Defenders respond with rebuttals codified in the early 1990s, lauding the aesthetic value and social relevance of their favorite corners of the hip-hop world, eliding any problems inherent in the rest, and questioning the true motives of hip hop's critics. Critics of hip hop repeat the same attacks they leveled at NWA, decrying violence, misogyny, and homophobia in hiphop lyrics, and in the most extreme cases branding its creators as Typhoid Marys for a particularly virulent social pathology. New York: Basic/Civitas Books.Īs hip hop slowly settles into middle age, the pitched battles of its younger years have frozen in a stalemate. The Hip Hop Wars: What We Talk About When We Talk About Hip Hop-And Why It Matters. What Rose calls for is not a sanitized vision of the form, but one that more accurately reflects a much richer space of culture, politics, anger, and yes, sex, than the current ubiquitous images in sound and video currently provide.Tricia Rose. In 'The Hip-Hop Wars,' Rose explores the most crucial issues underlying the polarized claims on each side of the debate: Does hip-hop cause violence, or merely reflect a violent ghetto culture? Is hip-hop sexist, or are its detractors simply anti-sex? Does the portrayal of black culture in hip-hop undermine black advancement? A potent exploration of a divisive and important subject, 'The Hip-Hop Wars' concludes with a call for the regalvanization of the progressive and creative heart of hip-hop. The controversy surrounding hip-hop is worth attending to and examining with a critical eye because, as scholar and cultural critic Tricia Rose argues, hip-hop has become a primary means by which we talk about race in the United States. For the past dozen years, the most commercially successful hip-hop has become increasingly saturated with caricatures of black gangstas, thugs, pimps, and ’hos.
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