Thursday, May 1, 2014
Tuesday, October 8, 2013
The “Ghetto” Mentality
“Ghetto” was originally used to refer to the Venetian Ghetto in Venice, Italy, in
which Jews were required to live. The corresponding German term was Judengasse. The
term “ghetto” came into widespread use during World War II to refer to Nazi ghettos that
Nazis forced certain groups of people to live in. The term "ghetto" came to be commonly
used to refer to any poverty-stricken urban area. In the U.S., "rural ghetto" is used to
describe mobile home parks, farm labor housing tracts, and Indian reservations. Urban
neighborhoods where Hispanic immigrants settled in the late 20th century, called
“barrios,” are comparable to ghettos, because most immigrants are clustered in culturally
isolated enclaves. "Ghetto" is also used figuratively, in a classist manner, to indicate
geographic areas with a concentration of any type of person, for example a “gay ghetto”
or “student ghetto.” The word, in recent years, has also been used in slang as an adjective
to describe how city-like, thug-like or low-class something or someone is.
Black and White segregation was, for a time, decreasing fairly consistently, but
for most metropolitan areas and cities in the beginning of the 21st century, segregation is
on the increase again. Despite these pervasive patterns, many changes for individual areas
are small. Racial segregation in the U.S. is most pronounced in the housing market.
Although people of different race might work together, they are still very unlikely to live
in integrated neighborhoods. This pattern differs only by a small degree depending on
different metropolitan areas. Thirty years after the Civil Rights Movement, the nation
remains a residentially segregated society in which Blacks, Hispanics, Asian Americans
and Whites inhabit neighborhoods of vastly different quality. Cities throughout history
have contained distinct ethnic districts. But rarely have they been as isolated and
impoverished as the “Black” neighborhoods found in cities today.
Due to segregated conditions and widespread poverty, some Black neighborhoods are called "ghettos." The use of this term is controversial and, depending on the context, can be offensive. Most of these neighborhoods are in northeastern cities where masses of Black people moved to during what was considered the Great Migration. In the period from 1914 to 1950 over a million Blacks moved out of the rural, southern states to escape the inescapable racism of the South, to seek employment opportunities in Northern urban environments, where they could pursue what was widely perceived to be a better life. “Black” ghettos started out well, economically. In the Midwest, ghettos were built on the high wages from manufacturing jobs. The Black ghettos of the mid-20th century appear to have been much less dangerous than those of today. As time passed, the “ghetto” became a place where Black people wanted an out. Ghettos became an image of poverty and crime. Poverty constitutes the separation of ghettos from other, suburbanized or private neighborhoods. The high percentage of poverty tends to reproduce constraining social opportunities and inequalities in society. Families wanted to get their children out of these areas or artists wanted to have their music get them out. It became a symbol of inferiority and confinement.
If the ghetto has been a shameful symbol of pressed confinement and presumed inferiority imposed by an oppressor, if it is today still the scene of such misery and crime, why should rap so proudly celebrate its being "ghetto music". Why not use rap's success, what Ice-T calls "its penetration to the heart of the nation" to break out of the ghetto mentality and insure that the hip hop community will never again be ghettoized but will constitute a global and multiracial great community?
The answer involves a fascinating dialectic of the pride of shamed and oppressed minorities, where such a minority, in order to assert its ethnic self-respect against its shameful treatment by the oppressor, ends up taking pride in the very things which the oppressor regards and imposes as shameful. We can see this dialectic at work in such black language inversions as "bad" meaning "good" (that “bad” chick) or the affectionate use of the term "nigger" which in white discourse was a term of shame. “Nigga” has become a casual word in the vocabulary of urban language. Related to this dialectic of pride and shame is a dialectic of reciprocal exclusion in which the excluded oppressed minority reasserts itself by taking pride in its exclusion and the ethnic purity such exclusion guarantees, and where it reciprocally excludes the dominant majority as somehow inferior, dangerous, and unworthy of inclusion, just as the majority reciprocally excluded it for similar reasons.
Pride in the ghetto is an empowering reaction to the shame of the ghetto and the scornful, oppressive segregation by white society. In that sense it is an extremely positive reaction of black pride, which must be encouraged. Despite mainstream America’s use of the term "ghetto" to signify a poor, culturally or racially homogenous urban area, those living in the area often used it to signify something positive. The Black ghettos did not always contain rundown houses and deteriorating projects, nor were all of its residents poverty-stricken. For many Blacks, the ghetto was "home." It was a place representing authentic “blackness” and a feeling, passion or emotion derived from having to rise above the struggle and suffering of being Black in America. Langston Hughes relays in his poem "Negro Ghetto" and "The Heart of Harlem:” "The buildings in Harlem are brick and stone/And the streets are long and wide, /But Harlem’s much more than these alone, /Harlem is what’s inside." Playwright August Wilson used the term "ghetto" in Ma Rainey’s Black Bottom and Fences, both of which draw upon the author’s experience growing up in the Hill district of Pittsburgh, a Black ghetto.
Some ghettos have been known as vibrant cultural centers, for example, Harlem, N.Y. in the 1920s and 1930s. Many Black artists and musicians, such as Notorious B.I.G., John Lee Hooker, Tupac Shakur, Nina Simone and Cab Calloway were born and raised in ghettos, and much of their music comes from their own experiences and life in those neighborhoods or their own experiences with desegregation, for example, Grandmaster Flash and The Furious Five's "The Message” tell of the woes but also the die-hard loyalty that came with living in the ghetto. The 1970s sitcom Good Times was modeled after life in the Cabrini-Green housing projects of Chicago. The show portrays a Black “ghetto” family that always triumphs over adversity, but it has been criticized for painting too rosy a picture of how the ghetto really was.
The danger of such reactive ghetto pride is that it can turn into a policy of exclusionary prejudiced isolation where topics and audiences that do not belong to the ghetto are denied access to hip hop culture. Words of KRS-One about the necessity of ghetto consciousness for rap, like the warning of Naughty by Nature for outsiders to "stay the f**k out of the ghetto", could be misinterpreted as simply advocating such an exclusionist attitude. This thought is not so simplistic; for example, it is "ghetto consciousness" not actual ghetto living that KRS-One demands of the rap audience, and such consciousness may perhaps be obtainable or imaginable through sympathetic understanding of rap's message and one's own non-ghetto experience of humiliation, alienation, and oppression. For such woes, are experienced also outside the ghetto; and their pervasiveness helps explain the global success of rap.
In any case, exclusionist ghetto prejudice runs the risk of reinforcing the walls of hate and distrust which created the oppressive ghetto segregation in the first place. So unless ghetto pride is preached with recognition and tolerance of what lies outside the ghetto and with a willingness to share rap's ghetto message with all people of the world, rap's ghetto pride may simply build up the isolating ghetto walls from the inside in reaction to the hateful walls already imposed by racist white society from the outside. Yet surely what we want is that "the walls come tumbling down".
But since white society has not shown similar tolerance and recognition of rap, why blame hip-hop for mixing ghetto pride with exclusionary ghetto prejudice? No blame is being cast, and such prejudice and separatism may be necessary steps in the journey to full social and cultural liberation. It is right is to question whether chauvinist ghetto isolation or greater interracial tolerance and global respect for black culture should be the ultimate aim of hip-hop. And one way of seeing the problems of chauvinistic ghetto isolation without getting embroiled in the passionate controversies of current black cultural politics is by considering the painful history of the original ghetto dwellers, the Jews, who dramatically exhibit the dialectic of the shame and pride of minority oppression and its related dialectic of isolationist exclusion.
It would be best for rap to combine its pride as ghetto music with a positive openness to the social world that lays outside the ghetto yet perforce influences it. Rap needs to continue Public Enemy's commitment to reach out and "teach the bourgeois", to spread rap's powerful and much-needed message of somatic, social, and political liberation far beyond its original ghetto community. It needs to do this as much for the ultimate good of that ghetto community as for the good of the world, which envelops and impacts on that community. In celebrating itself as ghetto music rap needs to remember what so many of its songs remind us: the horror and misery of ghetto life. We should never forget that rap's roots, inspiration, and political commitment rest firmly in the actualities of the ghetto; but this does not mean that the actual ghetto represents rap's ideal. Progressive rap should aim to transform the ghetto and the wider world, not simply idealize the former and exclude the latter.
There has been a shift in the predominate themes contained within the music. Much of rap ceased to challenge political oppression and instead exploited violence and misogyny to sell songs. Gangsta rap is a hip-hop genre that focuses primarily on the negative aspects of inner city life. The lyrics often glorify criminal activity and degrade women. This genre of hip-hop has been a source of tremendous controversy and is often cited as the cause of the increase in violence. This is particularly true amongst black youth.
Many gangsta hip-hop artists justify their music by claiming they are only retelling the experiences of their lives on the streets. However, the song lyrics often reveal an overabundance of curse words and no substance. According to Urban Dictionary.com, many artists have been forced to create artificial 'ghetto' images for the sake of a lucrative career. Many young people idolize these artists and imitate their behavior. Rap and Hip Hop promotes a thug lifestyle, one that centers on not fulfilling an education, but instead doing drugs, and spitting rhymes while doing so. Though not all rap and hip hop focuses on these themes; most of old rap speaks of getting through hardship. The whole “get paid and laid” idea is more geared toward the newer generation of rap and hip-hop.
Hip-hop is not just a style of music. It is a culture borne of poor, inner-city life in America that has evolved into the rallying cry of those unable to negotiate the nuances of the mainstream. It now serves to glorify formerly stigmatized characteristics of the lower class, preventing the impetus for upward mobility. Beyond the music, hip-hop culture encompasses street codes of behavior and an overall defiance of social convention. It is this defiance of mainstream life that is at the root of much of the underachievement now plaguing black youth. Hip-hop custom infers that young blacks that emulate mainstream attitudes are exhibiting weakness. This, of course, is a cardinal sin within that culture. Black youth thus feel encouraged to avoid the important concept of deferred gratification at a life juncture most critical to future achievement. Hip-hop also promotes the accumulation of gaudy symbols of success and to get them fast. When young men prance around with their flashy "bling," they illustrate their worthiness to the opposite sex. Materialism becomes a means for winning sexual conquests. Yet another is cultivating one's thug factor through braided hair, baggy clothing, and ghetto diction and street reputation.
Talented inner-city youth who should be smart enough to realize the importance of preparing themselves for the future too often can be demoralized and oppressed into hip-hop conformity. The culture of hip hop can cause some of our best black students to be branded with accusations that they are "acting white" or not "keeping it real." Moreover, many teens that aspire to normal jobs are subjected to ridicule since the hiphop imperative respects only fast money, regardless of legality. Sadly, even when hiphop devotees do take positive steps and attempt to enter the mainstream job market, they often find themselves devoid of the skills necessary for the best career paths. Because hip-hop is frequently the cultural norm for inner-city young blacks, it is only natural for these young people to see no harm in applying for a job with unsightly cornrows, baggy clothing and using less-than-acceptable English, having the “ghetto” mentality.
But what about the differences between black and white youth consumers of hiphop culture? Why do they seem not to be as adversely affected as black youth? For white youth, hip-hop tends to serve as little more than a medium for rebellion, much like rock and roll was during the 1950s. Only rarely do the children of the white middle class try to take on hip-hop as a way of life. Thanks to the global reach of the American entertainment industry, it is no surprise that angry and underprivileged youth in Europe, Africa and Asia are now enthusiastically embracing hip-hop. It's important not to forget that hip-hop culture was intertwined in the violent rioting of black and Arab youth in France. Recall how the rioters dressed and conducted themselves in a thug-like manner, as well as the hip hop music they blasted while torching vehicles and property.
Being “ghetto” has become a badge of honor, and now even the word ratchet is being used in place of “ghetto”. People glorify the ratchet lifestyle. If people could go back to 1995 and before, they could say that hip-hop was uplifting. A good example would be when you could listen to a song for five minutes and all you heard was Rakim bouncing outrageous similes and euphemisms off his tongue and Eric B. blessing the ones and two’s. Not only was there depth in those types of tracks, but also there was creativity and ingenuity. What about groups like Afrika Baambata whose songs lasted as long as infomercials? Eric B. & Rakim and Baambata are perfect illustrations of the true hip-hop culture because they were innovators and trendsetters. Back in the early 1990’s rappers such as Queen Latifah would not stand for the brought down of hip-hop and where it was leading. They have always been opposed to mainstream artists who sacrifice artistic integrity in the lure for more money and how they degrade woman.
Now in the 2000’s, you have the opposite of what rappers have been trying to prevent for years. You have rappers such as 50 Cent talking about how he loves money, Gucci Mane beating girls up -beat is a slang for sex- and everyone’s favorite rapper Lil Wayne saying to “f**k these bit**es” and even dudes. Hip-hop has taken a turn for the worst. African Americans make up the majority of the demographics of hip-hop listeners. Does hip-hop culture degrade or uplift African Americans? How would activist of our past answer this question if they were alive today? Right now, this hip-hop culture is definitely degrading to the race. However, there are cases where you might not find this in a lot of rappers. People like Soulja Boy Tell’em, Drake and Hurricane Chris have ruined the purpose of this culture, whereas rappers such as Ludacris, Nas and even Eminem have been continuing the real meaning of hip-hop. Now, what if activist like Malcolm X, Martin Luther King and more were still alive? Which side would they take to where hip-hop leads? They would choose that it has degraded African Americans. For what these people have struggled, hip-hop has gone the opposite way of what they fought in support of.
In The Hip Hop Generation, author Barkari Kitwana asserts once rap music embraces a social responsibility towards its audience, major political reforms would be imminent. Present hip hop music needs to get out of the “ratchet” upholding and focus on what messages they can spread, what the “OG’s” spread back in the day. With millions of people across the Eastern Seaboard affected by Hurricane Sandy’s destructive force, Hip Hop icon KRS-One responds with a powerfully informative song titled “Disaster Kit”. With this song, KRS-One gives listeners tips on how to survive natural and manmade disasters over an ominous piano loop and hard hitting kicks and snares produced by legendary Hip Hop Reggae artist Mad Lion. Moved by the tragedy that is still unfolding across the United States, KRS-One says, “This is an opportunity to show the world what Hip Hop is capable of. Obviously this project isn’t about raising money or making money. This is purely about knowledge and survival; I truly hope the world benefits from these words.”
Due to segregated conditions and widespread poverty, some Black neighborhoods are called "ghettos." The use of this term is controversial and, depending on the context, can be offensive. Most of these neighborhoods are in northeastern cities where masses of Black people moved to during what was considered the Great Migration. In the period from 1914 to 1950 over a million Blacks moved out of the rural, southern states to escape the inescapable racism of the South, to seek employment opportunities in Northern urban environments, where they could pursue what was widely perceived to be a better life. “Black” ghettos started out well, economically. In the Midwest, ghettos were built on the high wages from manufacturing jobs. The Black ghettos of the mid-20th century appear to have been much less dangerous than those of today. As time passed, the “ghetto” became a place where Black people wanted an out. Ghettos became an image of poverty and crime. Poverty constitutes the separation of ghettos from other, suburbanized or private neighborhoods. The high percentage of poverty tends to reproduce constraining social opportunities and inequalities in society. Families wanted to get their children out of these areas or artists wanted to have their music get them out. It became a symbol of inferiority and confinement.
If the ghetto has been a shameful symbol of pressed confinement and presumed inferiority imposed by an oppressor, if it is today still the scene of such misery and crime, why should rap so proudly celebrate its being "ghetto music". Why not use rap's success, what Ice-T calls "its penetration to the heart of the nation" to break out of the ghetto mentality and insure that the hip hop community will never again be ghettoized but will constitute a global and multiracial great community?
The answer involves a fascinating dialectic of the pride of shamed and oppressed minorities, where such a minority, in order to assert its ethnic self-respect against its shameful treatment by the oppressor, ends up taking pride in the very things which the oppressor regards and imposes as shameful. We can see this dialectic at work in such black language inversions as "bad" meaning "good" (that “bad” chick) or the affectionate use of the term "nigger" which in white discourse was a term of shame. “Nigga” has become a casual word in the vocabulary of urban language. Related to this dialectic of pride and shame is a dialectic of reciprocal exclusion in which the excluded oppressed minority reasserts itself by taking pride in its exclusion and the ethnic purity such exclusion guarantees, and where it reciprocally excludes the dominant majority as somehow inferior, dangerous, and unworthy of inclusion, just as the majority reciprocally excluded it for similar reasons.
Pride in the ghetto is an empowering reaction to the shame of the ghetto and the scornful, oppressive segregation by white society. In that sense it is an extremely positive reaction of black pride, which must be encouraged. Despite mainstream America’s use of the term "ghetto" to signify a poor, culturally or racially homogenous urban area, those living in the area often used it to signify something positive. The Black ghettos did not always contain rundown houses and deteriorating projects, nor were all of its residents poverty-stricken. For many Blacks, the ghetto was "home." It was a place representing authentic “blackness” and a feeling, passion or emotion derived from having to rise above the struggle and suffering of being Black in America. Langston Hughes relays in his poem "Negro Ghetto" and "The Heart of Harlem:” "The buildings in Harlem are brick and stone/And the streets are long and wide, /But Harlem’s much more than these alone, /Harlem is what’s inside." Playwright August Wilson used the term "ghetto" in Ma Rainey’s Black Bottom and Fences, both of which draw upon the author’s experience growing up in the Hill district of Pittsburgh, a Black ghetto.
Some ghettos have been known as vibrant cultural centers, for example, Harlem, N.Y. in the 1920s and 1930s. Many Black artists and musicians, such as Notorious B.I.G., John Lee Hooker, Tupac Shakur, Nina Simone and Cab Calloway were born and raised in ghettos, and much of their music comes from their own experiences and life in those neighborhoods or their own experiences with desegregation, for example, Grandmaster Flash and The Furious Five's "The Message” tell of the woes but also the die-hard loyalty that came with living in the ghetto. The 1970s sitcom Good Times was modeled after life in the Cabrini-Green housing projects of Chicago. The show portrays a Black “ghetto” family that always triumphs over adversity, but it has been criticized for painting too rosy a picture of how the ghetto really was.
The danger of such reactive ghetto pride is that it can turn into a policy of exclusionary prejudiced isolation where topics and audiences that do not belong to the ghetto are denied access to hip hop culture. Words of KRS-One about the necessity of ghetto consciousness for rap, like the warning of Naughty by Nature for outsiders to "stay the f**k out of the ghetto", could be misinterpreted as simply advocating such an exclusionist attitude. This thought is not so simplistic; for example, it is "ghetto consciousness" not actual ghetto living that KRS-One demands of the rap audience, and such consciousness may perhaps be obtainable or imaginable through sympathetic understanding of rap's message and one's own non-ghetto experience of humiliation, alienation, and oppression. For such woes, are experienced also outside the ghetto; and their pervasiveness helps explain the global success of rap.
In any case, exclusionist ghetto prejudice runs the risk of reinforcing the walls of hate and distrust which created the oppressive ghetto segregation in the first place. So unless ghetto pride is preached with recognition and tolerance of what lies outside the ghetto and with a willingness to share rap's ghetto message with all people of the world, rap's ghetto pride may simply build up the isolating ghetto walls from the inside in reaction to the hateful walls already imposed by racist white society from the outside. Yet surely what we want is that "the walls come tumbling down".
But since white society has not shown similar tolerance and recognition of rap, why blame hip-hop for mixing ghetto pride with exclusionary ghetto prejudice? No blame is being cast, and such prejudice and separatism may be necessary steps in the journey to full social and cultural liberation. It is right is to question whether chauvinist ghetto isolation or greater interracial tolerance and global respect for black culture should be the ultimate aim of hip-hop. And one way of seeing the problems of chauvinistic ghetto isolation without getting embroiled in the passionate controversies of current black cultural politics is by considering the painful history of the original ghetto dwellers, the Jews, who dramatically exhibit the dialectic of the shame and pride of minority oppression and its related dialectic of isolationist exclusion.
It would be best for rap to combine its pride as ghetto music with a positive openness to the social world that lays outside the ghetto yet perforce influences it. Rap needs to continue Public Enemy's commitment to reach out and "teach the bourgeois", to spread rap's powerful and much-needed message of somatic, social, and political liberation far beyond its original ghetto community. It needs to do this as much for the ultimate good of that ghetto community as for the good of the world, which envelops and impacts on that community. In celebrating itself as ghetto music rap needs to remember what so many of its songs remind us: the horror and misery of ghetto life. We should never forget that rap's roots, inspiration, and political commitment rest firmly in the actualities of the ghetto; but this does not mean that the actual ghetto represents rap's ideal. Progressive rap should aim to transform the ghetto and the wider world, not simply idealize the former and exclude the latter.
There has been a shift in the predominate themes contained within the music. Much of rap ceased to challenge political oppression and instead exploited violence and misogyny to sell songs. Gangsta rap is a hip-hop genre that focuses primarily on the negative aspects of inner city life. The lyrics often glorify criminal activity and degrade women. This genre of hip-hop has been a source of tremendous controversy and is often cited as the cause of the increase in violence. This is particularly true amongst black youth.
Many gangsta hip-hop artists justify their music by claiming they are only retelling the experiences of their lives on the streets. However, the song lyrics often reveal an overabundance of curse words and no substance. According to Urban Dictionary.com, many artists have been forced to create artificial 'ghetto' images for the sake of a lucrative career. Many young people idolize these artists and imitate their behavior. Rap and Hip Hop promotes a thug lifestyle, one that centers on not fulfilling an education, but instead doing drugs, and spitting rhymes while doing so. Though not all rap and hip hop focuses on these themes; most of old rap speaks of getting through hardship. The whole “get paid and laid” idea is more geared toward the newer generation of rap and hip-hop.
Hip-hop is not just a style of music. It is a culture borne of poor, inner-city life in America that has evolved into the rallying cry of those unable to negotiate the nuances of the mainstream. It now serves to glorify formerly stigmatized characteristics of the lower class, preventing the impetus for upward mobility. Beyond the music, hip-hop culture encompasses street codes of behavior and an overall defiance of social convention. It is this defiance of mainstream life that is at the root of much of the underachievement now plaguing black youth. Hip-hop custom infers that young blacks that emulate mainstream attitudes are exhibiting weakness. This, of course, is a cardinal sin within that culture. Black youth thus feel encouraged to avoid the important concept of deferred gratification at a life juncture most critical to future achievement. Hip-hop also promotes the accumulation of gaudy symbols of success and to get them fast. When young men prance around with their flashy "bling," they illustrate their worthiness to the opposite sex. Materialism becomes a means for winning sexual conquests. Yet another is cultivating one's thug factor through braided hair, baggy clothing, and ghetto diction and street reputation.
Talented inner-city youth who should be smart enough to realize the importance of preparing themselves for the future too often can be demoralized and oppressed into hip-hop conformity. The culture of hip hop can cause some of our best black students to be branded with accusations that they are "acting white" or not "keeping it real." Moreover, many teens that aspire to normal jobs are subjected to ridicule since the hiphop imperative respects only fast money, regardless of legality. Sadly, even when hiphop devotees do take positive steps and attempt to enter the mainstream job market, they often find themselves devoid of the skills necessary for the best career paths. Because hip-hop is frequently the cultural norm for inner-city young blacks, it is only natural for these young people to see no harm in applying for a job with unsightly cornrows, baggy clothing and using less-than-acceptable English, having the “ghetto” mentality.
But what about the differences between black and white youth consumers of hiphop culture? Why do they seem not to be as adversely affected as black youth? For white youth, hip-hop tends to serve as little more than a medium for rebellion, much like rock and roll was during the 1950s. Only rarely do the children of the white middle class try to take on hip-hop as a way of life. Thanks to the global reach of the American entertainment industry, it is no surprise that angry and underprivileged youth in Europe, Africa and Asia are now enthusiastically embracing hip-hop. It's important not to forget that hip-hop culture was intertwined in the violent rioting of black and Arab youth in France. Recall how the rioters dressed and conducted themselves in a thug-like manner, as well as the hip hop music they blasted while torching vehicles and property.
Being “ghetto” has become a badge of honor, and now even the word ratchet is being used in place of “ghetto”. People glorify the ratchet lifestyle. If people could go back to 1995 and before, they could say that hip-hop was uplifting. A good example would be when you could listen to a song for five minutes and all you heard was Rakim bouncing outrageous similes and euphemisms off his tongue and Eric B. blessing the ones and two’s. Not only was there depth in those types of tracks, but also there was creativity and ingenuity. What about groups like Afrika Baambata whose songs lasted as long as infomercials? Eric B. & Rakim and Baambata are perfect illustrations of the true hip-hop culture because they were innovators and trendsetters. Back in the early 1990’s rappers such as Queen Latifah would not stand for the brought down of hip-hop and where it was leading. They have always been opposed to mainstream artists who sacrifice artistic integrity in the lure for more money and how they degrade woman.
Now in the 2000’s, you have the opposite of what rappers have been trying to prevent for years. You have rappers such as 50 Cent talking about how he loves money, Gucci Mane beating girls up -beat is a slang for sex- and everyone’s favorite rapper Lil Wayne saying to “f**k these bit**es” and even dudes. Hip-hop has taken a turn for the worst. African Americans make up the majority of the demographics of hip-hop listeners. Does hip-hop culture degrade or uplift African Americans? How would activist of our past answer this question if they were alive today? Right now, this hip-hop culture is definitely degrading to the race. However, there are cases where you might not find this in a lot of rappers. People like Soulja Boy Tell’em, Drake and Hurricane Chris have ruined the purpose of this culture, whereas rappers such as Ludacris, Nas and even Eminem have been continuing the real meaning of hip-hop. Now, what if activist like Malcolm X, Martin Luther King and more were still alive? Which side would they take to where hip-hop leads? They would choose that it has degraded African Americans. For what these people have struggled, hip-hop has gone the opposite way of what they fought in support of.
In The Hip Hop Generation, author Barkari Kitwana asserts once rap music embraces a social responsibility towards its audience, major political reforms would be imminent. Present hip hop music needs to get out of the “ratchet” upholding and focus on what messages they can spread, what the “OG’s” spread back in the day. With millions of people across the Eastern Seaboard affected by Hurricane Sandy’s destructive force, Hip Hop icon KRS-One responds with a powerfully informative song titled “Disaster Kit”. With this song, KRS-One gives listeners tips on how to survive natural and manmade disasters over an ominous piano loop and hard hitting kicks and snares produced by legendary Hip Hop Reggae artist Mad Lion. Moved by the tragedy that is still unfolding across the United States, KRS-One says, “This is an opportunity to show the world what Hip Hop is capable of. Obviously this project isn’t about raising money or making money. This is purely about knowledge and survival; I truly hope the world benefits from these words.”
Friday, June 14, 2013
My Miss USA Choices
1. Alabama
Alabama is, hands down, my
favorite for the crown. She did great in the video interviews, looked her best
in all the events in Vegas (competition mode ALWAYS), and rocked that prelim stage. All American beauty
right there. If she doesn't make Top 5, I would be shocked.
2. Florida
Hot! Florida sure brought the heat
to the competition. There is just something beautifully unique about this sunshine state queen. Red is the perfect color and I’m glad she picked it for
the prelim stage.
3. New Jersey
Jaw dropping beauty! Her hair, her
face, her body… she has the complete package. I also have met Libell on several
occasions and I do know that she is a sweet heart (brownie points!)
4. Michigan
I cannot take my eyes off this
tall beauty queen. My favorite feature: her hair! I have to give her props on
the excellent dress choice as well, very unique and elegant.
5. Virginia
I have had my eye on Virginia for
quite some time. This state queen has an amazing story for her journey to the
Miss USA, I believe she has tried several times to reach her dream and not
all of them were in the same state! You can tell she is giving it her all and
that pours out in her confidence. You go girl! By the way, she was best dressed for me, she kept it simple and let her own beauty shine but had the little extra detail that made it perfect.
And the rest are:
6.
California
Cali was in my Top 5 TILL Prelims
night. Her confidence from Miss California USA was not on that USA stage. I
expected a lot more from her performance but her beauty and personality are
both 10s. I hope she is able to place and show the confidence I know she possesses.
7.
Colorado
This girl has spunk plus I am a
little bias since she is representing the curly haired gals haha. I love her confidence,
her aura. She gives off great vibes and that could win her major points in
her interview!
8.
Louisiana
Love her smile! I began to like
this girl from the video interviews before the competition. She has an all
around beauty to her that I feel the judges will definitely like. Many people
will sleep on her but I think she should be watched out for!
9.
Kentucky
Runner up to make it to Top 5
favorites. Aside from her dress being a little too “teeny,” her beauty is too
die for. I could definitely see her as one of Donald Trump’s favorites. She an
exotic twist (I thin it’s the cat eyes and big lips!) to her All American
beauty.
10.
DC
Wasn't originally on my list of
favorites before prelims but this girl BROUGHT IT. I honestly felt that out of
all the girls, she had the most stage presence. The right amount of confidence
can get you a long way.
11.
Nevada
One word, sexy. This hot blonde
brought sexy to that stage and I love her dress! It was different from the rest
and suited her body great. She’s definitely placing!
12.
South Carolina
South Carolina is gorgeous; I just
wish her dress fit her curves a little more. Aside from her dress choice, she
is a contender that the other girls should watch out for. From her interviews,
you can see a genuine personality and not a pageant patty. (Fun Fact: I
competed with Megan at Miss Teen USA 2010!)
13.
Maryland
Love her face! Her dress and look
were so Miss Universe and that’s the way to go. I felt she gave the IT factor
for Miss Universe that many girls forget to give. Keep rocking it!
14.
Massachusetts
Such a cutie pie! I can’t put my
finger on it (I think it’s her awesome smile) but I just love this girl and I’m
rooting for her to place!Sunday, November 18, 2012
I Am That Girl & BeYOUtiful
While I was growing up, I was convinced
that the perfect woman looked like the Bratz
dolls I received for Christmas. With examples like this, including the
actresses on screens and models on runways, we as a society are deeming that way
others out side of that very small population are inferior in terms of beauty.
I have made it my mission to become a part of the solution, and start with the
problem. Bullying, suicide, and violence usually drive from low
self-confidence. Many people are focusing on what happens after, but why not
start with what drives a person to perform those acts. I want to speak out and
talk to young girls about what it really means to be “beautiful.” I understand
the irony in promoting “BeYOUtiful” as a beauty queen, but the pageants I
participate in are honorable organizations that require women to be caring, non
judgmental, poised, and well spoken. I have personally seen the difference
pageants can make in a young woman’s self-confidence and her ability to present
herself in interviews and in front of a large audience. I want girls to gain
this confidence without having to step out on a stage; I want them to find the
power within themselves to be comfortable in their own skin. With all this
being said, I have officially began working on my project BeYOUtiful. I have been
approved to begin my own chapter of I Am That Girl, a community
inspiring girls to think for themselves, speak their truth, and discover their
purpose. I will be working on both projects in conjunction and collaborate with
young female community leaders. For any questions or want to join the movement,
please feel free to comment below or email me at thatianadiaz@gmail.com
Check out http://www.iamthatgirl.com !
Wednesday, October 10, 2012
My Personal Beauty Tips!
I always have many girls ask me what products I use and what beauty tips I would suggest. Well I am letting my secrets out and I hope they can help you ladies out!
So a little over a couple of weeks ago, I went to Bath and Body Works to buy foot lotion and I was introduced to my newest obsession: the True Blue Spa collection. It has helped my skin, feet , hands so much. I apply every night after a shower and before going to bed. I would suggest doing it at that time because the scent is quite strong, as if you just walked out of a spa and the lotion is heavy. However the smell is soothing for bedtime and leaves your skin feeling fresh out of the spa in the morning. I always wonder what lotion do they use at nail salons that leave my hands and feet so silky smooth... well here you go. found it! It was not expensive and I believe when you buy one True Blue Spa product, you get one 50% off (don't quote me) but definitely give it a try!
Tip for soft feet: Once or twice a week, massage your feet with a large amount of lotion, put on a plastic bag on each foot and leave them on for one or two hours. Trust me, it will make a huge difference!
I gave you the lotion I use at night, but what about my daytime lotion? I use Aveeno Moisturizing Lotion. It's my EVERYTHING lotion, I use it on my face as a moisturizer, and I use it during the day when my hands get a little dry. It keeps my skin soft and I strongly recommend it, especially over the winter and for people with sensitive skin (like me!).
How do I get rid of acne and/or dark spots? Before I let out that secret I must first say that I suffered with REAL bad acne in high school. I had breakouts all over my t-zone and my skin actually had peeling from it all drying up too. I used to be extremely embarrassed. I finally went to a dermatologist who gave me what I call my "miracle cream". In just weeks, my skin cleared up, no acne, no marks. I continue to apply it every night and my skin stays fresh and clear. I can say that I probably only get one small pimple every season. This product is DUAC face gel. It's great for people with sensitive skin. Unfortunately, it's prescription but if you suffer from acne then you should talk about getting it with your doctor.
Vitamins! Must I say more. I just recently started taking multivitamins daily and I must say it has made a major difference. I wake up feeling more fresh, my body feels healthier... you really feel the difference immediately. This along with lots of WATER should have your skin glowing, your body at its finest, and your energy high all the time. Carry around a cute filtered water bottle and constantly refill it! You could never have enough water!
More Tips:
So a little over a couple of weeks ago, I went to Bath and Body Works to buy foot lotion and I was introduced to my newest obsession: the True Blue Spa collection. It has helped my skin, feet , hands so much. I apply every night after a shower and before going to bed. I would suggest doing it at that time because the scent is quite strong, as if you just walked out of a spa and the lotion is heavy. However the smell is soothing for bedtime and leaves your skin feeling fresh out of the spa in the morning. I always wonder what lotion do they use at nail salons that leave my hands and feet so silky smooth... well here you go. found it! It was not expensive and I believe when you buy one True Blue Spa product, you get one 50% off (don't quote me) but definitely give it a try!Tip for soft feet: Once or twice a week, massage your feet with a large amount of lotion, put on a plastic bag on each foot and leave them on for one or two hours. Trust me, it will make a huge difference!
I gave you the lotion I use at night, but what about my daytime lotion? I use Aveeno Moisturizing Lotion. It's my EVERYTHING lotion, I use it on my face as a moisturizer, and I use it during the day when my hands get a little dry. It keeps my skin soft and I strongly recommend it, especially over the winter and for people with sensitive skin (like me!).
How do I get rid of acne and/or dark spots? Before I let out that secret I must first say that I suffered with REAL bad acne in high school. I had breakouts all over my t-zone and my skin actually had peeling from it all drying up too. I used to be extremely embarrassed. I finally went to a dermatologist who gave me what I call my "miracle cream". In just weeks, my skin cleared up, no acne, no marks. I continue to apply it every night and my skin stays fresh and clear. I can say that I probably only get one small pimple every season. This product is DUAC face gel. It's great for people with sensitive skin. Unfortunately, it's prescription but if you suffer from acne then you should talk about getting it with your doctor.
Vitamins! Must I say more. I just recently started taking multivitamins daily and I must say it has made a major difference. I wake up feeling more fresh, my body feels healthier... you really feel the difference immediately. This along with lots of WATER should have your skin glowing, your body at its finest, and your energy high all the time. Carry around a cute filtered water bottle and constantly refill it! You could never have enough water!More Tips:
- Always wash your face before going to bed. It's important to wash away the oil and dirt built up from the day and why would you want all of that all your pillow?
- Speaking of pillow, make sure to wash or change your pillowcases frequently. That is where you lay your face every night so you want it to be sacred.
- Stay away from caffeine. I do not drink soda and rarely do I ever drink coffee. It helps with keeping you healthy and your skin at its best.
- Hair greasy? Put a little baby powder in your comb and comb through hair, it will absorb most grease!
- Wipe off your phone frequently. The dirt on your screen goes onto your face when you speak on the phone. Ew.
Thursday, October 4, 2012
Proud to Announce
I am proud to announce the people who are helping in my journey to Miss New York USA 2013...
Competition Coaches
Midas Golden Touch
PR Pageant Coaches
Secret Coach (let's just say... fierce!)
Fitness/Nutrition:
Brook Marie from PR Pageant Coaches
Dress:
I will be proud to announce this awesome team once everything is finalized (but you are all super familiar with the work!)
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