THE INFLUENCE OF HIP-HOP CULTURE ON THE COMMUNICATION
SKILLS OF STUDENTS AS PERCEIVED BY TEACHERS AT
SELECTED HIGH SCHOOLS IN HOUSTON, TEXAS
A Dissertation
by
EDMOND RON KELLEY
Submitted to the Office of Graduate Studies of
Texas A&M University
in partial fulfillment of the requirements for the degree of
DOCTOR OF PHILOSOPHY
August 2006
Major Subject: Educational Administration
THE INFLUENCE OF HIP-HOP CULTURE ON THE COMMUNICATION
SKILLS OF STUDENTS AS PERCEIVED BY TEACHERS AT
SELECTED HIGH SCHOOLS IN HOUSTON, TEXAS
A Dissertation
by
EDMOND RON KELLEY
Submitted to the Office of Graduate Studies of
Texas A&M University
in partial fulfillment of the requirements for the degree of
DOCTOR OF PHILOSOPHY
Approved by:
Chair of Committee,
Committee Members,
Head of Department,
Stephen L. Stark
Walter F. Stenning
Virginia Collier
Alvin Larke, Jr.
Jim Scheurich
August 2006
Major Subject: Educational Administration
iii
ABSTRACT
The Influence of Hip-Hop Culture on the Communication Skills of Students as
Perceived by Teachers at Selected High Schools
in Houston, Texas. (August 2006)
Edmond Ron Kelley, B.A., The University of Texas at Austin;
M.A., Texas State University
Chair of Advisory Committee: Dr. Stephen L. Stark
The purpose of this study was to examine the influence of hip-hop culture on the
communication skills of students as perceived by teachers at three high schools in
Houston, Texas. Hip-hop culture consists of: rap music, breakdancing, graffiti art, and
deejaying. Hip-hop is currently one of the most popular forms of music and represents
t
hedomi
na
ntc
ul
t
ur
eoft
oda
y
’
si
nne
r
-city youth. The researcher issued written surveys
to 30 teachers in Houston, Texas. The high schools selected for this study were: Yates
High School (Houston Independent School District), Wheatley High School (Houston
Independent School District), and Eisenhower High School (Aldine Independent School
District). Two teachers were also interviewed for the study. The final part of the study
was the production of an educational hip-hop CD by the researcher. The literature
review focuses on the history and practices of hip-hop in regard to language.
Once the surveys were received and the interviews were completed, the
researcher compiled statistics regarding the background information of the participants
iv
and the level of influence that each teacher felt that hip-hop culture has on students. The
major findings of the study were:
1. Hip-hop culture heavily influences the oral language and written
communication of students based upon the opinions of teachers at selected
high schools in Houston, Texas.
2. Hip-hop can be used as a tool to supplement the teaching of various
academic concepts as evidenced by the practices of teachers at selected high
schools in Houston, Texas.
Based on the findings of the study, the researcher recommends:
1. Teachers should acknowledge hip-hop culture and allow students to express
their interest in hip-hop culture in the classroom.
2. Teachers should find ways to incorporate hip-hop culture into the curriculum
t
oa
r
ous
es
t
ude
nt
s
’i
nt
e
r
e
s
ti
nl
e
a
r
ni
ng
.Fori
ns
t
a
nc
e
,a
l
l
ows
t
ude
nt
st
ol
e
a
r
n
from listening to educational rap songs.
3. Teachers should find ways to use hip-hop culture in the classroom to
improve the acquisition and retention of academic concepts. Examples could
include allowing students to write rap songs about academic concepts.
v
DEDICATION
This dissertation is dedicated to my parents, Edmond C. Kelley, Jr. and Margaret
Kelley; my deceased grandparents, Edmond C. Kelley, Sr. and Beatrice Kelley; my
sister, Sheila Kelley-Long; and my wife, Phyllis Kelley. Thanks to all of you for
supporting me and being there for me throughout the years.
vi
ACKNOWLEDGEMENTS
I would like to first thank God for getting me through this endeavor and being
the foundation of everything that I do. I would like to thank my family for all that they
have done to help me succeed in my academic pursuits. I would like to thank my wife
for being very supportive and caring at all times. Thank you to my Committee Chair,
Dr. Stephen L. Stark. You are one of the most knowledgeable and supportive people
who I have ever met in the field of education. Dr. Virginia Collier, you have been a true
role model for me in my pursuit of a position as a Superintendent. Dr. Walt Stenning,
you are very knowledgeable and have been a valuable member of my committee. Dr.
Alvin Larke, thank you for being a true mentor as an educator, fellow Masonic Brother,
and friend. Thank you to my mentors: Rhen C. Bass, Chris Pittard, and John Simpson.
A final thank you goes out to all of those who believed in me along the way.
vii
TABLE OF CONTENTS
Page
ABSTRACT ..........................................................................................................
iii
DEDICATION ......................................................................................................
v
ACKNOWLEDGEMENTS ..................................................................................
vi
TABLE OF CONTENTS ......................................................................................
vii
LIST OF TABLES ................................................................................................
ix
CHAPTER
I
II
III
INTRODUCTION .............................................................................
1
Statement of the Problem ..............................................................
Purpose of the Study .....................................................................
Research Questions .......................................................................
Operational Definitions .................................................................
Assumptions ..................................................................................
Limitations ....................................................................................
Significance of the Study ..............................................................
Contents of the Dissertation ..........................................................
4
4
4
5
6
6
7
7
REVIEW OF SELECTED LITERATURE .......................................
9
Introduction ...................................................................................
Regional Vernacular......................................................................
Artist Interview Analysis ..............................................................
Review of Song Lyrics ..................................................................
Various Hip-Hop Literature ..........................................................
Analysis of Current Vernacular.....................................................
9
10
12
15
18
31
METHODOLOGY ............................................................................
59
Overview of the Chapter ...............................................................
Population......................................................................................
Instrumentation..............................................................................
Procedures .....................................................................................
Data Analysis ................................................................................
59
59
62
66
66
viii
TABLE OF CONTENTS (continued)
CHAPTER
IV
Page
ANALYSIS OF DATA .....................................................................
68
Research Question #1....................................................................
Research Question #2....................................................................
72
78
SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS ....
80
Summary and Conclusions............................................................
Summary of Findings ....................................................................
Research Question #1....................................................................
Research Question #2....................................................................
Literature Research Conclusions...................................................
Conclusions ...................................................................................
Recommendations .........................................................................
80
80
82
86
87
88
89
REFERENCES......................................................................................................
92
APPENDIX A .......................................................................................................
96
APPENDIX B .......................................................................................................
98
APPENDIX C .......................................................................................................
100
APPENDIX D .......................................................................................................
103
APPENDIX E........................................................................................................
105
VITA .....................................................................................................................
119
V
ix
LIST OF TABLES
TABLE
Page
3.1
Racial Demographics of Students at Yates High School, Wheatley
High School, and Eisenhower High School Concerning the Influence
of Hip-Hop Culture on the Communication Skills as Perceived by
Teachers at Selected High Schools in Houston, Texas ........................... 61
3.2
Racial Demographics of Teachers at Yates High School, Wheatley
High School, and Eisenhower High School Concerning the Influence
of Hip-Hop Culture on the Communication Skills as Perceived by
Teachers at Selected High Schools in Houston, Texas ........................... 61
3.3
Comparison of the Number of Surveys Completed and Returned and
the Number of Surveys Not Returned Concerning the Influence of
Hip-Hop Culture on the Communication Skills as Perceived by
Teachers at Selected High Schools in Houston, Texas ........................... 62
4.1
Frequencies and Percentages of Male and Female Teachers Surveyed
at Yates High School, Wheatley High School, and Eisenhower High
School Concerning the Influence of Hip-Hop Culture on the
Communication Skills as Perceived by Teachers at Selected High
Schools in Houston, Texas ...................................................................... 68
4.2
Frequencies and Percentages of Demographic Information Regarding
Age of Teachers Surveyed at Yates High School, Wheatley High
School, and Eisenhower High School Concerning the Influence of
Hip-Hop Culture on the Communication Skills as Perceived by
Teachers at Selected High Schools in Houston, Texas ........................... 69
4.3
Frequencies and Percentages of Grade Levels Taught Among
Teachers Surveyed at Yates High School, Wheatley High School,
and Eisenhower High School Concerning the Influence of Hip-Hop
Culture on the Communication Skills as Perceived by Teachers
at Selected High Schools in Houston, Texas........................................... 70
4.4
Survey Participant Answers for Each Research Statement Concerning
the Influence of Hip-Hop Culture on the Communication Skills as
Perceived by Teachers at Selected High Schools in Houston, Texas ..... 71
4.5
Written Comments on Surveys Concerning the Influence of Hip-Hop
Culture on the Communication Skills as Perceived by Teachers at
Selected High Schools in Houston, Texas .............................................. 75
1
CHAPTER I
INTRODUCTION
One of the most important developments in American youth culture during the
last 20 years has been rap music and hip-hop culture (Adjaye, 1997). This phenomenon
ha
sr
e
a
c
he
dt
oda
y
’
ss
t
ude
nt
s
,pa
r
t
i
c
ul
a
r
l
yt
hos
ewhoa
r
eme
mbers of a community of
oppressed people (Adjaye, 1997). In these communities, hip-hop music is the instrument
with which the residents speak of their common social, political, and economic
challenges (Adjaye, 1997). Hip-hop culture is a highly accessible, quickly incorporative
cultural form that presents information through various forms of media (Rose, 1994).
Because of its widespread popularity, hip-hop culture has had a significant impact upon
t
hel
a
ng
ua
g
et
ha
ti
sus
e
dbyt
oda
y
’
ss
t
ude
nt
s(
Ros
e
,1994)
.
After integration, African American culture became largely focused upon using
l
a
ng
ua
g
et
ha
ti
mi
t
a
t
e
dWhi
t
ec
ul
t
ur
e(
Adj
a
y
e
,1997)
.Duet
ot
hee
vol
ut
i
onoft
oda
y
’
s
African American urban communities, the language that is used by these communities
has changed significantly (Wood, 1999). Cultural forms such as hip-hop culture have
be
c
omet
heout
l
e
tofe
xpr
e
s
s
i
onf
orma
nyoft
oda
y
’
smi
nor
i
t
ys
t
ude
nt
s(
Dy
s
on,1993)
.
Because of its roots in the inner city, some hip-hop music is considered explicit and
“
a
ng
r
y
”(
Dy
s
on, 1993). Many critics believe that hip-hop would be more acceptable if it
we
r
enota
s“
a
ng
r
y
,
”butt
hi
swo
u
l
dme
a
nt
he“
s
a
ni
t
i
z
i
ng
”ofr
a
p’
se
xpr
e
s
s
i
onofur
ba
n
realities (Dyson, 1993). The complex language of hip-hop derives from the dialect of
English which many Blacks speak that is substantially similar in structure to the African
__________
The style of this dissertation follows that of The Journal of Educational Research.
2
languages of their ancestors (Kochman, 1972). The language and issues that hip-hop
addresses represent an honest portrayal of inner-city life in America (Baker, 1993). Hiphop was once seen as a passing fad, but even prominent African American political
leaders such as Jesse Jackson have been recently quoted stating that hip-hop is here to
stay (Baker, 1993). Hip-hop went relatively unnoticed by the mainstream music and
popu
l
a
rc
ul
t
ur
ei
ndus
t
r
i
e
sunt
i
lt
hel
a
t
e1970’
s(
Ros
e
,1994)
.Onc
ehi
p-hop rose in
popularity, it quickly became seen as an internal threat to dominant American culture
and social order (Rose, 1994). The hip-hopve
r
na
c
ul
a
rt
ha
tt
oda
y
’
ss
t
ude
nt
sus
ei
sl
a
r
g
e
l
y
based upon African American traditions of encoding language (Gates, 1988). This
encoding represents various roots within African culture, but has a distinct difference in
context and meaning (Gates, 1988). Many scholars admire hip-hop’
sr
e
be
l
l
i
ouss
pi
r
i
ta
nd
rhythmic intensity, but are at odds with some of its values and how those values are
expressed (George, 1998).
In 1999, Benjamin E. Demps, Jr. was appointed as Superintendent of the Kansas
City, Missouri School District (Edwards, 2000). Kansas City was a struggling school
district whose students happened to be heavily influenced by hip-hop culture (Edwards,
2000). Academically, the district was on the verge of being stripped of its accreditation
by the state board (Edwards, 2000). Being an ex-mi
l
i
t
a
r
ys
e
r
ge
a
nt
,De
mps
’c
ons
e
r
va
t
i
ve
vi
e
wsi
mme
di
a
t
e
l
yc
onf
l
i
c
t
e
dwi
t
ht
hedi
s
t
r
i
c
t
’
ss
t
ude
nt
swhowe
r
ehe
a
vi
l
yi
nvol
ve
di
n
the hip-hop generation. This led to Demps being criticized for not establishing a
pr
e
s
e
nc
ea
tt
hedi
s
t
r
i
c
t
’
ss
c
hool
sa
ndnoti
nt
e
r
a
c
t
i
ngwi
t
ht
hes
t
ude
nt
s
.Hebe
l
i
e
ve
dt
ha
t
being present at schools is not a role of the superintendent (Edwards, 2000). This
3
e
xa
mpl
es
howshowt
oda
y
’
ss
t
ude
nt
sdonotus
ua
l
ly mix well with traditional authority
f
i
g
ur
e
s
.Ma
nyofDe
mps
’c
r
i
t
i
c
sf
e
l
tt
ha
ti
twa
sc
r
uc
i
a
lf
orhi
mt
oc
onne
c
twi
t
ht
he
students. As a result of this criticism, it was believed by many that the district needed a
“
ne
wj
a
c
k”s
upe
r
i
nt
e
nde
ntt
ot
u
r
nt
hedi
s
t
r
i
c
ta
r
ound.Thet
e
r
m“
ne
wj
a
c
k”i
sahi
p-hop
t
e
r
mf
ors
ome
onewhoi
s“
i
nnova
t
i
ve
”a
ndc
onne
c
t
e
dwi
t
hhi
p-hop culture (Edwards,
2000
)
.De
s
pi
t
ehe
a
vypubl
i
cc
r
i
t
i
c
i
s
m,Sy
r
a
c
us
e
,Ne
wYor
k’
ss
upe
r
i
nt
e
nde
nt
,St
e
phe
nC.
Jones, held a hip-hop summit to better reach his students. The district had a previous
reputation of simply not connecting with its students. The innovative summit was held as
a part of the regular school day. At the summit, students had a chance to ask popular rap
artists about hip-hop’
sr
ol
ein schools and how it can be used to learn. In preparation for
t
hes
u
mmi
t
,t
hedi
s
t
r
i
c
t
’
st
e
a
c
he
r
se
ve
nus
e
dr
a
pmus
i
ca
sapa
r
toft
he
i
rc
ur
r
i
c
ul
um f
or
the month. Despite its successes, some administrators, teachers, and parents in the
district strongly opposed the summit and felt it was a distraction for the students. This is
clear evidence of the strong resistance that many adults still have to hip-hop culture.
Although hip-hopc
ul
t
ur
e
’
sl
a
ng
ua
g
ei
sve
r
yuni
que
,t
hepr
of
a
ni
t
ya
ndvi
ol
e
nc
e
that exist in some of its lyrics disturb many adults (Dyson, 1993). The violent lyrics of
some hip-hopmus
i
ce
ve
ndi
s
t
ur
bt
hos
ewhog
r
e
wupa
mongt
hevi
ol
e
nc
eofAme
r
i
c
a
’
s
i
nne
rc
i
t
i
e
s
.Oneunf
or
t
una
t
ea
s
pe
c
toft
hec
ul
t
ur
ei
st
ha
tma
nyt
i
me
s“
l
i
f
ei
mi
t
a
t
e
sa
r
t
”i
n
regard to hip-hop lyrics. Hip-hop music that speaks of violence sometime ends up
negatively influencing the actions of those who listen to it. In addition, the dialect of hiphopp
u
t
st
oda
y
’
ss
t
ude
nt
sa
ta
ni
nt
e
r
e
s
t
i
ngc
r
os
s
r
oa
dbe
c
a
us
et
hepr
of
e
s
s
i
ona
lwor
l
dthat
they must enter requires a completely different form of speaking (Baugh, 1983.)
4
Statement of the Problem
Hip-hopc
ul
t
ur
eha
sbe
c
omeoneoft
hedomi
na
ntc
ul
t
ur
e
soft
oda
y
’
shi
g
hs
c
ho
ol
students (Edwards, 2000). The presence of hip-hop is seen in the st
ude
nt
s
’c
l
ot
hi
nga
nd
also heard in their language. Because students are heavily influenced by this culture, it is
now necessary for educators to fully understand hip-hop. Those who do understand the
culture, have found effective ways to integrate hip-hop into education and are better able
to relate to their students. The use of hip-hop language is a major part of the culture.
Inner-city students use the vernacular of hip-hop almost every time they speak because
of the popularity that this language has in their community (Dyson, 1993). Students also
use this vernacular in written work on a regular basis. A full understanding of hip-hop
and its influence on communication can provide a valuable tool for better ways to
e
duc
a
t
et
oda
y
’
ss
t
ude
nt
s
.
Purpose of the Study
The purpose of this study was to examine the influence of hip-hop culture on the
communication skills of high school students. The study assessed the effect of hip-hop
culture on the communication skills of students at selected high schools in Houston,
Texas. This study also determined the degree to which hip-hop culture has an effect
upon the language that is used by high school students. The essential elements of hiphopl
a
ng
ua
g
ewe
r
ea
na
l
y
z
e
dt
od
e
t
e
r
mi
net
he
i
re
f
f
e
c
tons
t
ude
nt
s
’l
a
ng
ua
gea
nd
communication as a whole.
Research Questions
The study addressed the following questions:
5
1. How does hip-hop culture influence the communication skills of students as
perceived by teachers at selected high schools in Houston, Texas?
2. Can the influence of hip-hop culture on communication be used as an
educational tool for students as perceived by teachers at selected high schools
in Houston, Texas?
Operational Definitions
Ability to Learn: the receptiveness of a student in an educational setting.
Behavior: the conduct and demeanor of a student.
Communication: the exchange of information between individuals and groups through
the use of speech, writing, and gestures.
Educational Tool: something that assists the process of learning.
Hip-Hop Culture: an American music subculture that originated in New York, New
Yor
k,i
nt
hel
a
t
e1970’
st
ha
ti
nc
l
ude
s“
r
a
p”mus
i
c
,“
br
e
a
kda
nc
i
ng
,
”“
de
e
j
a
y
i
ng
,
”
and graffiti art.
Houston, Texas: one of the largest cities in the United States. Houston has a population
of over 2 million residents.
Influence: the act or power of producing an effect without apparent exertion of force or
direct exercise of command (Merriam-Webster’
sCollegiate Dictionary, 2004).
Language: the words and pronunciation that is used by groups of individuals to
communicate both orally and in writing.
6
Selected High School: a 9th-12th grade public school in Houston, Texas, with a high
minority population. The specific schools that were a part of the study were:
Yates High School, Eisenhower High School, and Wheatley High School.
Students: males or females who were enrolled in the 9th, 10th, 11th, or 12th grade at Yates
High School, Eisenhower High School, or Wheatley High School in Houston,
Texas, during the 2005-2006 school year.
Teachers: current faculty members who instructed 9th, 10th, 11th, or 12th graders at Yates
High School, Eisenhower High School, or Wheatley High School in Houston,
Texas.
Assumptions
1. The respondents surveyed understood the scope of the study, the language of
the instrument, were competent in self-reporting, and responded objectively
and honestly.
2. Interpretation of the data collected accurately reflected the intent of the
respondent.
3. The methodology proposed and described here offers a logical and
appropriate design for this particular research project.
Limitations
1. The study was limited to selected high schools in Houston, Texas.
2. This study was limited to the information acquired from the literature review
and survey instruments.
3. Findings may be generalized only to selected high schools in Houston, Texas.
7
Significance of the Study
The way that hip-hop is used to communicate is a topic that has significant
relevance in regards to communication and education (Adjaye, 1997). Judging from the
amount of hip-hop words that have entered the mainstream, hip-hop’
se
f
f
e
c
tupon
language is clearly very powerful (Kochman, 1972). The language of hip-hop has spread
to all media forms and is now popular on almost every continent. The power of this
language gives those who invent and maintain it a high degree of commercial status.
Some major hip-hop artists are now estimated at net worth values of over $300 million
dol
l
a
r
s
.Thi
sl
a
ng
ua
g
eha
spr
oduc
e
dur
ba
n“
poe
t
s
”t
ha
tr
e
pr
e
s
e
ntt
hewor
l
d’
sg
e
ne
r
a
t
i
on
of young adults. Hip-hop culture was not expected to last very long, yet it continues to
thrive after over 20 years of existence (Adjaye, 1997). Hip-hop is well on its way to
becoming the undisputed dominant musical culture of the new millennium. This status
will further increase the effect that hip-hop culture has upon students and the way that
they communicate on a daily basis.
Contents of the Dissertation
This dissertation consists of five chapters. Chapter I includes an introduction, a
statement of the problem, a need for the study, specific objectives, limitations and
assumptions, and a definition of terms. The framework of the study is discussed in
Chapter II as a Review of Literature related to hip-hop culture and communication. The
review is divided between the history of hip-hop culture and an analysis of t
hec
ul
t
ur
e
’
s
language.
8
Chapter III details the methodology and procedures that were used in the study,
including sampling, instrumentation, and analysis of data. The selection of the
participants for the questionnaire and oral interviews is also discussed in this chapter.
Chapter IV analyzes the documentation of the results of the questionnaire that
was issued to the participants and compares the data that were collected in the study.
The final chapter, Chapter V, provides a summary of what the researcher found
a
sar
e
s
ul
toft
hes
t
udya
ndt
her
e
s
e
a
r
c
he
r
’
sc
onc
l
us
i
ons
.Re
c
omme
nda
t
i
onsf
orf
ut
ur
e
study of this topic are also presented in this chapter.
9
CHAPTER II
REVIEW OF SELECTED LITERATURE
Introduction
Hip-hop culture, which consists of rap music, deejaying, breakdancing, and
graffiti, has developed into one of the most influential social cultures in society today
(Adjaye, 1997). Hip-hop recording artists sell millions of albums each year. Hip-hop has
inspired films, books, advertising, and fashion (Adjaye, 1997). It has also had a strong
impact on communication skills. This work derives from and expands upon my 2001
ma
s
t
e
r
’
st
he
s
i
s
,The Bronx Renaissance: An Analysis of the Language of Hip-Hop
Culture. This work will continue to explore hip-hop’
sunique language and how it has
be
e
nama
j
ori
nf
l
ue
nc
eont
hec
ommuni
c
a
t
i
ons
ki
l
l
soft
oda
y
’
ss
t
ude
nt
s(
Ke
l
l
e
y
,2001
)
.
Hip-hope
me
r
ge
di
nNe
wYor
ki
nt
hel
a
t
e1970’
s
.Hi
p-hop was founded in the
Bronx borough of New York City. The introduction of hip-hop during this era became a
turning point for African American culture as a whole (Adjaye, 1997). According to
Adjaye, hip-hop consists of four elements: (a) rap music, (b) deejaying, (c)
br
e
a
kda
nc
i
ng
,a
nd(
d)g
r
a
f
f
i
t
ia
r
t
.Thee
me
r
ge
nc
eof“
r
a
pmus
i
c
”wa
sat
urning point for
mus
i
ca
sawhol
e
.“
Ra
pmus
i
c
”c
ons
i
s
t
sofr
hy
mi
ngs
ongl
y
r
i
c
sa
c
c
ompa
ni
e
dbymus
i
c
.
“
De
e
j
a
y
i
ng”i
sa
l
s
oa
ni
mpor
t
a
ntpa
r
tofhi
p-hop. Deejaying involves playing two vinyl
records along with the use of a sound mixer to mix the sounds of both records.
Breakdancing is a form of dance that consists of complex floor spins and acrobatics
(Adjaye, 1997). Hip-hop graffiti art consists of elaborate letter designs and murals that
10
reflect the various aspects of hip-hop culture. Hip-hop has an extensive range of words
that are associated with all of the elements of the culture.
Regional Vernacular
Hip-hop’
svoc
a
bul
a
r
yi
mme
di
a
t
e
l
ybe
c
a
mepopul
a
ra
mongs
t
ude
nt
s
.Wor
dsl
i
ke
“
f
l
ow”a
nd“
f
r
e
e
s
t
y
l
i
n”a
r
ee
xa
mpl
e
soft
hi
si
ns
t
a
ntpopul
a
r
i
t
yofuni
quewor
ds
.“
Fl
ow”
is used to characterize the creative energy that rap artists experience when performing
(
Adj
a
y
e
,1997)
.Thet
e
r
m“
f
r
e
e
s
t
y
l
e
”i
sa
l
s
oa
ni
mpor
t
a
ntwor
di
nhi
p-hop culture.
“
Fr
e
e
s
t
y
l
i
ng”me
a
nspe
r
f
or
mi
nga
ni
mpr
ovi
s
a
t
i
ona
lr
a
ps
ongt
ha
tha
snotbe
e
n
previously written down. The rapper either raps about his immediate environment or
says whatever catchy phrases come to mind (Kelley, 2001). Freestyling has differences
from a regional perspective. It is very significant on the East Coast and in the Southern
part of the United States. The West Coast does have a small subculture of its hip-hop
community that embraces this practice, but the East and South are the most dominant
whe
ni
tc
ome
st
of
r
e
e
s
t
y
l
i
ng
.Ont
heEa
s
tCoa
s
t
,s
omer
a
ppe
r
sde
f
i
nea“
f
r
e
e
s
t
y
l
e
”a
sa
written rap that has never been recorded (Kelley, 2001). In the South, freestyling, also
c
a
l
l
e
d“
wr
e
c
ki
n”ha
sbe
c
omes
opopul
a
rt
ha
tc
ompl
e
t
e“
f
r
e
e
s
t
y
l
e
”CD’
sa
r
er
e
l
e
a
s
e
d.
Freestyling is yet another indication of the high levels of creativity and skill that exist
within hip-hopc
ul
t
ur
e
.Fr
e
e
s
t
y
l
i
ngpl
a
y
sar
ol
ei
nt
oda
y
’
ss
c
hool
sbe
c
a
us
es
t
ude
nt
sc
a
n
f
r
e
que
nt
l
ybef
oundi
ns
c
hoolha
l
l
wa
y
spr
a
c
t
i
c
i
ngt
hi
sa
r
tf
or
m.Ma
ny“
f
r
e
e
s
t
y
l
e
s
”a
r
e
based upon clever metaphors and wordplay. The creativity is emphasized over the use of
negative lyrics. When some adults categorize all rap music as negative, this shows
11
students that these adults are not fully listening to rap music (Kunjufu, 1993). Not all rap
music has explicit lyrics or negative images (Kunjufu, 1993).
The roots of hip-hop practices are varied and widespread. Because the majority
of hip-hop enthusiasts are African American, African American linguistic practices have
a strong influence on the language of hip-hop. Anthropologists have done extensive
studies on the linguistic practices among African Americans involving the use of rhymes
and metaphors (Adjaye, 1997). The language of the urban Black community is the direct
root of hip-hop linguistic practices. Influences such as ministers, radio disc jockeys, and
celebrities have contributed greatly to this language that has influenced students. African
American church ministers have a great influence upon dialect. This influence reaches
many African Americans because of the cultural significance of the church in the
African American community (Kelley, 2001). Traditional African American ministers
are animated speakers who use metaphor and rhyme with the utmost precision. Civil
rights leader Reverend Jesse Jackson is a prime example of this tradition. He is known
f
orhi
sr
hy
mi
ngs
l
og
a
nss
uc
ha
s“
Downwi
t
hdope
,upwi
t
hhope
.
”The
s
es
a
mepr
a
c
t
i
c
e
s
are ever-present in the language of hip-hop. Legendary boxer, Muhammad Ali, is also a
good example of a linguistic influence because of his extensive use of rhyme and sense
ofbr
a
gg
a
doc
i
o(
Ke
l
l
e
y
,2001)
.Hi
sf
a
mousl
i
ne
,“
f
l
oa
tl
i
keabut
t
e
r
f
l
y
,s
t
i
ngl
i
keabe
e
,
”
c
a
nbee
a
s
i
l
yc
ompa
r
e
dt
ot
hewa
yt
oda
y
’
sr
a
ppe
r
sus
eva
r
i
ouss
i
mi
l
e
st
ode
s
c
r
i
be
themselves and their ability. Studies have shown that 97% of African American youth
follow and appreciate rap music (Kunjufu, 1993). With a following of this magnitude,
the language of hip-hopha
se
s
t
a
bl
i
s
he
das
t
r
ong
hol
di
nt
oda
y
’
ss
c
hool
s
.
12
Artist Interview Analysis
The best source for an analysis of hip-hop language is an actual hip-hop artist.
Texas hip-hopa
r
t
i
s
t“
Mi
ke
l
”a
ddr
e
s
s
e
dt
hel
a
ng
ua
geofhi
p-hop in a 2001 interview. One
of the questions asked the meaning of his rap name. In response to this question, he
stated that his name is a creative rearranging of his first name“
Mi
c
ha
e
l
”(
Ke
l
l
e
y
,2001)
.
Hef
e
e
l
st
ha
tt
hena
me“
Mi
c
ha
e
l
”s
oundsc
ommon,s
ohec
ha
nge
di
tt
o“
Mi
ke
l
”whe
nhe
c
hos
ehi
sa
r
t
i
s
t
i
cna
me(
Ke
l
l
e
y
,2001)
.Hewa
sa
l
s
oa
s
ke
d,“
Wha
tma
ke
sawor
d‘
ol
d
’
?
”
Her
e
ma
r
ke
dt
ha
tawor
dbe
c
ome
s“
ol
d”whe
nane
wwor
dc
ome
s along to replace it.
Mi
ke
la
l
s
os
a
i
dt
ha
tawor
dbe
c
ome
s“
ol
d”whe
ni
ti
snol
ong
e
rme
nt
i
one
di
nt
hel
a
t
e
s
t
hip-h
o
ps
ong
s
.Thene
xti
nt
e
r
vi
e
wque
s
t
i
ona
s
ke
d,“
Whe
r
edoy
ouhe
a
rt
hene
wwor
ds
f
i
r
s
t
?
”Hec
omme
nt
e
dt
ha
thehe
a
r
sne
wwor
dsonhi
p-hop songs by popular artists
(Kelley, 2001). Students introduce these new words to their classmates as they hear them
used on songs. It is a fact that in most parts of the world, students enter school using a
language that is different from the exact language being taught at the school (Ramirez,
2005). This language varies greatly from region to region in the United States.
When Mikel was asked which region contributes the most words to the hip-hop
community, he stated that the East Coast rappers are admired by many hip-hop fans
because of their use of unique words, analogies, and word play. Hip-hop group, WuTang Clan, is a prime example of this usage because of their use of abstract words and
concepts that many avid hip-hop listeners do not even understand. This is exemplified in
l
y
r
i
c
sl
i
ke“
Due
loft
hei
r
onmi
c
,i
t
’
st
he52wa
y
sy
ous
t
r
i
ke
”(
Ge
ni
us
,1995)
.Thi
sl
i
neof
t
hes
o
ngi
sa
nobs
c
ur
er
e
f
e
r
e
nc
et
ova
r
i
oust
he
me
sf
r
om a1970’
sChi
ne
s
ekung
-fu film.
13
Mikel discussed Southern hip-hop vernacular in detail. In regard to the South, the
hip-hop words that are used are extensive. The presence of these words in Southern
s
c
hool
si
sc
l
e
a
r
l
ye
vi
de
nt
.I
nas
c
hool
’
sa
t
t
e
mptt
ot
e
a
c
hSt
a
nda
r
dEng
l
i
s
h,ma
nys
t
ude
nt
s
who use hip-hop vernacular are made to feel inferior because of their use of these words
(Ramirez, 2005).
When Mikel was asked which region did he identify with, he said that he
identifies with the South because he was born and raised in Killeen, Texas. However, he
also identifies with the East Coast because he is attracted to the messages in their
ma
t
e
r
i
a
l
.Thene
xtque
s
t
i
ona
s
ke
d,“
Doy
ouus
ewor
dst
ha
ta
r
ea
s
s
oc
i
a
t
e
dwi
t
hot
he
r
r
e
g
i
ons
?
”Hes
t
a
t
e
dt
ha
theus
e
swor
dsf
r
oma
l
loft
her
e
g
i
ons
,r
a
t
he
rt
ha
ns
howi
ng
“
l
oy
a
l
t
y
”t
oonea
r
e
a
.Thea
r
t
i
s
twa
st
he
na
s
ke
di
fhe felt that any hip-hop words
originate from outside of hip-hop culture. He stated that some words derive from older
music forms and vernacular. He could not think of any examples of passed down words.
Many hip-hop words derive from traditional African American words. These traditional
wor
dsha
vebe
e
nus
e
da
sa“
c
ode
”t
ha
tAf
r
i
c
a
nAme
r
i
c
a
nsha
veus
e
dt
odi
s
c
us
sva
r
i
ous
subjects in a way that non-African American listeners do not understand (Ramirez,
2005).
Mikel believes that the hip-hop generation should receive all of the credit for its
ownc
r
e
a
t
i
vi
t
y
,y
e
ta
c
knowl
e
dget
he“
pi
one
e
r
s
”whopa
ve
dt
hewa
yf
ort
hede
ve
l
opme
nt
of hip-hopc
ul
t
ur
e
.Hewa
sa
l
s
oa
s
ke
d,“
Doy
ouhe
a
rhi
p-hop words being used by those
out
s
i
deoft
hec
ul
t
ur
e
?
”Hes
a
i
dt
ha
thef
r
e
que
nt
ly hears hip-hop words being used by
those who are not a part of the culture. He remarked that he hears these words on
14
commercials, television shows, and in movies (Kelley, 2001). An example of this is the
famous Budweiser commercial that features character
ss
a
y
i
ng“
wha
z
z
up”t
oe
a
c
hot
he
r
.
Thi
spr
a
c
t
i
c
eofs
t
r
e
t
c
hi
ngt
hep
h
r
a
s
e“
wha
t
’
sup?
”i
sr
oot
e
di
nhi
p-hop dialect practices.
He also hears these words being used by those who listen to other music genres such as
country, rock, and jazz. Speakers who primarily listen to other music genres often make
errors in pronunciation or vocal inflection when using hip-hop words (Kelley, 2001). For
example, a person who is not familiar with hip-hop language may pronounce a hip-hop
word according to Standard English pronunciation. An example of this would be using
t
hewor
d“
c
hi
l
l
i
n”bys
a
y
i
ng“
c
hi
l
l
i
ng
”(
Ke
l
l
e
y
,2001)
.Addi
ngt
he“
g
”t
owor
dss
uc
ha
s
this is an obvious way to identify someone who is not familiar with the culture. Mikel
does feel that he can identify someone who is an avid hip-hop fan because he or she uses
the latest words and even uses words that he or she may have developed independently
(Kelley, 2001). Also, he noted that these speakers are very comfortable when using hiphop language. He measures their amount of comfort with the language by the speed at
which they talk (Kelley, 2001).
When asked if he would use hip-hop words in a job interview, he commented
that he would only use hip-hop words in a job interview that was for a job in the music
industry or a hip-hop-related field. He would not use hip-hop words in a traditional work
environment because he feels that he would be perceived as less intelligent. He stated
that he would be seen as less intelligent because those in a conservative environment do
not understand the culture. This shows a desire on his part to succeed in the business
world. However, in the world of hip-hop and urban America, street credibility means
15
more than success (Reese, 2004). Vernacular language does carry a stigma that is linked
with intellectual incompetence.
Some scholars view hip-hopa
r
t
i
s
t
sa
s“
or
g
a
ni
ci
nt
e
l
l
e
c
t
ua
l
s
”(
Adj
a
y
e
,1997)
.
This is because they believe that these artists are members of a community of oppressed
people whose music is the instrument with which they use to express their common
social, political, and economic persecution (Adjaye, 1997). To analyze that statement,
the community issue must be addressed. The majority of hip-hop artists are members of
oppressed communities because they have lived in poverty-stricken inner-city
neighborhoods. Hip-hop group, Wu-Tang Clan, hails from the dangerous Park Hill
housing projects in Staten Island, New York. Platinum-selling rap star DMX, hails from
the crime-ridden housing projects of Yonkers, New York. These art
i
s
t
s
’mus
i
ci
st
he
i
r
instrument of change because hip-hop is the dominant form of self-expression for innercity youth today. Hip-hop is one of the only ways that their ideas will ever reach outside
of their community. The voices of young African Americans have previously been
silenced due to economic and social factors (Kitwana, 2002). Due to the emergence of
hip-hop, these youth now have a voice that has mainstream appeal (Kitwana, 2002).
Rappers speak of social persecution in songs such as those releasedbyNe
wOr
l
e
a
ns
’
Ca
s
hMone
yRe
c
or
dst
ha
tc
ons
t
a
nt
l
ys
pe
a
kofl
i
f
ei
nt
he“
pr
oj
e
c
t
s
”ofi
nne
r
-city New
Orleans.
Review of Song Lyrics
Hip-hopl
y
r
i
c
sc
a
na
l
s
oc
ove
rc
ur
r
e
nte
ve
nt
si
ns
ong
sl
i
keWi
l
l
i
eD’
s(
1990)
“
Rod
n
e
yKi
ng
.
”I
nt
hi
ss
ong
,t
her
a
ppe
rc
r
i
ticizes Los Angeles police brutality victim
16
Rodney King after he called for peace after citizens rioted in Los Angeles in response to
his beating by LAPD officers (Kelley, 2001). Rapper Willie D felt that King was wrong
to discourage the violence with his “
c
a
n’
twea
l
lj
us
tg
e
ta
l
ong
”s
t
a
t
e
me
nt
.Wi
l
l
i
eDf
e
l
t
that responding with violence would send a stronger message to the Los Angeles Police
Department. Hip-hopa
l
s
oa
ddr
e
s
s
e
se
c
onomi
ci
s
s
ue
si
ns
ong
sl
i
keB.
G.
’
s“
Ge
tYour
Shi
n
eOn,
”whi
c
he
nc
our
a
ge
st
hel
isteners to grab as much wealth as possible. These
s
ong
sa
l
l
owt
he
s
et
r
ue“
or
ga
ni
ci
nt
e
l
l
e
c
t
ua
l
s
”t
ot
e
l
lt
he
i
rs
t
or
yt
ot
hewor
l
d.
Rap music presents information of various sorts to the urban and suburban
community (Adjaye, 1997). The lyrics of hip-hop have informed urban communities
about many issues that later became significant on a national level. Kool Moe Dee raised
publ
i
ca
wa
r
e
ne
s
sa
bouts
e
xua
l
l
yt
r
a
ns
mi
t
t
e
ddi
s
e
a
s
ei
n“
GoSe
et
heDoc
t
or
.
”We
s
tCoa
s
t
rapper Ras Kass called attention to virtually unknownwor
l
dhi
s
t
or
yf
a
c
t
si
n“
Na
t
ur
eof
t
heThr
e
a
t
.
”Thi
sf
a
r
-reaching voice that hip-hop possesses also spreads its language to
the world. African American language forms had previously valued duplicating White
language (Smitherman, 1997). Hip-hop is a prime example of one of the facets of
African American culture and language that is completely original in many ways. It is in
no form an attempt to merge with traditional American culture. Hip-hop is a form of
rebellion against the norm that has spawned its own cultural basis.
Ma
i
ns
t
r
e
a
m Ame
r
i
c
a
’
sv
i
e
wsofhi
p-hop vary greatly. Former Vice President Al
Gor
e
’
swi
f
e
,Ti
ppe
rGor
e
,s
t
a
t
e
dt
ha
thi
p-hop appeals to angry, disillusioned, unloved
kids (Dyson, 1993). She also stated that hip-hops
a
y
st
ha
ti
ti
s“
oka
yt
obe
a
tpe
opl
eup”
(Dyson, 1993). To address her first comment, yes hip-hopdoe
sa
ppe
a
lt
o“
a
ng
r
yki
ds
.
”I
t
17
i
st
hevoi
c
et
ha
ts
pe
a
ksouta
ga
i
ns
tt
hes
t
r
ugg
l
e
st
ha
tt
he
s
e“
ki
ds
”f
a
c
ee
ve
r
y
da
y
.The
“
di
s
i
l
l
us
i
one
d”s
t
a
t
e
me
nti
sf
a
l
s
ebe
c
a
us
et
hos
ewhol
i
s
t
e
n to hip-hop are well aware of
e
ve
r
y
t
hi
ngt
ha
ti
sg
oi
ngona
r
oundt
he
m.The“
unl
ove
d”s
t
a
t
e
me
nti
sa
l
s
of
a
l
s
e
.Pa
r
e
nt
a
l
love has nothing to do with the type of music that is attractive to a child. Hip-hop is a
part of the everyday lives of youth from every type of social background and family
situation. Her comments show that she has no knowledge of what the culture is all about.
She is basing her comments on a few lyrics taken out of context. This view of hip-hop is
common among those who want to discredit hip-hop and do not even take the time to
research the culture.
Dyson (1993) addresses the division in hip-hopbe
t
we
e
nt
he“
ha
r
dc
or
e
”a
ndt
he
“
c
omme
r
c
i
a
l
.
”Thi
sdi
vi
s
i
onha
sa
l
wa
y
sbe
e
na
ni
s
s
ueofg
r
e
a
ti
mpor
t
a
nc
ei
nhi
p-hop.
Since language is the focus of this study, this issue can be analyzed from a linguistic
poi
ntofvi
e
w.“
Ha
r
dc
or
e
”hi
p-hop stresses lyrical content, musical creativity, and
pr
e
s
e
r
vi
ngt
hec
ul
t
ur
e
.Thi
st
y
peofr
a
pmus
i
ca
ppe
a
l
st
oma
nyoft
oda
y
’
ss
t
ude
nt
s
because it is a direct reflect
i
onoft
he
i
re
nvi
r
onme
nt
.Toda
y
’
shi
p-hop generation of
students have inferior schools, limited job opportunities, and limited access to many of
t
hepos
i
t
i
ve
st
ha
tAme
r
i
c
aha
st
oof
f
e
r(
Ki
t
wa
na
,2002)
.“
Comme
r
c
i
a
l
”hi
p-hop features
are characterized by catchy choruses, dance beats, and appealing to as many people as
pos
s
i
bl
e
.Cr
e
a
t
i
ng“
ha
r
dc
or
e
”hi
p-hopi
sknowna
s“
ke
e
pi
ngi
tr
e
a
l
”or“
r
e
a
lhi
p-hop.
”
Pe
r
f
or
mi
ng“
c
omme
r
c
i
a
l
”hi
p-hop,knowna
s“
r
a
p,
”i
svi
e
we
da
s“
s
e
l
l
i
n’out
”or“
g
oi
n’
pop”byha
r
dc
or
ee
nt
husiasts. The hip-hop/
r
a
pdi
l
e
mmae
xi
s
t
s
,wi
t
h“
ha
r
dc
or
e
”be
i
ng
“
hi
p-hop”a
nd“
c
omme
r
c
i
a
l
”be
i
ng“
r
a
p.
”Comme
r
c
i
a
lr
a
pl
a
c
kst
her
e
be
l
l
i
ousna
t
ur
eof
18
most hip-hop songs and is geared toward being non-offensive (Dyson, 1993). To
s
umma
r
i
z
et
hec
onc
e
pt
,“
r
a
p”u
s
e
di
nt
hi
sc
ont
e
xt
,i
st
hee
xpl
oi
t
a
t
i
onofpur
e”
hi
p-ho
p.
”
It is very interesting how a music form that has been attacked so much from the outside
has also been attacked from the inside by its own.
Various Hip-Hop Literature
Literature is also a good source of evidence of hip-hop’
si
nf
l
ue
nc
e
.The
emergence of the hip-hop biography and autobiography has become a significant
milestone for hip-hop culture (Kelley, 2001). Little or no literary research has been done
on this growing trend. As a result of hip-hop’
sphe
nome
na
le
xpa
ns
i
on,bi
ogr
a
phi
e
sof
musicians involved in hip-hop have attracted a wide readership. Several biographies and
autobiographies of hip-hop artists deserve to be studied as literary texts. An analysis of
these works is an excellent way to study the culture and its language.
Hip-hop biographies are important for several reasons. Considering the
widespread popularity of hip-ho
p’
ss
upe
r
s
t
a
r
s
,t
he
r
es
houl
dbee
ve
nmor
el
i
t
e
r
a
t
ur
e
available discussing them (Kelley, 2001). These artists have sold millions of albums and
serve as role models for youth of all ages and ethnic backgrounds. The late Tupac
Shakur was a hip-hop artist who became a national figure. He is considered the greatest
hip-hop artist of all time to most students. Most students a
dmi
r
ehi
s“
t
hugl
i
f
e
”mot
t
o
and rebellious spirit (Kelley, 2001). Several biographies about his life are available, but
Tupac Shakur by Quincy Jones (1999) is the most comprehensive. This work is credited
to all of the editors of this magazine. This work chronicles his life from early childhood
to his untimely death in 1996. The structure of this work adheres to the standards that
19
most well-wr
i
t
t
e
nbi
og
r
a
phi
e
sf
ol
l
ow(
Ke
l
l
e
y
,2001)
.Thewor
kde
t
a
i
l
sSha
kur
’
s
childhood through personal interviews.
Tupac Shakur was born June 16, 1971, to Afeni Shakur, a former member of the
Bl
a
c
kPa
nt
he
rPa
r
t
y
.Sha
kur
’
smovef
r
om Ne
wYor
kt
oCa
l
i
f
or
ni
awa
sama
j
ort
r
a
ns
i
t
i
on
in his life. Tupac represented a sense of self-confidence that appealed to many African
American men a
nde
s
t
a
bl
i
s
he
dhi
ma
sar
ol
emode
l(
Ki
t
wa
na
,2002)
.Tupa
c
’
sc
oa
s
t
a
l
affiliation became very important in his rap career. This was due to a conflict that
emerged between East and West Coast hip-hop artists. Shakur defended the West Coast
artists even though he was a native of New York (Kelley, 2001). The biography then
focuses on his first recording contract and first acting role. His popularity began to grow
rapidly due to a role he played in the film Juice. Thi
sf
i
l
mi
sa
boutSha
kur
’
sc
ha
r
a
c
t
e
r
who becomes obsessed with the power that a gun brings him. The name of this film,
Juice, is a hip-hop word that means power (Kelley, 2001). The biography then moves on
t
oSh
a
kur
’
sc
onf
l
i
c
t
swi
t
hl
a
we
n
f
or
c
e
me
ntt
ha
tbe
c
a
mea
not
he
rma
j
orf
a
c
t
ort
hr
oug
hout
his short life. Right before the height of his career, Tupac served a prison term for sexual
a
s
s
a
ul
t
.Ove
r
a
l
l
,t
hi
swor
kpr
ovi
de
sac
ompl
e
t
ea
na
l
y
s
i
sofar
a
ps
upe
r
s
t
a
r
’
sl
i
f
e
.
Multi-platinum hip-hop artist and actor, L.L. Cool J, has also emerged as a
superstar by way of hip-hop music. His autobiography, I Make My Own Rules, is a work
that provides an in-depth look at the music industry as a whole. His autobiography was
written with the assistance of Karen Hunter. L.L. Cool J, whose real name is James Todd
Smith, te
l
l
st
hes
t
or
yofhi
sr
i
s
ef
r
om“
Hol
l
i
st
oHol
l
y
wood.
”Thi
ss
t
a
t
e
me
ntr
e
pr
e
s
e
nt
s
his emergence as a young music star in Hollis Queens, New York, to a millionaire actor
20
in Hollywood (Kelley, 2001). He details the intricacies of the music business in a way
that gives a clear picture of his entire world. He also describes receiving royalty checks
for $50,000 and the trail of lawyers, accountants, and managers that come along with the
money (L.L. Cool J, 1997). This autobiography mainly focuses on the details of the
lifestyle that a hip-hop superstar lives.
The Ice Opinion by another multi-platinum hip-hop artist, Ice T, provides a
unique perspective on this topic. His work is an autobiography combined with in-depth
analysis of life in general. He intertwines the story of his life with frank analysis of
topics ranging from police brutality to sex. His commentary covers everything from
pol
i
t
i
c
st
ohi
ss
t
a
t
e
me
nt
sa
boutChr
i
s
t
’
sf
a
mouspor
t
r
a
i
tbe
i
ngapi
c
t
ur
eof
Mi
c
h
e
l
a
ng
e
l
o’
sbr
ot
he
r(
I
c
eT,1994)
.Hede
s
c
r
i
be
show this painting influenced the way
that people view Jesus. The political nature of this work gives insight on the views and
opinions of a hip-hop superstar.
Another work that gives an interesting twist to the concept of the hip-hop
autobiography is Got Your Back by Frank Alexander. This work provides yet another
l
ooki
nt
ot
hewor
l
doft
hemus
i
ci
ndus
t
r
y
,butf
r
om abody
gua
r
d’
spe
r
s
pe
c
t
i
ve
.Thi
si
s
unique because a bodyguard is both involved and removed from the industry at the same
time (Kelley, 2001). The work discusses how the bodyguard sees the lifestyle of the hiphopi
ndus
t
r
yf
i
r
s
t
ha
nd.Al
e
xa
nde
rwa
sTupa
cSha
kur
’
sma
i
nbody
gua
r
da
ndwa
sond
ut
y
the night that Shakur was murdered. Alexander discusses everything from details about
murder attempts on his clients to the financial side of his career. He states how most
21
bodyguards at that level make $500 a day (Alexander, 1998). His view of the industry
provides a clear analysis of some of the negative factors involved in the entire business.
These autobiographies and biographies are unique because they allow the reader
to experience the actual lifestyles of these artists. The use of the actual words of the
artists in these works gives them a sense of authenticity and legitimacy (Kelley, 2001).
The reader is able to understand L.L. Cool J (1997) as a person in I Make My Own Rules.
His story is told in a way that gives the reader an inside track to the true person behind
his success. Ice T (1994) expresses his honest views on many issues in The Ice Opinion.
His work tells of the struggles of a young Black man in America. He struggled with
dr
ug
s
,ga
ng
s
,a
ndl
a
t
e
rwi
t
ht
hepi
t
f
a
l
l
sofs
uc
c
e
s
s(
Ke
l
l
e
y
,2001)
.Thr
oug
hI
c
eT’
swor
l
d
of hip-hop, the reader is able to see the bigger picture that involves poverty, injustice,
and many other social issues. The language of hip-hop provides the perfect canvas for
these street messengers to paint a picture of the world where they live.
Hip-hop magazines provide a key contrast to the hip-hop biography and
autobiography. These magazines have emerged as a major source of information about
the lives of the artists (Kelley, 2001). The detailed articles that are written about the
artists are both political and promotional. They are political because they allow the
artists to express their true feelings on society and government. They are promotional
be
c
a
us
emos
toft
hea
r
t
i
c
l
e
sg
l
a
mor
i
z
et
hea
r
t
i
s
t
s
’l
i
ve
sa
ndmus
i
c
.The
ya
r
ea
l
s
ous
ua
l
l
y
written about a particular artist when he or she is about to release a new album or
recently released an album (Kelley, 2001). Vibe magazine is thorough in detailing the
lives of hip-hop artists. An article in the May 1999 issue focuses upon the troubles of
22
pl
a
t
i
numa
r
t
i
s
tRus
s
e
l
lJ
o
ne
s
.J
o
n
e
s
,knowna
s“
ODB,
”i
same
mbe
roft
heWu-Tang
Clan who has had numerous encounters with the police. He is also known for his
appearance on an MTV special where he was shown going to cash his welfare check in a
limousine. The article gives insight into the relationship between young, African
American musicians and the police (Kelley, 2001). While discussing a recent incident
with New York police, Jones stated that entertainers do not need to pull guns on cops
and cops should not pull guns on entertainers (Alexander, 1998). His statement reflects a
desire for mutual respect between these two groups who serve the public. Issues such as
racism and police brutality continually arise in articles that analyze the lives of these
artists.
Another magazine that gives quality insight on the lives of hip-hop artists is The
Source. This magazine focuses on the culture and politics that accompany the music.
Hip-hop magazine articles are an excellent supplement to the actual hip-hop biographies
that have been written.
A work that contains the same type of analysis as hip-hop magazines is Fight the
Power byChuc
kD(
1997)
.Chuc
kD’
svi
e
wsont
hi
sbi
l
l
i
ondol
l
a
ri
ndus
t
r
ypr
ovi
de
valuable insight. Chuck D, known as hip-hop’
spr
e
mi
e
rpol
i
t
i
c
a
ls
poke
s
pe
r
s
on,
represents a different side of the culture (Kelley, 2001). Chuck D is an alternative role
model for hip-hopf
a
nsi
nac
ul
t
ur
et
ha
te
mbr
a
c
e
st
he“
t
hug
”l
i
f
e
s
t
y
l
e
.Thi
sg
l
or
i
f
i
c
a
t
i
on
oft
h
e“
t
hug
”i
ns
pi
r
e
ss
t
ude
nt
st
owa
ntt
obet
hi
swa
y(
Re
e
s
e
,2004)
.Chuc
kD’
sl
y
r
i
c
s
have always focused on political and social issues, while most rap lyrics focus on
materialism, women, and other non-pol
i
t
i
c
a
li
s
s
ue
s
.Thi
sr
e
put
a
t
i
ona
sa“
hi
p-hop
23
i
nt
e
l
l
e
c
t
ua
l
”ha
sg
a
i
ne
dChuc
kDr
e
s
pe
c
ti
nt
hemus
i
ci
ndus
t
r
y
,t
heme
di
a
,a
ndi
nt
he
political arena.
Hip-hop culture has become a part of the daily lives of millions of Americans.
The creativity of hip-hop has proven to be an attractive outlet for the majority of young
Americans. This culture produces over one billion dollars in sales each year. Any culture
with an influence that spans this wide is definitely worthy of serious study and analysis.
The language of early hip-hop culture established a tradition that serves as the
foundation of the culture. Because hip-hop originated in Bronx, New York, the East
Coast established itself as the catalyst for hip-hop language (Kelley, 2001). The East
Coast has since remained the leading innovator when it comes to vocabulary. Its early
words established a precedent that continues to produce new vocabulary today.
The vocabulary of hip-hop is important in regard to minority students because it
is almost synonymous with the communication skills that these students use today
(
Gi
nwr
i
g
ht
,2004)
.“
M.
C.
,
”whi
c
hr
e
pr
e
s
e
nt
si
t
st
r
a
di
t
i
ona
lme
a
ni
ngof“
ma
s
t
e
rof
c
e
r
e
moni
e
s
,
”i
st
het
i
t
l
egi
ve
nt
oonewhoe
ng
a
ge
si
n“
r
a
ppi
ng
.
”These musicians are
a
l
s
oc
a
l
l
e
d“
r
a
ppe
r
s
.
”I
nr
e
c
e
nty
e
a
r
s
,t
he
r
eha
se
me
r
ge
dadi
f
f
e
r
e
nc
ei
nt
het
wot
e
r
ms
.
An“
M.
C.
”i
ss
ki
l
l
e
di
nr
a
ppi
nga
ndr
e
ma
i
nst
r
uet
ot
hec
ul
t
ur
ea
ta
l
lt
i
me
s
.“
Ra
ppe
r
,
”
denotes one who is not skilled in the art and does not respect the culture (Kelley, 2001).
Those who appear to perform rap for financial gain only or those who focus on
a
ppe
a
l
i
ngt
oac
omme
r
c
i
a
la
udi
e
nc
ea
r
es
ome
t
i
me
sr
e
f
e
r
r
e
dt
oa
s“
r
a
ppe
r
s
”a
ndnot
“
M.
C.
’
s
.
”
24
Several words were established as the dominant vocabulary of the early days of
hip-h
o
p.Oneoft
hewor
dst
ha
tg
a
i
ne
di
ns
t
a
ntpopul
a
r
i
t
yi
s“
f
r
e
s
h.
”Some
t
hi
ng“
f
r
e
s
h”i
s
“
g
ood.
”A“
f
r
e
s
h”M.
C.i
sonewhoi
sg
ooda
tr
a
ppi
ng
.“
Dope
”e
ve
nt
ua
l
l
ybe
c
a
met
he
wor
dt
ha
tr
e
pl
a
c
e
d“
f
r
e
s
h”a
ndpos
s
e
s
s
e
dt
hes
a
meme
a
ni
ng. Hip-hop words traditionally
have a short lifespan. These words have significance because of their widespread
i
nf
l
ue
nc
e
.Mus
i
cs
a
l
e
sc
ha
r
t
sr
e
pe
a
t
e
dl
ys
howt
ha
tr
a
pmus
i
ci
sAme
r
i
c
a
’
smos
tpopu
l
a
r
music form (Reese, 2004). Another example of hip-hop vocabulary is the word
“
s
ke
e
z
e
r
.
”Dur
i
ngt
hi
spe
r
i
odi
nhi
p-hop, a promiscuous woman was referred to as a
“
s
ke
e
z
e
r
.
”Thet
e
r
m“
wa
c
k”a
l
s
obe
ga
nama
j
orpa
r
tofe
a
r
l
yhi
p-hop vocabulary.
“
Wa
c
k”me
a
ns“
notg
ood”oruna
c
c
e
pt
a
bl
e
.“
Chi
l
l
i
n”de
s
c
r
i
be
st
hea
c
tof“
r
e
l
a
xi
ng
.
”
Some
onewhoi
sr
e
l
a
xe
dordoe
snotha
vea
nya
c
t
i
vi
t
yt
oe
ng
a
gei
ni
ss
a
i
dt
obe“
c
hi
l
l
i
n.
”
Thepr
a
c
t
i
c
eofa
ddi
ngt
hephr
a
s
e
,“
y
ouknowwha
tI
’
ms
a
y
i
n’
”t
ot
hee
ndof
sentences also became established as a language trend in hip-hop (Kelley, 2001).
“
Wor
d”i
sa
l
s
oa
ne
mpha
t
i
cwa
yt
of
ol
l
owas
t
a
t
e
me
nt
.Af
t
e
ras
t
a
t
e
me
nti
sma
det
ha
ti
s
a
gr
e
e
dupon,s
a
y
i
ng“
wor
d”i
save
r
ba
lc
onf
i
r
ma
t
i
onoft
het
r
ut
hi
nhi
sorhe
rs
t
a
t
e
me
n
t
.
“
Sc
r
a
t
c
hi
ng
”be
c
a
met
het
e
r
mt
ha
tde
not
e
st
hemove
me
ntofvi
ny
lr
e
c
or
dst
ha
t creates a
“
s
c
r
a
t
c
hi
ng”s
ound.De
e
j
a
y
sbe
g
a
nt
oi
mpl
e
me
ntt
hi
st
e
c
hni
quea
sas
ounde
f
f
e
c
t
.The
turntables used for scratching, usually Technics 1200 turntables, are referred to as the
“
whe
e
l
sofs
t
e
e
l
.
”Thet
e
r
ms“
ol
ds
c
hool
”a
nd“
ne
ws
c
hool
”a
r
et
e
r
mst
hat are still
a
c
t
i
ve
l
yus
e
dt
oda
y
.Thephr
a
s
e“
ol
ds
c
hool
,
”i
de
nt
i
f
i
e
st
hee
a
r
l
yda
y
sofr
a
p(
Ke
l
l
e
y
,
2001
)
.“
Ne
ws
c
hool
”i
de
nt
i
f
i
e
say
ounghi
p-hop artist or a new trend. These words are
used to categorize the two periods of hip-hop culture.
25
Fresh: Hip-HopDon’
tSt
opby Nelson George, Sally Banes, Susan Flinker, and
Patty Romanowski is a text which highlights many of the cornerstones of early hip-hop
culture. Rap emerged as early hip-hopDJ
’
swoul
dr
e
c
i
t
es
hor
t“
r
a
ps
”t
ol
e
tt
hec
r
owd
know who they were (Ge
or
ge
,1985)
.The
s
er
a
pswe
r
eme
r
e
l
y“
t
a
g
s
”t
ha
tdi
s
t
i
ng
ui
s
he
d
one DJ from another. This period of rap involved strictly oral tradition; these raps were
notwr
i
t
t
e
ndown.The
s
e“
r
a
ps
”t
ha
tt
heDJ
’
spe
r
f
or
me
dwe
r
ee
ve
nt
ua
l
l
ye
xc
l
us
i
ve
l
y
us
e
dbyt
he“
r
a
ppe
r
s
.
”Ther
oot
sofr
a
pa
r
ee
xpl
or
e
dt
hor
oug
hl
yi
nt
hi
st
e
xt
.Oneofhi
phop’
se
a
r
l
ypowe
r
hous
eg
r
oups
,TheSoulSoni
cFor
c
e
,ha
damus
i
cs
t
y
l
et
ha
tc
a
nbe
t
r
a
c
e
dt
ot
heLa
s
tPoe
t
s
,aBl
a
c
kna
t
i
ona
l
i
s
tt
r
i
ooft
hee
a
r
l
y70’
s(
Ge
or
g
e
,1985)
.Thi
s
work also highlights graffiti as one of the four elements of hip-hop. A graffiti artist with
the right connections is seen as a hip-hop celebrity (George, 1985). The graffiti artists
have always been a very respected group within hip-hop culture. The authors discuss
how graffiti became popular through exposure on the New York subway system. The
wor
d“
t
a
g
”be
c
a
meapa
r
tofhi
p-hopvoc
a
bul
a
r
yduet
og
r
a
f
f
i
t
i
.A“
t
a
g
”i
sag
r
a
f
f
i
t
i
a
r
t
i
s
t
’
sna
meort
i
t
l
e
.The
s
et
a
g
sr
e
s
ul
t
e
di
ns
uc
hna
me
sa
s“
Ghos
t
,
”“
Wi
l
dKi
d,
”a
nd
“
Fa
me
.
”Thee
a
r
l
yda
y
sofhi
p-hop laid the foundation for a culture that is now rather
complex.
Thewor
d“
b-boy
”de
not
e
st
hee
s
s
e
nc
eof“
ol
ds
c
hool
”hi
p-hop.“
B-boy
”i
st
he
definitive term for someone who is an active participant in hip-hop culture.
Breakdancing
,whi
c
hi
smos
tof
t
e
na
s
s
oc
i
a
t
e
dwi
t
ht
he“
b-boy
”pe
r
s
ona
,ha
spr
ovi
de
da
visual representation of hip-hop that inspired hip-hop’
se
me
r
g
e
nc
ei
nf
i
l
m.The“
b-boy
”
lifestyle inspired films such as Wild Style, Br
e
ak
i
n’
, Beat Street, and the PBS
26
documentary, Style Wars. A group of b-boy
si
si
de
nt
i
f
i
e
da
sa“
c
r
e
w”(
Ke
l
l
e
y
,2001)
.
This is the definitive term for a b-boy and his group of friends. This word faded from the
hip-h
o
ps
c
e
nea
ndwa
sr
e
pl
a
c
e
dby“
pos
s
e
.
”Thi
si
sy
e
ta
not
he
ri
ns
t
a
nc
ewhe
r
et
hes
hor
t
lifespan of hip-hop words is clearly evident.
I
nThoma
sKoc
hma
n’
s(
1972)Rappi
n’andSt
y
l
i
n’Out
, articles that address
Bl
a
c
kc
ul
t
ur
ea
r
eus
e
dt
oe
xpl
a
i
ns
omeofBl
a
c
kAme
r
i
c
a
’
sc
ul
t
ur
e
.Thi
ss
our
c
epr
ovi
de
s
a useful background to explore the roots of hip-hop language. The roots of hip-hop’
s
language have obvious ties to traditional African languages (Kochman, 1972). This
relation between African languages and African American vernacular English
emphasizes that the language used by some African Americans derives from other
languages. This language is not merely incorrect usage of Standard English. In
Koc
hma
n’
swor
k,Be
nj
a
mi
nG.Cookedi
s
c
us
s
e
showve
r
na
c
ul
a
rwor
dsc
a
nc
ha
ng
e
me
a
ni
ng
.Thi
swor
kf
oc
us
e
she
a
v
i
l
yonAf
r
i
c
a
nAme
r
i
c
a
nc
ul
t
ur
ei
nt
he1970’
s
.I
nt
he
1970
’
s
,“
r
a
ppi
ng”ha
das
l
a
ngme
a
ni
ngof“
ama
nt
a
l
ki
ngt
oawoma
n”(
Koc
hma
n19
72)
.
Thi
st
e
r
ma
ppa
r
e
nt
l
yl
os
ti
t
sus
a
g
ea
s“
r
a
ppi
ng”be
g
a
nt
or
e
pr
e
s
e
nt“
e
nga
g
i
ngi
nr
a
p
mus
i
c
.
”Al
loft
hea
s
pe
c
t
st
ha
tf
or
mt
heba
c
kgr
oundofhi
p-hop culture and language
revolve around rhythm. African American language has always been centered around
rhythm (Kochman, 1972). This is a statement that applies directly to the major presence
that rhythm has in hip-hop culture. The language embodies a rhythm that is seldom
duplicated outside of the hip-hop community.
The language of hip-hop culture is an extension of what is traditionally defined
a
s“
s
o
ul
”l
a
ng
ua
ge
.Thi
sve
r
na
c
u
l
a
rf
or
mi
sdomi
na
nta
mongAf
r
i
c
a
nAme
r
i
c
a
nsa
ndi
s
27
directly reflected in hip-hop, an African American domina
t
e
dc
ul
t
ur
e
.Thi
s“
s
oul
”i
sa
n
accurate reflection of the language of Black America (Kochman, 1972). These words
generally have a longer lifespan than words that originate within hip-hop culture. One
example of a word with a longer lifespan than a typical hip-hopwor
di
s“
c
op.
”Af
r
i
c
a
n
Ame
r
i
c
a
nsbe
g
a
nt
ous
et
hi
swor
di
nt
he1950’
s
,a
ndi
tha
ss
ur
vi
ve
dl
onge
noug
ht
o
reach the hip-hopg
e
ne
r
a
t
i
on.Thi
swor
dha
sma
i
nt
a
i
ne
dt
heme
a
ni
ngof“
t
og
e
t
.
”I
nhi
phopc
ul
t
ur
e
,onewoul
ds
a
y
,“
Ar
ey
oug
onnac
opt
hene
w Jay-ZCD?
”i
ns
t
e
a
doft
he
t
r
a
di
t
i
ona
l“
Ar
ey
oug
oi
ngt
og
e
tt
hene
wJ
a
y
-ZCD?
”Thi
si
sawor
dt
ha
twa
snotus
e
di
n
the early days of hip-hop. It began to emerge recently among East Coast hip-hop artists
and fans. Teachers must consider cultural ways of learning such as that which is
involved with this word when teaching English (Ramirez, 2005).
Anot
he
rt
e
r
mt
ha
ti
sofi
nt
e
r
e
s
ti
st
het
e
r
m,“
t
heMa
n”(Kelley, 2001). Thi
st
e
r
m’
s
t
r
a
di
t
i
ona
lme
a
ni
ngwi
t
hi
nBl
a
c
kve
r
na
c
ul
a
rEng
l
i
s
hha
sbe
e
n“
TheWhi
t
eMa
n.
”
African Americans use this term to refer to the White race. Within hip-hop,“
t
hema
n”
woul
dbeus
e
da
s“
whe
ni
tc
ome
st
oba
s
ke
t
ba
l
l
,Mi
c
ha
e
lJ
or
da
ni
sdama
n!
”Thet
e
r
m
possesses an entirely different meaning. It identifies someone who is good at what he or
s
hedoe
s
.Theus
eof“
da
”i
ns
t
e
a
dof“
t
he
”i
sa
l
s
oa
ni
nt
e
r
e
s
t
i
ngpr
a
c
t
i
c
et
ha
te
xi
s
t
swi
t
h
i
n
hip-h
o
p.Thewor
di
ss
pe
l
l
e
da
si
twoul
ds
oundbe
i
ngs
poke
nwi
t
ha“
hi
p-hopa
c
c
e
nt
.
”
This spelling is also a victim of a hip-hopwor
d’
ss
hor
tl
i
f
e
s
pa
n.“
Da
”ha
sbeen replaced
byt
hewor
d“
t
ha
.
”Thi
si
sa
ppa
r
e
nt
l
yduet
ot
hepopul
a
r
i
t
yof“
da
.
”Asawor
dors
pe
l
l
i
ng
becomes over-popularized within hip-hop and spreads to the mainstream, it becomes
28
null and void. The intricacies of hip-hop language become increasingly evident through
further analysis of the culture as a whole.
In Black Studies, Rap, and the Academy, Houston A. Baker (1993) discusses
many of the issues that hip-hop has brought to the forefront of American popular culture.
One of the issues that he addresses that relates directly to the language of hip-hop is the
urban authenticity factor. Hip-hop is considered a truly authentic form of urban
expression in the African American community (Baker, 1993). Street credibility is an
important social element in hip-hop. Someone who cannot relate to the urban
environment is seen as an outsider. The hip-hop word that describes this concept is
“
down
.
”Thi
swor
dme
a
ns“
a
c
c
e
pt
e
d.
”Tos
howt
ha
ts
ome
onei
soneofy
ourf
r
i
e
nds
,y
ou
woul
ds
t
a
t
e
,“
Hei
sdown.
”Thi
sme
a
nst
ha
theors
hec
a
nbet
r
us
t
e
d.Thephr
a
s
e“
down
byl
a
w”be
c
a
mepopul
a
ri
nl
a
t
e1
980’
s
-e
a
r
l
y1990’
shi
p-hop. This phrase denotes the
hi
g
he
s
tf
or
mofa
c
c
e
pt
a
nc
eorb
e
i
ng“
down”t
ot
hef
ul
l
e
s
te
xt
e
nt
.Thee
ve
r
-changing
nature of these words does not reflect the overall state of hip-hop. Political leader, Jesse
Jackson, has been quoted stating that rap is here to stay and scholars like Baker (1993)
also agree. The culture may change from year-to-year, but its overall impact upon
society is only growing stronger.
The early hip-hop language forms established the East Coast as the leader in hiphop language trends. This is apparently because the culture originated from these areas.
As the culture began to spread, other regions began to develop comparable systems of
language. The foundation that early hip-hop language established has sparked an
i
nt
r
i
c
a
t
eve
r
na
c
ul
a
rf
or
mt
ha
ti
si
de
nt
i
f
i
e
da
st
heEa
s
tCoa
s
t“
f
l
a
va
.
”“
Fl
a
va
”i
sahi
p-hop
29
wor
dt
ha
tme
a
ns“
s
t
y
l
e
.
”I
nBlack Noise: Rap Music and Black Culture in Contemporary
America, Tricia Rose (1994) states how rap music went virtually unnoticed by the
mainstream until independent record labels began to release rap records. Rose (1994)
believes that rap is complex from a symbolic and technological perspective. The
complexity of rap is largely due to its intricate vocabulary.
The way that hip-hop culture enthusiasts refer to each other is an important
element in the language of hip-hop.Ea
c
hr
e
g
i
onha
sdi
f
f
e
r
e
ntwa
y
st
or
e
f
e
rt
oone
’
s
friends. Early New York hip-hop esta
bl
i
s
he
dt
het
e
r
m“
home
boy
.
”A“
home
boy
”or
“
home
g
i
r
l
”i
sa“
g
oodf
r
i
e
nd.
”Someoft
heEa
s
tCoa
s
tva
r
i
a
t
i
onsoft
hi
swor
da
r
e“
s
on,
”
“
y
o,
”“
b,
”“
ki
d,
”a
nd“
g
od.
”Anyoft
he
s
ewor
dsc
a
nbeus
e
dt
oa
ddr
e
s
ss
ome
one
.Th
e
s
e
wor
dsa
r
es
e
e
na
ss
t
r
i
c
t
l
y“
Ea
s
tCoa
s
t
”wor
ds
.Some
onewhous
e
st
he
s
ewor
dswhoi
s
not from the East Coast is usually a staunch supporter of the East Coast style of rap.
Students who desire to succeed become fluent in both Standard English and the language
of hip-hop (Ramirez, 2005). These students realize that the use of Standard English is
vital for success in corporate America.
Thewor
d“
g
od”be
c
a
mepopul
a
ri
nhi
p-hop culture due to the strong influence of
the Five Percent Nation of Islam. This religious sect originated in New York as a splinter
group of the Nation of Islam. This group had an immediate impact upon hip-hop because
of its strong focus on Black pride and knowledge of Black history. This focus appealed
to young African Americans in urban New York and has had a lasting impact upon rap
mus
i
c
.TheFi
vePe
r
c
e
nt
e
r
sbe
l
i
e
vet
ha
tt
heBl
a
c
kma
ni
st
he“
g
od”ofhi
sowna
c
t
i
ons
.
The
yr
e
f
e
rt
oe
a
c
hot
he
ra
s“
g
od.
”Thi
sr
e
f
e
r
e
nc
eha
sbe
c
omepopul
a
ri
nt
hemus
i
cof
30
East Coast rap superstars such as Wu-Tang Clan, DMX, and Nas. Rakim, who is
regarded by many as the greatest hip-hop lyricist of all time, is a member of the Five
Pe
r
c
e
ntNa
t
i
on.Heha
sus
e
dt
heFi
vePe
r
c
e
nt
e
r
s
’i
ma
ge
r
ya
st
heba
s
i
sofhi
sl
y
r
i
c
s
throughout his career (George, 1999). One example of this practice is evident in the song
“
MyMe
l
ody
”whe
r
eRa
ki
m(
1986)s
t
a
t
e
s
,“
Ibl
e
s
st
hemi
cf
ort
heg
ods
.
”Thel
i
ng
oo
f
East Coast hip-hop ranges from simple references such as this to elaborate systems of
regional vocabulary.
The Wu-Tang Clan, a multi-platinum selling hip-hop group, has established a
r
e
put
a
t
i
onf
orbe
i
ngt
r
e
nds
e
t
t
e
r
si
nr
e
g
a
r
dt
or
a
p’
svoc
a
bul
a
r
y
.The
i
rpopul
a
rhi
t“
Pr
ot
e
c
t
YourNe
c
k”i
sf
ul
lofc
l
e
ve
rwo
r
dpl
a
ya
nds
oc
i
a
lc
omme
nt
a
r
y
.Onel
i
ne
,whi
c
h
c
omme
nt
sonmus
i
ce
xe
c
ut
i
ve
swhodonotunde
r
s
t
a
ndr
a
p,s
t
a
t
e
s
,“
Andhedon’
t
unde
r
s
t
a
ndt
heme
a
ni
ngofdope
,whe
nhe
’
sl
ooki
ngf
oras
ui
ta
ndt
i
er
a
pt
ha
t
’
sc
l
e
a
ne
r
t
ha
naba
rofas
oa
p…”(
Wu-Ta
ngCl
a
n,1994b)
.Thi
sl
i
neus
e
st
hewor
d“
dope
,
”whi
c
h
me
a
ns“
g
ood.
”Thi
st
y
peofc
omme
nt
a
r
yhi
g
hl
i
g
ht
st
hel
a
c
kofmus
i
ce
xe
c
ut
i
ve
s who are
from the same backgrounds as most rap artists. This is evident due to the fact that there
are only three Black-owned record labels that can compete with major labels. However,
50% of the ownership of these independent labels is still controlled by major record
labels. One of these companies is Bad Boy Entertainment. Bad Boy is a successful
Black-owned independent label, but industry giant Arista Records owns a significant
portion of the company. There is a strong feeling among rappers that the industry does
not understand them and is merely using them for financial gain. This feeling has
resulted in the emergence of hundreds of independent record labels owned and operated
31
by young hip-hop enthusiasts. Independence has become a dominant theme in toda
y
’
s
hip-hop music.
Analysis of Current Vernacular
Hip-hop’
svoc
a
bul
a
r
yc
ont
i
nue
st
oe
xpa
nde
a
c
hy
e
a
r
.Pl
a
t
i
numr
a
pa
r
t
i
s
tNa
si
s
known for his clever use of hip-hopvoc
a
bul
a
r
y
.I
n“
Ne
wYor
kSt
a
t
eofMi
nd,
”a
descriptive account of New York life, he states,“
Ya
l
l
’knowmys
t
e
e
l
o,wi
t
horwi
t
ho
ut
t
hea
i
r
pl
a
y
”(
Na
s
,1994)
.Heus
e
st
hewor
d“
s
t
e
e
l
o,
”me
a
ni
ng“
s
t
y
l
e
,
”a
nds
t
a
t
e
show
listeners know how talented he is regardless of whether radio supports him. Hip-hop that
steers away from formulaic success patternsa
ndr
e
ma
i
ns“
r
a
w”i
ss
e
e
na
s
“
unde
r
g
r
ound.
”Unde
r
g
r
oundhi
p-hop is rarely supported by radio. This has created
r
e
s
e
nt
me
ntt
owa
r
dc
omme
r
c
i
a
lr
a
di
os
t
a
t
i
onsa
mongt
he
s
e“
unde
r
g
r
ound”a
r
t
i
s
t
s
.
Li
s
t
e
ne
r
ss
e
ema
t
e
r
i
a
lt
ha
ti
si
nh
e
a
vyr
a
di
or
ot
a
t
i
ona
s“
c
omme
r
c
i
a
l
.
”Ar
t
i
s
t
sl
i
keWu
Tang Clan and Nas command respect within the hip-hop community because of their
high level of skill, originality, and focus on underground hip-hop.
Some of the most important innovations in the African American community
during the last 20 years have been rap music and hip-hop culture (Adjaye, 1997).
Although hip-hop culture is linked to Black culture, it is seen by many as a threat to
dominant American culture (Rose, 1994). The world of hip-hop has always been seen as
merely a form of rebellion among disadvantaged young African Americans. The lines
r
e
f
l
e
c
tt
heda
ng
e
rt
ha
tAf
r
i
c
a
nAme
r
i
c
a
nsf
a
c
ei
nt
oda
y
’
sur
ba
na
r
e
a
s
.Thet
e
r
m“
ni
gg
a
z
”
i
nt
hel
i
nei
de
nt
i
f
i
e
s“
Bl
a
c
kpe
o
p
l
e
”i
naf
r
a
t
e
r
na
ls
e
ns
e
.La
ng
ua
ges
uc
ha
st
hi
s
,r
e
f
l
e
c
t
sa
sorto
f“
c
ode
”t
ha
tha
sa
l
wa
y
se
xi
s
t
e
di
nBl
a
c
kc
ul
t
ur
e
.Si
nc
es
l
a
ve
r
y
,ve
r
na
c
ul
a
r
32
language has been used by African Americans in an almost ritualistic way that encodes
various messages (Gates, 1988). Hip-hop America uses its vernacular to practice its own
unique cultural rituals.
The hip-hopwor
d“
pha
t
”i
sapr
i
mee
xa
mpl
eofawor
dt
ha
tha
sg
a
i
ne
d
a
c
c
e
pt
a
nc
ei
nma
i
ns
t
r
e
a
mAme
r
i
c
a
.“
Pha
t
”me
a
ns“
g
ood”or“
out
s
t
a
ndi
ng
.
”Thes
pe
l
l
i
ng
of the word is a key component of its visual effect. The word that is meant is “
f
a
t
.
”The
change in the spelling of the word is used to give the word hip-hop“
f
l
a
va
.
”The
orthographical nature of words is an important factor in hip-hop vocabulary. The word
“
f
l
a
va
”i
sus
e
dbyma
nype
opl
ewhodonote
ve
nl
i
s
t
e
nt
ohi
p-hop music. Many hip-hop
wor
dsa
l
s
oc
ha
nget
hes
pe
l
l
i
ngofSt
a
nda
r
dEng
l
i
s
hwor
dsi
nt
hes
a
mewa
yt
ha
t“
pha
t
”i
s
changed. The foundation of these practices lies in the richness of the African tradition.
Many scholars believe that modern day African American culture, including hip-hop
culture, is merely African culture with distinct differences (Gates, 1988). Just as African
culture has influenced American music and dance, these are language practices that most
likely arrived with the first African slaves.
The verbal game of“
s
i
g
ni
f
y
i
n”i
sa
nAf
r
i
c
a
nAme
r
i
c
a
nt
r
a
di
t
i
ont
ha
ti
se
vi
de
nti
n
r
a
pmus
i
c
.Theve
r
ba
l“
ba
t
t
l
i
ng
”knowna
s“
s
i
g
ni
f
y
i
n”a
ppe
a
r
si
nr
a
pt
hr
oug
h“
ba
t
t
l
e
r
a
ps
.
”Thi
sf
or
m ofr
a
pf
oc
us
e
suponde
g
r
a
di
ngone
’
soppone
nta
nddi
s
pl
a
y
i
ngt
hee
xt
e
nt
ofone
’
sowna
bi
l
ities. In this genre, the rapper uses numerous similes and metaphors to
hi
g
hl
i
g
hthi
sorhe
rownr
a
ppi
nga
bi
l
i
t
y
.Thewor
d“
di
s
”be
c
a
mepopul
a
rbe
c
a
us
eof
“
ba
t
t
l
er
a
p.
”To“
di
s
”s
ome
onei
st
odi
s
r
e
s
pe
c
tt
he
m.Thewor
di
sme
r
e
l
yas
hor
t
e
ne
d
form of the word “
di
s
r
e
s
pe
c
t
.
”Ra
ppe
r
s“
di
s
”r
a
ppe
r
si
n“
ba
t
t
l
e
s
”t
os
howhowl
y
r
i
c
a
l
l
y
33
c
l
e
ve
rt
he
ya
r
e
.Ane
xa
mpl
eofa“
di
s
”i
st
hec
ont
r
ove
r
s
i
a
ls
ong“
Hi
tEm’Up”byTupa
c
Shakur. In this song, Shakur verbally attacks rival rapper Notorious B-I-G by claiming to
have sle
ptwi
t
hhi
swi
f
ea
nd“
di
s
s
i
ng
”hi
sf
r
i
e
nds
.Thi
ss
ongpl
a
y
e
dal
a
r
gepa
r
ti
nt
he
escalation of the feud between East and West Coast rappers. It has also been linked to
the deaths of both of these artists. Many scholars who support hip-hop feel at odds with
the culture at times due to the fact that they disagree with some of the values that it
expresses (George, 1998). There are a large number of hip-hop fans who also share this
same view. Many fans love the sound of hip-hop rhythms but are disturbed by some of
its lyrics. When N.W.A. boasted of carrying AK-47r
i
f
l
e
sa
nde
nga
g
i
ngi
n“
dr
i
ve
-by
”
shootings, many hip-hop fans felt as though the group was promoting ignorance. Many
are intrigued by the rebellious nature of the lyrics but do not quite agree with their direct
meaning.
Just as hip-hop lyrics are innovative and revolutionary, its music also has these
same qualities. The sampling of music is a large part of the hip-hop arsenal of musical
t
ool
s
.“
Sa
mpl
i
ng
”i
nvol
ve
sus
i
ngpor
t
i
onsofa
not
he
rmus
i
c
a
lc
omposition to create an
entirely different musical composition (Kelley, 2001). This is done by recording the
original sound through a digital sampler or keyboard and then looping the sound to
c
r
e
a
t
eadi
f
f
e
r
e
ntr
hy
t
hm.Onee
xa
mpl
eoft
hi
si
sM.
C.Ha
mme
r
’
smul
ti-platinum hit
“
Ca
n’
tTouc
hThi
s
.
”Thi
ss
ongs
a
mpl
e
st
hee
nt
i
r
eme
l
odyf
r
omR&Bs
i
nge
rRi
c
kJ
a
me
s
’
hi
ts
ong“
Supe
rFr
e
a
k”(
Ke
l
l
e
y
,2001)
.Se
ve
r
a
ll
a
ws
ui
t
sha
veoc
c
ur
r
e
da
sar
e
s
ul
tof
s
a
mp
l
i
ng
’
se
a
r
l
yus
e
s
.I
nt
hebe
g
i
nni
ngoft
hi
st
r
e
nd,ma
nyhi
p-hop artists used samples
wi
t
houtpe
r
mi
s
s
i
onf
r
om t
heor
i
g
i
na
la
r
t
i
s
t
.The
s
el
a
ws
ui
t
sl
e
dt
ot
oda
y
’
ss
y
s
t
e
mi
n
34
which record labels obtain the legal right to use samples and pay the original artist. This
is a controversial practice because many believe that this process shows a lack of
originality among hip-hop music producers (Kelley, 2001).
Verbal sampling also exists within the lyrics of hip-hop culture. Rappers use
portions of literature, quotes from films, and many other sources to compose their lyrics.
One primee
xa
mpl
eoft
hi
si
st
h
es
ong“
Sc
a
r
f
a
c
e
”byr
a
pa
r
t
i
s
tSc
a
r
f
a
c
e
.I
nt
hi
ss
ong
,
Scarface uses many quotes from the movie Scarface s
uc
ha
s“
s
a
yg
oodby
et
ot
heba
d
g
uy
”(
Sc
a
r
f
a
c
e
,1988)
.Thi
squot
ec
ome
sf
r
om as
t
a
t
e
me
ntt
ha
ta
c
t
orAlPa
c
i
noma
ke
si
n
the film. Due to musical and verbal sampling, hip-hop has become a direct
r
e
pr
e
s
e
nt
a
t
i
onofAme
r
i
c
a
ns
oc
i
e
t
y
’
spa
s
ta
ndpr
e
s
e
nt
.Sa
mpl
i
nga
l
l
owshi
p-hop to not
only set standards for a new generation, but it allows the culture to highlight previous
cultural trends (George, 1998). Sampling has extended hip-hop culture into other music
forms and intertwined other forms into hip-hop.
While hip-hop is steadily extending, it is also steadily changing. As mentioned
earlier, the words change rapidly. Attractive women werer
e
f
e
r
r
e
dt
oa
s“
f
l
y
”a
ndg
r
e
a
t
s
ong
swe
r
e“
daj
oi
nt
,
”butwor
dss
uc
ha
st
he
s
eha
venowf
a
de
di
nt
ot
hepa
s
t(
Ge
or
ge
,
1998). This is clear evidence how hip-hop changes drastically from one year to the next.
TheEa
s
tCoa
s
t
’
sl
a
be
l
sf
ora
t
t
r
a
c
t
i
vewome
na
r
ealways at the forefront of hip-hop
voc
a
bul
a
r
y
.Ea
r
l
yl
a
be
l
swe
r
e“
hone
y
di
p,
”“
hot
t
i
e
,
”a
nd“
f
l
yg
i
r
l
.
”Cur
r
e
ntt
e
r
msi
nc
l
ude
“
di
me
pi
e
c
e
,
”“
s
hor
t
y
,
”a
nd“
s
t
a
r
.
”Thet
e
r
m“
di
me
pi
e
c
e
”i
sa
ne
xa
mpl
eofve
r
ba
l
s
a
mp
l
i
ngbe
c
a
us
ei
tbor
r
owsi
t
sc
onc
e
ptf
r
om “
t
e
n.
”A“
pe
r
f
e
c
tt
e
n”i
saphr
a
s
et
ha
t
i
de
nt
i
f
i
e
sa“
be
a
ut
i
f
ulwoma
n.
”Thehi
p-hopt
e
r
m“
di
me
pi
e
c
e
”us
e
st
hewor
d“
di
me
”t
o
35
r
e
pr
e
s
e
ntt
henumbe
r“
10”a
ndc
r
e
a
t
et
hede
s
i
r
e
dme
a
ni
ng
.Thewa
yt
ha
thi
p-hop
enthusiasts label the world around them is one of the most interesting aspects of the
culture.
Hip-hop artists are also known for their unique names. The names that are used
vary from one region to another. The first hip-hop names were simple in nature and
progressively became more complex. Early names included na
me
ss
uc
ha
s“
KoolMo
e
De
e
,
”“
Gr
a
ndma
s
t
e
rFl
a
s
h,
”a
nd“
Me
l
l
eMe
l
.
”Thena
me
sus
e
di
nt
hel
a
t
e1970’
sa
nd
e
a
r
l
y1980’
swe
r
ee
i
t
he
rva
r
i
a
t
i
onsoft
hea
r
t
i
s
t
s
’bi
r
t
hna
meore
xt
r
a
va
g
a
ntt
i
t
l
e
st
ha
t
r
e
pr
e
s
e
nt
e
dt
hea
r
t
i
s
t
’
s“
g
r
e
a
t
ne
s
s
.
”TheFi
vePe
r
c
e
ntNa
t
i
onalso had a tremendous
impact upon hip-hopna
me
s
,i
ns
pi
r
i
ngna
me
ss
uc
ha
s“
Ra
ki
m,
”“
Wi
s
eI
nt
e
l
l
i
g
e
nt
,
”a
n
d
“
Ki
ngSun.
”Fi
vePe
r
c
e
nt
e
r
sa
doptna
me
st
ha
ts
howpowe
ra
ndr
e
f
l
e
c
tt
het
e
a
c
hi
ng
sof
their religion. Hip-hop artists began to adopt names associated with the Five Percent
Na
t
i
ons
uc
ha
s“
J
us
t
i
c
e
,
”“
Ra
ke
e
m,
”a
nd“
Supr
e
me
.
”
The Five Percent Nation is associated with the political expression of young
African Americans in New York. Although voter turnout among young African
Americans is historically very low, this group of voters is beginning to test their political
power at increasing levels (Kitwana, 2002). Current names of East Coast rappers include
“
Shy
ne
,
”“
Nor
e
a
ga
,
”a
nd“
Ma
s
t
aKi
l
l
a
.
”Thef
i
r
s
tna
me
,Shy
ne
,
”t
het
i
t
l
eofa
na
r
t
i
s
ton
successful rap label, Bad Boy Entertainment, reflects two dimensions. The first
dimension of this name is its reference to the hip-hopwor
d“
s
hi
ne
.
”To“
s
hi
ne
”i
st
o
show your abilities and receive respect that is due to you. In this instance, the word
“
s
hi
n
e
”be
c
ome
st
het
i
t
l
e“
Shy
ne
.
”Theus
eofva
r
i
ousuni
quena
me
si
sme
r
e
l
yaf
or
mof
36
expression from a generation that gets few chances to be heard. Research shows that
s
t
ude
n
t
sg
e
tve
r
yf
e
wc
ha
nc
e
st
os
pe
a
ki
nt
oda
y
’
st
e
a
c
he
r
-dominated classrooms
(Ramirez, 2005). The name “
No
r
e
a
g
a
,
”a
not
he
rt
i
t
l
eofac
ur
r
e
ntEa
s
tCoa
s
tr
a
ppe
r
,
highlights yet another dimension of sampling in hip-hop. Artists will name themselves
after famous world leaders, organized crime figures, and superheroes. These references
are used to highlight the a
r
t
i
s
t
’
sa
bi
l
i
t
ya
ndpowe
r
.“
Nor
e
a
g
a
”i
sava
r
i
a
t
i
onof
“
Nor
i
e
g
a
,
”t
hena
meofSout
hAme
r
i
c
a
nmi
l
i
t
a
r
yl
e
a
de
rMa
nue
lNor
i
e
g
a
.Thi
sa
r
t
i
s
tus
e
s
t
hi
sna
mebe
c
a
us
eoft
hi
sl
e
a
de
r
’
sr
ut
hl
e
s
sr
e
put
a
t
i
on.Thena
me“
Ma
s
t
aKi
l
l
a
,
”r
e
f
e
r
r
i
ng
to one of the members of platinum hip-hop group, Wu-Tang Clan, highlights yet another
variation of verbal sampling. Wu-Tang Clan established its image based upon characters
from Chinese kung-f
uf
i
l
ms
.Na
me
sl
i
ke“
Ma
s
t
aKi
l
l
a
”a
nd“
Gol
de
nAr
ms
”or
i
g
i
na
t
e
from characters in these f
i
l
ms
.Theg
r
oup’
sna
me
,Wu-Tang Clan, derives from a
notorious group that is depicted in numerous films. Hip-hop names are a direct reflection
of what hip-hop artists are interested in at that time.
Just as hip-hop names vary, the themes in hip-hop lyrics also vary greatly.
However, some themes are constant within this culture. Money has always been a central
theme of hip-hop. Many rap artists have referred to money and material items
throughout hip-hop history. Because this is the dominant theme in hip-hop, the term for
“
mone
y
”ha
sc
ha
ng
e
df
r
e
que
nt
l
y
.Someoft
he
s
et
e
r
msi
nc
l
ude“
l
oot
,
”“
c
he
e
s
e
,
”
“
c
he
dda
r
,
”“
be
nj
a
mi
ns
,
”“
pa
pe
r
,
”a
nd“
c
r
e
a
m.
”Thet
e
r
m“
c
r
e
a
m”or
i
g
i
na
t
e
sf
r
om t
he
s
ong“
C.
R.
E.
A.
M.
”byWu-Tang Clan (Kelley, 2001). In this song, rapper Method Man
s
t
a
t
e
s
,“
Ca
s
hr
ul
e
se
ve
r
y
t
hi
nga
r
o
undme
/
c
r
e
a
m,ge
tt
hemone
y
/
dol
l
a
r
,dol
l
a
rbi
l
ly
a
’
l
l
”
37
(Wu-Ta
ngCl
a
n,1994a
)
.C.
R.
E.
A.
M.i
st
hea
c
r
ony
mf
ort
hes
l
oga
n“
c
a
s
hr
ul
e
s
e
ve
r
y
t
hi
nga
r
oundme
.
”Thi
sa
c
r
ony
me
ve
nt
ua
l
l
ybe
c
a
met
hewor
d“
c
r
e
a
m,
”whi
c
hi
sa
n
EastCoa
s
tt
e
r
mf
or“
mone
y
.
”Thet
e
r
mf
or“
mone
y
”a
l
s
oha
sadi
s
t
i
nc
tr
e
g
i
ona
l
difference that will be discussed in later chapters that focus on other dominant regions.
East Coast hip-hop is currently engrossed in a trend that emphasizes materialism. The
term “
i
c
e
”i
sat
e
r
mt
ha
ta
ppe
a
r
si
nt
hema
j
or
i
t
yoft
oda
y
’
sr
a
ps
ong
s
.Thee
xt
e
ns
i
veus
e
of“
i
c
e
,
”t
hehi
p-hopt
e
r
mf
or“
d
i
a
monds
,
”di
s
pl
a
y
st
hehi
g
hva
l
uet
ha
ti
spl
a
c
e
don
expensive jewelry in the world of hip-hop (Kelley, 2001). Expensive cars are also a large
part of East Coast hip-hop and its materialistic world. Rappers boast of $100,000
Mercedes-Be
nz600’
s
,$300,
000La
mbor
g
hi
niDi
a
bl
o’
s
,a
nd$400,
000Be
nt
l
e
y
’
si
nt
h
e
i
r
rhymes. Rap videos are filled with images of these cars, million dollar mansions, and
Cr
i
s
t
a
lc
ha
mpa
g
ne
.Thewor
d“
whi
p”i
de
nt
i
f
i
e
sa“
c
a
r
”(
Ke
l
l
e
y
,2001)
.Some
onewi
t
ha
“
t
i
g
htwhi
p”ha
sa“
ni
c
ec
a
r
.
”I
nhi
p-hop’
sve
r
na
c
ul
a
r
,c
a
r
sbyMe
r
c
e
de
s
-Benz are
referred to by the first number of their particular model. Lexus vehicles are referred to as
“
Le
x.
”ALi
nc
ol
nNa
vi
g
a
t
ort
r
uc
ki
sr
e
f
e
r
r
e
dt
oa
sa“
g
a
t
or
.
”Twohundr
e
ddol
l
a
rCr
i
s
t
a
l
c
ha
mp
a
g
nei
sr
e
f
e
r
r
e
dt
oa
s“
Cr
i
s
”a
ndMoe
tc
ha
mpa
g
nei
s“
Mo.
”
Some
onewhoha
sma
nyoft
he
s
ema
t
e
r
i
a
li
t
e
msi
sknowna
sa“
bi
gwi
l
l
i
e
.
”One
interesting aspect of this term is the fact that it faded out of hip-hop shortly after the
r
e
l
e
a
s
eofWi
l
lSmi
t
h’
s“
Bi
gWi
l
l
i
eSt
y
l
e
.
”Wi
l
lSmi
t
h,a
l
t
houg
hr
e
s
pe
c
t
e
di
nt
hemovi
e
industry, is not respected in the purist hip-hopwor
l
d.Thi
si
sduet
ot
he“
ma
i
ns
t
r
e
a
m”
focus of his music. Hip-hop loyalty strays quickly from anything associated with the
“
ma
i
ns
t
r
e
a
m”(
Ke
l
l
e
y
,2001)
.Whe
nWi
l
lSmi
t
hu
s
e
dt
hi
st
e
r
m,i
tl
os
ti
t
ss
t
r
e
e
t
38
c
r
e
di
bi
l
i
t
ybe
c
a
us
ehei
sc
ons
i
de
r
e
da“
c
omme
r
c
i
a
l
”a
r
t
i
s
t
.Thi
si
soneoft
hei
r
oni
c
points of this culture that focuses so heavily on success. Once an artist gains widespread
f
a
me
,t
hec
ul
t
ur
eus
ua
l
l
ybr
a
ndshi
m orhe
ra
sa“
s
e
l
l
out
.
”Thes
a
mepa
r
a
l
l
e
le
xi
s
t
si
nt
he
classroom because many successful students must mix their communication with
Standard English and hip-hop vernacular to be socially accepted by many of their
f
r
i
e
nds
.Thi
st
i
e
si
nt
ot
hede
ba
t
eove
rt
hewor
ds“
hi
p-hop”a
nd“
r
a
p”t
ha
twa
sme
nt
i
one
d
earlier (Kelley, 2001). This has been an issue in hip-hop culture since the mid-1990’
s
.
“
Hi
p-hop”is seen as the purest form of the culture, the elements which it was founded
upon
.
“
Ra
p”i
ss
e
e
na
st
he“
ma
i
n
s
t
r
e
a
m”ve
r
s
i
onoft
hec
ul
t
ur
et
ha
ti
sf
oc
us
e
ds
t
r
i
c
t
l
yon
financial gain. Credibility and materialism are two concepts that have always been the
focus of many aspects of the culture.
The East Coast is the foundation of the language of hip-hop. It is responsible for
the framework that all other forms of hip-hop language merely build upon. The rich
culture of New York City is heavily responsible for the creativity that sparked this
cultural invention (Kelley, 2001). The creative energy that the East Coast has
contributed to the language of hip-hop will forever secure its place as the Mecca of hiphop.
The East Coast remained the dominant central area for hip-hop throughout its
e
a
r
l
yy
e
a
r
s
.Thel
a
t
e1980’
sma
r
ke
dt
hebe
g
i
nni
ngoft
hee
me
r
ge
nc
eofa
not
he
rhi
p-hop
region. Because Los Angeles is a major venue for the entertainment industry, it was only
natural for the city to become the next major center for hip-hop (Kelley, 2001). The
pioneers of West Coast hip-hopwe
r
ea
r
t
i
s
t
ss
uc
ha
s“
Unc
l
eJ
a
mm’
sAr
my
”a
ndI
c
e
-T.
39
However, the first group to truly establish the West Coast sound was N.W.A. Their
na
mei
sa
na
c
r
ony
mf
or“
Ni
gg
a
zWi
t
hAt
t
i
t
ude
.
”Thi
smul
t
i
-platinum selling group
e
s
t
a
bl
i
s
he
dwha
tt
hei
ndus
t
r
yi
de
nt
i
f
i
e
sa
s“
g
a
ng
s
t
a
”r
a
pa
ndl
a
i
dt
hef
ounda
t
i
onf
ort
he
West Coast sound. Many people who were actually raised in the environment that this
music describes are offended by its content (Dyson, 1996). This is a statement that truly
shows the power of gangsta rap because Dyson is a staunch supporter of hip-hop. The
powe
r
f
ule
f
f
e
c
tofg
a
ng
s
t
ar
a
p’
se
xpl
i
c
i
tl
y
r
i
c
sa
ndr
a
ws
t
r
e
e
tt
a
l
e
sha
sha
dat
r
e
me
nd
o
us
effect upon the way many Americans view hip-hop. Thet
e
r
m“
ga
ng
s
t
a
”i
sahi
p-hop
s
pe
l
l
i
ngoft
hewor
d“
g
a
ng
s
t
e
r
.
”A“
ga
ng
s
t
a
”i
nWe
s
tCoa
s
thi
p-hop terms, is someone
who participates in the street gang lifestyle. This life involves drug dealing, gun toting,
and gang membership. This lifestyle is a reality in areas of Compton, Watts, and other
Los Angeles-area neighborhoods.
The gang problem of Los Angeles is directly reflected in the music of West
Coa
s
tr
a
ppe
r
s
.I
nt
hes
ong“
TheNe
xtEpi
s
ode
,
”We
s
tCoa
s
tr
a
ppe
rSnoopDoggs
t
a
t
e
s
,
“
Cr
i
pwa
l
ki
fy
ou’
r
edownwi
t
ht
hes
e
t
”(
Dr
.Dr
e
,2000)
.“
Cr
i
pwa
l
k”i
de
nt
i
f
i
e
sada
nc
e
t
ha
ti
spe
r
f
or
me
dbyme
mbe
r
sofL.
A.
’
sCr
i
pg
a
ng
.A“
s
e
t
”i
sane
i
g
hbor
hood’
s
pa
r
t
i
c
ul
a
rdi
vi
s
i
onofaga
ng
.I
nma
nywa
y
s
,“
g
a
ng
s
t
ar
a
p”pos
s
e
s
s
e
sa“
l
i
f
ei
mi
t
a
t
e
sa
r
t
”
mentality (Dyson, 1996). This is clearly evident because many rap artists have been
i
nvol
ve
di
nc
r
i
mi
na
la
c
t
st
hr
oug
houtt
he
i
rc
a
r
e
e
r
sa
s“
g
a
ng
s
t
a
”r
a
ppe
r
s
.SnoopDoggwa
s
involved in a murder trial that led to strong anticipation for the release of his solo album.
SnoopDogg
’
svi
olent lyrics played a large part in the trial. Snoop is known for lyrics
s
uc
ha
s“
187onaunde
r
c
ove
rc
op,
”(
Dr
.Dr
e
,1991)
,whi
c
hme
a
ns“
mur
de
r
i
nga
n
40
unde
r
c
ove
rc
op.
”Thet
e
r
m“
187
”i
st
heLosAng
e
l
e
sPol
i
c
eDe
pa
r
t
me
nt
’
sc
odef
or
homicide, which is a term used in West Coast hip-hop. This pattern of criminal trouble
has existed throughout West Coast hip-hop history.
The vocabulary of West Coast hip-hop has many variations. The short form of
“
ga
ng
s
t
a
”i
s“
g
.
”We
s
tCoa
s
ta
r
t
i
s
t
sbe
ga
nt
or
e
f
e
rt
ot
he
ms
e
l
ve
sa
s“
g
’
s
.
”Anot
he
rwor
d
t
ha
ti
ss
hor
t
e
ne
di
st
hewor
d“
d’
s
.
”Thi
swor
dme
a
ns“
Da
y
t
ons
.
”Da
y
t
onwhe
e
l
sa
r
e
custom wheels that are commonly placed on classic automobiles. Derogatory references
to women also began to appear frequently in West Coast hip-hop lyrics. The use of the
wor
ds‘
bi
t
c
h”a
nd“
ho”i
nWe
s
tCoa
s
thi
p-hop became so influential that this practice
has become a dominant feature in the language of hip-hopl
i
s
t
e
ne
r
s
.OnDr
.Dr
e
’
s
(1992b) multi-platinum album The Chronic,Snoo
pDoggs
t
a
t
e
s
,“
Bi
----s a
i
n’
ts
hi
tbut
hoe
sa
ndt
r
i
c
ks
”(
Dr
.Dr
e
,1992a
)
.Thewor
d“
t
r
i
c
k”ha
st
hes
a
meme
a
ni
nga
s“
b---h”a
nd
“
hoe
.
”Thi
sl
i
nebe
c
a
meapopul
a
rphr
a
s
eont
heWe
s
tCoa
s
t
.Thr
oug
ht
hec
our
s
eofa
nor
ma
lc
onve
r
s
a
t
i
on,s
omey
oungAme
r
i
c
a
nma
l
e
sr
e
f
e
rt
owome
na
s“
b-----s
”a
ndhoe
s
”
in a casual manner. Hip-hopmus
i
c
’
sf
r
e
que
ntus
eoft
hewor
d“
hoe
”i
sme
r
e
l
ya
n
a
bbr
e
vi
a
t
e
dpr
onunc
i
a
t
i
onoft
hewor
d“
whor
e
”(
Smi
t
he
r
ma
n,1997)
.
These derogatory words have become so common in hip-hop that they have
almost completely lost their shock value. Use of these profane words is very prevalent in
t
oda
y
’
ss
c
hool
sa
ndl
e
a
dst
odi
s
c
i
pl
i
ner
e
f
e
r
r
a
l
sf
r
omt
e
a
c
he
r
sbe
c
a
us
eoft
he
i
rus
eby
s
t
ude
n
t
s
.Onepopul
a
rf
e
ma
l
er
a
ppe
r
,Tr
i
na
,i
de
nt
i
f
i
e
she
r
s
e
l
fa
st
he“
Ba
dde
s
tB---h.
”
Ra
pp
e
rLi
l
’Ki
mi
de
nt
i
f
i
e
she
r
s
e
l
fa
st
he“
Que
e
nB---h.
”The
s
et
e
r
msnowa
ppe
a
rt
obe
labels for women that denote power, confidence, or arrogance. Vowel sounds also play
41
important role effects in the use of hip-hop words. Patterns emerge such as saying
“
t
ha
ng
”i
ns
t
e
a
dof“
t
hi
ng.
”Thi
si
se
vi
de
nti
nt
hec
l
a
s
s
i
chi
p-hops
ong“
Nut
hi
nbuta‘
G’
Tha
ng”(
Smi
t
he
r
ma
n,1997)
.
The labels that East Coast hip-hop placed on everyday items began to appear in a
new form as West Coast hip-hop expanded. Cars began to be referred to by West Coast
a
r
t
i
s
t
sa
s“
hoopt
i
e
s
.
”Wor
dsf
r
om Ca
l
i
f
or
ni
a
’
sga
ngc
ul
t
ur
ebe
g
a
nt
os
pr
e
a
dt
oot
he
rpa
r
t
s
of the nation through hip-hop.Wor
dss
uc
ha
s“
s
e
tt
r
i
ppi
n,
”whi
c
hme
a
ns“
e
xpr
e
s
s
i
ng
y
ourga
nga
f
f
i
l
i
a
t
i
on,
”be
c
a
mef
a
mi
l
i
a
rt
ot
hos
ewhoha
dne
ve
re
xpe
r
i
e
nced this culture.
TheWe
s
tCoa
s
ta
l
s
oi
nt
r
oduc
e
dt
he“
c
-wa
l
k,
”whi
c
hwa
sme
nt
i
one
de
a
r
l
i
e
ra
sag
a
ng
a
c
t
i
vi
t
y
.Thi
sda
nc
e
,or
i
gi
na
l
l
yi
nt
e
nde
dt
oe
xpr
e
s
sa
f
f
i
l
i
a
t
i
onwi
t
ht
he“
Cr
i
p”ga
ng
,i
s
now a popular hip-hop dance (Kelley, 2001). The entire fascinationwi
t
h“
t
hugl
i
f
e
”i
sa
large part of West Coast hip-hop.Thi
sc
onc
e
pti
sawa
yofl
i
f
et
ha
tme
a
ns
,“
bet
r
uet
o
y
our
s
e
l
f
”a
nd“
f
e
a
rnoma
n.
”
One language practice that originated on the West Coast is truly unique.
California artists began to add common soundst
odi
f
f
e
r
e
ntwor
ds
,s
uc
ha
ss
a
y
i
ng“
f
a
s
hi
z
z
e
l
”t
ode
not
e“
f
ors
ur
e
”a
nd“
g
ot
ot
hehi
z
z
e
l
”t
ode
not
e“
g
oi
nghome
.
”The“
i
z
z
e
l
”
s
oundi
spl
a
c
e
dwi
t
ha
l
lwor
dst
opr
oduc
eac
ommons
oundt
hr
oug
houtt
hepe
r
s
on’
s
speech (Kelley, 2001).
Thewor
d“
s
a
gg
i
n”became popular on the West Coast to signify pants that are
wor
nha
ng
i
ngf
r
omt
hewa
i
s
t
.Th
et
e
r
m“
f
l
a
g”i
de
nt
i
f
i
e
saba
nda
na
,whi
c
hi
sus
ua
l
l
y
worn to indicate gang affiliation. West Coast artists are also known for coining phrases
s
uc
ha
s“
y
oudon’
the
a
rmedoe
”a
nd“pl
e
a
s
ebe
l
i
e
vei
t
.
”“
Youdon’
the
a
rmedoe
,
”a
42
f
or
mof“
y
oudon’
the
a
rmet
houg
h”i
sus
e
dt
oe
mpha
s
i
z
ewha
ts
ome
onei
ss
a
y
i
ng
.
“
Pl
e
a
s
ebe
l
i
e
vei
t
,
”ane
we
rWe
s
tCoa
s
tt
e
r
m,i
sa
l
s
oawa
yt
oe
mpha
s
i
z
eas
t
a
t
e
me
ntt
ha
t
has been made. The popular movie, Boyz in the Hood, exposed West Coast hip-hop
culture to mainstream America in many ways (Kelley, 2001). This movie presented the
language, clothing, and lifestyle of the West Coast to mainstream America.
Ca
l
i
f
or
ni
a
’
sBa
yAr
e
aha
sl
ongbe
e
nas
t
rong contributor to hip-hop vocabulary.
Oakland and its surrounding areas have established themselves as a breeding ground for
the latest rap slang. The uniqueness of the language of this area has become the defining
f
a
c
t
oroft
hi
sa
r
e
a
’
shi
p-hop culture. Rap artist, E-40, has become known as the central
f
i
g
ur
ebe
hi
ndt
hi
sa
r
e
a
’
ss
l
a
ng
.TheBa
yAr
e
ai
sknowna
st
he“
Ya
yAr
e
a
.
”Thet
e
r
m
“
y
a
y
”i
de
nt
i
f
i
e
s“
dr
ug
s
.
”Duet
ot
hi
sa
r
e
a
’
shi
g
hdr
ugt
r
a
f
f
i
c
ki
ng
,i
ti
sr
e
f
e
r
r
e
dt
oa
st
he
“
Ya
yAr
e
a
”t
ode
not
et
hes
t
r
ong presence of drug dealing in the area. One of the
purposes of urban education is to train students to communicate both orally and in
writing, in a manner in which others can understand it (Ramirez, 2005).
The hip-hop language of the Bay Area is rarely understood by those outside of
t
hi
sr
e
g
i
on.OneBa
yAr
e
as
l
og
a
n,“
popy
ac
ol
l
a
r
,
”whi
c
hme
a
ns“
s
howof
f
”or“
be
y
our
s
e
l
f
,
”ha
sbe
c
omepopul
a
rna
t
i
onwi
de
.Thi
sphr
a
s
ea
c
c
ompa
ni
e
st
hea
c
t
ua
lphy
s
i
c
a
l
g
e
s
t
ur
eofg
r
a
bbi
ngone
’
sownc
ol
l
a
r
.Thi
sa
c
ti
se
ve
ndoneby pro football players after
s
c
or
i
ngt
ouc
hdowns
.Anot
he
rpopul
a
rBa
yAr
e
at
e
r
mi
s“
wha
t
’
sc
r
a
c
ki
n?
”Thi
st
e
r
m,a
s
hor
t
e
ne
df
or
m of“
wha
t
’
sc
r
a
c
k
u
l
a
t
i
n?
”me
a
ns
,“
wha
t
’
sg
oi
ngon?
”I
tde
r
i
ve
sf
r
omt
he
s
a
y
i
ng“
wha
t
’
spoppi
n?
”Thi
st
e
r
m ha
st
hes
a
meme
a
ni
nga
s“
wha
t
’
spoppi
n
?
”e
xc
e
pti
t
us
e
sa
not
he
rs
ound,“
c
r
a
c
ki
n,
”t
og
i
vene
wl
i
f
et
oa
nol
de
rwor
d.Thema
ny
43
conversational terms that are used for money in the Bay Area are one of the most
interesting aspects of the language of this area (Kelley, 2001). Some of these terms are
“
s
c
r
i
l
l
a
”a
nd“
f
e
t
t
i
.
”Te
r
msl
i
ke“
s
pr
i
nkl
eme
,
”whi
c
hme
a
ns“
t
e
l
lme
,
”be
c
a
met
het
i
t
l
e
of E-40’
shi
ts
ong“
Spr
i
nkl
eMe
.
”Va
l
l
e
j
o,Ca
l
i
f
or
ni
ai
sr
e
f
e
r
r
e
dt
oa
s“
Va
l
l
e
yJ
oe
”
which is an interesting form of slang. This variation takes the Spanish root of this word
and translates it into a two-word English nickname.
OneBa
yAr
e
aphr
a
s
et
ha
tha
ss
pr
e
a
da
l
love
rt
heUni
t
e
dSt
a
t
e
si
s“
pl
a
y
e
rha
t
e
r
.
”
Thi
st
e
r
mr
e
pr
e
s
e
nt
ss
ome
onewh
oi
sj
e
a
l
ousofas
uc
c
e
s
s
f
ulpe
r
s
on.“
Pl
a
y
e
r
”i
st
he
definitive term in hip-hopl
a
ng
ua
g
ef
oras
uc
c
e
s
s
f
ulpe
r
s
on.The“
ha
t
e
r
”por
t
i
onof
“
pl
a
y
e
rha
t
e
r
”ha
sbe
c
omei
t
sownt
e
r
m.“
Ha
t
i
n”i
st
het
e
r
mt
ha
ti
de
nt
i
f
i
e
st
hepr
oc
e
s
sof
be
i
ngj
e
a
l
ous
.A“
ha
t
e
r
”i
st
hes
hor
t
e
ne
df
or
mof“
pl
a
y
e
rha
t
e
r
.
”Thi
swor
dha
se
xpa
nde
d
int
oma
nyf
or
mss
uc
ha
s“
Ha
t
e
r
a
de
”a
nd“
pl
a
y
e
rha
t
i
on.
”Theus
eofwor
dss
uc
ha
st
he
s
e
give the hip-hop listener a whole new vocabulary (Kelley, 2001).
The interesting factor about the majority of hip-hop slang is that many of its
users speak in a bi-dialectal manner. Although hip-hop language is the ideal way for hiphop fans to relate to their peers, mainstream America requires an entirely different
dialect. Even though a student may grow up in an environment that values nonstandard
dialect, they must eventually enter a professional society in which a completely different
form of speaking is demanded (Baugh, 1983). Issues such as dialect leveling also
become a factor when analyzing the language of hip-hop culture. This process occurs
when two individuals who speak different dialects come together and adjust their speech
to better understand one another (Baugh, 1983). When West Coast hip-hop listeners talk
44
with East Coast hip-hop listeners, there tends to be a focus away from the area-specific
terminology. The conversation will use universal hip-hopt
e
r
msl
i
ke“
t
i
g
ht
,
”“
t
hebomb,
”
a
nd“
pl
a
y
a
.
”OneEa
s
ta
ndWe
s
tCoa
s
tt
e
r
mi
s“
ba
i
l
.
”“
Ba
i
l
”me
a
nst
o“
l
e
a
ve
.
”TheEa
s
t
Coa
s
tus
e
st
e
r
msl
i
ke“
bounc
e
”a
nd“
Audi5000”t
oe
xpr
e
s
st
ha
tonei
s“
l
e
a
vi
ng
.
”“
Audi
5000
”i
sa
ni
nt
e
r
e
s
t
i
ngt
e
r
mt
ha
ti
sus
e
dbe
c
a
us
ei
t
sf
i
r
s
ts
y
l
l
a
bl
es
oundsl
i
ke“
out
t
a
he
r
e
.
”“
Audi
”be
c
ome
sas
hor
tf
or
m of“
out
t
ahe
r
e
.
”The“
5000”pa
r
ti
st
hemode
l
number of a car manufactured by Audi and is used with this word to simply add style.
Many of the harshest critics of street speech and hip-hop language come from
within the African American community (Baugh, 1983). Since the majority of those who
invent and use the language of hip-hop culture are Black, the criticism has been heavily
directed toward them. Black members of Congress, religious leaders, and other notable
African American figures have repeatedly spoken out against hip-hop culture. Religious
leader Reverend Calvin Butts and Congresswoman C. Delores Tucker are two of the
most noted African Americans who have spoken out against hip-hop. Reverend Butts
has organized several events where hip-hopCD’
swe
r
ede
s
t
r
oy
e
dpubl
i
c
l
y
.C.De
l
or
e
s
Tucker, a respected African American leader, has openly denounced hip-hop music
many times. The language of hip-hop is a central focus of her opposition to the culture.
The mastery of this language places the user in various categories in hip-hop. Just as
some people perform better in sports than others, some are able to master vernacular
language better than others (Baugh, 1983). This applies directly to hip-hop because its
language sounds awkward when used by someone outside of the culture. Hip-hop has a
sort of fraternal culture that is not easily accessible to outsiders. Most of hip-hop culture
45
assumes the participant has certain prior knowledge. This makes it difficult for an
outsider to understand certain hip-hop concepts.
Hip-hop has truly influenced the English of young Americans in many ways. The
interesting fact about this influence is that it includes White Americans. At one time, for
Whi
t
e
si
nAme
r
i
c
a
,c
ompa
r
i
ngone
’
sc
ommuni
c
a
t
i
ont
oAf
r
i
c
a
nAme
r
i
c
a
nl
a
ng
ua
g
ewa
s
a bitter insult (Dillard, 1972). This would apply to hip-hop culture since it is a
predominately African American culture. American history generally only slightly
acknowledges the influence that African Americans have had upon American culture as
a whole. This is an interesting concept when applied to hip-hop, because White
teenagers purchase more rap music than any other group. The many cultural lines that
this culture has crossed are further testaments of its true power and international scope.
The West Coast played a large role in developing hip-hop’
spowe
ra
nds
c
ope
.
The West Coast provided reinforcement to hip-hop at a time when its future was
uncertain. The enormous record sales and influence that N.W.A. had upon America
established hip-hop as a true powerhouse in the music industry. The anger that the West
Coast rappers expressed through rhyme highlighted the struggle that exists in Black
America (Kelley, 2001). Despite this social resistance, the negative messages that
appeared in this music overshadowed the cultural issues. The promotion of drugs,
alcohol, and violence in West Coast hip-hop overshadowed the message that America
needed t
ohe
a
r
.Song
ss
uc
ha
sSnoopDoggyDogg
’
s“
Gi
n&J
ui
c
e
”g
l
or
i
f
i
e
ddr
ugus
et
o
mi
l
l
i
onsofl
i
s
t
e
ne
r
s
.Thec
hor
usoft
hes
ongs
t
a
t
e
s
,“
Rol
l
i
n’downt
hes
t
r
e
e
t
,s
moki
ng
e
ndo,s
i
ppi
n’ong
i
n&j
ui
c
e
”(
SnoopDoggyDogg,1993)
.“
Endo”i
saWe
s
tCoa
s
tt
e
r
m
46
for marijuana. This song, featured on his multi-platinum selling album, stirred up the
interests of hip-hopl
i
s
t
e
ne
r
si
nr
e
g
a
r
dt
oma
r
i
j
ua
naa
nd“
g
i
n&j
ui
c
e
.
”Thes
a
mee
f
f
e
c
t
oc
c
ur
r
e
dwhe
nN.
W.
A.r
e
l
e
a
s
e
di
t
shi
ts
ong“
F--kt
hePol
i
c
e
.
”Thi
ss
ong
,wr
i
t
t
e
ni
n
response to rampant police brutality in Los Angeles, was seen by mainstream America
a
sac
a
l
lf
orvi
ol
e
nc
e
.Thi
ss
ong
ss
t
a
t
e
s
,“
nott
heot
he
rc
ol
or
,s
opol
i
c
et
hi
nkt
he
yha
ve
t
hea
u
t
hor
i
t
yt
oki
l
lami
nor
i
t
y
”(
N.
W.
A.
,1988)
.Af
r
i
c
a
nAme
r
i
c
a
nsi
nLosAnge
l
e
shave
dealt with negative issues such as the Rodney King incident that heavily influenced this
song. The media presented this song as a hate campaign against the police. This hatred
t
owa
r
d“
onet
i
me
,
”whi
c
hi
saWe
s
tCoa
s
tt
e
r
mf
or“
pol
i
c
e
,
”i
sadi
r
e
c
tr
e
s
ult of the
environment from which these West Coast artists are products.
West Coast hip-hop has played a large role in the growth and development of
hip-hop. The rawness of the West Coast brought worldwide attention to hip-hop culture
as a whole. Its message highlights problems and issues that America must eventually
address in some form (Kelley, 2001). By taking the torch that was passed on by the
founders on the East Coast, the West Coast established its own place in music history.
Southern hip-hop has emerged as a major force in the recording industry. For
many years, the East and West Coast dominated hip-hop, while the South was a small,
unnoticed voice. With the rise of independent record labels, artists from the South got a
taste of hip-hop glitz and glamour (Kelley, 2001). With all of its recent success, the
strength of Southern hip-hops
t
i
l
ll
i
e
si
ni
t
s“
down-to-e
a
r
t
h”f
l
a
vor
.
Hip-hop in the South became firmly established with the emergence of the Geto
Boys, a group from Houston, Texas. Their style, whi
c
hwa
ss
i
mi
l
a
rt
ot
heWe
s
tCoa
s
t
’
s
47
gangster image, reflected their environment. Growing up in Fifth Ward, one of the more
violent areas of Houston, they were witnesses to an environment filled with drugs and
violence (Kelley, 2001). Their music, filled with terms that hip-hop had never heard
before, established the South as one of the centers of creativity within the culture. The
t
e
r
m“
di
r
t
ySout
h,
”c
oi
ne
dbyAt
l
a
nt
ar
a
ppe
rCoolBr
e
e
z
e
,de
not
e
sSout
he
r
nhi
p-hop.
Thi
sna
mei
de
nt
i
f
i
e
st
heSout
h’
sg
r
i
t
t
y“
unde
r
gr
ound”i
ma
ge
.Hous
t
onha
sbr
oug
ht
language to hip-hop that has spread to all of its regions. One of the most popular words
i
nt
hi
sa
r
e
ai
s“
ba
l
l
a
.
”Thi
st
e
r
m,l
i
ke“
pl
a
y
a
,
”i
de
nt
i
f
i
e
sa“
s
uc
c
e
s
s
f
ulpe
r
s
on.
”I
nt
he
s
ong“
Wa
nnabeaBa
l
l
a
’
,t
hec
hor
uss
t
a
t
e
s
,“
Wa
nnabeaba
l
l
as
hotc
a
l
l
at
we
nt
yi
nc
h
bl
a
de
sona
nI
mpa
l
a
”(
Li
lTr
oy
,
1
999)
.The“
ba
l
l
a
”i
sa
s
s
oc
i
a
t
e
dwi
t
hma
t
e
r
i
a
li
t
e
ms
,
s
uc
ha
s“
bl
a
de
s
,
”whi
c
ha
r
ec
us
t
o
mc
hr
omewhe
e
l
s
.Anot
he
rpopul
a
rt
e
r
mt
ha
tor
i
g
i
na
t
e
d
i
nHo
u
s
t
oni
s“
c
r
unk,
”whi
c
hme
a
ns“
e
xc
i
t
i
ng
.
”Whe
nSout
he
r
nr
a
ppe
r
ss
a
y
,“
g
e
ti
t
c
r
unk,
”t
he
yme
a
n,“
ge
tt
hepa
r
t
yg
oi
ng
.
”Thec
onve
r
s
a
t
i
ona
lwor
dt
ha
ti
sus
e
di
nt
he
Sout
ht
oa
f
f
i
r
ms
ome
t
hi
ngt
ha
tha
sbe
e
ns
a
i
di
s“
a
l
r
e
a
dy
.
”I
fas
t
a
t
e
me
nti
sa
g
r
e
e
dup
on,
t
hepr
ope
rr
e
s
pons
ei
s“
a
l
r
e
a
dy
.
”
Just as the East and West Coast have their own terms to replace Standard English
wor
ds
,s
odoe
st
heSout
h.Ca
r
sa
r
er
e
f
e
r
r
e
dt
oa
s“
s
l
a
bs
”a
nd“
hoo-doo’
s
.
”Cus
t
om
whe
e
l
sa
r
er
e
f
e
r
r
e
dt
oa
s“
s
wa
ng
a
z
”a
nd“
c
hoppe
r
s
.
”Sout
he
r
nr
a
ps
pe
a
ksc
ons
t
a
nt
l
yof
“
wood
”a
nd“
s
c
r
e
e
ns
.
”“
Wood”i
de
nt
i
f
i
e
st
hewoodg
r
a
i
nt
ha
ti
sf
oundont
hei
nt
e
r
i
orof
ma
nyl
uxur
yc
a
r
s
.“
Sc
r
e
e
ns
”a
r
emobi
l
evi
de
o/
t
e
l
e
vi
s
i
ons
y
s
t
e
mst
ha
ta
r
ei
ns
t
a
l
l
e
di
n
cars (Kelley, 2001). It is popular in the South to get as many as six or more television
screens installed in a car as a sign of prosperity. One Houston term that is rather
48
i
nt
e
r
e
s
t
i
ngi
s“
s
t
e
r
ni
nwhe
e
l
.
”Thi
st
e
r
mf
or“
s
t
e
e
r
i
ngwhe
e
l
”i
sme
r
e
l
yava
r
i
a
t
i
onoft
he
or
i
g
i
na
lt
e
r
mt
og
i
vei
ta“
Sout
he
r
n”f
e
e
l
.Anot
he
rt
e
r
mt
ha
ti
sava
r
i
a
t
i
onof the original
t
e
r
mi
s“
t
wa
nki
e
s
.
”Thi
st
e
r
mi
de
nt
i
f
i
e
s“
t
we
nt
i
e
s
,
”whi
c
ha
r
e20-inch custom wheels.
Thewor
d“
t
we
nt
y
”i
sa
l
t
e
r
e
dt
og
i
vet
hewor
ds
t
y
l
ea
ndor
i
g
i
na
l
i
t
y
.“
Ca
ndy
”i
sat
e
r
m
that identifies custom paint jobs popular in the Houston area. In Houston, Cadillacs are
r
e
f
e
r
r
e
dt
oa
s“
Bos
sHogg
s
,
”ar
e
f
e
r
e
nc
et
oac
ha
r
a
c
t
e
rwhodr
i
ve
saCa
di
l
l
a
ci
nt
he
1980
’
st
e
l
e
vi
s
i
ons
howThe Dukes of Hazzard.“
Popt
r
unk”de
s
c
r
i
be
sat
r
e
ndi
nwhi
c
h
neon lights are placed in car trunks for display. Cars play a large part in the culture of
Southern hip-hop and are seen as the central representation of wealth and success.
Just as terms for marijuana are popular on the East Coast, West Coast, and in
American society as a whole, they are also popular in Southern hip-hop. Marijuana is
r
e
f
e
r
r
e
dt
oa
s“
da
nk,
”“
s
wi
s
ha
s
,
”“
f
r
y
,
”a
nd“
ki
l
l
a
.
”Thet
e
r
m“
s
wi
s
ha
”de
r
i
ve
sf
r
om t
h
e
Swisher Sweet cigar brand (Kelley, 2001). The popularity of this term is evident by the
pr
e
s
e
nc
eofi
ti
nt
hena
me“
Swi
s
haHous
e
,
”whi
c
hi
st
hena
meofa popular Houston rap
g
r
oup.“
Fr
y
”i
de
nt
i
f
i
e
sada
nge
r
ouspr
a
c
t
i
c
ei
nt
heSout
hwhe
r
ema
r
i
j
ua
nai
smi
xe
dwi
t
h
e
mba
l
mi
ngf
l
ui
d.Sa
y
i
ngss
uc
ha
s“
bl
ows
omeki
l
l
,
”whi
c
hme
a
ns“
s
mokes
ome
ma
r
i
j
u
a
na
”ha
vebe
c
omepopul
a
ri
nt
heTe
xa
sa
r
e
a
.Theus
eof“
ki
l
l
”i
sa short form of
t
hewor
d“
ki
l
l
a
.
”“
Ya
k”i
st
hes
hor
t
e
ne
df
or
m of“
c
og
na
c
,
”whi
c
hi
st
hea
l
c
oholof
c
hoi
c
ea
mongSout
he
r
n“
ba
l
l
e
r
s
.
”Anot
he
rpopul
a
rdr
ugt
e
r
mi
nt
heSout
hi
s“
s
y
r
up”or
“
l
e
a
n.
”I
napopul
a
rHous
t
onr
a
ps
ong
,a
r
t
i
s
tR.
P.Col
as
t
a
t
e
s
,“
Ma
n,hold up, I got too
muc
hl
e
a
ni
nmyc
up”(
R.
P.Col
a
,1999)
.“
Sy
r
up”or“
l
e
a
n”i
sadr
i
nkt
ha
tc
ons
i
s
t
sof
c
ode
i
n
es
y
r
upmi
xe
dwi
t
hs
of
td
r
i
nks
.I
nhi
ss
ong“
Ma
nn,
”Hous
t
onr
a
pa
r
t
i
s
tBi
gMoe
49
s
t
a
t
e
s
,“
g
otapot
e
nta
-- pur
pl
eSpr
i
t
e
”(
Bi
gMoe
,2000)
.Thi
si
de
nt
i
f
i
e
s“
s
y
r
up,
”whi
c
hi
s
a purple color when mixed with the Sprite soft drink. Drugs and alcohol have always
been a part of American culture that is linked with various vernacular terms.
These words are not only popular among those who are a part of hip-hop culture.
These words have spread to every race and social class in America. The words of
Southern Blacks have historically spread very rapidly to the northern parts of the U.S.
(Dillard, 1972). This statement identifies how the dialect of Southern Blacks spread
throughout the U.S. after slavery. Just as this Black Southern dialect spread throughout
the country, Southern hip-hop dialect has also had the same effect.
Renaming cities has also become a popular practice in the South. Every city that
is a major part of hip-hop in the South has at least one or two alternate names. Houston
i
sr
e
f
e
r
r
e
dt
oa
s‘
H-Town,
”At
l
a
nt
ai
s“
ThaA.
T.
L.
,
”a
ndNe
wOr
l
e
a
nsi
s“
Tha504”
because of its 504 area code (Kelley, 2001). Certain phrases have become exclusively
associatedwi
t
ht
heHous
t
ona
r
e
a
.Phr
a
s
e
ss
uc
ha
s“
I
’
mmac
omet
hr
oug
h,
”“
Br
e
a
kt
he
m
boy
zof
f
,
”a
nd“
wha
ti
tdo
?
”c
a
nbef
r
e
que
nt
l
yhe
a
r
di
nt
hemus
i
cofHous
t
ona
r
t
i
s
t
s
.
Hous
t
onr
a
pg
r
oup,t
heBot
a
nyBoy
z(
1999)s
t
a
t
e
,“
I
’
mmac
omet
hr
uwi
t
ht
hagr
i
l
la
nd
g
r
a
i
n/I
’
mmac
omet
hr
uwi
t
h50r
oc
ksonmyr
i
ng.
”I
nt
hi
ss
ong
,e
ve
r
yl
i
neoft
hi
sve
r
s
e
be
g
i
nswi
t
h“
I
’
mmac
omet
hr
u.
”The
s
ephr
a
s
e
sa
r
es
ome
t
i
me
sr
e
pe
a
t
e
da
tt
hebe
g
i
nni
n
g
ofal
i
neofr
a
pt
og
i
vet
hes
ongas
e
ns
eofr
e
pe
t
i
t
i
ve
ne
s
s
.“
Thr
owe
d”i
saHous
t
ont
e
r
m
thati
snowus
e
dt
hr
oug
houtt
heSout
h.Some
t
hi
ng“
t
hr
owe
d”i
ss
ome
t
hi
ng“
me
s
s
e
dup
”
or“
s
h
oc
ki
ng
.
”“
Pl
e
x”i
sa
not
he
rHous
t
onhi
p-hopt
e
r
m.Thi
sme
a
nst
o“
s
t
a
r
tt
r
oubl
e
.
”
This dialect even categorizes people based upon skin color (Kelley, 2001). In the South,
50
a light-s
ki
nne
dAf
r
i
c
a
nAme
r
i
c
a
ni
sr
e
f
e
r
r
e
dt
oa
sa“
y
e
l
l
owbone
”or“
r
e
d.
”The
s
ea
r
e
terms that were already a part of Black dialect. Houston is also known for inventing its
ownf
or
mofr
a
pknowna
s“
s
c
r
e
w.
”Thi
ss
t
y
l
e
,popul
a
r
i
z
e
dbya
na
r
t
i
s
tf
r
om t
hes
outh
side of Houston, D. J. Screw, has grown to enormous proportions since its beginnings.
Thi
ss
t
y
l
eha
ss
pr
e
a
dt
hr
oug
ht
hedi
s
t
r
i
but
i
onofunde
r
g
r
oundt
a
pe
sknowna
s“
s
c
r
e
w
t
a
pe
s
”whi
c
ht
a
kepopul
a
rr
a
ps
ong
sa
nds
l
owdownt
hepi
t
c
hoft
hes
ong
s
.Thi
si
scalled
“
s
c
r
e
wi
ng”t
hes
ound.Thi
sr
e
s
ul
t
si
nas
l
ows
oundt
ha
tha
ss
pr
e
a
da
l
love
rt
hena
t
i
on.
Ma
ny“
s
c
r
e
w”f
a
nss
t
a
t
et
ha
tt
hemus
i
cs
oundsbe
t
t
e
rwhe
nc
ombi
ne
dwi
t
hma
r
i
j
ua
na
use.
Clothing names have also felt the effect of Southern hip-hop. Versace sunglasses
a
r
es
e
e
na
sas
t
a
t
uss
y
mboli
nHous
t
on.The
s
es
ha
de
sa
r
er
e
f
e
r
r
e
dt
oa
s“
Sa
c
e
s
,
”y
e
t
another instance where the original word is abbreviated. Platinum and gold necklaces
with diamonds and other elaborate designs are also a part of this fashion. This type of
ne
c
kl
a
c
ei
sr
e
f
e
r
r
e
dt
oa
sa“
pi
e
c
e&c
ha
i
n”(
Ke
l
l
e
y
,2001)
.Gol
da
ndpl
a
t
i
num t
e
e
t
ha
r
e
also a popular style among Southern hip-hoppers. These teeth are usually referred to as
“
g
ol
ds
,
”“
g
r
i
l
l
s
,
”orbe
i
ng“
gr
i
l
l
e
dout
.
”Te
r
msf
orc
e
r
t
a
i
nt
y
pe
sof women also exist
wi
t
hi
nt
hi
sl
a
ng
ua
g
es
t
y
l
e
.I
nHous
t
on’
shi
p-hopl
y
r
i
c
s
,awoma
nwhoi
sa“
g
ol
ddi
gg
e
r
”
i
sr
e
f
e
r
r
e
dt
oa
sa“
boppe
r
.
”Thi
sde
r
i
ve
sf
r
om t
hewor
d“
t
e
e
nyboppe
r
”a
ndi
sy
e
t
another use of hip-hop word shortening. An attractive woman is refe
r
r
e
dt
oa
sa“
s
t
a
r
.
”
Social events also receive alternate names in the Southern hip-hop culture
(Kelley, 2001). One popular college event is an annual beach party that is held in
Galveston, Texas. This event is known in Southern hip-hopa
s“
TheKa
ppa
.
”This name
51
i
sas
h
or
tf
or
m of“
Ka
ppaBe
a
c
hPa
r
t
y
,
”t
hena
meoft
hee
ve
ntwhe
ni
twa
sa
s
s
oc
i
a
t
e
d
with Kappa Alpha Psi Fraternity. Even though the event is no longer affiliated with this
or
ga
ni
z
a
t
i
on,t
hee
ve
nti
ss
t
i
l
lr
e
f
e
r
r
e
dt
oa
s“
TheKa
ppa
.
”Thei
nf
l
ue
nc
eof the dialect of
Southern hip-hop is truly evident throughout the South.
Due to the widespread success of its hip-hop artists, New Orleans has also
contributed greatly to the language of Southern hip-hop. Artists such as Master P and
Juvenile have popular
i
z
e
dt
hel
oc
a
ls
l
a
ngoft
heNe
wOr
l
e
a
nsa
r
e
a
.“
Whodi
”ha
sbe
c
ome
apopul
a
rt
e
r
mt
ha
tme
a
ns“
f
r
i
e
nd.
”Apopul
a
rs
ongbyt
heNe
wOr
l
e
a
nsg
r
oup,The5
0
4
Boy
z
,s
t
a
t
e
s“
whe
r
ey
oua
twhodi
,I
’
mr
i
g
hthe
r
ewhodi
”(
504Boy
z
,2000)
.The
repetitive nature of this chorus resulted in this regional word being spread to many other
r
e
g
i
ons
.Ot
he
re
xa
mpl
e
sofwor
dst
ha
tha
vet
hes
a
meme
a
ni
ngi
nt
hi
sa
r
e
aa
r
e“
l
i
l
’
da
ddy
,
”“
l
i
l
’ma
ma
,
”a
nd“
pl
a
y
boy
.
”Thet
e
r
m“
bi
gbody
,
”whi
c
hi
de
nt
i
f
i
e
sal
a
r
g
e
luxury car, is a phrase that New Orleans rappers have popularized. Changing the sound
of certain words is a large part of the Black dialect in Louisiana. The most common
e
xa
mpl
e
soft
hi
si
ss
a
y
i
ng“
y
ur
n”i
ns
t
e
a
dof“
y
our
s
”a
nds
a
y
i
ng“
s
c
ur
r
e
d”a
soppos
e
dt
o
“
s
c
a
r
e
d.
”I
nhi
spl
a
t
i
num-s
e
l
l
i
ngs
i
ng
l
e“
Sha
keI
tFa
s
t
,
”Ne
wOr
l
e
a
nsr
a
ppe
rMy
s
t
i
ka
l
s
t
a
t
e
s
,“
don’
tbes
c
ur
r
e
d…”(
My
s
t
i
ka
l
,2000)
.Theus
eoft
hi
ss
ounda
dde
dt
ot
he
commercial appeal of this song by making it verbally unique. A song by New Orleans
artist B.G. popularized the term“
bl
i
ngbl
i
ng
.
”Thi
sme
a
ns“
t
os
hi
ne
.
”Thi
st
e
r
mi
snow
used in other hip-hopr
e
gi
onst
ode
not
e“
s
hi
ni
ng
”or“
br
i
g
ht
.
”Ne
wOr
l
e
a
nsa
l
s
o
or
i
g
i
na
t
e
dt
het
e
r
m“
s
t
un’
n.
”Thi
sme
a
ns“
s
howi
ngof
f
.
”Thi
sde
r
i
ve
sf
r
om “
s
t
unt
.
”A
52
stunt is usually a spectacular act, so this identifies someone who possesses spectacular
cars, jewelry, clothes, etc.
Florida plays two roles in the hip-hop community. Florida is on the East Coast of
the U.S. and it is a part of the Southern U.S. This has resulted in the development of a
uni
quei
de
nt
i
t
y
.Themos
tpopul
a
rphr
a
s
et
ha
tha
se
me
r
g
e
df
r
omt
hi
sa
r
e
ai
s“
hooc
hi
e
ma
ma
.
”Thi
swor
dr
e
pr
e
s
e
nt
sawoma
nwi
t
hnodi
g
ni
t
y
,s
i
mi
l
a
rt
o“
boppe
r
”(
Te
xa
s
)a
nd
“
s
ke
e
z
e
r
”(
Ne
wYor
k)
.I
nt
he
i
rs
ong“
Hooc
hi
eMa
ma
,
”c
ont
r
ove
r
s
i
a
lMi
a
miGr
oup2
Live Cre
ws
t
a
t
e
,“
y
oua
i
n’
tnot
h
i
n’butahooc
hi
ema
ma
/hoodr
a
t
,hoodr
a
thooc
hi
e
ma
ma
”(
2Li
veCr
e
w,1995)
.Thewor
d“
hoodr
a
t
”i
saWe
s
tCoa
s
tt
e
r
mt
ha
ta
l
s
oha
st
he
s
a
meme
a
ni
ng
.Thes
t
y
l
eofmus
i
ct
ha
ti
spopul
a
ri
nt
hi
sa
r
e
ai
sknowna
s“
Mi
a
miBa
s
s
.
”
This name identifies the heavy bass tones in the music of this area. This name has led to
t
hi
ss
t
y
l
es
i
mpl
ybe
i
ngc
a
l
l
e
d“
b
a
s
s
”mus
i
c
.Thi
ss
t
y
l
eofhi
p-hop is also popular in the
Atlanta area. Due to many hit songs, Miami has established its own identity in hip-hop
culture.
The names of Southern rap artists are also interesting. Houston rap artists use
names such as Scarface, Yungstar, and Slim Thug. Scarface, one of the most popular
Southern rappers, takes his name from the film Scarface. The main character in this
movie, Tony Montana, is frequently idolized by hip-hop fans because of what he
represents in this film. His rise to riches from being a poor Cuban immigrant is hip-hop’
s
shining example of what one can achieve. The name Yungstar is a variation of
“
Young
s
t
e
r
”(
Ke
l
l
e
y
,2001)
.Theva
r
i
a
t
i
onoft
hi
sna
mea
ddst
hewor
d“
s
t
a
r
”t
onowg
i
ve
t
heme
a
ni
ng“
y
oungs
t
a
r
.
”Sl
i
m Thugs
howst
hei
nf
l
ue
nc
eofWe
s
tCoa
s
tr
a
ppe
r2Pa
c
53
(
1995)
.Thec
e
nt
r
a
lt
he
meof2Pa
c
’
sr
e
c
or
dswa
s“
t
hugl
i
f
e
,
”hi
g
hl
i
g
ht
i
ngt
hel
i
f
eofa
“
t
hug
.
”Hi
ss
t
r
ongi
nf
l
ue
nc
eha
sr
e
s
ul
t
e
di
nt
hea
ppe
a
r
a
nc
eoft
hewor
d“
t
hug
”i
nna
me
s
s
uc
ha
s“
Sl
i
mThug
.
”
Everyday language in Southern hip-hop is almost a language of its own. Many
a
r
e
a
sus
edi
f
f
e
r
e
ntwor
dst
oe
xpr
e
s
st
hes
a
meme
a
ni
ng
s
.Whe
r
e
a
s“
s
t
un’
n”me
ans
“
s
howi
ngof
f
”i
nNe
wOr
l
e
a
ns
,“
a
c
t
i
n’ba
d”me
a
nst
hes
a
mei
nHous
t
on.Di
f
f
e
r
e
nc
e
si
n
pronunciation also determine the region in which a rap artist lives. For example, on the
Ea
s
tCoa
s
t
,“
s
hor
t
y
”i
sat
e
r
mus
e
dt
or
e
f
e
rt
oaf
e
ma
l
e
.Howe
ve
r
,i
nAt
l
a
nt
a
,the word
ha
st
h
es
a
meme
a
ni
ng
,buti
spr
onounc
e
d“
s
ha
wt
e
e
.
”Thepr
e
s
e
nc
eoft
heSout
he
r
n
dialect is the difference between the words from a regional perspective (Kelley, 2001).
Differences such as this enable one to determine where the rapper is from when it comes
to the language of hip-hop.
The language practices of Southern hip-hop involve some of the most unique
words in the entire hip-hop vernacular. The fact that the South has emerged as a true
powerhouse in the music industry is a testament of the perseverance of these artists. For
many years, Southern hip-hopwa
ss
e
e
na
s“
c
ount
r
y
”a
nd“
s
i
mpl
i
s
t
i
c
”(
Ke
l
l
e
y
,2001)
.
Now it is recognized as one of the pillars of the hip-hop community.
The Source is recognized as one of the premier sources of information regarding
hip-hop culture. It is one of the top-selling hip-hop magazines. This magazine focuses on
all aspects of hip-hop culture. Due to its enormous influence, the magazine receives
mixed reviews from the hip-hop community. This is especially evident in regard to the
ma
ga
z
i
ne
’
sa
l
bum r
a
t
i
ngs
.Ea
c
hmont
h,t
hema
g
a
z
i
ner
a
t
e
sa
l
loft
hehi
p-hop album
54
releases (Kelley, 2001). This has become a process that is greeted by fan resistance when
an artist receives a low rating. Some rap artists and fans feel that the magazine has
become too powerful and gives biased opinions. There are also those who feel that it is
t
r
ul
y“
TheSour
c
e
”f
orhi
p-hop. The magazine has recently experienced a loss in
popularity due to the controversial viewpoints of its owners.
One popula
rf
e
a
t
ur
eoft
hi
sma
g
a
z
i
nei
si
t
s“
Hi
p-hopQuot
a
bl
e
”c
ol
umn.Thi
s
column showcases the best song lyrics of each month. Many times, rap lyrics are
difficult to understand with music. Also, few hip-hop artists print their lyrics with the
CD. This column gives the reader a chance to truly analyze the lyrics. This process is
important because hip-hop lyrics are a direct reflection of what young America really
feels. The study of popular culture has gone from being neglected academically to
becoming a legitimate field worthy of serious research (Adjaye, 1997). The legitimacy
of hip-hop culture has become clearly evident through the fact that it grosses over one
billion dollars each year. In the April 2001 issue of The Source,l
y
r
i
c
sf
r
om “
Be
ne
f
i
t
s“
by Kam were featured. Kam is a West Coast artist who is known for his social and
pol
i
t
i
c
a
lc
omme
nt
a
r
y
.Thepor
t
i
o
noft
hi
ss
ongt
ha
twa
ss
e
l
e
c
t
e
da
sApr
i
l2001’
s“
Hi
phopQuot
a
bl
e
”s
t
a
t
e
s
,
Pi
s
t
olgr
i
ppi
n’
/
Tr
i
c
kf
l
i
ppi
n’
/
Cl
i
c
kt
r
i
ppi
n’
/
Soundsbumpi
n’
/
Get your body j
umpi
n’
/
Like Scottie Pippen/
Di
ppi
n’andr
i
di
n’
/
West Coast eastsiders/
Where the blue and red flames/
Like cigarette lighters/
55
We street fighters/
Like the video game/
No pity, no shame/
An’wej
us
tt
e
l
lt
hepol
i
c
e
/
Anyol
’t
hangandr
e
mai
ns
i
l
e
nt
/
Never nonviolent/
Once you aggress/
God bless Dr. King but nigga/
Wegon’mak
eame
s
s
/
An’y
ous
e
es
t
r
e
s
s
/
Success is the best revenge/
Idon’
tge
ti
nt
os
hi
t
/
Unless it offenses friends/
To be or not to be?/
Took me a minute to see/
Thatai
n’
tt
heque
s
t
i
on/
The question is/
What
’
si
ni
tf
orme
?/
Ai
n’
tnut
hi
n’f
r
e
e
/
You got to make it worth my while/
Ine
v
e
rt
r
us
tas
mi
l
i
n’f
ac
e
/
‘
Caus
et
he
yj
us
tr
e
f
i
l
e
dmyc
as
e
/
To go to trial/
The words cut like a knife/
I
’
moutf
ormone
y
,l
ux
ur
y
/
Good homes and friendships/
In all walks of life
(Kam, 2001)
The most obvious aspect of the language used in these lyrics is the dropping of
t
he“
g
”a
tt
hee
ndofwor
ds
.Thi
ss
ur
f
a
c
eva
r
i
a
t
i
onha
sbe
e
nc
ommoni
nhi
p-hop
l
a
ng
ua
g
es
i
nc
ei
t
sbe
g
i
nni
ng
.Theus
eof“
gr
i
ppi
n’
”i
ns
t
e
a
dof“
gr
i
ppi
ng”a
ddst
hehi
phops
oundt
ot
hewor
ds
.Dr
oppi
ngt
he“
g
”f
r
om t
he
s
ewor
dsg
i
ve
st
he
m a“
s
t
r
e
e
tf
e
e
l
”a
s
oppo
s
e
dt
ot
heSt
a
nda
r
dEng
l
i
s
hs
ounds
.I
nt
het
hi
r
dl
i
ne
,Ka
m us
e
st
hewor
d“
c
l
i
c
k.
”I
n
hip-h
o
p,t
hi
swor
dme
a
ns“
y
ourg
r
oupoff
r
i
e
nds
.
”Thi
sword possesses the same
me
a
ni
nga
st
hewor
d“
c
l
i
que
.
”I
nt
hi
sl
i
ne
,“
t
r
i
ppi
n”me
a
ns“
c
a
us
i
ngt
r
oubl
e
.
”Whe
nhe
56
s
t
a
t
e
s
,“
Cl
i
c
kt
r
i
ppi
n,
’
”hei
se
xpr
e
s
s
i
ngt
ha
thei
snotg
e
t
t
i
nga
l
ongwi
t
hhi
s“
c
l
i
c
k.
”The
wor
d“
bumpi
n’
”i
nt
hef
our
t
hl
i
neme
a
ns“
pl
a
y
i
ngmus
i
cl
oud”(
Ke
l
l
e
y
,2001)
.Whe
n
y
oua
r
epl
a
y
i
ngl
oudmus
i
c
,y
oua
r
e“
bumpi
n’
”y
ourmus
i
c
.Thes
i
mi
l
e“
Ge
ty
ourbody
j
umpi
n’l
i
keSc
ot
t
i
ePi
pp
e
n”i
sa
ne
xa
mpl
eofhowr
a
pus
e
ss
i
mi
l
e
s
.Ka
mc
hoos
e
st
ous
e
basketball star Scottie Pippen in this line because of his jumping ability. Rappers use
s
i
mi
l
e
sl
i
ke“
r
i
c
ha
sBi
l
lGa
t
e
s
”a
nd“
dopel
i
kehe
r
oi
n”t
oe
nha
nc
et
hea
ppe
a
loft
he
i
r
rhymes. The use of these similes is seen as a way of showing how skilled you are as a
lyricist (Kelley, 2001). The more creative and obscure these similes are, the more respect
y
our
e
c
e
i
vea
sal
y
r
i
c
i
s
t
.“
Di
ppi
n’a
ndr
i
di
n’
”f
r
om t
hes
e
ve
nt
hl
i
nes
i
mpl
ya
l
l
ude
st
o
“
c
r
ui
s
i
ngi
ny
ourc
a
r
.
”Whe
nhes
t
a
t
e
s
,“
bl
uea
ndr
e
df
l
a
me
s
,
”hei
sr
e
f
e
r
r
i
ngt
ot
heLos
Angeles gangs, the Crips and Bloods. This reference is present in the rhyme to reinforce
t
heWe
s
tCoa
s
t
’
si
de
nt
i
t
y
.Thega
ngpr
obl
e
mi
nLosAnge
l
e
sha
sa
l
wa
y
sbe
e
naf
a
c
t
or
t
ha
th
a
sa
f
f
e
c
t
e
dWe
s
tCoa
s
t
’
shi
p-hop identity. The rhyme continues on with more
s
i
mi
l
e
st
ha
tma
t
c
hKa
m’
s“
ha
r
d
c
or
e
”delivery. The lyrics in this song give a clear
example of how hip-hop uses language to establish its sense of style and culture.
Another lyrical example of hip-hopl
a
ng
ua
g
ei
st
heMa
r
c
h2001“
hi
p-hop
quot
a
bl
e
.
”Thi
se
xa
mpl
ei
sapor
t
i
onof“
Wha
tI
f
”byFr
e
dro Starr. Fredro Starr is a New
York rapper/actor who is a part of the cast of the popular African American television
show Moesha. This passage states,
57
What if Notorious was here?
What if he was around?
Would all these ni**as claim to be king?
Who would wear the crown?
Yo, what if Pac was still thuggin?
What if he was alive?
Woul
dal
lt
he
s
eni
**asbes
c
r
e
ami
n’outr
i
deordi
e
?
Whati
fMi
l
l
iVani
l
l
i
’
sr
e
c
or
dne
v
e
rs
k
i
ppe
dons
t
age
?
The
y
’
dbet
hei
l
l
e
s
tc
onni
**asi
nt
hegamet
oday
Yo, what if Jordan never had Scottie?
What if Sammy never ratted Gotti?
What if New York without Giuliani?
What if Mike Tyson fought Ali in his prime?
What if Will Smith got gangsta and start cursing in rhymes?
What if Erick never met Parrish?
Thi
nkt
he
y
’
dbemak
i
ndol
l
ar
s
?…
What if Eminem was Black?
Would he have sold five mil?
Or would he be one out of five million rappers
Wi
t
hnode
al
?…
(Fredro Starr, 2001)
The lines of this song use hip-hop expressiveness and language to convey
nume
r
ousme
s
s
a
g
e
s
.Ther
e
f
e
r
e
nc
et
o“
Not
or
i
ous
”i
dentifies the name of deceased rap
legend, Notorious B-I-G.Ther
e
f
e
r
e
nc
et
o“
Pa
c
”i
de
nt
i
f
i
e
sa
not
he
rde
c
e
a
s
e
dr
a
pl
e
g
e
nd,
Tupa
cSha
kur
.Thi
sl
i
nepoi
nt
southowma
nyr
a
ppe
r
sha
vei
mi
t
a
t
e
dTupa
c
’
ss
t
y
l
ea
n
d
language since his death. The next lines refer to Tupa
cSha
kur
’
ss
l
og
a
n,“
Ri
deorDi
e
.
”
Thi
ss
l
og
a
nme
a
ni
ng“
g
oa
l
lout
,
”be
g
a
nt
obeus
e
di
nc
onve
r
s
a
t
i
ona
lf
or
ma
f
t
e
rSha
kur
’
s
death (Kelley, 2001). The rhyme continues on with references to recording artists,
athletes, and Mafia figures. By using the names of popular media figures, Starr creates a
song from which a wide range of listeners can relate. The creative touch that Fredro
St
a
r
ra
ddst
ot
hi
ss
ongi
sba
s
e
da
r
oundt
her
e
pe
a
t
e
dus
eof“
wha
ti
f
.
”Thi
si
soneoft
he
first times that this technique has been used in hip-hop.
58
The communication styles of hip-hop culture are very complex and unique. This
f
or
mofc
ommuni
c
a
t
i
onha
sat
r
e
me
ndousi
nf
l
ue
nc
eupont
oda
y
’
ss
t
ude
nt
s
.Themor
e
that hip-hop’
sc
ommuni
c
a
t
i
oni
ss
t
udi
e
d,t
hebe
t
t
e
rwec
a
nunde
r
s
t
a
ndt
oda
y
’
ss
t
ude
nt
s
.
A true understanding of how students communicate will lead to better teaching practices
(Kelley, 2001). Since hip-hopc
ul
t
ur
ei
st
hedomi
na
ntc
ul
t
ur
eoft
oda
y
’
ss
t
ude
nt
s
,
educators must acknowledge its presence and make a genuine attempt to understand it
and embrace its positive characteristics.
59
CHAPTER III
METHODOLOGY
Overview of the Chapter
The purpose of this study was to examine the influence of hip-hop culture on the
communication skills of high school students. The type of research methodology that
was used was exploratory research. The study assessed the effect of hip-hop culture on
the communication skills of students at selected high schools in Houston, Texas. This
study also determined the degree to which the four basic elements of hip-hop culture
have an effect upon the language that is used by high school students. Teachers were
surveyed to determine the amount of influence that this culture has upon students that
they teach.
The information for this study was obtained through a survey developed by the
author. The data-collection guidelines were used to obtain information from subjects in a
given population (Gall, Gall, & Borg, 2003). This chapter will analyze the data obtained
from the survey. Through Likert-type rating scales for 14 questions, teachers responded
to questions about the influence of hip-culture on their students. Information was also
provided from two qualitative teacher interviews. The teachers were chosen to
participate in the survey by an administrator at their school.
Population
The population of this study was composed of teachers at three high schools in
Houston, Texas. The schools were chosen based upon the presence of hip-hop culture at
these schools. Wheatley High School was chosen because it is located in the 5th Ward
60
s
e
c
t
i
onofHous
t
on.Thi
sa
r
e
ai
sk
nowna
st
hebi
r
t
hpl
a
c
eofHous
t
on’
smos
tpr
e
domi
n
a
nt
hip-hop group, The Geto Boys. The Geto Boys mention 5th Ward in numerous songs,
which established this neighborhood as a well-known area in hip-hop culture. Yates
High School was chosen for this study because it is located in the 3rd Ward section of
Houston. Popular Houston hip-hop artist Big Moe mentioned Yates High School in one
of his major hit songs. This area is also known for the heavy presence of hip-hop culture.
The demographics of ethnicity in this study represent a dominant inner-city school
culture.
Eisenhower High School was chosen because it is frequently mentioned in
various rap songs and is the former school of various rap artists. Eisenhower High
Sc
ho
o
l
,r
e
f
e
r
r
e
dt
oa
s“
TheI
ke
,
”i
sme
nt
i
one
dnume
r
oust
i
me
sbys
e
ve
r
a
la
r
t
i
s
t
son
Swi
s
haHous
eCD’
s
.Swi
s
haHous
ei
soneoft
hepr
e
mi
e
ri
nde
pe
nde
ntr
e
c
or
dl
a
be
l
si
n
Houston and several of its artists attended Eisenhower. Platinum-selling Houston rap
artist Mike Jones, who is signed to the Swisha House label, frequently visits schools in
the Houston area. He is very popular among students in the Houston area because of his
catchy songs and image that appeal to students. Tables 3.1 and 3.2 below represent the
racial demographics of the students and teachers at the schools in this study.
61
Table 3.1. Racial Demographics of Students at Yates High School, Wheatley High
School, and Eisenhower High School Concerning the Influence of Hip-Hop Culture on
the Communication Skills as Perceived by Teachers at Selected High Schools in
Houston, Texas
School
Number of Students
Yates High School
Wheatley High School
Eisenhower High School
Percent of African
Americans (Black)/Hispanics
1379
91 Black/8 Hispanic
836
50 Black/49 Hispanic
2468
51 Black/39 Hispanic
Table 3.2. Racial Demographics of Teachers at Yates High School, Wheatley High
School, and Eisenhower High School Concerning the Influence of Hip-Hop Culture on
the Communication Skills as Perceived by Teachers at Selected High Schools in
Houston, Texas
School
Number of Teachers
Percent of African
Americans (Black)/Other
Yates High School
84
81 Black/19 Other
Wheatley High School
54
80 Black/20 Other
139
43 Black/57 Other
Eisenhower High School
The population for this study was 30 teachers total, 10 from each high school. A
total of two teachers were interviewed orally. The teachers who participated in the
s
ur
ve
ywe
r
ec
hos
e
nbye
a
c
hs
c
hool
’
sa
dmi
ni
s
t
r
a
t
or
s
.Ther
e
s
pons
er
a
t
eoft
hi
s study was
62
97%. Out of the 30 surveys that were submitted, 29 were completed and returned. Table
3.3 represents the number of surveys completed and returned.
Table 3.3. Comparison of the Number of Surveys Completed and Returned and the
Number of Surveys Not Returned Concerning the Influence of Hip-Hop Culture on the
Communication Skills as Perceived by Teachers at Selected High Schools in Houston,
Texas
School
Number of Surveys Returned
Yates High School
Wheatley High School
Eisenhower High School
Not Returned
10
0
9
1
10
0
Instrumentation
The researcher designed the information sheet (Appendix A) to provide
information to the participants about the survey. The researcher also designed the
information sheet (Appendix B) to provide information to the participants about the
interview. The survey (Appendix C) was developed by the researcher using procedures
from Gall et al. (2003). The survey measured the influence of hip-hop culture on the
students who the teachers who were surveyed come in contact. Ther
e
s
e
a
r
c
he
r
’
sr
e
vi
e
w
of literature provides the necessary background to support the questions included in the
survey.
Another important part of this study was the development of an educational hiphop CD. The researcher has a background in music production and songwriting. Because
63
of this experience, the decision to create an educational CD that uses hip-hop was
conceived to provide a real-world application of this study.
The researcher first produced the music for each of the 10 songs on the CD. The
music was produced using professional electronic keyboards and digital recording
equipment. The researcher used the Ensoniq ASR-10 electronic keyboard and the E-Mu
MoPhatt Sound Module to produce the music for the CD. The vocals were recorded
using a MXL microphone and Roland VS1680 multi-track digital recorder. The
researcher then wrote the lyrics to each song based upon the general Texas curriculum
for each subject area. The CD contains a song for the following subjects: reading,
writing, math, science, social studies, spelling, test-taking skills, perfect attendance, class
rules, and an anti-drug message. See Appendix E for the lyrics to the songs. Upon
completion of the production portion of the CD, the researcher had a photographer and
graphic designer put together the cover for the CD. The researcher then had the CD
manufactured along with flyers and posters advertising the CD. The CD was then
presented at conferences and since sold hundreds of copies. Teachers and administrators
are using the CD to help prepare students for standardized tests.
Thes
ong“
ICa
nRe
a
dMor
eTha
nYou”pr
e
pa
r
e
ss
t
ude
nt
sf
orr
e
a
di
ngt
e
s
t
s
.The
song states:
Nowy
ou’
r
egonnahav
et
ot
ak
er
e
adi
ngt
e
s
t
s
,
Sohe
r
e
’
ss
omet
i
pss
oy
ouc
andoy
ourbe
s
t
,
The main idea will get you an A,
It
’
swha
te
v
e
r
ypar
agr
aphi
st
r
y
i
ngt
os
ay
,
Compare and contrast, the name of the game,
Check what is different and what is the same,
(E. Ron, 2006)
64
This song presents all of the concepts and strategies for taking standardized tests
in reading. Teachers focus on the strategies that are needed to help students pass
standardized tests. This song presents those strategies in a musical format that makes
t
he
me
a
s
yt
ome
mor
i
z
ef
ors
t
ud
e
nt
s
.Thes
ong“
Choppi
n’UpMa
t
h”pr
e
pa
r
e
ss
t
ude
nt
s
for math tests using rap. It states:
Now you know I always want you to do your best,
Sohe
r
e
’
saf
e
wt
i
pswhe
ny
out
ak
eamat
ht
e
s
t
,
Know which number is greater than the other number,
Pr
ac
t
i
c
er
e
adi
nggr
aphs
,s
oy
ouwon’
thav
et
owonde
r
,
(E. Ron, 2006)
This song presents math concepts and methods to help students answer questions
on math tests. Math has been previously presented using rap by other educational
products, but these products did not have a focus on preparing students for standardized
tests.
Science is an important area for schools because standardized test scores in this
a
r
e
aha
vebe
e
nt
r
a
di
t
i
ona
l
l
yl
ow.“
TheSc
i
e
nc
eCha
nt
”a
ddr
e
s
s
e
sma
nyoft
hes
c
i
e
nc
e
concepts that are covered on state science tests. The song states:
“Car
ni
v
or
e
,me
ate
at
e
r
,he
r
bi
v
or
e
,pl
ante
at
e
r
,
Gotta know about millimeters and milliliters,
Got
t
ak
nowt
hepl
ane
t
s
,s
ol
e
t
’
sge
twi
t
h‘
e
m,
Fi
r
s
twe
’
r
eg
o
nnat
al
kaboutt
hei
nne
rs
ol
ars
y
s
t
e
m,
Mercury, Venus, Earth, and Mars,
The
s
ear
ec
l
os
e
s
tt
ot
heSun,wedon’
twannabef
ar
,
”
(E. Ron, 2006)
This verse of the song defines several key terms for science. Through rhyme,
students can learn important concepts in a format that is simple for them to remember.
65
The song continues on to define more terms and address each component of the science
exam. Many students do not perform well on the science test due to the vocabulary. This
song presents many of the vocabulary words and defines them in a way that is appealing
to a student who listens to rap music. Test-taking skills are also very important in
t
oda
y
’
ss
c
hool
s
.Thes
ong“
Te
s
t
sDon’
tSc
a
r
eMe
”a
ddr
e
s
s
e
sma
nyoft
het
i
pst
ha
the
l
p
students perform well on tests. The song states:
Who’
ss
c
a
r
e
doft
e
s
t
s
,I
’
mnots
c
ar
e
doft
e
s
t
s
,
Te
s
t
sar
eac
hanc
ef
ory
out
os
howy
ou’
r
et
hebe
s
t
,
First things first, get a good ni
ght
’
ss
l
e
e
p,
This will definitely help you keep,
Focused, when you take your test,
Eat a good breakfast, I must confess,
This is one of the most important tips,
Avoid sweet things, they pump you up then you dip,
(E. Ron, 2006)
The main purpose of the song is to show students that they should not be afraid
of tests. The lyrics address such concepts as getting enough sleep, eating a good
breakfast, and general tips about following test directions.
In regard to the structure of the survey, the first part of the survey asks for
background information. The final part of the survey analyzes the amount of influence
that hip-hop has on students. The Likert-type scale that was used allowed participants to
answer questions by responding: VI-very influential, I-influential, SI-somewhat
influential, NI-not influential, N/A-not applicable. The interview asked 10 questions
pertaining to the influence of hip-hop (Appendix D). The results from each item were
determined using descriptive statistics. The sample was restricted to teachers from the
three high schools in this study.
66
Procedures
The research began with the distribution of the survey at Yates High School,
Wheatley High School, and Eisenhower High School. The survey was distributed to 10
teachers at each of the schools. Although the studies were anonymous, the returned
surveys were collected as a group from each campus and placed in separate folders to
distinguish between each campus. The survey was conducted in December 2005.
Surveys for two campuses were distributed and collected from the researcher on the
same day. Surveys from a third campus were returned within three days. The interviews
were conducted with two teachers. These two teachers also completed a survey. The two
teachers who were interviewed were selected by their campus administrator. The
interview answers were placed in separate folders for each of the schools. This
qualitative follow-up was completed to allow teachers to fully express their opinions on
the impact of hip-hop culture.
Data Analysis
This section reviews the data analysis procedures used to determine the results of
the study. The answers of the survey (VI-very influential, I-influential, SI-somewhat
influential, NI-not influential, N/A-not applicable) were coded as 1-very influential, 2influential, 3-somewhat influential, 4-not influential, 5-not applicable to correspond with
the Likert scale. The results of the responses were entered into the SPSS 13.0 program
for results in regard to frequency and descriptive procedures. An analysis of this data
provides the reader with an idea of the amount of influence that hip-hop has at these
schools.
67
The interviews provided answers to the questions that were asked of two
teachers. The teachers were asked questions that covered the following areas: which
subject and grade level they teach, their personal definition and practice of hip-hop
culture, evidence of the influence of hip-hop in the oral language of the students that
they teach, use of hip-hopvoc
a
bul
a
r
yi
nt
he
i
rs
t
ude
nt
s
’wr
i
t
i
ng
,pos
i
t
i
veor negative
factors concerning hip-hop in the classroom, using hip-hop as an educational tool,
appropriateness for students to use hip-hop words in the classroom, and the projected
lifespan of hip-hop culture in the future.
These answers are analyzed in Chapter IV. These answers were qualitatively
compared and contrasted between the two interviews. Before the population was
surveyed, the survey instrument was tested on a selected group. The survey was piloted
using a group of educators and music industry employees. This group was selected to
provide a balance between the validity of the educational portion and the hip-hop culture
portion of the survey. The questions were read to the participants and each question was
discussed. The educators analyzed the relevance of the questions to the presence of hiphop culture in the classroom. The music industry employees analyzed the accuracy of
the representation of hip-hop culture in the questions. This group provided a thorough
analysis of the quality of each survey question.
68
CHAPTER IV
ANALYSIS OF DATA
The purpose of this study was to examine the influence of hip-hop culture on the
communication skills of students. This was examined in a written survey that was
distributed to teachers at three high schools in Houston, Texas. This was also examined
in interviews of two of these teachers.
This chapter analyzes the results of the written surveys and interviews. These
results derive from a Likert-scale survey and two qualitative interviews. The survey
asked for background information on each teacher and then asked questions regarding
the influence of hip-hop culture on students. The background information asks for:
gender, age, years of teaching experience, and grade level taught. Table 4.1 below
analyzes the gender of the teachers in the study.
Table 4.1. Frequencies and Percentages of Male and Female Teachers Surveyed at Yates
High School, Wheatley High School, and Eisenhower High School Concerning the
Influence of Hip-Hop Culture on the Communication Skills as Perceived by Teachers at
Selected High Schools in Houston, Texas
Gender of Teachers
Female
Male
Frequency
Percent
21
72.4
8
27.5
69
This table shows that the majority of teachers that were surveyed were female.
This statistic is a reflection of the fact that the majority of teachers at these schools are
female. Table 4.2 below analyzes the age ranges of the teachers in the study.
Table 4.2. Frequencies and Percentages of Demographic Information Regarding Age of
Teachers Surveyed at Yates High School, Wheatley High School, and Eisenhower High
School Concerning the Influence of Hip-Hop Culture on the Communication Skills as
Perceived by Teachers at Selected High Schools in Houston, Texas
Age of Teachers
Frequency
Percent
22-28
4
13.7
29-35
5
17.2
36-42
7
24.1
43-49
2
6.8
11
37.9
50+
The group that is 50 years old or older has the most members. This is due to the
fact that these schools have a large number of staff members who are veteran teachers.
This is usually common at high schools that have a strong tradition in the community
such as these schools. The 22-28 year old group is an interesting group because they are
the group that grew up in an environment totally dominated by hip-hop. The 29-35 and
36-42 year old group witnessed the development of hip-hop in their lifetimes. Age is a
key factor in this study because older people tend to have more resistance to hip-hop.
Table 4.3 analyzes the grade levels that the teachers in the study teach.
70
Table 4.3. Frequencies and Percentages of Grade Levels Taught Among Teachers
Surveyed at Yates High School, Wheatley High School, and Eisenhower High School
Concerning the Influence of Hip-Hop Culture on the Communication Skills as Perceived
by Teachers at Selected High Schools in Houston, Texas
Grade Level Taught
Frequency
Percent
9th Grade
3
13.7
10th Grade
5
17.2
11th Grade
3
13.7
12th Grade
1
3.4
17
58.6
Multiple Grades
The majority of the teachers who were surveyed teach multiple grade levels. This
is due to the fact that the majority of high school teachers teach more than one specific
grade level. The teachers who teach more than one grade level were valuable in this
study because they have an overview of the trends of the entire school. The 9th grade
group is also important because these students are the youngest students who tend to be
more impressionable as a result of music and the media.
The second part of the questionnaire is based on a Likert scale with responses
ranging from: very influential, influential, somewhat influential, not influential, and not
applicable. The results of these answers are designed to answer the following research
questions:
71
1. How does hip-hop culture influence the communication skills of students as
perceived by teachers at selected high schools in Houston, Texas?
2. How can the influence of hip-hop culture on communication be used as an
educational tool for students as perceived by teachers at selected high schools
in Houston, Texas?
The results of the answers to the questionnaire will be used to answer the two
research que
s
t
i
ons
.Ta
bl
e4.
4be
l
owr
e
pr
e
s
e
nt
st
het
e
a
c
he
r
s
’a
ns
we
r
st
ot
her
e
s
e
a
r
c
h
statements.
Table 4.4. Survey Participant Answers for Each Research Statement Concerning the
Influence of Hip-Hop Culture on the Communication Skills as Perceived by Teachers at
Selected High Schools in Houston, Texas
Research
Statement #
Very Influential
Influential
Somewhat Influential
Not Influential
N/A
1
25
4
0
0
0
2
12
13
1
1
1
3
20
7
1
1
0
4
20
8
1
0
0
5
9
13
4
1
1
6
6
10
7
1
3
7
24
1
2
1
0
8
24
3
2
0
0
9
12
7
8
2
0
10
25
2
1
0
0
72
Research Question #1
How does hip-hop culture influence the communication skills of students as
perceived by teachers at selected high schools in Houston, Texas?
Research Statement #1: To explore to what extent does hip-hop culture influence
the communication skills of students regarding oral language?
Twenty-five of the participants answered that hip-hopc
ul
t
ur
ei
s“
ve
r
y
i
nf
l
ue
nt
i
a
l
”r
e
g
a
r
di
ngs
t
ude
nt
s
’or
a
ll
a
ng
ua
ge
.Fourpa
r
t
i
c
i
pa
nt
sr
e
s
ponde
dt
ha
tt
ha
thi
phopc
ul
t
ur
ei
s“
i
nf
l
ue
nt
i
a
l
”r
e
g
a
r
di
ngs
t
ude
nt
s
’or
a
ll
a
ng
ua
ge
.Noneoft
hepa
r
t
i
c
i
pa
nt
s
a
ns
we
r
e
d“
s
ome
wha
ti
nf
l
ue
nt
i
a
l
,
”“
noti
nf
l
ue
nt
i
a
l
,
”or“
nota
ppl
i
c
a
bl
e
.
”
Research Statement #2: To explore to what extent does hip-hop culture influence
the communication skills of students regarding writing skills?
Twelve of the participants responded that hip-hopc
ul
t
ur
ei
s“
ve
r
yi
nf
l
ue
nt
i
a
l
”
r
e
g
a
r
di
ngs
t
ude
nt
s
’wr
i
t
i
ngs
ki
l
l
s
.Thi
r
t
e
e
npa
r
t
i
c
i
pa
nt
sr
e
s
ponde
dt
ha
tt
ha
thi
p-hop
c
ul
t
u
r
ei
s“
i
nf
l
ue
nt
i
a
l
”r
e
g
a
r
di
ngs
t
ude
nt
s
’wr
i
t
i
ngs
ki
l
l
s
.Oneoft
hepa
r
t
i
c
ipants
a
ns
we
r
e
d“
s
ome
wha
ti
nf
l
ue
nt
i
a
l
,
”1a
ns
we
r
e
d“
noti
nf
l
ue
nt
i
a
l
,
”a
nd1a
ns
we
r
e
d“
not
a
ppl
i
c
a
bl
e
.
”
Research Statement #3: To explore to what extent does hip-hop culture influence
the communication skills of students regarding interaction with those of the same
gender?
Twenty of the participants answered that hip-hopc
ul
t
ur
ei
s“
ve
r
yi
nf
l
ue
nt
i
a
l
”
r
e
g
a
r
di
ngs
t
ude
nt
s
’i
nt
e
r
a
c
t
i
onwi
t
ht
hos
eoft
hes
a
mege
nde
r
.Se
ve
npa
r
t
i
c
i
pa
nt
s
responded that that hip-hopc
ul
t
u
r
ei
s“
i
nf
l
ue
nt
i
a
l
”r
e
g
a
r
di
ngs
t
ude
nt
s
’i
nt
e
raction with
73
t
hos
eoft
hes
a
meg
e
nde
r
.Oneoft
hepa
r
t
i
c
i
pa
nt
sa
ns
we
r
e
d“
s
ome
wha
ti
nf
l
ue
nt
i
a
l
.
”One
oft
h
epa
r
t
i
c
i
pa
nt
sa
ns
we
r
e
d“
no
ta
ppl
i
c
a
bl
e
.
”Noneoft
hepa
r
t
i
c
i
pa
nt
sa
ns
we
r
e
d“
no
t
i
nf
l
ue
nt
i
a
l
.
”
Research Statement #4: To explore to what extent does hip-hop culture influence
the communication skills of students regarding interaction with those of the opposite
gender?
Twenty of the participants responded that hip-hopc
ul
t
ur
ei
s“
ve
r
yi
nf
l
ue
nt
i
a
l
”
r
e
g
a
r
di
ngs
t
ude
nt
s
’i
nt
e
r
a
c
t
i
onwi
t
ht
hos
eoft
heoppos
i
t
e gender. Eight participants
responded that that hip-hopc
ul
t
u
r
ei
s“
i
nf
l
ue
nt
i
a
l
”r
e
g
a
r
di
ngs
t
ude
nt
s
’i
nt
e
r
a
c
t
i
onwi
t
h
t
hos
eoft
heoppos
i
t
ege
nde
r
.Oneoft
hepa
r
t
i
c
i
pa
nt
sa
ns
we
r
e
d“
s
ome
wha
ti
nf
l
ue
nt
i
a
l
.
”
Noneoft
hepa
r
t
i
c
i
pa
nt
sa
ns
we
r
e
d“
noti
nf
l
ue
nt
i
a
l
”or“
nota
ppl
i
c
a
bl
e
.
”
Research Statement #5: To explore to what extent does hip-hop culture influence
the communication skills of students regarding communication with teachers?
Nine of the participants responded that hip-hopc
ul
t
ur
ei
s“
ve
r
yi
nf
l
ue
nt
i
a
l
”
r
e
g
a
r
di
ngs
t
ude
nt
s
’c
ommuni
c
a
t
i
onwi
t
ht
e
a
c
he
r
s
.Thi
r
t
e
e
npa
r
t
i
c
i
pa
nt
sr
e
s
ponde
dt
ha
t
hip-h
o
pc
ul
t
ur
ei
s“
i
nf
l
ue
nt
i
a
l
”r
e
g
a
r
di
ngc
ommuni
c
a
t
i
onwi
t
ht
e
a
c
he
r
s
.Fouroft
he
pa
r
t
i
c
i
pa
nt
sa
ns
we
r
e
d“
s
ome
wha
ti
nf
l
ue
nt
i
a
l
,
”1a
ns
we
r
e
d“
noti
nf
l
ue
nt
i
a
l
,
”1a
ns
we
r
ed
“
nota
ppl
i
c
a
bl
e
,
”a
nd1di
dnotr
e
s
pond.
Research Statement #6: To explore to what extent does hip-hop culture influence
the communication skills of students regarding communication with their parents?
Six of the participants responded that hip-hop cult
ur
ei
s“
ve
r
yi
nf
l
ue
nt
i
a
l
”
r
e
g
a
r
di
ngs
t
ude
nt
s
’c
ommuni
c
a
t
i
onwi
t
ht
he
i
rpa
r
e
nt
s
.Te
npa
r
t
i
c
i
pa
nt
sr
e
s
ponde
dt
ha
t
74
hip-h
o
pc
ul
t
ur
ei
s“
i
nf
l
ue
nt
i
a
l
”r
e
g
a
r
di
ngc
ommuni
c
a
t
i
onwi
t
hpa
r
e
nt
s
.Se
ve
noft
he
pa
r
t
i
c
i
pa
nt
sa
ns
we
r
e
d“
s
ome
wha
ti
nf
l
ue
nt
i
a
l
,
”1a
ns
we
r
e
d“
noti
nf
l
ue
nt
i
a
l
,
”3a
ns
we
r
e
d
“
nota
ppl
i
c
a
bl
e
,
”a
nd2di
dnotr
e
s
pond.
Research Statement #7: To explore to what extent does hip-hop culture influence
the communication skills of students regarding their musical expression (the type of
music that students choose to perform)?
Twenty-four of the participants responded that hip-hopc
ul
t
ur
ei
s“
ve
r
y
i
nf
l
ue
nt
i
a
l
”r
e
g
a
r
di
ngs
t
ude
nt
s
’mus
i
c
a
le
xpr
e
s
s
i
on.Onepa
r
t
i
c
i
pa
ntr
e
s
ponde
dt
ha
th
i
phopc
ul
t
ur
ei
s“
i
nf
l
ue
nt
i
a
l
”r
e
g
a
r
di
ngmus
i
c
a
le
xpr
e
s
s
i
on.Twooft
hepa
r
t
i
c
i
pants
a
ns
we
r
e
d“
s
ome
wha
ti
nf
l
ue
nt
i
a
l
,
”1a
ns
we
r
e
d“
nota
ppl
i
c
a
bl
e
,
”a
nd1di
dnotr
e
s
pond.
Noneoft
hepa
r
t
i
c
i
pa
nt
sa
ns
we
r
e
d“
noti
nf
l
ue
nt
i
a
l
.
”
Research Statement #8: To explore to what extent does hip-hop culture influence
the communication skills of students regarding interaction with those of the same race?
Twenty-four of the participants responded that hip-hopc
ul
t
ur
ei
s“
ve
r
y
i
nf
l
ue
nt
i
a
l
”r
e
g
a
r
di
ngs
t
ude
nt
s
’i
nt
e
r
a
c
t
i
onwi
t
ht
hos
eoft
hes
a
mer
a
c
e
.Thr
e
e
participants responded that hip-hopc
ul
t
ur
ei
s“
i
nf
l
ue
nt
i
a
l
”r
e
ga
r
di
ngi
nt
e
r
a
c
t
i
onwi
t
h
t
hos
eoft
hes
a
mer
a
c
e
.Twooft
hepa
r
t
i
c
i
pa
nt
sa
ns
we
r
e
d“
s
ome
wha
ti
nf
l
ue
nt
i
a
l
.
”No
ne
oft
h
epa
r
t
i
c
i
pa
nt
sa
ns
we
r
e
d“
no
ti
nf
l
ue
nt
i
a
l
”or“
nota
ppl
i
c
a
bl
e
.
”
Research Statement #9: To explore to what extent does hip-hop culture influence
the communication skills of students regarding interaction with those of another race?
Twelve of the participants responded that hip-hopc
ul
t
ur
ei
s“
ve
r
yi
nf
l
ue
nt
i
a
l
”
r
e
g
a
r
di
ngs
t
ude
nt
s
’i
nt
e
r
a
c
t
i
onwi
t
ht
hos
eofa
not
he
rr
a
c
e
.Se
ve
npa
r
t
i
cipants responded
75
that hip-hopc
ul
t
ur
ei
s“
i
nf
l
ue
nt
i
a
l
”r
e
ga
r
di
ngi
nt
e
r
a
c
t
i
onwi
t
ht
hos
eofa
not
he
rr
a
c
e
.
Ei
g
htoft
hepa
r
t
i
c
i
pa
nt
sa
ns
we
r
e
d“
s
ome
wha
ti
nf
l
ue
nt
i
a
l
.
”Twooft
hepa
r
t
i
c
i
pa
nt
s
a
ns
we
r
e
d“
noti
nf
l
ue
nt
i
a
l
.
”Noneoft
hepa
r
t
i
c
i
pa
nt
sr
e
s
ponde
dwi
t
h“
nota
ppl
i
c
a
bl
e
.
”
Research Statement #10: To explore to what extent does hip-hop culture
influence the communication skills of students regarding their use of profanity?
Twenty-five of the participants responded that hip-hopc
ul
t
ur
ei
s“
ve
r
y
i
nf
l
ue
nt
i
a
l
”r
e
g
a
r
di
ngs
t
ude
nt
s
’us
eofpr
of
a
ni
t
y
.Twopa
r
t
i
c
i
pa
nt
sr
e
s
ponde
dt
ha
thi
phopc
ul
t
ur
ei
s“
i
nf
l
ue
nt
i
a
l
”r
e
g
a
r
di
ngt
heus
eofpr
of
a
ni
t
y
.Oneoft
hepa
r
t
i
c
i
pa
nt
s
a
ns
we
r
e
d“
s
ome
wha
ti
nf
l
ue
nt
i
a
l
.
”Oneoft
hepa
r
t
i
c
i
pa
nt
sdi
dnotr
e
s
pond.Ta
bl
e4.
5
analyzes the t
e
a
c
he
r
s
’wr
i
t
t
e
nc
omme
nt
sont
hes
ur
ve
y
s
.
Table 4.5. Written Comments on Surveys Concerning the Influence of Hip-Hop Culture
on the Communication Skills as Perceived by Teachers at Selected High Schools in
Houston, Texas
Participant #
Positive Comments
Negative Comments
Subject
1
1
0
Writing skills
2
0
4
Overuse of slang
3
0
1
Negative influence
4
0
1
Gender issues
5
0
2
Race issues
76
No open-ended questions were provided; however, some participants did put
written comments in the open space at the end of the questionnaire. These were the
responses that were provided:
I think rap/hip-hop music has had a positive influence on the written
communication in my classes because it has made it easier to define language
registers –my students may speak to one another with a vocabulary of a popular
song, but when it comes to writing an essay, they make clear logical choices that
reflect the formal nature of the assignments. When they slip, it is easy for them to
r
e
vi
s
ewhe
nIa
s
k,“
Ar
ey
ous
i
ng
i
ngt
hi
st
omeora
r
ey
ouwr
i
t
i
ngt
hi
st
ome
?
”
Sometimes I even have them deconstruct a formal essay into their hip-hop
vernacular to illustrate the effect of imagery, sound devices, and word choices.
Oral language filled with nuances derived from hip-hop/rap.
Writing skills suffer. Negative influence is present; students demonstrate a
limited academic vocabulary and overuse of slang.
I
nt
e
r
a
c
t
i
onwi
t
hs
a
mege
nde
r
,de
f
i
ni
t
ei
nf
l
ue
nc
e
.A“
br
ot
he
r
hood”me
nt
a
l
i
t
yi
s
predominant. Unfortunately, that brotherhood has its roots in sex, violence, fast
money from drugs, skewed views of family and marriage, and general disrespect
for anyone outside of that brotherhood.
Opposite gender –males view females as toys, play things for their personal
pleasure. Sadly, females appear to have openly embraced these roles.
Communication with adults in general often negative. Any correction of
mi
s
c
onduc
ti
st
a
ke
na
s“
i
nmyf
a
c
e
.
”St
ude
nt
sa
dopta
t
t
i
t
ude
sofdi
s
r
e
s
pe
c
t
bordering on outright intolerance of adults.
Interracial interaction negatively impacted. Students reflect bigotry and racial
ha
t
r
e
ds
i
mi
l
a
rt
owha
twa
ss
e
e
ni
nWhi
t
e
sdur
i
ng1950’
s
.
Two teachers from the study were selected to be orally interviewed. They will be
hereafter referred to as Teacher A and Teacher B. The questions that were analyzed were
addressed through the oral interviews.
77
1. Which subject and grade level do you teach?
Teacher A: A 12th grade English teacher.
Teacher B: A 10th grade science teacher.
2. What is your definition of hip-hop culture?
Teacher A: Hip-hopc
ul
t
ur
ei
sa“
wa
yofl
i
f
e
”a
nda
n“
a
t
t
i
t
ude
.
”
Teacher B: An art that expresses what one is going through.
3. What evidence of the influence of hip-hop exists in the oral language of the
students that you teach?
Teacher A: Rapping in class, talking about rappers and their lyrics.
Teacher B: Use of profanity and slang.
4. Do your students use hip-hop vocabulary in their writing?
Te
a
c
he
rA:Ye
s
,wor
dsl
i
ke“
br
e
e
z
y
”a
nd“
di
me
pi
e
c
e
.
”
Teacher B: Yes, in free writing and journal writing.
5. Do you feel that this influence is a positive or negative factor for these
students?
Teacher A: Both, positive –gets them to communicate, an outlet for them;
negative –negative messages in songs, an illusion of what life is like.
Teacher B: Negative, they take it out of context, no respect for adults, they
live by the songs.
6. Do you feel that hip-hop can be used as an educational tool?
Teacher A: Yes, for language and vocabulary, creative writing exercises.
Teacher B: Only if presented right, students can write raps to remember
things.
7. Do you listen to hip-hop music?
Teacher A: Yes, on the radio.
Teacher B: Yes, for entertainment.
78
8. When do you feel that it is appropriate for students to use hip-hop words?
Teacher A: When it is relevant to the lesson.
Te
a
c
he
rB:Whe
ns
pe
a
ki
ngwi
t
hpe
e
r
s
,“
ont
he
i
rownt
i
me
.
”
9. Do you use hip-hop words in your oral language?
Teacher A: Older hip-hopt
e
r
ms
,pi
c
kupons
t
ude
nt
s
’t
e
r
ms
.
Teacher B: With some students to help them understand.
10. Do you feel that hip-hop culture will continue to exist in the future?
Teacher A: Yes.
Teacher B: Yes, as long as it makes money.
Research Question #2
How can the influence of hip-hop culture on communication be used as an
educational tool for students as perceived by teachers at selected high schools in
Houston, Texas?
The answer to this research question involved the production of a hip-hop CD.
The researcher is a hip-hop music producer and former rap artist. As a part of the study,
the researcher produced an educational hip-hop CD that contains rap songs for students
that address all of the major subject areas. This CD is also designed to help students with
test-taking skills. The production of the CD involved: writing 10 rap songs, composing
10 hip-hop music tracks, designing the packaging of the CD, manufacturing the CD for
distribution, distributing the CD for sale at teacher supply stores and education
conferences, and promotion of the CD. The lyrics of the CD were written in a way to use
hip-hop as an educational tool. The CD is entitled: Edu-Rap, Volume I. The CD pertains
to the study by serving as a practical application of hip-hop as an instructional tool. The
CD was presented to various members of the research study. All of the participants that
79
listened to the CD agreed that it was an innovative tool that will definitely motivate
students to learn. The participants were very excited about the CD and were anxious to
get a copy to play in their classrooms.
80
CHAPTER V
SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS
This chapter contains a summary of the literature associated with this study, the
research process involved in this study, and the findings of the research. As a result of
these findings, the researcher will make recommendations at the end of the chapter for
further research on hip-hopa
ndhowi
ta
f
f
e
c
t
st
oda
y
’
ss
t
ude
nt
s
.
Summary and Conclusions
The purpose of this dissertation was to investigate the influence that hip-hop
culture has on students at selected high schools in Houston, Texas, from the perspective
of their teachers. To accomplish this, questionnaires were distributed at three high
schools in Houston, Texas, and teacher interviews were also conducted. Two research
questions were posed for this study:
1. How does hip-hop culture influence the communication skills of students as
perceived by teachers at selected high schools in Houston, Texas?
2. How can the influence of hip-hop culture on communication be used as an
educational tool for students as perceived by teachers at selected high schools
in Houston, Texas?
Summary of Findings
The findings as a result of the questionnaires provide valuable information on the
current state of the influence of hip-hopi
nt
oda
y
’
ss
c
hool
s
.Thepa
r
t
i
c
i
pa
nt
sf
e
l
tt
ha
thi
phopc
ul
t
ur
ei
sve
r
yi
nf
l
ue
nt
i
a
li
nr
e
ga
r
dt
os
t
ude
nt
s
’or
a
ll
anguage. Twenty-five out of 29
pa
r
t
i
c
i
pa
nt
ss
e
l
e
c
t
e
d“
ve
r
yi
nf
l
ue
nt
i
a
l
”i
nr
e
g
a
r
dt
oor
a
ll
a
ng
ua
g
e
.Thema
j
or
i
t
yof
81
participants felt that hip-hopi
s“
i
nf
l
ue
nt
i
a
l
”i
nr
e
ga
r
dt
owr
i
t
i
ngs
ki
l
l
s
.Twe
nt
youtoft
he
29 teachers surveyed believe that hip-hop is very influential for students when
interacting with those of the same gender. The same number of participants also felt that
hip-hop is very influential with those of the opposite gender. Thirteen of the 29 teachers
surveyed believe that hip-hopi
s“
i
nf
l
ue
nt
i
a
l
”i
nt
hewa
yt
ha
ts
t
ude
nt
sc
ommuni
c
a
t
ewi
t
h
teachers.
The same number of teachers also agreed that hip-hop is influential in regard to
s
t
ude
n
t
s
’c
ommuni
c
a
t
i
onwi
t
ht
h
e
i
rpa
r
e
nt
s
.Twe
nt
y
-four out of 29 participants believe
that hip-hop is very influenti
a
lr
e
g
a
r
di
ngs
t
ude
nt
s
’mus
i
c
a
le
xpr
e
s
s
i
on.Thes
a
menumbe
r
of participants also agree that hip-hopi
sve
r
yi
nf
l
ue
nt
i
a
li
nr
e
g
a
r
dt
os
t
ude
nt
s
’i
nt
e
r
a
c
t
i
on
with those of the same race. The majority of participants agree that hip-hop is very
influential in re
g
a
r
dt
os
t
ude
nt
s
’i
nt
e
r
a
c
t
i
onwi
t
ht
hos
eofa
not
he
rr
a
c
e
.Twe
nt
y
-five out
of29pa
r
t
i
c
i
pa
nt
ss
e
l
e
c
t
e
d“
ve
r
yi
nf
l
ue
nt
i
a
l
”i
nr
e
g
a
r
dt
owhe
t
he
rhi
p-hop influences
s
t
ude
n
t
s
’us
eofpr
of
a
ni
t
y
.
There were no open-ended questions on the questionnaire that allowed teachers
to respond in their own words. However, two teachers did write their own comments in
the open space on the survey. One teacher felt that hip-hop music has had a positive
i
nf
l
ue
nc
eons
t
ude
nt
s
’wr
i
t
i
ng
.Thi
st
e
a
c
he
ra
l
s
os
t
a
t
e
dt
ha
the
/
s
heus
e
ship-hop to help
teach writing skills. The other teacher who responded felt that hip-hop has had a
ne
ga
t
i
vee
f
f
e
c
tons
t
ude
nt
s
’wr
i
t
i
ngs
ki
l
l
s
.He
/
s
hea
l
s
of
e
e
l
st
ha
thi
p-hop results in
students having a limited academic vocabulary and overuse of slang. He/she feels that
hip-hop culture encourages pre-marital sex, promotes violence and drug use, produces
82
skewed views of family and marriage, and promotes general disrespect for others.
He/she also feels that hip-hop promotes disrespect for women. He/she believes that hiphop also promotes bigotry and racial intolerance.
The oral interviews that I conducted resulted in data on a variety of topics in
regard to how students are influenced by hip-hop. The teachers who were interviewed
defined hip-hop culture as a “
wa
yofl
i
f
e
,
”a
n“
a
t
t
i
t
ude
,
”a
nda
n“
a
r
tt
ha
te
xpr
e
s
s
e
swha
t
onei
sg
oi
ngt
hr
oug
h.
”The
ynot
i
c
et
hepr
e
s
e
nc
eofhi
p-hop in their classrooms as a result
of students rapping in class, students talking about rappers and their lyrics, use of hiphop words in writing assignments, and use of profanity from rap songs. One teacher
feels that hip-hop is a positive outlet for students. The other teacher felt that the negative
messages in hip-hop are prevalent. However, both teachers felt that hip-hop can be used
as an educational tool for language and writing exercises. Both teachers said that they do
listen to hip-hop themselves and use various hip-hop words. These interviews provided
additional information to support the major findings of the questionnaires.
Research Question #1
How does hip-hop culture influence the communication skills of students as
perceived by teachers at selected high schools in Houston, Texas?
The majority of the participants surveyed answered that hip-hopc
ul
t
ur
ei
s“
ve
r
y
i
nf
l
ue
nt
i
a
l
”r
e
g
a
r
di
ngs
t
ude
nt
s
’or
a
ll
a
ng
ua
ge
.Ic
a
nc
onf
i
r
mt
ha
tt
hi
si
sve
r
ye
vi
de
nti
n
t
oda
y
’
ss
c
hool
s
.Ha
vi
ngr
e
c
e
nt
l
ywor
ke
da
sas
c
hoolPr
i
nc
i
pa
l
,t
hes
t
ude
nt
s
’l
a
ng
ua
g
e
was filled with vocabulary from hip-hopc
ul
t
ur
e
.Whe
na
s
ke
d,“
Towha
te
xt
e
ntdoe
shi
phop cultur
ei
nf
l
ue
nc
et
hec
ommu
ni
c
a
t
i
ons
ki
l
l
sofs
t
ude
nt
sr
e
g
a
r
di
ngwr
i
t
i
ngs
ki
l
l
s
?
”t
he
83
majority of the participants responded that hip-hopc
ul
t
ur
ei
s“
ve
r
yi
nf
l
ue
nt
i
a
l
”r
e
ga
r
di
ng
s
t
ude
n
t
s
’wr
i
t
i
ngs
ki
l
l
s
.Duet
omye
xpe
r
i
e
nc
er
e
vi
e
wi
ngs
t
ude
nt
s
’wr
i
t
i
nga
saf
or
mer
English teacher, it is also clearly evident that hip-hopha
sahe
a
vyi
nf
l
ue
nc
eons
t
ude
nt
s
’
writing. The unique spelling of various words and frequent use of hip-hop vocabulary is
highly visible in student essays.
Whe
na
s
ke
d,“
Towha
te
xt
e
ntdoe
shi
p-hop culture influence the communication
s
ki
l
l
sofs
t
ude
nt
sr
e
g
a
r
di
ngi
nt
e
r
a
c
t
i
onwi
t
ht
hos
eoft
hes
a
meg
e
nde
r
?
”t
hema
j
or
i
t
yof
the participants answered that hip-hopc
ul
t
ur
ei
s“
ve
r
yi
nf
l
ue
nt
i
a
l
”r
e
g
a
r
di
ngs
t
ude
nt
s
’
interaction with those of the same gender. I have personally witnessed how hip-hop
c
ul
t
u
r
ei
sa“
f
r
a
t
e
r
ni
t
y
”f
ort
oda
y
’
sy
oungme
na
ndwome
n.St
ude
nt
st
a
kepr
i
dei
n
sharing their knowledge of hip-hop culture with students of their same gender.
Whe
nt
hepa
r
t
i
c
i
pa
nt
swe
r
ea
s
ke
d,“
Towha
te
xt
e
ntdoes hip-hop culture
influence the communication skills of students regarding interaction with those of the
oppo
s
i
t
eg
e
nde
r
?
”t
hema
j
or
i
t
yoft
hepa
r
t
i
c
i
pa
nt
sr
e
s
ponde
dt
ha
thi
p-hop culture is
“
ve
r
yi
nf
l
ue
nt
i
a
l
”r
e
ga
r
di
ngs
t
ude
nt
s
’i
nt
e
r
a
c
t
i
onwi
t
ht
hos
eofthe opposite gender. I
have found that this interaction is very important for male students. Their use of hip-hop
vocabulary and knowledge of hip-hop culture gives them a sense of credibility with
female students. Students who are not deeply involved with this culture are sometimes
pe
r
c
e
i
ve
da
snota
s“
c
ool
”a
st
hos
ewhoa
r
ehe
a
vi
l
yi
nt
ohi
p-hop culture.
Whe
na
s
ke
d,“
Towha
te
xt
e
ntdoe
shi
p-hop culture influence the communication
s
ki
l
l
sofs
t
ude
nt
sr
e
g
a
r
di
ngc
ommuni
c
a
t
i
onwi
t
ht
e
a
c
he
r
s
?
”t
hema
j
or
i
t
yoft
he
participants responded that hip-hopc
ul
t
ur
ei
s“
i
nf
l
ue
nt
i
a
l
”r
e
ga
r
di
ngc
ommuni
c
a
t
i
on
84
wi
t
ht
e
a
c
he
r
s
.Thi
swa
soneoft
hef
i
r
s
tque
s
t
i
onst
ha
t“
ve
r
yi
nf
l
ue
nt
i
a
l
”di
dnotha
vet
he
majority of the responses. This is due to the fact that many students adjust their
communication slightly when talking to figures of authority.
Whe
na
s
ke
d,“
Towha
te
xt
e
ntdoe
shi
p-hop culture influence the communication
s
ki
l
l
sofs
t
ude
nt
sr
e
g
a
r
di
ngc
ommuni
c
a
t
i
onwi
t
ht
he
i
rpa
r
e
nt
s
?
”t
hema
j
or
i
t
yof
participants responded that hip-hopc
ul
t
ur
ei
s“
i
nf
l
ue
nt
i
a
l
”r
e
ga
r
di
ngc
ommuni
c
a
t
i
on
wi
t
hpa
r
e
nt
s
.If
oundt
ha
tt
hi
sa
n
s
we
rwa
sve
r
ys
i
mi
l
a
rt
ot
hea
ns
we
rr
e
g
a
r
di
ngs
t
ude
n
t
s
’
interaction with parents. The parent and teacher interaction is indeed very similar
because most students adjust their vocabulary slightly when talking to their parents.
Whe
nt
hepa
r
t
i
c
i
pa
nt
swe
r
ea
s
ke
d,“
Towha
te
xt
e
ntdoe
shi
p-hop culture
i
nf
l
ue
nc
et
hec
ommuni
c
a
t
i
ons
ki
l
l
sofs
t
ude
nt
sr
e
ga
r
di
ngt
he
i
rmus
i
c
a
le
xpr
e
s
s
i
on
?
”t
he
majority of the participants responded that hip-hopc
ul
t
ur
ei
s“
ve
r
yi
nf
l
ue
nt
i
a
l
”r
e
ga
r
di
ng
s
t
ude
n
t
s
’mus
i
c
a
le
xpr
e
s
s
i
on.Thi
swa
sa
na
ns
we
rt
ha
tIpr
e
di
c
t
e
dwoul
dbee
xa
c
t
l
ya
si
t
appeared in the research. It is obvious that hip-hop is the dominant music form of
t
oda
y
’
shi
g
hs
c
hools
t
ude
nt
s
.This is evident through their vocabulary, style of dress, and
frequent references to hip-hop musicians.
I
nr
e
s
pons
et
ot
heque
s
t
i
o
nof
,“
Towha
te
xt
e
ntdoe
shi
p-hop culture influence the
communication skills of students regarding interaction with those of t
hes
a
mer
a
c
e
?
”t
he
majority of the participants responded that hip-hopc
ul
t
ur
ei
s“
ve
r
yi
nf
l
ue
nt
i
a
l
”r
e
ga
r
di
ng
s
t
ude
n
t
s
’i
nt
e
r
a
c
t
i
onwi
t
ht
hos
eoft
hes
a
mer
a
c
e
.Thi
sa
ns
we
ri
sve
r
ys
i
mi
l
a
rt
ot
he
answer that dealt with communication with those of the same gender. Students of the
same race use hip-hopc
ul
t
ur
ea
sa“
f
r
a
t
e
r
ni
t
y
”t
ha
tuni
t
e
st
he
m.
85
Whe
na
s
ke
d,“
Towha
te
xt
e
ntdoe
shi
p-hop culture influence the communication
s
ki
l
l
sofs
t
ude
nt
sr
e
g
a
r
di
ngi
nt
e
r
a
c
t
i
onwi
t
ht
hos
eofa
not
he
rr
a
c
e
?
”t
hema
j
or
i
t
yofthe
participants responded that hip-hopc
ul
t
ur
ei
s“
ve
r
yi
nf
l
ue
nt
i
a
l
”r
e
g
a
r
di
ngs
t
ude
nt
s
’
interaction with those of another race. This question shows how various racial groups
have learned to co-exist at the schools in this study. These inner-city schools are
examples of schools where hip-hop culture is so dominant that it extends beyond all
racial lines.
Whe
na
s
ke
d,“
Towha
te
xt
e
ntdoe
shi
p-hop culture influence the communication
s
ki
l
l
sofs
t
ude
nt
sr
e
g
a
r
di
ngt
he
i
rus
eofpr
of
a
ni
t
y
?
”t
hema
j
or
i
t
yoft
hepa
rticipants
responded that hip-hopc
ul
t
ur
ei
s“
ve
r
yi
nf
l
ue
nt
i
a
l
”r
e
g
a
r
di
ngs
t
ude
nt
s
’us
eofpr
of
a
n
i
t
y
.
This is due to the heavy use of profanity in rap songs. This heavy use of profanity is
frequently imitated by students. Many students will not even buy a rap CD if it does not
ha
vea
n“
e
xpl
i
c
i
tl
y
r
i
c
s
”s
t
i
c
ke
ront
hepa
c
ka
g
i
ng
.
Implications for Practice
The following implications can be made from these findings. Hip-hop culture is
ve
r
yi
nf
l
ue
nt
i
a
li
nr
e
ga
r
dt
os
t
ud
e
nt
s
’or
a
ll
a
ng
ua
gea
ndwr
i
t
i
ngs
ki
l
l
s
.The language that
hip-hop artists use is very attractive to students and is their preferred use of vocabulary.
Hip-hopi
sve
r
yi
nf
l
ue
nt
i
a
li
nr
e
g
a
r
dt
os
t
ude
nt
s
’i
nt
e
r
a
c
t
i
onwi
t
ht
he
i
rpe
e
r
soft
hes
a
me
gender. Male and female students use hip-hop vernacular as a primary form of
communication with those who they define as their close same-gender friends. Hip-hop
is also very influential in regard to communication with those of the opposite gender.
86
Male and female students believe that it is more appealing to the opposite sex if
you display a mastery of hip-hop vernacular. Hip-hopi
si
nf
l
ue
nt
i
a
li
nr
e
ga
r
dt
os
t
ude
nt
s
’
communication with teachers and parents. Students use the same language that they use
with their peers and usually do not adjust their language when speaking to a teacher or
parent. Hip-hop is very influential in regard to the way students express themselves
through music. It is clear that hip-hop is the dominant music form at these three high
schools.
Hip-hop is also very influential in how students communicate with other students
of their same race. Hip-hop is used a code that racial groups, primarily African
Americans and Hispanics, use to create a bond with each other. Hip-hop is also very
influential in regard to the way that students communicate with those of another race.
Students do not adjust their communication skills when communicating with someone of
another race. It is assumed that hip-hop language is universal. The study clearly shows
that hip-hop is very influential in regard to student
s
’us
eofpr
of
a
ni
t
y
.Thepr
of
a
ni
t
yt
ha
t
is predominant in hip-hop songs results in imitation of this language use by students.
Research Question #2
How can the influence of hip-hop culture on communication be used as an
educational tool for students as perceived by teachers at selected high schools in
Houston, Texas?
The following findings are evident as a result of this study in regard to hip-hop
being used as an educational tool. Students are willing to express their interest in hip-hop
in the classroom. Students and teachers agree that hip-hop is a form of expression.
87
Students are willing to express their feelings through hip-hop. Hip-hop is effective in
t
e
a
c
hi
ngwr
i
t
i
nga
ndl
a
ngua
ges
ki
l
l
s
.Asar
e
s
ul
toft
her
e
s
e
a
r
c
he
r
s
’pr
oduc
t
i
onoft
he
hip-hop CD, additional findings are clearly evident.
Hip-hop can be used as a way to teach various concepts. The CD teaches reading
skills, writing, social studies concepts, math skills, science, and spelling. Other songs on
the CD teach facts about test-taking skills, behavior management, attendance, and drug
prevention. Being that students are attracted to rap music, teaching these concepts
through rap would get the attention of students who would normally not be interested in
these concepts. The rhyming patterns of the songs and choruses present the material in a
way that is easy to memorize for later recall on tests and quizzes.
Implications for Practice
Teachers can effectively use hip-hop to teach various concepts in the classroom.
Materials such as educational r
a
pCD’
sc
a
nbeus
e
dt
os
uppl
e
me
ntc
l
a
s
s
r
oomi
ns
t
r
uc
t
i
on.
Students feel comfortable expressing themselves through hip-hop in the classroom. This
comfort level can be used to help reluctant students become more enthusiastic about
learning. Hip-hop encourages students to willingly express themselves both orally and in
writing.
Literature Research Conclusions
The emergence of hip-hop culture in the last 30 years has been a significant
development in American culture (Adjaye, 1997). The fact that this culture impacts high
school students in such a tremendous way, truly adds to the overall significance of the
impact of the culture. Hip-hop culture has a strong sense of credibility with students
88
because of its rebellious nature. Although hip-hop culture involves breakdancing, graffiti
a
r
t
,a
ndde
e
j
a
y
i
ng
,t
hepr
i
ma
r
yf
oc
usofs
t
ude
nt
s
’i
nt
e
r
e
s
ti
nhi
p-hop culture is rap music.
The presence of raw lyrics, dangerous street tales, and innovative concepts in rap songs
has a higher value to students than the commercial success or popularity of a rap artist
(Reese, 2004). Because hip-hop music is mostly created by individuals who are living in
poverty or have lived in poverty, the messages in rap songs reflect this environment.
Many of the students who are deeply involved in the culture also live in similar
situations (Kitwana, 2002). The environmental conditions that hip-hop culture thrives in
play a key role in the message of hip-hop and the type of listeners who become heavily
involved in the culture.
Because of its international impact, the study of hip-hop culture is now a relevant
area of study in the academic world (Adjaye, 1997). College campuses now have classes
based on hip-hop culture, and many courses include the study of hip-hop in their content.
The language of hip-hop is an area that is worthy of extensive academic study. The
creativity that hip-hop’
sl
a
ng
ua
g
eha
sbr
oug
htt
oAme
r
i
c
a
nEng
l
i
s
hi
spr
a
c
t
i
c
a
l
l
y
unma
t
c
he
dbya
nyot
he
rmus
i
cf
or
m.Ma
nyoft
oda
y
’
ss
t
ude
nt
sus
et
hel
a
ngua
geofhi
p
hop as the central focus of their everyday speech. Because of this strong presence of hiphop in the language of students, educators must be familiar with the basic concepts of
hip-hop culture.
Conclusions
Based on the findings of this study, several key conclusions are evident. Hip-hop
culture has a definite influence on the communication skills of high school students at
89
the selected schools in this study. As a result of this study, it is also evident that many
teachers are aware of the influence of hip-hop culture in regard to the way that students
communicate. Because of the strong interest that students have in regard to hip-hop, hiphop culture can be used to teach various curriculum concepts. It was also determined that
teachers who understand and accept various facets of hip-hop culture can use this
appreciation of the culture to reach difficult students. As a result of the production of an
educational CD with this study and the belief of teachers in the study that hip-hop should
be used as an educational tool, it is also clear that educational rap music is an effective
way to teach academic concepts and test-taking skills.
Recommendations
The purpose of this study was to examine the influence of hip-hop culture on the
communication skills of students as perceived by teachers at selected high schools in
Houston, Texas. As a result of the review of literature, research findings, and
conclusions, the following recommendations have been provided as a result of this
study:
Recommendations Based on the Research Study
1. Hip-hop culture heavily influences the oral language and written
c
ommuni
c
a
t
i
onofs
t
u
de
nt
s
.Thi
si
se
vi
de
ntt
hr
oughs
t
ude
nt
s
’e
ve
r
y
da
y
speech at school and their use of hip-hop vernacular in writing assignments.
2.
Hip-hop can be used as a tool to supplement the teaching of various
academic concepts. Because students are very interested in hip-hop, they will
pay closer attention to a lesson that uses elements of hip-hop culture to teach
90
an academic concept. Also, since hip-hopi
sve
r
y“
c
a
t
c
hy
”duet
oi
t
sus
eof
rhyme, it is a valuable tool that can be used to help students remember
various concepts through rhyme.
Recommendations for Further Study
This study examined the influence of hip-hop culture on the communication
skills of students as perceived by teachers at selected high schools in Houston, Texas.
Further study could be initiated in the following areas:
1. An examination of the differences between the communication skills of
students in hip-hopc
ul
t
ur
e
’
sma
j
orc
i
t
i
e
s
,whi
c
hi
nc
l
ude
:Ne
wYor
k,Los
Angeles, and Atlanta.
2. An examination of how hip-hop music can be used to teach basic academic
concepts to elementary school students.
3. A study of which hip-hopa
r
t
i
s
t
sa
r
et
hemos
ti
nf
l
ue
nt
i
a
li
nr
e
g
a
r
dt
os
t
ude
nt
s
’
communication skills.
4. A study of the effectiveness of hip-hop lyrics that convey positive messagessuch as anti-drug, safe sex, and anti-violence lyrics.
5. A study of the effects of hip-hopc
ul
t
ur
e
’
sne
ga
t
i
veme
s
s
a
g
e
s
,s
uc
ha
s
:l
y
r
i
c
s
that contain references to illegal drugs, violent messages, and derogatory
comments regarding women.
6. A study of the effectiveness of a school that offers hip-hop-related elective
courses.
91
7. A study of the differences of hip-hopc
ul
t
ur
e
’
se
f
f
e
c
tuponva
r
i
ouse
t
hni
c
i
t
i
e
s
and cultures.
8. A study of hip-hopc
ul
t
ur
e
’
se
f
f
e
c
t
supont
hea
t
t
i
t
ude
s of teachers.
9. A study of the effectiveness of Christian rap and Christian hip-hop culture.
The study of hip-hop and its influence on students and the way that they
c
ommuni
c
a
t
eha
spr
ovi
de
dva
l
ua
bl
ei
nf
or
ma
t
i
oni
nr
e
g
a
r
dt
os
t
ude
nt
s
’e
xpe
r
i
e
nc
e
si
n
school. The application of the findings in this study can lead to more innovative teaching
me
t
h
o
dsa
ndmor
ef
a
vor
a
bl
el
e
a
r
ni
ngc
ondi
t
i
onsf
ort
oda
y
’
ss
t
ude
nt
s
.
92
REFERENCES
2 Live Crew. (1995). Hoochie mama. On Friday [CD]. Los Angeles: Priority Records.
2Pac. (1995). All eyes on me. On All eyes on me [CD]. Los Angeles: Death Row/
Interscope.
504 Boyz. (2000). Whodi. On Goodfellas [CD]. New Orleans: No Limit/Priority
Records.
Adjaye, J. K. (1997). Language, rhythm, and sound. Pittsburgh: University of Pittsburgh
Press.
Alexander, F. (1998). Got your back.Ne
wYor
k:St
.Ma
r
t
i
n’
sPr
e
s
s
.
Baker, H. A. (1993). Black studies, rap, and the academy. Chicago: University of
Chicago.
Baugh, J. (1983). Black street speech. Austin, TX: The University of Texas Press.
Big Moe. (2000). Mann. On City of syrup [CD]. Houston: Wreckshop Records.
Botany Boyz. (1999). We throwed. On Forever botany [CD]. Houston: Big Shot
Records.
Chuck D. (1997). Fight the power. New York: Delacorte Press.
Dillard, J. L. (1972). Black English. New York: Random House.
Dr. Dre. (1991). Deep cover. On Deep cover [CD]. Los Angeles: Death Row Records
(1992).
Dr. Dre. (1992a). B------ a
i
n’
ts
---. On The chronic [CD]. Los Angeles: Death Row
Records.
Dr. Dre. (1992b). The chronic. On The chronic [CD]. Los Angeles: Interscope.
93
Dr. Dre. (2000). The next episode. On The chronic [CD]. Los Angeles: Aftermath/
Interscope Records.
Dyson, M. E. (1993). Reflecting Black. Minneapolis: University of Minnesota Press.
Dyson, M. E. (1996). Between God and gangsta rap: Bearing witness to Black culture.
New York: Oxford University Press.
Edwards, S. (2000). The savior? Retrieved September 15, 2005, from
http://www.pitch.com/issues/2000-04-13/feature_1.html
E. Ron. (2006). Edu-Rap, Volume I [CD]. San Antonio, TX: Konfident Entertainment.
Fredro Starr. (2001). What if. On Firestarr [CD]. Port Washington, NY: Koch Records.
Gall, M. D., Gall, J. P., & Borg, W. R. (2003). Educational research: An introduction
(7th ed.). Boston: Allyn & Bacon.
Gates, H. L. (1988). The signifying monkey: A theory of Afro-American literary
criticism. New York: Oxford University Press.
Genius. (1995). Liquid swords. On Liquid swords [CD]. New York: Loud/RCA
Records.
George, N. (1985). Fr
e
s
h:Hi
phopdon’
ts
t
op. New York: Random House.
George, N. (1998). Hip hop America. New York: Viking Press.
George, N. (1999). Signifyin, sanctifyin, and slam dunkin. Amherst, MA: University of
Massachusetts Press.
Ginwright, S. A. (2004). Black in school. New York: Teachers College Press.
Ice T. (1994). The ice opinion.Ne
wYor
k:St
.Ma
r
t
i
n’
sPr
e
s
s
.
Jones, Q. (1999). Tupac Shakur. New York: Doubleday.
94
Kam. (2001). Benefits. On Hard tyme [CD]. Kamnesia, NY: JCOR Records.
Kelley, E. R. (2001). The Bronx renaissance: An analysis of the language of hip-hop
culture.Unpubl
i
s
he
dma
s
t
e
r
’
st
he
s
i
s
,Te
xa
sSt
a
t
eUni
ve
r
s
i
t
y
,Sa
nMa
r
c
os
,TX.
Kitwana, B. (2002). The hip hop generation. New York: Basic Civitas Books.
Kochman, T. (1972). Rappin and stylin. Urbana, IL: University of Illinois Press.
Kool Keith. (1996). Blue flowers. On Dr. Octagonecologist [CD]. Los Angeles: Priority
Records.
Kunjufu, J. (1993). Hip-hop vs. MAAT. Chicago: African American Images.
Li
l
’Tr
oy
.(
1999)
.Wa
nnabeaba
l
l
a
.OnSi
t
t
i
n’f
atdowns
out
h[CD]. Houston: Short
Stop Records.
L.
L.CoolJ
.(
1987)
.I
’
m ba
d.OnBigger and deffer [CD]. New York: Def Jam
Recordings.
L.L. Cool J. (1997). I make my own rules.Ne
wYor
k:St
.Ma
r
t
i
n’
sPr
e
s
s
.
Merriam-We
bs
t
e
r
’
sc
ol
l
e
gi
at
edi
c
t
i
onar
y(11th ed.). (2004). Springfield, MA: MerriamWebster.
Mystikal. (2000). Shake it fast. On Le
t
’
sge
tr
e
ady[CD]. New York: Jive Records.
Nas. (1994). New York state of mind. On Illmatic [CD]. New York: Columbia Records.
N.W.A. (1988). F--k tha police. Straight outta Compton [CD]. Los Angeles:
Ruthless/Priority Records.
Perkins, W. E. (1966). Droppin science: Critical essays on popular music and hip hop
culture. Philadelphia: Temple University Press.
Rakim. (1986). My melody. On Paid in full [CD]. New York: Island Records.
95
R.P. Cola. (1999). Too much lean in my cup. On Act like you know [CD]. Houston:
Select-O-Hits.
Ramirez, J. D. (2005). Ebonics. Tonawanda, NY: Multilingual Matters.
Reese, R. (2004). American paradox: Young Black men. Durham, NC: Carolina
Academic Press.
Rose, T. (1994). Black noise: Rap music and Black culture. Hanover, NH: Wesleyan
University Press.
Scarface. (1988). Scarface. On Mr. Scarface [CD]. Houston: Rap-A-Lot Records.
Smitherman, G. (1997). Black talk. Boston: Houghton Mifflin.
Smitherman, G. (1978). Tal
k
i
n’a
ndt
e
s
t
i
f
y
i
n’
. New York: Doubleday.
Snoop Doggy Dogg. (1993). Gin & juice. On Doggystyle [CD]. Los Angeles: Death
Row Records.
Willie D. (1990). Rodney King. On Willie D [CD]. Houston: Rap-A-Lot Records.
Wood, B. (1999, December). Understanding rap as rhetorical folk poetry. Mosaic, 32(4),
129-146.
Wu-Tang Clan. (1994a). C.R.E.A.M. On Enter the 36 chambers [CD]. New York:
Loud/RCA Records.
Wu-Tang Clan. (1994b). Protect your neck. On Enter the 36 chambers [CD]. New
York: Loud/RCA Records.
96
APPENDIX A
INFORMATION SHEET –WRITTEN SURVEYS
97
INFORMATION SHEET- Written Survey
“
TheI
nf
l
ue
nc
eofHi
p-Hop Culture on the Communication Skills of Students as
Pe
r
c
e
i
ve
dbyTe
a
c
he
r
sa
tSe
l
e
c
t
e
dHi
g
hSc
hool
si
nHous
t
on,Te
xa
s
”
You have been asked to participate in a research study about the influence of hip-hop
culture on the communication skills of high school students. I received approval to
c
ont
a
c
ty
oua
nda
s
kf
ory
ourp
a
r
t
i
c
i
pa
t
i
onf
r
om oneofy
ours
c
hool
’
sa
dmi
ni
s
t
r
a
t
or
s
.
Whether you participate or not will have no impact on your job or school status. A total
of 30 people have been asked to participate in this study. The purpose of this study is to
examine the influence that hip-hop culture has on students.
If you agree to be in this study, you will be asked to answer questions on a written
survey. This study will only take ten minutes. There are no risks associated with this
study. There are no benefits in participating in this study. You will receive no monetary
compensation.
This study is anonymous. The records of this study will be kept private. No identifiers
linking you to the study will be included in any sort of report that might be published.
Research records will be stored securely and only E. Ron Kelley will have access to
these records. Your decision whether or not to participate will not affect your current or
future relations with Texas A&M University. If you decide to participate, you are free to
refuse to answer any of the questions that may make you uncomfortable. You can
withdraw at any time without your relations with the University, job, benefits, etc., being
affected. You can contact E. Ron Kelley at 210-710-5542 or Dr. Stephen Stark at 979845-2656 with any questions about this study.
This research study has been reviewed by the Institutional Review Board- Human
Subjects in Research, Texas A&M University. For research-related problems or
que
s
t
i
onsr
e
ga
r
di
ngs
ubj
e
c
t
s
’r
i
g
ht
s
,y
ouc
a
nc
ont
a
c
tt
heI
ns
t
i
t
ut
i
ona
lRe
vi
e
w Boa
r
d
through Ms. Angelia M. Raines, Director of Research Compliance, Office of the Vice
President for Research at (979) 458-4067, [email protected].
98
APPENDIX B
INFORMATION SHEET- ORAL INTERVIEWS
99
INFORMATION SHEET- Interview
“
TheI
nf
l
ue
nc
eofHi
p-Hop Culture on the Communication Skills of Students as
Pe
r
c
e
i
ve
dbyTe
a
c
he
r
sa
tSe
l
e
c
t
e
dHi
g
hSc
hool
si
nHous
t
on,Te
xa
s
”
You have been asked to participate in a research study about the influence of hip-hop
culture on the communication skills of high school students. I received approval to
cont
a
c
ty
oua
nda
s
kf
ory
ourp
a
r
t
i
c
i
pa
t
i
onf
r
om oneofy
ours
c
hool
’
sa
dmi
ni
s
t
r
a
t
or
s
.
Whether you participate or not will have no impact on your job or school status. A total
of 30 people have been asked to participate in this study. The purpose of this study is to
examine the influence that hip-hop culture has on students.
If you agree to be in this study, you will be asked to answer questions on a written
survey. This study will only take ten minutes. There are no risks associated with this
study. There are no benefits in participating in this study. You will receive no monetary
compensation.
This study is anonymous. The records of this study will be kept private. No identifiers
linking you to the study will be included in any sort of report that might be published.
Research records will be stored securely and only E. Ron Kelley will have access to
these records. Your decision whether or not to participate will not affect your current or
future relations with Texas A&M University. If you decide to participate, you are free to
refuse to answer any of the questions that may make you uncomfortable. You can
withdraw at any time without your relations with the University, job, benefits, etc., being
affected. You can contact E. Ron Kelley at 210-710-5542 or Dr. Stephen Stark at 979845-2656 with any questions about this study.
This research study has been reviewed by the Institutional Review Board- Human
Subjects in Research, Texas A&M University. For research-related problems or
que
s
t
i
onsr
e
ga
r
di
ngs
ubj
e
c
t
s
’r
i
g
hts, you can contact the Institutional Review Board
through Ms. Angelia M. Raines, Director of Research Compliance, Office of the Vice
President for Research at (979) 458-4067, [email protected].
100
APPENDIX C
SURVEY INSTRUMENT
101
SURVEY INSTRUMENT
“TheI
nf
l
ue
nc
eofHi
p-Hop Culture on the Communication Skills of Students as
Pe
r
c
e
i
ve
dbyTe
ac
he
r
satSe
l
e
c
t
e
dHi
ghSc
hool
si
nHous
t
on,
Te
xas
”
Background Information
1. Gender __a. Male __b. Female
2. Age:
__a. 22-28 __b. 29-35 __c. 36-42 __d. 43-49 __e. 50 +
3. Teaching Experience __a. 0-3 __ b. 4-7 __c. 8-11 __ d. 12-15 __e. 16+
4. Grade Level That You Teach (you may check more than one) __ a. 9th __b. 10th
__ c. 11th __d. 12th
The following items represent various aspects of hip-hop culture. Hip-hop culture is
comprised of: rap music, breakdancing, graffiti art, and deejaying. Please answer each
question by placing the appropriate letter in the space to the left of the question. This
questionnaire is anonymous.
Ratings: VI-Very influential
NI- Not Influential
I-Influential
SI-Somewhat Influential
N/A-Not Applicable
To what extent does hip-hop culture influence the communication skills of students
regarding the following factors:
____ 1. Oral language
____ 2. Writing skills
____ 3. Interaction with those of the same gender
102
____ 4. Interaction with those of the opposite gender
____ 5. Communication with teachers
____ 6. Communication with parents
____ 7. Musical expression
____ 8. Interaction with those of the same race
____ 9. Interaction with those of another race
____ 10. Use of profanity
103
APPENDIX D
INTERVIEW QUESTIONS
104
INTERVIEW QUESTIONS
E. Ron Kelley
“TheI
nf
l
ue
nc
eofHi
p-Hop Culture on the Communication Skills of Students as
Pe
r
c
e
i
ve
dbyTe
ac
he
r
satSe
l
e
c
t
e
dHi
ghSc
hool
si
nHous
t
on,
Te
xas
”
1. Which subject and grade level do you teach?
2. What is your definition of hip-hop culture?
3. What evidence of the influence of hip-hop exists in the oral language of the students
that you teach?
4. Do your students use hip-hop vocabulary in their writing?
5. Do you feel that this influence is a positive or negative factor for these students?
6. Do you feel that hip-hop can be used as an educational tool?
7. Do you listen to hip-hop music?
8. When do you feel that it is appropriate for students to use hip-hop words?
9. Do you use hip-hop words in your oral language?
10. Do you feel that hip-hop culture will continue to exist in the future?
105
APPENDIX E
EDU-RAP CD LYRICS
106
I Can Read More Than You
I
t
’
st
i
met
ot
al
kaboutt
hemos
ti
mpor
t
ants
k
i
l
l
,
This is the skill, that pays the bills,
The one you need, every minute of the day,
Without this skill, hey yo, there is no way,
To do anything, anything at all,
You need it winter, summer, autumn, spring, and fall,
I
’
mt
al
k
i
ngaboutr
e
adi
ng,t
he#1t
hi
ng,
You have to read to rap, and read to sing,
You have to read the plays in football or hoops,
Youhav
et
or
e
adi
fy
ou’
r
eapar
tof the military troops,
So get in the habit, read everyday,
The more you read, the more you pay,
Yourmi
nd,
i
t
’
sl
i
k
emone
yi
nt
hebank
,
Every time you read, you fill up your think tank,
Read aloud, read outside,
Read to Mom, read with pride,
Get your read on, the E. Ron way,
Look at your friends, and I want you to say,
Chorus- Yo, I can read more than you,
I can read more than you,
I can read more than you, you, you, and you
Read anything you want, live in the library,
Everywhere you go, a book you should carry,
Nowy
ou’
r
egonnahav
et
ot
ak
er
e
adi
ngt
e
s
t
s
,
Sohe
r
e
’
ss
omet
i
ps
,s
oy
ouc
andoy
ourbe
s
t
,
The main idea will get you an A,
I
t
’
swha
te
v
e
r
ypar
agr
aphi
st
r
y
i
ngt
os
ay
,
Compare and contrast, the name of the game,
Check what is different and what is the same,
Who are the characters? What is the title?
What
’
st
hes
t
or
yabout
?t
hi
si
sv
i
t
al
,
That means important, know your vocabulary,
Goi
ngada
ywi
t
houtr
e
adi
ng,nowt
hat
’
ss
c
ar
y
,
January, February, March, April, May,
Every single month, we read, look at your friends and say
(repeat chorus)
107
Choppi
n’UpMat
h
M-A-T-H,
Something some students love, something some students hate,
Butaf
t
e
rt
hi
ss
ong,y
ou’
r
egonnaal
ll
ov
emat
h,
Re
me
mbe
ri
t
’
sas
k
i
l
lt
haty
ouhav
et
ohav
e
,
We
’
r
ec
hop
pi
n’upt
he
s
emat
hs
k
i
lls, in this rap,
Chop’
e
ml
i
k
eak
ar
at
emas
t
e
r
,gi
v
ee
mas
mac
k
,
Caus
et
he
y
’
r
ee
as
yt
obe
at
,c
hope
m,andgi
v
ee
mak
i
c
k
,
I
se
v
e
r
y
bodyr
e
ady
?Le
t
’
spr
ac
t
i
c
eabi
t
,
1x
1i
s1,2x
2i
s4,3x
3i
s9andy
ouk
nowt
hat
’
sal
lt
het
i
me
,
4x4, 16, 9x2, 18, 5x5, 25,
now you got em memorized,
Mat
hi
ss
ome
t
hi
ngy
ou’
r
egoi
ngt
one
e
de
v
e
r
y
day
,
You need math to buy a car, and for sports you play,
Youne
e
dmat
hs
omuc
hi
t
’
snote
v
e
nf
unny
,
Most importantly, you need math to count money,
If I have 10 dimes, 4 quarters, 6 pennies,
Howmanyc
oi
nsdoIhav
e
,y
e
aht
hat
’
sr
i
ght20,
Now how much money does that add up to be,
Remember, 10 dimes, 4 quarters, 6 pennies,
Chorus- Choppi
n’UpMat
hChant
Di
dy
ouge
ti
t
?That
’
sr
i
ghtt
wodol
l
ar
sands
i
xc
e
nt
s
,
Ya
l
lar
ema
t
he
x
pe
r
t
s
,nowI
’
m totally convinced,
Now you know I always want you to do your best,
Sohe
r
e
’
saf
e
wt
i
pswhe
ny
out
ak
eamat
ht
e
s
t
,
Know which number is greater than the other number,
Pr
ac
t
i
c
er
e
adi
nggr
aphs
,s
oy
ouwon’
thav
et
owonde
r
,
How to read those, practice counting coins a lot,
Know about centimeters, why not?
Read word problems carefully, show your work,
If you get stuck, do the easy ones first,
If you have charts, use em, break em down, solve em,
Putony
ourbl
ac
kbe
l
t
,l
e
t
’
sc
hopupmat
hpr
obl
e
ms
.
108
Social Studies Stomp
Chorus- Stomp, Stomp, Stomp, Stomp, for social studies
I
t
’
swhatIne
e
dt
ok
now
You’
v
ej
us
ts
t
ompe
di
nt
ot
hes
oc
i
als
t
udi
e
ss
e
c
t
i
on
First things first you have to know the directions,
North is up, South is down
West is to the left, East is to the right, in your town,
And my town, and every town,
In a few minutes, we will stomp the ground,
And show what we know cause we are the best,
Washington D.C., capital of the U.S.,
What are the continents, Africa, Asia,
Antarctica, Europe, it should amaze ya,
Australia, North and South America,
That
’
ss
e
v
e
nc
ont
i
ne
nt
sy
al
l
,wear
epr
e
par
i
ngy
a,
For any social studies test,
70% of the earth is oceans, what is the rest?
Land, so we are mostly ocean,
You’
r
ea
boutt
ol
e
ar
nt
heoc
e
anpot
i
on,
Pacific, Atlantic, Indian, Arctic,
These are the oceans, this time you start it,
Pacific, Atlantic, Indian, Arctic,
Those are the oceans yall,
Now you know the oceans, give yourself a hand,
Nowi
t
’
st
i
met
ol
e
ar
nab
outf
or
e
i
gnl
ands
,
Rome is in Italy, London in England,
Par
i
si
si
nFr
anc
e
,Le
t
’
ss
t
ar
tmi
x
i
n&mi
ngl
i
n,
Ask your partner, where is Tokyo?
Tell him Japan, now I know you know,
Egypt is known for the Pyramids,
They are amazing and real big,
Bac
kt
oAme
r
i
c
a,what
’
sours
ong?
The Star-Spangl
e
dBanne
r
,don’
tge
tt
hatwrong,
That
’
sourNat
i
onalAnt
h
e
m,O’SayCanYouSe
e
,
Youk
no
wt
hewor
d
s
,we
’
r
eade
moc
r
ac
y
,
That means you can vote your way,
Hope you learned some social studies today
109
The Science Chant
I
t
’
st
i
mef
ors
omes
c
i
e
nc
ey
al
l
,
I
fy
oul
i
s
t
e
nc
l
os
e
,y
ou’
l
lbeable to do it all,
In the lab, the first rule is safety,
This is important, so you can make the,
Lab, safe for you, lab safe for me,
Can’
tr
uni
nt
hel
ab,c
aus
ewe
’
r
eac
c
i
de
ntf
r
e
e
,
Now you know safety, the #1 rule,
Nowl
e
t
’
sge
tt
ok
nowaf
e
wl
abt
ool
s
,
A thermometer does what, finds temperature,
If you learn the lab, one day, you might find the cure,
For diseases, discover new things for helping,
Whe
nas
ol
i
dt
ur
nst
ol
i
q
ui
d,t
hat
’
sme
l
t
i
ng,
Carnivore, meat eater, herbivore, plant eater,
Gotta know about milliliters and millimeters,
Got
t
ak
nowt
hepl
ane
t
s
,s
ol
e
t
’
sge
twi
t
ht
he
m,
Fi
r
s
twe
’
r
eg
o
nnat
al
kaboutt
hei
nne
rs
ol
ars
y
s
t
e
m,
Mercury, Venus, Earth, and Mars,
The
s
ear
ec
l
os
e
s
tt
ot
heSun,wedon’
twannabef
ar
,
The Sun provides the heat and light we need,
Nowhe
r
e
’
st
heout
e
rs
ol
ars
y
s
t
e
m,y
e
si
nde
e
d,
Jupiter, Saturn, Uranus, Neptune and Pluto,
Nowl
e
t
’
sgobac
kands
e
ewhatal
ly
ouk
now,
If you know the planets, say em after me,
Mercury, Venus, Earth, Mars,
J
upi
t
e
r
,Sat
ur
n,Ur
anus
,t
hat
’
sf
ar
,
Neptune and Pluto complete the deal,
Now you know the planets, tell me how you feel,
Smar
t
,t
e
l
ly
ourf
r
i
e
nds
,don’
that
e
,
When water disappears, it evaporates,
Sunlight and water go into a plant,
And oxygen comes back out of the plant,
Sound is cause by vibrations,
Science is done in all nations,
Water boils at 212 degrees Fahrenheit
Water freezes at 32 degrees Fahrenheit,
When water boils, a liquid becomes a gas,
Gravity makes rain drop down fast,
Nowy
ouk
nows
c
i
e
nc
e
,s
odon’
te
v
e
rs
ayIc
an’
t
,
Nowi
t
’
st
i
meto say the Science Chant,
110
Chorus- Science is something I gotta have,
Te
ac
he
r
,Te
ac
he
r
,Te
ac
he
r
,l
e
t
’
sgot
ot
hel
ab,
Science is you,
Science is me,
S-C-I-E-N-C-E,
Is so cool,
Is so tight,
Gi
v
emeas
c
i
e
nc
et
e
s
t
,I
’
l
lge
te
mal
lr
i
ght
111
S-P-E-L-L With Me
S-P-E-L-L-I-N-G,
This is what I need you to do with me,
Spelling helps you read, spelling helps you write,
Comes
pe
l
ls
omewor
dswi
t
hme
,“ai
i
ght
,
”
You are a C-H-A-M-P-I-O-N,
That
’
sc
hampi
on,Some
onewhowi
ns
,
If you like sports, you are A-T-H-L-E-T-I-C,
Athletic, get it,
I
fy
oul
i
k
et
oc
ook
,You’
r
eaC-H-E-F,
Wave to the R-I-G-H-T, then left,
Wave right, wave left,
I
fy
ou’
r
et
hel
e
ade
r
,y
ou’
r
et
heC-H-I-E-F,
At a restaurant, you read a M-E-N-U,
Th
at
’
same
nu,l
e
t
’
sge
ti
nt
o,
More words, more words, more words,
Race cars have S-P-E-E-D,
That
’
ss
pe
e
d,s
os
pe
e
di
tupwi
t
hme
,
Bead, B-E-A-D, Deed, D-E-E-D, Greed, G-R-E-E-D,
Read, R-E-A-D, Need, N-E-E-D, Feed, F-E-E-D, Plead, P-L-E-A-D,
You can do it if you T-R-Y,
Missouri, M-I-S-S-O-U-R-I,
Texas, T-E-X-A-S,
You’
r
et
hes
pe
l
l
i
ngbe
ec
hamp,
cause you are the best,
Alaska, A-L-A-S-K-A
Alabama, A-L-A-B-A-M-A,
Hawaii, H-A-W-A-I-I,
Then M-I-, crooked letter, crooked letter,
I, crooked letter, crooked letter, I-P-P-I,
Those are a few states, that you can spell,
You L-E-A-R-N, so well,
My name is E-R-O-N,what
’
sy
ourname
?
Coul
dn’
the
ary
ou,c
any
ous
pe
l
li
tagai
n?
We love S-C-H-O-O-L,
Thewayy
ou’
r
es
pe
l
l
i
ng,Ic
anT-E-L-L,
That you have pride, P-R-I-D-E,
Let me see you S-M-I L E,
Le
t
’
sdoi
tnowi
nSl
owM-O-T-I-O-N,
That
’
ss
l
owmot
i
on,r
e
ad
yt
obe
gi
n,
112
T-U-R-T-L-E, slow,
S-N-A-I-L, real slow,
C-R-A-W-L, slow,
Wantt
os
pe
e
di
tupnow,al
r
i
ght
,l
e
t
’
sgo,
Q-U-I-C-K, F-A-S-T, R-A-C-E, F-L-Y, on snow S-K-I,
S-Q-U-I-R-R-E-L, C-H-E-E-T-A-H, J-E-T, R-U-N-N-E-R,
You can go real far,
If you can spell, so keep working on it, cool,
Nowy
ou’
r
et
hebe
s
ts
pe
l
l
e
ri
nt
hes
c
hool
.
113
Write Tight
(call and response)
Hav
eagoodi
nt
r
oduc
t
i
on,(
That
’
st
i
ght
)
,
Listen to the prompt,
Re-read the prompt,
Brainstorm for what you want to write,
Organize your paragraphs,
Read over what you write as you go,
Fix any mistakes you see,
Always get your thoughts together,
Use your vocabulary words,
Make sure you spell your words right,
Grab their attention at the start,
Tells us when and where it takes place,
In the end, sum it all up,
Capitalize the right words,
Use proper punctuation,
Make sure each sentence helps the reader understand,
Use a lot of detail,
Narrative writing tells a story,
Keeping a journal helps you write,
Keep your writing focused,
Make sure its complete,
Make it flow, from sentence to sentence,
Make it original,
Don’
tj
umpf
r
omi
de
at
oi
de
a,
Don’
tl
e
av
ei
tunf
i
ni
s
he
d,
Don’
tbet
oowor
dy
,
Don’
tr
e
pe
aty
our
s
e
l
f
,
(rap)
The W in writing is for tell us where and when,
The R is for re-read it over again,
The I is for indent each new paragraph,
The T is for tell, tell us a story, make us laugh,
The other I is for interesting, draw the reader in,
The N is for never leave it incomplete, then,
TheGi
sf
or“gof
ori
t
,
”wr
i
t
easmuc
hasy
ouc
an,
Writing is all about making a plan,
Then writing it down, and checking it over good,
You can write tight now, I knew you could
114
(Chorus)
The more you write, the better you write,
Iwr
i
t
ee
v
e
r
y
day
,t
hat
’
swhyIwr
i
t
et
i
ght
,
Writing is something I love to do,
I write tight, how about you.
115
Te
s
t
sDon’
tSc
ar
eMe
Who’
ss
c
a
r
e
doft
e
s
t
s
,I
’
mnots
c
ar
e
doft
e
s
t
s
,
Te
s
t
sar
eac
hanc
ef
ory
out
os
howy
ou’
r
et
hebe
s
t
,
Fi
r
s
tt
hi
ngsf
i
r
s
t
,ge
tago
odni
ght
’
ss
l
e
e
p,
This will definitely help you keep,
Focused, when you take your test,
Eat a good breakfast, I must confess,
This is one of the most important tips,
Avoid sweet things, they pump you up and then you dip,
Andy
oudon’
tne
e
dt
ol
os
eanys
t
e
am,
So eat right before you test, even though it seems,
That you can make it without breakfast, no,
Soge
ts
omef
oodf
ue
landl
e
t
’
sgo,
Whe
ny
out
ak
ey
ourt
e
s
t
,don’
tr
us
h,s
l
owdown,
The
r
e
’
snoawar
df
ort
hef
as
t
e
s
tk
i
di
nt
own,
Don’
tt
ak
et
ool
ongont
hehar
dque
s
t
i
ons
,
Dot
hee
as
yo
ne
sf
i
r
s
t
,t
h
eone
’
sy
ou’
r
et
hebe
s
tin,
Don’
te
v
e
rl
e
av
eonebl
ank
,gue
s
ss
mar
ti
fy
oumus
t
,
Bec
o
n
f
i
de
nt
,y
ou’
r
er
ol
l
i
n’wi
t
hus
,
Watch out for tricks, so read the question closely,
Read the directions, cause tests are mostly,
About following directions and reading carefully,
Relax, take a deep breath with me,
Breathe in, breathe out, breathe in, breathe out,
Being relaxed is what tests are all about,
Chorus- Te
s
t
sDon’
tSc
ar
eMe
Take breaks, close your eyes for a minute,
Rest a while, then you can begin it,
Again, this will charge you up,
Re
me
mbe
rwhaty
o
urt
e
ac
he
rt
aughty
ou,andt
hat
’
se
nough,
To pass, to make 100,
Ik
nowy
ou’
r
egonnapas
s
,c
aus
eIk
nowy
ouwanti
t
,
Bad, you want to be number one,
After this song, taking tests will be fun,
Be at school on time on the day of the test,
Being late, just causes more stress,
Your first answer is usually right,
Sodon’
tc
hangey
ourans
we
runl
e
s
sy
ou’
r
es
ur
e
,“ai
i
ght
,
”
Don’
tl
e
ti
tbot
he
ry
ou,i
fot
he
r
sf
i
ni
s
he
ar
l
y
,
You can work at your own pace, no need to hurry,
I hope you know now, I hope you can see,
Le
tmehe
ary
ou,s
ayi
t
,Te
s
t
sDon’
tSc
ar
eMe
.
116
These are the Class Rules
We
’
r
eaboutt
ogoov
e
rt
hec
l
as
sr
ul
e
s
,
These are important every day of school,
Get ready to listen to this hip-hop flow,
Caus
e
,we
’
r
egonnal
e
ar
nt
her
ul
e
s
,ge
ts
e
t
,l
e
t
’
sgo,
Keep your hands and feet to yourself,
Caus
ey
oudon’
twantt
oac
c
i
de
nt
al
l
yhur
ts
ome
onee
l
s
e
,
Fol
l
owt
het
e
ac
he
r
’
sdi
r
e
c
t
i
ons
,
This is for you own protection,
Watch the language that you use,
Watch the words that you choose,
Stay in your seat, unless you have permission,
To move around, if not, sit down,
Be polite to all of your classmates,
If you need something, raise your hand and wait,
For the teacher, to call on you,
Following directions is easy to do,
Raise your hand before you speak,
Came ready to learn every single week,
Bring supplies and assignments every single day,
Being prepared is the only way,
Wor
kqui
e
t
l
y
,don’
tbot
he
rot
he
r
s
,
Treat your classmates like sisters and brothers,
I
t
’
saf
ami
l
yi
nourc
l
as
s
,
Man, you caught on to the class rules real fast.
117
All Day Everyday (Perfect Attendance)
Fi
r
s
tof
f
,l
e
t
’
ss
e
tt
her
ul
ef
orl
e
ar
ni
ng,
Yougo
t
t
abet
he
r
et
oge
tt
hek
nowl
e
dgey
ou’
r
ee
ar
ni
ng,
I
fy
ou’
r
enoti
ns
c
hool
,howar
ey
ougonnal
e
ar
n,
You need perfect attendance, to not miss your turn,
When your teacher calls, on you to shine,
You need to be there ready and on time,
Perfect attendance, nothing less,
St
ar
t
i
ngt
oday
,l
e
t
’
ss
e
ewho’
st
hebe
s
t
,
At coming to school, on time and motivated,
I know its hard to wake up, man, I really hate it,
But you gotta get up and face the day,
Whi
l
ey
ou
’
r
ei
nbe
ds
ome
one
’
swor
k
i
ngaway
,
Getting ahead, getting ahead of you,
Andt
hat
’
ss
ome
t
hi
ngy
ouc
an’
tl
e
tt
he
mdo,
Whe
ni
tc
ome
st
os
c
hoolwedon’
tpl
ay
,
We
’
r
eg
onnabehe
r
e
,al
ldaye
v
e
r
y
day
,
You gotta stay healthy, getting sick will slow you down,
So wash your hands a lot, and on the playground,
Bec
ar
e
f
ul
,y
oudon’
tne
e
danybr
ok
e
nar
ms
,
The
ny
ouwon’
tbet
he
r
et
oputt
hatc
har
m,
Ony
ourt
e
ac
he
rands
howhe
rt
haty
ou’
r
eoni
t
,
That perfect attendance, you know you want it,
Fore
v
e
r
ys
c
hooldayy
oumi
s
s
,y
ou’
r
el
os
i
n’t
i
me
,
Los
i
n’t
i
met
oc
har
gey
ourmi
nd,
I
t
’
sl
i
k
eabat
t
e
r
y
,got
t
ak
e
e
pi
tf
ul
l
,
Sol
e
t
’
sc
har
get
hes
c
hooldoor
sl
i
k
ear
agi
ngbul
l
,
Be there bright and early, never late,
On time always, we owe it to our classmates,
If they can be there, you can be there,
Don’
twor
r
yi
fy
oudon’
thav
ene
wc
l
ot
he
st
owe
ar
,
Just make it happen, the perfect attendance way,
We
’
r
egonnabet
he
r
eal
ldaye
v
e
r
y
day
.
118
Drugs Get Away From Me
Drugs get away fromme
,Idon’
tne
e
dy
ou,
There is absolutely nothing you can do,
For me, cause drugs kill your brain,
All they do is cause a whole lot of pain,
Drugs are not cool, people who do drugs are fools,
Wedon’
tal
l
owdr
ugsi
nours
c
hool
,
If anyone has drugs, tell your teacher,
Tell your principal and your Mom when you see her,
You hear people talk about weed,
But weed is wack cause weed can only lead,
Tof
r
y
i
ngy
ourbr
ai
nandt
he
ny
ouc
an’
tt
hi
nk
,
As far as alcohol, you might see people drink,
But drinking alcohol, destroys your body,
On TV you see people drinking at a party,
And then they try to drive and end up in jail,
Sos
t
ayawayf
r
omdr
ugsi
fy
oudon’
twantt
of
ai
l
,
Caus
ey
ouc
an’
tdr
i
nkanddr
i
v
eandl
i
v
et
ot
e
l
l
,
Chorus- Drugs Get Away From Me
A lot of people who use drugs end up dead,
So stay away from drugs and use your head,
If you see someone using drugs, run away,
And tell someone, that very same day,
Drugs are illegal, you go to jail if you have em,
Dr
ugsar
es
t
upi
dandy
ou’
r
es
t
upi
di
fy
ouhav
ee
m,
Andy
ou’
r
es
ma
r
t
,s
oy
ouwoul
dne
v
e
rdodr
ugs
,r
i
ght
?
Cigarettes are bad too, every time someone lights,
Ac
i
gar
e
t
t
e
,t
he
y
’
r
ek
i
l
l
i
ngt
he
i
rl
ungs
,
Smok
i
ngc
i
gar
e
t
t
e
s
,I
’
mnott
heone
,
Are you? no way Jose,
When you hear the chorus, tell those drugs get away,
Drugs come in many shapes ands many colors,
Some
t
i
me
sy
ouc
an’
tt
e
l
lonedr
ugf
r
omanot
he
r
,
Pills, powder, liquid, in needles,
Anyway they come, drugs are straight up evil
119
VITA
EDMOND RON KELLEY
4226 TAMU
College Station, Texas 77843-4226
EDUCATION
2006
Doctor of Philosophy, Educational Administration
Texas A&M University, College Station, Texas
2001
Master of Arts, Literature
Texas State University, San Marcos, Texas
1996
Bachelor of Arts, English
The University of Texas at Austin, Austin, Texas
WORK EXPERIENCE
2004-2005
Principal
Benavidez Elementary School
South San Antonio Independent School District
San Antonio, Texas
2006-present
Adjunct Instructor
Houston Community College
2000-present
President/CEO
Konfident Enterprises
San Antonio, Texas
MEMBERSHIPS
Kappa Alpha Psi Fraternity, Inc.
Prince Hall Masonry –Master Mason, Royal Arch Mason,
Knight Templar, 32nd Degree Mason, Shriner
100 Black Men of America, Inc.
This dissertation was typed and edited by Marilyn M. Oliva at Action Ink, Inc.