Description
This thesis critically argues that there is two types of Hip-Hop: authentic and consumed. It provides an in-depth analysis on the popularization of urban ghettos and its utilization in the continuous marginalization of Black and Brown population. It also gives a brief historical background to the origins of authentic Hip-Hop. Demonstrating how authentic Hip-Hop has been a witness to oppression and an agent of resistance; by using the works of artist like Tupac Shakur, Immortal Technique, Brother Ali, Crooklyn Dodgers ’95, Grand Master Flash and the Furious five. As well as critiquing consumed Hip-Hop and how it has been shaped to no longer pose a threat to the status quo. This essay will try to prove how authentic Hip-Hop is vital to the creation of solidarity between the marginalized people of the world. Hip-Hop bridges cultural, racial, gender, and socio economic class divides forming a coalition of enlightened individuals ready to combat marginalization.
