to those who understand the significance of black representation in American media, Hip-Hop was never a brand, it was a culture. It is important to acknowledge the way through which hip hop was allowed to develop; if it wasn’t for Melvin Von Peebles Sweet Sweetback’s Baadasssss Song, there would not have been a “visual” representation of the political and social struggle of black America; and if it wasn’t for Norman Leer’s leadership behind Sanford and Son, The Jeffersons, All in the Family, and other shows that personally dealt with American race relations and political and economic distinctions (and similarities) within black lower and upper middle class, it would not have been possible to create a Tan America; this is not to say that hip hop would not have been created- regardless of the economic, political, and cultural conditions of mainstream America, hip hop would have been created-but hip hop as a business would not have been successful. Hip Hop was created as a reaction to the political, economic, and social discrimination and isolation of black masculinity . The only way in which Hip-Hop would not have developed as a culture is if the Transatlantic Slave Trade never occurred In the visual arts, contrapposto is a sculptural scheme, originated by the ancient Greeks-whose art form was inspired by ancient Egypt-, in which the standing human figure is poised such that the weight rests on one leg-the engaged leg- while the other leg stands freely, bent at the knee; the visual representation and identification of a shift in the central core of the body, the hips, shoulders, and head tilt, and suggest natural relaxation and breath through the subtle internal organic movement that denotes life. Contrapposto was an extremely important sculptural development because, for the first time in Western art, the human body is used to express a psychological disposition. There is so much evidence of contrapposto within hip hop. The emergence of this art form denotes life within the American urban environment- as told by those who live and breathe it. It was made to define, first and foremost, a black male struggle, it represented the American ethnicity of scarcity through motif, and it was a composition of the future of America. Studying the evolution of Hip Hop is like studying the Harlem Renaissance and Negritude simultaneously “I was trying to impress black people” Understanding “urban” as an environment instead of “black” as we millennials represent the word, hip hop artists and producers were able to create a pure counter cultural revolution; led by black males faces, hip hop was made for black people, by black people, led by black men, with an understanding of hegemony, and about black people. A normative is created and desired. The more an individual is able to identify and represent social convention, the more control over public political domain they possess. Modernity requires exploitation to create revolution, and the liberation of one group serves as resolution The symbolic power of hip hop alone is worthy of prestige. The emotional intelligence of these black artists and early entrepreneurs of hip hop is incredible; hip hop culture was designed to create a revolutionary environment in which black, as an identification of minority culture, could be expressed and it fulfilled this promise- for black men and masculinity. Even when Blondie’s Rapture made white America “comfortable” with the idea of urban music, Hip Hop remained in its natural and relaxed standing position; even after Angelo Anatasio convinced Adidas to endorse RunDMC, Hip Hop retained its naturalistic representation of hegemony in minority male America while remaining a metaphor for rebellion and revolution for white Mainstream America. A normative is created and desired. The more an individual is able to identify and represent social convention, the more control over public political domain they possess. Modernity requires exploitation to create revolution, and the liberation of one group serves as resolution
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