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Example research essay topic: Tupac Shakur Hip Hop - 1,908 words

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... gs Fall Apart, Ikemefuna, a servant of Umuofia called Okonkwo, a village representative, father. In fact they grew fond of each other, more so than their natural family. Additionally African rulers did attempt to stop trade with the Europeans such as Queen Nzinga Made known as the unconquerable of the Matamba Congo region.

She fought off the Spanish from 1620 to approximately the 1660 's. In 1938 James completed the manuscript of his most important work, The Black Jacobins. To a Euro-American audience still in serious denial about the reality of slavery, James graphically revealed the brutality inflicted by nascent capitalism. The Black Jacobins also refuted much of the mythology surrounding racial inferiority being debated - from eugenics to fascism - by that same Euro-American audience. James showed how even in the most degraded circumstances, slave society had cultivated a leadership that included such figures as Toussaint L'Ouverture, Jean-Jacques Dessalines and Henri Christophe. Toussaint LOuveture, once a grunt in Boukmans army rose to prominence and served in the Jacobin army in 1795 during the bloody French revolution.

Haitian independence became possible in May 1795 when Toussaint betrayed his Spanish allies and offered his service to the French. Two of his lieutenants, Jean-Jacques Dessalines and Henri Christophe distinguished themselves during these campaigns and later succeeded him as rulers of Haiti. They gained control by betraying their mentor and setting him up to be seized aboard a vessel and taken to France where he died in a dungeon on April 7, 1803. Practitioners of the voodoo religion believed Toussaint was the reborn Mackandal, the original revolutionary. Who was burned at the stake for plotting a slave rebellion to poison the water supply. The believed Mackandal transformed into a mosquito.

This was their rationale for the high death rate of the Europeans due to malaria and yellow fever. On the other hand, such shared notions often form the fabric of our beliefs about ourselves as a collective society -- about our past, our goals, our ideals, and our future. In this sense, collective memory can be seen as fundamental to national identity and unity. Jamaican pop culture, especially its music, spread around the world. Mass media have aided this boom, allowing, for example, reggae's Bob Marley to become an international hero by the time of his death in 1981.

Jamaican migration to England and, later, to the U. S. and Canada during the island's independence era in the early 1960 s had also broadened popular knowledge of its people and their society. Cooper identifies elements of the deeply expressive language she calls Jamaican that incorporates African-derived words and grammar and in which proverbs play a powerful, semantic role. For Cooper, Bennett's "performance poetry" represents one end of the spectrum of Jamaica's mostly unwritten "oral literature, " whose listeners understand its rhymes and identify with its central themes. Among them: the struggle for survival in the face of economic hardship, the battle of the sexes, and the ongoing search for a national cultural identity.

At the other end of this oral-literary spectrum, Cooper scrutinizes the lyrics of today's "dance hall" singer-DJs, purveyors of the thunderous, post-reggae music that has become the leading sound in Jamaican clubs and a major pop music export. Dance hall is marked by a beat as insistent as that of American gangsta rap; for the most part, it is similarly devoid of melody. "Indeed, " Cooper writes, "music is far less important than lyrics in this genre" that attracts hordes of fans to all-night jams. But within the "space" of the dance hall concert, the boasting of charismatic singer-DJs like Shabby Ranks, Yellow man, or Josey Wales reigns supreme. Whereas reggae performers like Bob Marley or the late Peter Tosh often sang with idealism about political themes, dance hall DJs celebrate an unabashedly crude culture of "slackness. "Slackness is a metaphorical revolt against law and order, an undermining of consensual standards of decency, " Cooper explains. "It is the antithesis of Culture. " As dance hall aficionados know, this music provides an anything-goes forum for its mostly male stars to brag about their sexual prowess, denigrate women, revile homosexuals, and indulge in tedious macho posing. Acknowledging that "One culture's 'knowledge' is another's 'noise, '" Cooper explains the cultural-historical sources of the dance hall phenomenon (including its devotees' exposure to grade-B shoot-'em-ups that movie distributors routinely dump on "lesser" overseas markets like Jamaica's). But don't look to these essays to make critical (that is to say, moral) judgments about the dance hall's messages, or aesthetic (that is to say, evaluative) judgments about its quality as music.

Instead, Cooper focuses on "deconstructing" her various subject "texts, " not on assessing their artistic value. Noises in the Blood also looks at the dub poetry of such writer-performers as Jean Bit Breeze, Mikey Smith, and Mutabaruka. This "performance poetry, " she says, "is a return to the roots of language in oral" that falls flat on the printed page. Its full impact depends on the personal charisma and interpretive skills of its performers as they incorporate traditional lore from African and Jamaican sources, folk sayings, and proverbs into texts that address familiar, contemporary issues. With its history of slavery and colonial rule, its ethnic mix, and its fiercely independent spirit, Jamaica is a microcosm of the multicultural energies from which nation-states of the post-colonial Caribbean were born. And as Cooper notes, even as tiny, "marginal, " post-independence Jamaica still strives to define its national identity, its culture's reach far beyond its island borders helps turn history "upside-down as the 'margins' move to the 'center' and irreparably dislocate that center. " With Noises in the Blood and Cooper's ongoing analysis of indigenous Caribbean cultural forms, the work of artists like Bennett, Marley, the dub poets, and the dance hall DJs have found an intelligent, determined custodian.

For Cooper rescues the heretofore neglected folklore, proverbs, music, poetry, and songs that have followed in colonization's wake. They are the vibrant, provocative products of a dynamic, new "New World" culture that is shaking up that of the "Old. " Lyrics of rap artist Mos Def, Speech is my hammer, bang the world into shape. Here Mos Def recognizes the power of the tools of collective memory and orality. What is gonna happen to hip-hop? Ill tell you whats gonna happen to hip-hop. Whats gonna happen to hip hop is what ever happens to us.

Mos Def continues, people talk about hip hop like it is some giant on the hillside, coming down to visit the people... we are hip hop... next time you ask where is hip hop going... ask yourself how am I doing... where am I going. With this verse Mos Def is describing how the art of rap reflects the lifestyles and struggle of day to day life.

As in the poetic style of Lorna Goodison, who concerns herself with the business of daily living; ordinary lives grounded in human experience become high drama in her visionary world. A master of artfully recollecting memory is Tupac Shakur. Profound lyricist, writer and actor who touched a rising generation of violence. Through his lyrics lived the voice of the young people in the ghetto dealing with poverty and injustices. Can You See the Pride In the Panther Can You See the Pride In the Panther Topping obstacles placed in the way, Can You See the Pride In the Panther of the fact that it is planted in stone.

Can You See the Pride In the Panthers This poem manifests his responsibility to be the voice of the young black inner city male / female . He was born into poverty and hard times but through the strength of his upbringing and his mothers ties with the Black Panther Party he lead a generation through the struggle for acceptance and understanding. Today is filled with anger, fueled with hidden hate. Scared of being outkast, afraid of common fate. Today is built on tragedies which no one want's to face. Nightmares to humanity and morally disgraced.

Tonight is filled with Rage, violence in the air. Children bred with ruthlessness cause no one at home cares. Tonight I lay my head down but the pressure never stops, knowing that my sanity content when I'm dropped. But tomorrow I see change, a chance to build a new, build on spirit intent of heart and ideas based on truth. Tomorrow I wake with second wind and strong because of pride. I know I fought with all my heart to keep the dream alive.

In this poem Tupac is the voice that shares to vulnerable and insecurities of the people of his generation. I have come 2 grips with the possibility and wiped the last tear from My eyes Recollecting the events of his life, Tupac prophesied his death. Rather or not it was a principle or not is up to the reader. One might say yes, he did die for what he believed in and the lifestyle he lived.

Another could say we lost a revolutionary due to foolishness of Thug Life. I have in the best of my ability delved into the topic of collective memory and how it is inter-twined with orality and literacy through the use of narratives, novels, music, history, and poetry. Bibliography: Bibliography China Achebe, Things Fall Apart. Anchor Books, New York, 1959.

Stephanie Coontz, The Way We Never Were. Basic Books, 1992 Carolyn Cooper, Noises in the Blood: Orality, Gender, and Vulgar Body of Jamaican Popular Culture. Duke University Press, 1995. Paul Edwards, The Life of Olaudah Equiano. Longman Inc. , New York, 1998. Paul Edwards, Thoughts and Sentiments on the Evil of Slavery by Ottobah Cugoano.

Dawson of Pall Mall, London, 1969. Lorna Goodison, Selected Poems. University of Michigan Press, 1992. Paul Buhle, C. L. R.

James: The Artist as Revolutionary. Verso, London, 1988 George Lipsitz, Time Passages: Collective Memory and American Popular Culture. University of Minnesota Press, 1990. Appiah & Gates, Microsoft Encarta Africana 2000, Microsoft, 1999 Jan Rogozinski, A Breif History of the Caribbean.

Meridian Publishing, New York, 1992 Vincent Thompson, The Making of the African Diaspora in the Americas 1441 - 1900. Longman Inc. , New York, 1987. Tom Spencer-Walters, Orality, Literacy and the Fictive Imagination: African and Diaspora Literatures. Bedford Publishers, Inc. , Troy Michigan, 1998 The Tupac Shakur Page, web, December 8, 1999, 3: 330 pm.

Bibliography China Achebe, Things Fall Apart. Anchor Books, New York, 1959. Stephanie Coontz, The Way We Never Were. Basic Books, 1992 Carolyn Cooper, Noises in the Blood: Orality, Gender, and Vulgar Body of Jamaican Popular Culture.

Duke University Press, 1995. Paul Edwards, The Life of Olaudah Equiano. Longman Inc. , New York, 1998. Paul Edwards, Thoughts and Sentiments on the Evil of Slavery by Ottobah Cugoano. Dawson of Pall Mall, London, 1969.

Lorna Goodison, Selected Poems. University of Michigan Press, 1992. Paul Buhle, C. L. R. James: The Artist as Revolutionary.

Verso, London, 1988 George Lipsitz, Time Passages: Collective Memory and American Popular Culture. University of Minnesota Press, 1990. Appiah & Gates, Microsoft Encarta Africana 2000, Microsoft, 1999 Jan Rogozinski, A Breif History of the Caribbean. Meridian Publishing, New York, 1992 Vincent Thompson, The Making of the African Diaspora in the Americas 1441 - 1900.

Longman Inc. , New York, 1987. Tom Spencer-Walters, Orality, Literacy and the Fictive Imagination: African and Diaspora Literatures. Bedford Publishers, Inc. , Troy Michigan, 1998 The Tupac Shakur Page, web, December 8, 1999, 3: 330 pm.


Free research essays on topics related to: jean jacques, dance hall, tupac shakur, hip hop, olaudah equiano

Research essay sample on Tupac Shakur Hip Hop

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