The thought of popular civilization can be epitomized in many mediums nowadays whether it is in movies. books. vocals or exposure. This paper discusses the manner that the `ghetto culture’ is portrayed within assorted mediums. The first portion of this paper will cover with the popular film `Boyz in the Hood ( 1991 ) ’ written and directed by John Singleton. Music is known as the avenue where modern-day civilization exists – this paper will look at the wordss in the Crompton’s Most Wanted ( CMW ) vocal Turning up in the Hood.
It is clear to see the similarities that exist between the two mediums and how ghetto life is expressed. The 3rd medium that will be analyzed in this treatment is that of African American poesy. The verse form to be analyzed here is Ghetto Child by Langston Hughes. This verse form can be seen to be in line with the other two artefacts that are analyzed this paper. When as an active audience people view these signifiers of media together we can see how powerful different signifiers of literature can be on the human psyche.
Boyz in the Hood known as a groundbreaking film for its trenchant pragmatism and its “street’’ mentality. This pragmatism made the movie so popular and the ground it had so much involvement to both black and white audiences. It is a rare case when a movie about one socio economic group can use to everyone. nevertheless John Singleton was successful in making this in this piece of work. It has been said that the pragmatism of the movie and the fact that there was such a human component to the characters that made the characters seem so existent and so close to place ( as though Tre or Ricky could be one of your neighbours ) .
The movie besides brought black ghetto civilization into mainstream film theaters ( this was non the instance prior to this where really small is known about African American movies before Boyz in the Hood such as Sweet Sweetback’s Badassess Song ( 1971 ) – in the past 10 or more old ages since this movie was made it is clear to see that the African American movie industry has become more seeable. This is a good thing as African American Culture is no longer conceal behind closed doors – people have the opportunity to see what life is like in the black ghetto civilization of the United States.
Singleton wrote and directed a film that entreaties to many different audiences. Critics have praised this movie clip and clip once more for the manner that it portrays the realistic elements of African American life. A point that is of involvement to observe that creates a point of difference to a figure of movies produced prior to Boyz in the Hood was in the manner that adult females are portrayed. Typically. in other movies that deal with African American life we ( the audience ) see adult females portrayed as retainers. cocottes and public assistance female parents. This movie is the exclusion where the stereotype of the black adult females being unemployed does non be.
We see a glance of it at the start of the movie when the instructor was talking to Tre’s female parent on the phone and the instructor insinuated that the female parent did non work. However. this stereotype came to a base on balls rapidly. The adult females who play the chief characters particularly Tre’s female parent are seen as strong educated and successful adult females. Even at the terminal of the movie Tre’s girlfriend ends up traveling to college ( this is a different action to one that people would anticipate in such a movie ) . Another manner we can look at the manner that powerful black adult females are portrayed in this movie is so look at Tre’s female parent and see how she carries herself and the manner she dresses.
In comparing to many other movies where the African American adult female is in a lead function we see her fighting in the African American universe. nevertheless in this movie we see Reva ( Tre’s mother ) as the strong female life in a white universe where it is non of import whether you are black or white. Another theme/ thought portrayed in this movie in relation to the `ghetto culture’ pertains to the manner that Tre’s male parent ( Furious ) is inexorable that he does non desire Tre to turn out like the other male childs from the ghetto – he wants him to do something of his life and non be one of the childs perpetrating robberies and lounging about spirits shops.
This is a strong and powerful message that Furious portrays throughout the movie and one the many grounds why this movie was such a success in portraying what life is truly similar in the `ghetto’ . Another theme/ thought that is apparent throughout the movie is the thought of holding a positive function theoretical account when turning up in the ghetto. Throughout the movie Furious tries to learn Tre what is right and what is incorrect. In the early portion of the movie we see Ferocious learning Tre his really first lesson in the scene where Ferocious shoots at a burglar and negotiations to Tre about it after wards sitting on the porch waiting for the constabulary to get.
Ferocious: Person must hold been praying for that sap. cause I swear I aimed right for his caput. Tre Age 10: You should hold blew it off. Ferocious: Don’t say that. Don’t say that. Just would’ve contributed to killing another brother. This being a lending factor to killing another brother is another subject that permeates throughout the movie. However. it is the concluding portion of the movie when Ricky is chased and murdered that we understand what this whole thought of killing another brother is like and how delicate and fugitive life is if you live in the ghetto.
All Ricky did was rag a cat the dark before which led to his ill-timed decease when he walked down to the corner shop to pick up some burgoo. The audience learns in the concluding scene that what goes about comes around if you kill one of your `brothers` you in bend will be killed. The hiting scene further indicates the powerful influence that Furious has had on Tre in doing the adult male that he grew up to be. Despite. being so angry with the individual that shot Ricky. Tre had a lasting voice in his caput that told him that he could non be involved with Doughboy in hiting down the culprit responsible for Ricky’s decease.
Tre understood that everything his male parent taught him was for a ground and to protect his boy. This is declarative in the credits as two hebdomads after Ricky was buried Dough male child was murdered and so the `circle of death’ continues. Because Tre lived his life in the image of his male parent he went to college and escaped from the `hood’ to make a better life for himself. In today’s society music is one of the major signifiers of look and because of this it is clear to see how the wordss in vocals come to intend certain things in popular civilization.
In looking at the wordss in Crompton’s Most Wanted ( CMW ) vocal Turning up in the Hood we can understand how the creative person feels about turning up in the goon and can understand the words in a vocal in much the same manner that you understand an implicit in message when you watch a movie. In looking at merely the 1 vocal is it interesting how many different subjects and thoughts are permeated in a three-minute recording. In this vocal the creative person has made it clear that life in the goon is violent and because of this you invariably live a unsafe life style and are invariably running off from people so that they do non ache you or seek to kill you.
Quick up the stepss so small chump halt looking Stagger up to the house so I can roll up my whooping But ticker out ‘cause a small nigga’s up to no good Growin’ up in the goon. The wordss in this vocal farther describe the fright that exists when one lives in the goon that if you stay in the goon you will decease in the goon. The wordss above indicate the fright that work forces populating in the goon have to come to footings with in everyday of their lives. The vocal besides suggests that when immature male childs turn up in the goon they are non ever cognizant of what lies in front. “Growing up in the goon. yea male child. 1984 Was the twelvemonth my equals didn’t cognize what was in shop.
“ Another thought that is permeated in this vocal and that is an issue for African Americans life in the ghetto is that of the constabulary. Police are atrocious to those people who live in the goon – they make them experience as they are ungraded and they do non hold the right to be. Police sweat my tip and maintain hassling Trying to lock me up ’cause I keep on blaring Community seeking to close me out Through vocal wordss it is about as if the hearer feels the hurting that the rapper is traveling through in footings of the manner that the constabulary treat him. Music is a powerful manner where one individual can show how they feel and how deep they feel.
Throughout mainstream media it is clear to see the negative relationship that exists between those in the goon and that of the constabulary. It is declarative in the wordss to the above vocal and in the manner that the ferociousness of the constabulary force was described in Boyz in the Hood and in other mainstream movies that dealt with the goon civilization. Another subject that is expressed through the wordss in this blame deals with the vocalists experiencing towards his ain force where he feels that because he has existed in that environment for so long that he has become violent to and can non look to get away from the violent behaviour.
Throughout out the blame. the listen understand that life in the goon is all about adult females ( “bitches’’ ) and money – those are the adult male thing that a mans life revolves around in the terminal. An image of defeat seems to be permeated throughout the blame at the same clip and certain wordss farther create this image – “I got difficult times and recognize … sometimes I wonder… but it merely seems that the goon took me under. ’’ It is interesting to observe that in ghetto civilization that adult females do non wish to be referred to as `bitches` . `hoes` etc they like to be thought of as adult females and to be called a adult females.
By mentioning to adult females as `bitches’ and the circle will go on – kids learn from their parents. In Boyz in the Hood the immature work forces do non look to esteem adult females and refer to them in derogatory ways and positions adult females as `bitches’ and `hoes’ . Doughboy was the character that permeated this stereotype. In the scene where all the immature people were at the community barbecue and Tre said to the male childs that the adult females should be the first to eat ( he was being polite and being a gentleman ) . Doughboy was non nevertheless. Doughboy: Ho’s got ta eat excessively. Shalika: Who you callin’ a ho’ . I ain’t no ho’ .
Doughboy: Oops. I’m sorry. bitch. It is clear to see that throughout the film that Doughboy has no regard for women/ has grown up talking to adult females and mentioning to them in a peculiar manner. Doughboy: Don’t go to college to be talkin’ to no bitches. Your black buttocks ‘posed to be learnin’ somethin’ . Can’t learn shit talkin’ to no stupid buttocks bitch. It is through the power of words that we as persons learn what life is like for others and what life means to a peculiar individual. The last cultural artifact that will be analysed in this paper pertains to that of African American poesy.
The piece of poesy to be analysed here is apiece by C. Highsmith-Hooks called Ghetto Child. Even from the rubric of the piece we can come to an apprehension of what the verse form will be approximately and the fact that the verse form is traveling to feed deep into your psyche one time you read the verse form. This verse form is found in the celebrated aggregation by C. Highsmith-Hooks called The Soul of a Black Woman. There were a figure of grounds why I chose to analyse this verse form and associate it to the other two cultural artifacts but the chief ground was because this is a poem written by a adult female and the other two mediums analyzed were written by work forces.
Ghetto Child tells the narrative of a kid from the `hood’ whose mindless decease is mourned by his female parent merely. This verse form was interesting because it pertained to the really kernel of what was conveyed in the other two mediums analyzed that a life in the goon leads to decease no affair what manner one looks at it. In Boyz in the Hood both Ricky and Doughboy were murdered in the goon. This verse form helps the audience understand what it is like for a adult female in the `hood’ when she looses a kid.
This impression was briefly shown in Boyz in the Hood when Ricky was murdered and his female parent broke down. It is ever said that it is better reading a book before you see a movie. In this same sense it is of import to understand that reading a verse form is much better than watching a movie as you get to understand and make your ain imagination and understand the character in your ain head. In Conclusion. it is clear that there are similarities in the manner that the `hood culture` is conveyed in the three cultural artifacts – movie. music and poesy that were analyzed in this paper.
The major subjects explored in these cultural artifacts were that of the permenant force that surrounds life in the goon – particularly for immature males. It is a dog eat Canis familiaris universe in the goon and as a immature adult male you need to do a pick about whether or non you will be utilizing a gun because if you do you certainly will acquire killed in the terminal. Another point that is of involvement and has produced political orientations in all three cultural artifacts was how adult females are viewed in the ghetto.
Males seem to hold small regard for adult females with the except being the character of Tre in Boyz in the Hood where he was taught from an early age how to be a good adult male and in bend respect adult females. The other characters in the movie had small regard for adult females and frequently referred to adult females as “bitches’’ or “hoes’’ . Mentions: Movie: Boyz in the Hood ( 1991 ) : Written and directed by John Singleton. Lyrics: Turning up in the Hood – CMW Poem: C. Highsmith-Hooks “Ghetto Child’’ in The Soul of a Black Woman: From a Whisper to a Shout ( 2002 ) .