it has now been about the money, drinks and sex with various women. Hurt explains that rap was seeded in the ghetto of the Bronx to the outward expansion to the money hungry ego driven modern younger generation. My argument is once they see the rounds of money, the forget the rounds of shots fired in their past in some of their songs. For instance, Drake a famous singer these days auto tunes to the point of Siri on the new iPhone which is called talent. When rappers who really endured street violence, loss of loved ones in cross fire are hardly recognized. Educators should be paid the amount that rappers these days who do not try to portray real life situation, we would be educating much better and faster. As for the topic of sex, women in many songs from Lil’Wayne and Young Money to even New Boyz talk about one night hang outs and when the women look better when their drunk. Personifying women as cheap as the red solo cups in their videos, they can be thrown out, picked up and reused or drugged. Why is it that back then women were seen for the nice body and the crazy/beautiful personality in older rap to freaks in the club/ bed as well as to go samples from various clubs? I agree with Dyson that look that males give in rap is a tough do not mess with me persona. Loverance feat. 50 Cent’s song “Up” talks about sex with the discomforting lyrics, “ Tell me what it is, show me where it could be/ Pussy on my lips juice box taste good to me...Put it in your gut, tear that pussy up.”3
Racism is something we all argue and fight to eradicate. We are all born equal and no matter what color our skin may be, we are classified as humans. Yet unfortunately we have (in my standpoint) air heads here and their. One for me is Nikki Minaj. Her music when she first began was amazing, the lyrics ment something or I could relate when I was upset. She for the most part stayed true to herself. But then came the ego as explained by Hurt earlier which in Kanye West’s song ‘Mercy’ she states in her verse “ I’m a republican voting for Mitt Romney/ You lazy bitches is fucking up the economy.”4 Then in another song ‘Beam me up Scotty’ she writes, “...asa lama alakum where the fuck is akbar/give my keys tell ‘em valet my car.”5 First of all the idea that racism for an Arabic is okay because generally their all car parkers is completely absurd and rude. I respect her talent for making gibberish rhyme in a couple of sentences. Of course global outrage ran on both these songs and now people see rap as even more trashy than why it really is set out to be. The essence of real rap has been lost and I feel that the further we get with hip hop/ rap the less of a real understanding the newer generation will have on the true meaning of this genre of music.
Lhadze Bosiljevac
Mrs. Sabir
English 1A
10/3/12
8:00a.m.-8:50 a.m.
Part 4
1. 1 "The Flim- Hip Hop: Beyond Beats and Rhymes." PBS. Independent Television Service, 20 Feb. 2007. Web. 03 Oct. 2012. .
2. 2 ""Kim" Lyrics." EMINEM LYRICS. AZ Lyrics, 2000-2012. Web. 03 Oct. 2012. .
3. ""Up!" Lyrics." LOVERANCE LYRICS. AZ Lyrics, 2000-2012. Web. 03 Oct. 2012.
4. "KillerHipHop.com." Lil Wayne â Mercy Lyrics (ft Nicki Minaj) :. Killer HipHop, 4 Sept. 2012. Web. 03 Oct. 2012. .
5. "Beam Me Up Scotty Lyrics." MetroLyrics. Metro Lyrics, 2011. Web. 03 Oct. 2012. .
Thany Ouk
Michelle Chen
Professor Sabir
English 1A 11-11:50
3 October 2012
Holler If You Hear Me- Paraphrase
Original:
Burns and Crouch make powerful arguments about the lethal consequences of flooding the airwaves and video screen with self-defeating visions of black life. There is little doubt that the effect is exactly as they describe it, with the caveat, however, that the global portrayal of black life surely cannot rest on the images or words of barely postadolescent entertainers. This is not to deny that a single video by a rap artist can more successfully shred international boundaries than a hundred books by righteous authors. Neither is it to deny the huge responsibility such artists bear in confirming or combating hateful and ignorant beliefs about black folk that circulate around the globe.
Paraphrase:
The writers, Khephra Burns and Stanley Crouch, creates strong debates concerning deadly outcomes about over flowing the media and clips that contains low self-esteem thoughts of living as an African American. Having no confidence that proclaims how it was thought to be along witj warning, anywho, to let down African Americans worldwide is not able to stop within pictures and literature of youthful artists. This disagreement of one media clip from a freestyle entertainer is able to change more minds than many concious writers. None to disagree a big engagement some entertainers hold onto approving or clashing bitter and mindless feelings of African Americans who are in this world.
Dyson, Michael Eric. Holler If You Hear Me. 2nd ed. New York, NY: Basic CivitasBooks, 2006. Print.
Messi Chaib
Professor Wanda
English 1A
10 October 2012
The commercial rap is usually made by people who do not have any principals, their only goal is money and nothing other than that so they use any words, any images, any videos just to entertain and influence people without thinking about the bad image they give to children and adolescents. Hurt used arguments that are really important and enough to explain the inconvenience of commercial rap like those people saying nasty words, talking about killing, rapping, and women nicked which are things that leads people to violence and hatred of women . The women who were dancing and turning on the public are just sluts giving up their bodies for money. On the other hand, all the rappers who were singing using the nasty words, talking about drugs, guns, they are just those people who life left them behind and they do not coast more than those words they say. I completely agree with Hurt because whatever it was in the videos is not human, saying those nasty words, dancing without cloths at front of the camera or talk about guns and drugs are extremely degrading for me. At the time where those rappers think that showing guns, dancing with nicked ladies and smoking drugs at the front of the camera is an expression of manhood, other people see them far from humanism which is very degrading for them. I heard somebody on the video saying , ”Journalists like you come to night clubs with beautiful ladies and don’t even look at us.”, and my question for this man is why do not you go to school, study and find a job like them, then you will get a lady and enjoy your life?, or because it is demanding, it is not like buying a $500 gun then steal, kill or putting terror into weak people. Those people for me are just cowards and unsuccessful.
Hurt."The Flim- Hip Hop: Beyond Beats and Rhymes." PBS. Independent Television Service, 20 Feb. 2007. Web. 10 Oct. 2012. .
Luchanda Williams
Riana Watts
Professor Sabir
English 1A 11-11:50am
October 2 2012
Literal paraphrase and original citation:
“Contemporary rap is filled with stirring reminders of why the marriage of spoken word to music has revolutionized black culture. Figures like Lauryn Hill, Common, Mos Def, Talib Kweli, and Bahamadia generate black noise to spur the eruption of social conscience. Gifted wordsmiths like Jay-Z, Nas, DMX, and the assorted rappers of Wu-Tang Clan use their pavement poetry to probe urban existence in gripping detail. But there is still strong criticism of rap’s musical vampirism and its dulling repititiousness. Those who claim the mastery of instruments through the production of original music is the only mark of genuine artistry offer the first criticism. Such purist ignore the severely depleted funding of the arts in public schools since the late 1970’s, a fateful development that kept many inner city students from learning to play musical instruments. “ (108)
Currently rap is overflowing along stimulating attributes of why the alliance of the allege conversation to music has changed black practice. Celebrities corresponding Lauryn Hill, Common, Mos Def, Talib Kweli, and Bahamadia cause black commotion to advance explosion of general conscience. Ingenious wordsmiths equivalent to Jay-Z, Nas, DMX, and the different rappers of Wu-Tang Clan take advantage of their concrete and strong poetry to explore urban essence in exciting analyzation. However there is still drastic assessment of rap musical vampirism and it’s decline continuity. These people assert the ability of equipment through achievement of original music is the exclusive impression of absolute accomplishment which attempts early appraisal. Corresponding purists avoid the intensely exhausted financing of arts in community academy from the late 1970s, a crucial advancement that constrained many inner-city apprentice from perusing musical equipments.(Dyson pg108 last paragraph)
Works cited:
Dyson, Eric Dyson. Holler If You Head Me. New York, NY: Basic Civitas, 2001
Lhadze, it looks like you wrote your essay (smile).
WS
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