Sexual Dominance In Hip Hop

Sexual Dominance In Hip Hop Take a couple days off take it off leave nothing but ya t-shirt ya panties on. Damn right imma get that thang imma put my name on it all night imma whip dat thang allstate betta put a claim on it i claim my territory, [à ¢Ã¢â€š ¬Ã‚ ¦] In my sex room, all that I wanted! Legs in the air, witcha toes pointed! So baby welcome to my sex room! (Ludacris, Sex Room). This idea of sexual dominance, as seen in these lyrics by Ludacris is only one of the prevalent issues in the Hip-hop industry. Hip-Hop today has become one of the most popular genres of music in our society and has rapidly. Due to its enormous cross-over appeal, hip hop culture has become a potentially great unifier of diverse populations. Although created by black youth on the streets, hip hops influence has become worldwide. Approximately 75% of the rap and hip hop audience is nonblack. It has gone from the fringes, to the suburbs, and into the corporate boardrooms. Like many groundbreaking musical genres, rap has expanded popular aural territory. Bringing together sound elements from a wide range of sources and styles and relying heavily on rich Afrodiasporic music, rap musicians technological in(ter)ventions are not ends in and of themselves, they are means of cultural ends, new contexts in which priorities are shaped and expressed (______95). With such a strong following over the past two decades from the various cultures, hip-hop has contributed greatly to the growth of our culture and the views of various aspects it encompasses, such as the interpretation of gender roles and lifestyle. Gender roles are defined by ________ as a set of perceived behavioral norms associated particularly with males or females, in a given social group or system(). Through these graphic and implicit songs and images portrayed by Hip-hop artists, it has brought people of our society today to interpret the gangster lifestyle, which many of these rap songs embrace as an acceptable form of culture. Not only has this gangster culture/lifestyle become more widely accepted, but it has become a driving force in the hip-hop industry, drastically changing the way in which both males and females are being represented and beginning to present themselves to adapt to this popular culture. The success of films like Goodfellas, Scarface, The Godfather trilogy and TV series like the Sopranos document all too well Americas fascination with the gangster lifestyle. Since the introduction of hip hop in the late 1970s countless rap songs have distinguished a lifestyle of unrelenting violence, vulgarity, misogyny and crime reinforced in the showing off of weapons, expensive jewelry, and scarcely dressed women which are seen as sex objects that are to be used and discarded at will. Well known rap artist of the twenty-first century, 50 Cent shows a perfect example of the gangster lifestyle which culture has recently began to embrace in his song, I Get Money here, Im stanky rich, Ima die tryna spend this shit, Southsides up in in this bitch, Yeah I smell like the vault, I used to sell dope, I did play the block, Now I play on boats, in the south of France, Baby, St. Tropez, Get a tan? Im already black Rich? Im already that Gangsta, get a gat Hit a head in a hat Call that a riddle rap Shit, f**k the chitter chat (50 Cent). The money, weapons, dope, and materialistic objects in this quote, such as the boat all directly show the way in which modern hip-hop depicts how they think culture should be and what is necessary to gain that gangster image. This masculine gangster image has become so successful at penetrating the very core of the hip-hop community that its biggest stars have become casualties. These stars begin to blur the lines between the bad boy roles they depict in their songs and videos with reality ultimately placing themselves in trouble with the law; and worse, ending in their death just as in the cases with two popular hip hop artist/rappers Tupac Shakur and Biggie Smalls. Although everyday people may not take these bad boy ideals to the extremes that these artists do, people are greatly influenced by the more cultural aspects of the gangster lifestyle such as the clothes, jewelry, cars, and possession of women as sexual objects. The glamorization of such lifestyles, as the reinforcement o f stereotypes, and the interpretations of society have quickly began to impact American culture as it cultivates a thuggish and materialistic stance as the bona fide response to what is necessary to fit into our culture and society and along the way has produces its own set of gender roles. In every aspect of hip-hop gender roles are inescapable. The gangster life style itself is greatly based around masculinity. Beyond Beats and Rhymes, author Kevin Powell says, We live in a society where manhood is all about conquering and violenceà ¢Ã¢â€š ¬Ã‚ ¦. And what we dont realize is that ultimately that kind of man hood ultimately kills you. As a male growing up in this hip-hop culture, the lyrics, and evocative images are telling you that to be a man you must evoke a sense of strength and power, but not everyone has that power. One way in which you can gain access is through the use of your body and your ability to present yourself physically as somebody who deserves respect, this is exa ctly what these hip-hop artist have done. Look at artists such as 50 Cent who has sculpted himself to fit this masculine idea associated with hip-hop, by creating a muscular physique, tattooing his body, and placing expensive bling around his neck. Videos expand on this idea of masculinity as they show these artists with extensive amounts of extravagant materialistic goods such as cars, houses, or boats and multitudes of submissive women in and around them. This masculine, gangster lifestyle along with the hip-hop ideals have especially shaped societies view of female gender roles through various avenues. One of the major forms which have contributed to the demoralization of female gender roles is imagery in the forms of both film and photography. From CD covers and posters to music videos and movies, women are portrayed in hip-hop as sexually dominated objects. CD covers such as Gangster Rap by Ice T, Tip Drill by Nelly, and Night at the Booty Bar by Disco D all show women in very little, to no clothing centered around the lead male artist which conveys to the viewers the sense of male dominance over these women. Even female hip-hop artist have conformed to this misogynistic and demeaning lifestyle as they too, through posters show themselves wearing very little clothing and using the sexual inference of lollipops or popsicles in order to appeal to the male gaze. Even these female rappers, such as Missy Elliot, are likely to display a fair bit of sexual preoccupation (Brummet 252). If these celebrity icons, are conforming to this misogynistic ideal how do we expect the youth of our s ociety to not conform as well? These images have quickly contributed to culturistic production of a disease much like bulimia, a cultural sickness of our time. That sickness is becoming the psyche of young women. Who they are in this culture, where they fit, what their value is, or their lack of value, because if this is the only image that they see of themselves in a pseudo-glamorous way, meaning if they look at a fashion magazine theres no girl that looks like Tamico on the block [an average black girl], but in the videos there is, she said. But they see them in this one objectified way and its hurting them. While media images might be written off as only pictures or fantasy representation, they remain a very real part of American culture, with real-life implications for viewers and consumers. As if these explicit still images are not demeaning enough, the technological advance have allowed these women to be portrayed in an even more graphic way through the multi-media form of mus ic videos. At the beginning of the music video era in the late 1950s these forms of media were used as a means of marketing to boost music sales, but today we have strayed a great deal from music videos such as the 1961 video Travelin Man by Ricky Nelson which consisted of him standing on the stage with a few intercessions of different places around the world thrown in. For the most part the gaze in this video is focused on a male figure not a women as much of these hip-hop videos today are. The women in these videos greatly outnumber the artist in these videos and through the actions, are portrayed as walking bling of these male artists, just like the chains around their necks or their fancy cars. Women, then, are offered as objects to be looked at. They are, often literally, hangers on, writhing around the male canter of the image. Think how many music videos show women reaching longingly for the male star (Brummet 252). One of the videos that that most explicitly does this is the controversi al music video produced for Nellys song Tip Drill which portrays every aspect of the gangster lifestyle and completely degrades women through explicit and erotic behaviors and actions. Nelly uses these women as hypersexualized props to fuel male fantasies and show his power and masculinity over them. This video immediately starts out by showing women in very little clothes, even some without any clothes. As it progresses you see Nelly and a few other men walking into an extravagant home with women lined up along a winding stairway as if they were women of a whore house ready to be selected, and then they all turn to the side to show their curves. Throughout the video you see Nelly and his crew throwing money at these women including at their genitalia as the women shake their asses and rub themselves or rub each other while the men watch. One can also see the misogynistic views as the rappers control the women, at times putting them into positions as if they are toys of sexual pleas ure, yet for the most part these women in the video are placing themselves in these sexual positions implying the complete control of the mans will has over these women. Unlike the still images which hint to sexual actions, for example the lollipop in relation to oral sex, these videos actually act them out in ways which are not open for interpretation. Studies have discussed and demonstrated correlational links between young peoples degree of media involvement (including the like or dislike of a particular genre) on sexual attitudes and gender schemas (Hansen Hansen, 1991; Roe, 1995; Rubin, 2002; Ward, Hansbrough, Walker, 2005) For example, teens with highly sexual media diets were shown to be more likely to engage in sexual intercourse than teens with low sexual content in their media diets. This quote solidifies the idea of how these music videos are directly contributing to the sexual demoralization of these women through the interpretation of the female identity. The identity portrayed by these women in this pseudo-reality/culture evokes the idea that all women must be skinny, curvy, wear scantily clad clothing, and act sexually forward and submissive in the presence of men as in the videos. Women in hip-hop are portrayed, in [à ¢Ã¢â€š ¬Ã‚ ¦] videos, as either silent, willing strippers or complaining, troublesome meddlers. The characters that they play have such a limited role that they need to look a certain way immediately to fit their role in society. No longer do we feel that the body is a more or less disappointing given instead, the body is the outer expression of our self (Giddens 104). Although the images depicted in these videos may represent a pseudo-culture/reality young women today are taking this identity and interpreting it as a true reality, acting the same actions out in their everyday life. Hip-hop imagery screams to women that beauty is only skin deep and that they are here for no other reason than to please men sexually. Although both videos and photographs explicitly and directly show the actions and characteristics which define women in hip-hop, the most prominent form of portrayal, lyrics cannot simply be passed over. Rhetoric, language is never simply a form of expression it is a functional tool that is manipulated to achieve desired ends. Once again hip-hop brings another form, lyrics to contribute to producing the identity of what it means to be a woman in this hip-hop culture through written text. A beat, a picture, even a video, like Lil Waynes can show certain ideals through imagery, but do not have a definitive meaning without lyrics. Lyrics are what make these graphic, shameful female stereotypes definitive. The words used in hip-hop are highly rhetorical and greatly define who a rapper/hip-hop artist is. According to Read it in Brail, Itll Still be Funky by ______ its states that Rap lyrics are a critical part of a rappers identity, strongly suggesting the importance of authorship and individuality in rap music (_____95). A concrete example of these rhetorical degraging lyrics is expressed through Three 6 Mafias song, Slob on my Knob here, Slob on my nob Like corn on the cob Check in with me. And do your job Lay on the bed And give me head Dont have to ask Dont have to beg Juicy is my name Sex is my game Lets call the boys Lets run a train Squeeze on my nuts Lick on my butt The natural curly hair Please dont touch First find a mate Second find a place Third find a bag to hide the whole face Real name Grover I said Ben over (Three 6 Mafia, Slob on my Knob). From the lyrics of this song one can see the vulgar language that has become associated with women in this culture. Whoever made up the saying Sticks and stones may break my bones, but words will never hurt me, was obviously not around at the time hip-hop was produced because these words are not only hurting individuals in a verbal sense, but physical sense as well. When did so many young women, especially those from the middle and upper middle-classes begin to find pleasure in being called Bitches and Hoes instead of slapping the person referring to them in that degrading manner? Music of the past never conveyed the message that hip-hop does today; the lyrics have drastically changed and have brought the culture of our time to change with it. In the 1950s Elvis became a revolutionary, being crowned The King of Rock Roll, his hip shaking beats and smooth love lyrics helped him to capture the hearts of many especially the women. Today those smooth love lyrics have turned into words of hate, violence, sex, and drugs followed by base pounding, head rattling beats. Im sure that Elvis didnt capture the hearts of millions of women by calling them bitches, hos or whores like many of the hip-hop songs of today do. The lyrics of today have moved from the compassionate lyrics of artists such as Elvis, Tony Benet, Stevie Wonder, and Boyz II Men, to degrading sexual lyrics of artist such as Nelly, 50 Cent, Tupac, NWA, and Dr. Dre. Analyzing lyrics such as these from one of Elvis famous songs Love me Tender here, it is almost impossible to not interpret and identify the compassionate and loving meaning of his words, Love me tender, love me sweet. Never let me go. You have made my life complete. And I love you so. Love me tender love me true. All my dreams fulfill. For, my darling I love you. And I always will (Elvis Presley, Love me Tender). Even within these first two versus it shows how much Elvis cares for the person he is talking about, saying things such as never let y ou go, You make my life complete, and I will always love you. You dont see that compassion in lyrics such as these from songs like Bitches Aint Shit, by Dr. Dre here, Bitches aint shit but hoes and tricks. Lick on deez nutz and suck the dick. Gets the fuck out after youre done. And I hops in my ride to make a quick run. I used to know a bitch named Eric Wright. We used to roll around and fuck the hoes at night. Comparing these there is no doubt that times have changed and that instead of expressing the loving nature as lyrics of the past have, they degraded women to bitches and hos. There are the lyrics, which heavily feature the terms bitch and ho as standard forms of reference for women (Brummet 252). Hip-hop has directly extended its threats specifically towards women using their lyrics to objectify them as objects of sexual pleasure, violence, and disrespect. Were telling people women are bitches and hos and sluts and not worthy of respect, she said. And thats exactly how socie ty is seeing us (http://www.cnn.com/2005/SHOWBIZ/Music/03/03/hip.hop/index.html). This young woman here understands the idea that these lyrics are actually talking about her and all the other women that listen to these hip-hop songs, not some made up person or just the girls in the videos, like other girls believe. Its funny when I hear women when these rappers are calling women; you know bitches and hoes say theyre not talking about me. I say yo! They are talking about you. If George Bush were to get on national TV and makes a speech and started calling black people niggers, would you be like, I dont know who George Bush is talking about, but he aint talking about me (Byron Hurts, Beyond Rhythm and Beats). A cultivation of rhetorical lyrics, videos, and images have brought hip-hop to become one of the most influentially, culturally evolving forms of music/media and along the way has produced gender roles which have degraded our sociological views of women.

Manager: Automobiles and Service Department Essay

Question #1 – Suppose the new-car deal is consummated, with the repaired used car being retailed for $7,100, the repairs costing Shuman $1,594. Assume that all sales personnel are on salary (no commissions) and that general overhead costs are fixed. What is the dealership incremental gross profit on the total transaction (i. e. , new and repaired-used cars sold)? Answer |Sales Revenue | | | Sales of new car |$14,400 | | Sales of repaired-used car |$7,100 | | Total |$21,500 | |Cost of Sales | | | Cost of new car |$12,240 | | Trade in value on used car |$6,500 | | Cost of reconditioning |$1,594 | | Total |$20,334 | |Gross Profit |$1,166 |. Question #2 – Assume each department (new, used, service) is treated as profit center, as described in the case. Also assume in a-c that it is known with certainty beforehand that the repairs will cost $1,594. a. In your opinion, at what value should this trade-in (unrepaired) be transferred from the new-car department to the used-car department? Why? b. In your opinion, how much should the service department be able to charge the used-car department for the repairs on this trade-in car? c. Given your responses to a and b, what will be each department’s incremental gross profit on this deal? Answer 2-a: i) If Paul should take responsibility that he failed to find the rear axle crack. The value of this trade-in should be at least $5,000, which is the number Paul think he could buy from used car auction. If Paul should not take the responsibility Reconditioning charge from Service department =Cost of repairs * Service Department gross profit mark-up = $1594 * ($2,000/$1,480) =$2,154 Value of Trade-in to used-car department =Wholesales price – Reconditioning charge =$6,100 – 2,154 =$3,946 Answer 2-b: As calculation of reconditioning charge from Service department above Answer 2-a. The Service department should charge the repair to used-car department by $2,154 Answer 2-c: i) Use the accounting rule which is done by Brunner for internal transfer cost, it comes out the table of â€Å"Current Split† below to show gross profit of Shuman and all three departments ii) If we let Paul take the responsibility for costing error on used car appraisal, and allow Service department to charge the internal job the same as they would do for external customer. The gross profit would be as shown in the table of â€Å"suggestion for split† below. iii) |[pic] | | |[pic] | | Question #3 -Is there a strategy in this instance that would give the dealership more profit than the one assumed above (i. e. , repairing and retailing this trade-in used car)? Explain. In answering this question, assume the service department operates at capacity. Answer 3: a) Should have Service department do a quick inspection of the used car and find the problem as many as possible, so sales department could have better position and knowledge to negotiate at lower used car allowance. b) Assume the service department operate at capacity, the incremental gross profit on the total transaction should be only counted by $660 (earned by Moyer) – $54 (loss by Fiedler) = $606. If Moyer could sell the new card at less than 10% discount (8% is competitive already) without using used car allowance. The gross profit for the dealership could be more. (10% discount, gross profit = $720 still higher than $606) c) Fiedler could try if the customer is interested to commission his department to sell his card at very minimal charge in addition to the sales result described above in answer 3-b. d) Bianci could quote $2,154 or above if the customer is interested to repair his car in his department. Question #4 Do you feel the three-profit-center approach is appropriate for Shuman? If so, explain why, including an explanation of how this is better than other specific alternatives. If not, propose a better alternative and explain why it is better than three profit centers and any other alternatives you have considered. Answer 4: Yes, we think the three-profit-center approach is appropriate for Shuman because all three departments could run business independently to service both external and internal customers. However, the internal cost transfer should be reviewed and revised to match market bench mark. It would help Shuman Automobiles a) Both new-car and used-car department could have more accurate cost base to make the decision for a sales deal. b) The service department could be motivated to reduce their cost and increase revenue. However, the approach might reduce the level of cooperation among the department and decrease customer benefit of â€Å"one stop shopping† in Shuman. In order to address this potential issue of conflict interest among the department, we suggest the other program could be implemented (1) The entire dealership profit should be also factor in as part of manager’s remuneration. . (2) Service department should give internal job at priority while they operate at capacity, and offer discount charge while they operates over capacity.

A 3000 Word Essay Identifying Two Public Health Issues...

Module Code – MID 314 Assignment - A 3000 word essay identifying two public health issues pertinent to clinical placement area; analyse these with reference to appropriate literature and research and discuss the public health role of the midwife. Word Count = 3210 Health is a broad concept, which can embody a huge range of meanings, from the narrowly technical to the all-embracing moral or philosophical. A definition of health is a state of well-being, interpreted by the World Health Organisation (WHO) in it’s constitution as ‘a state of complete physical, mental and social well-being, not merely the absence of disease or infirmity’ (WHO, 1946). This definition was established at the International Health Conference, New York, 1946; and†¦show more content†¦The geographical area which is being studied is an inner city area in the south west of England. I have studied in detail the community profile for this geographical area and this highlights several areas of concern. I have chosen these specific areas as they are the ones linked closely to midwifery and the promotion of health within the midwives role. According the Department of Health’s (DoH) community profile the health of people in this community is generally worse than the England average. Deprivation rates and teenage pregnancy rates are significantly higher than the England average. Also the percentage of mothers initiating breastfeeding is worse than the England average. The local NHS trust reports that this community is improving year on year and there are local policies in place to address the determinants of poor health in certain demographic areas of the community. (Association of Public Health Observatories, 2010) Teenage pregnancy is a grave social dilemma. The provisional data for 2008 shows the teenage pregnancy rate for England is 40.5 per 1000 girls aged 15-17 (National Statistics, 2010). Figures for England show there were 38,750 conceptions among under-18s in 2008. This is a fall of 13% nationally – but it is reported that this is stillway short of the 50% promised from the 1998 baseline. Although Teenage pregnancy rates have reduced in recent years the Teenage Pregnancy Independent Advisory Group (TPIAG) has

Importance Of Technology Technology Integration

Importance of Technology Integration It is supposed that educator incorporation of technology into workrooms for high-level learning will lead to enlarged scholar learning. Technology of higher-level use will improve every feature of scholars’ learning skills across curricular areas, so children will grow intelligently rather than develop lonely technology skills. Among 1999 and 2003, the US Department of Education’s â€Å"Preparing Tomorrow’s Teachers to Custom Technology† (PT3) financed over $750 million to projects concentrating on advanced ways for organizing teachers to participate technology into their education. In 2008, â€Å"Maximizing the Impact: The Pivotal Role of Technology in a 21st century Education System†Ã¢â‚¬â€printed by the International Society for Technology in Education, the Partnership for 21st Century Skills, and the State Educational Technology Directors Associations—termed for a essential to deliver exercise to develop ability to teach 21st century ski lls with technology. The National Educational Technology Plan, in 2010, released by the Department of Education, highlighted that teacher training must focus on â€Å"professional learning that is cooperative, intelligible and continuous and more effective in courses and workspaces with the extended chances (p.10). The motive of this mixed-methods study was to inspect teachers’ current principles and obstacles regarding technology integration in institutes. 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