Music is famous of its exclusive influence to the society. Various forms of music are helpful in identifying with different groups of people in the world. The world would be extremely boring without the sweetness of music. People connect with different forms of music that make their social life extremely bearable and enjoyable. However, music as a major element in the social world is bringing exclusive influence in the world where all people are wishing for a certain class of music. As a result, different forms of music are creating subcultures within themselves to let different people identify with their values as they remain in the umbrella of that music.
Hip-hop is a worldly celebrated form of music where different people attach themselves to the form of music on unique interests. Different people believe in the music for different reasons. Within itself, the form of music has created a subculture where people engage in the subculture by different ways. The subculture that has become exclusively sensitive within the hip-hop music is the gangsta rap subculture (Riley, 2005). This form of music has become mainly attractive to youths. The main influence of the music to youths is in the United States. This form of music is darling to many youthful souls. They believe it as the way to rock the heart to music. However, following the sensitivity that the youths are creating through the music, the world has also become sensitive of the influence of the music. Gangsta rap is proper definition of the elements that make the sub cultural theory. As the theory defines gangs as proper environment for crime, and violence, represents the issues that the youth experience under the influence of gangsta rap (Harkness, 2013).
The subculture has exposed youths to violent behaviors at tender age. Artists who believe in violent performances define the class of hip-hop music. Their presentations are made of violent incidences, which are affirmed by use of abusive words. Youths who have become friends to this world of music have become wooed to the ill elements that come with the music (Söderman, 2013).They have become the takers of the ill elements defined by the subculture.
This subculture of Hip-hop music represents rich artists who preach crime and violence through their music. The artists to this form of music are individuals with exclusive wealth that makes them highly attractive among youths. This results to existence of only a small group of youths who may fully identify with this kind of music. Some of the youths have been sidelined following their inability to match the expensive style of the artist of the music that they believe to be exclusively attractive to them. Some of the youths who may not afford the lifestyle of gangsta rappers, tend to practice the violent actions they learn from the musicians (Harkness, 2013). This further affirms the element of violence and crime as defined in the sub-cultural theory.
Gansta rap as a solid source of source of crime among youths has resulted to extensive abuse of drugs among youths. They want to practice every behavior they see and this has landed most of the youths to drugs. This behavior makes the youths extremely irresponsible in the society.
However, the influence that the music has brought amongst the youths in terms of crime and violence can be changed if there were campaigners for a new name for the subculture. Although, the subculture is defined by existence of a wide influence and occupation by youths, it can still take a turn if youths remained relevant to the music. The upcoming gangsta rappers should be responsible of eliminating the ill name that has been created. They should unfold a future of a subculture that is attractive and assistive to the youths. They should give the contrary of the current findings of sub-cultural theories defined by different authors.
Rapcore or punk is a major subculture of hip-hop music. It is culture define by existence of an extensively moral panic within itself. The moral panic that the subculture defines is use of erotic and abusive language. It is the way of the subculture to communicate in a given form of language. It defines abuse of language through use of extremely sensitive words. Language as a major element of defining a culture is extremely critical in this subculture as the success of the attributions of the group depends on abusive language.
The language that is used touches into various elements of the subculture theory. For example, it touches on class, where the music is mainly performed by flashy artists who represent rich musicians. This is an element that defines the subculture through the subculture theory as a practice for rich individuals. The language of the music is full of praises of the dollar, which is representation of wealth (Söderman, 2013).
The language extends its traits as a moral panic through the punk subculture showing existence of racism. A name like “Nigga”, which is common among such musicians have been useful in the definition of the black people. This is a sign of racism where the whites refer to the blacks by other names. Racism is a definition of subculture element and it is extensively abused through the punk subculture of music (Mccrary, 2003).
Youths, who are well represented in the subculture theory, are concrete definition of what entails the Punk Subculture. The music is usually performed by youths who use erotic language in expressing their songs. This is improper definition of a subculture attracting different people. The language that the artists use has become common among the youths and they feel comfortable to use the language at any point (O'meara, 2003).
In a given industry, there may be different forms of subculture. This means there would be exclusive uniqueness in each of the subcultures. However, their differences may not be exclusively wide as some of the subcultures are likely to interact to develop a highly effective and unique sub cultural practice.
Post modernism may be defined as the cultural logic of late capitalism. There are various elements that may define postmodernism in the art industry. For example, the elements of pastiche and historicity are proper support for the above claim. Pastiche has been defined as the blank parody of postmodern literature. The term blank may be significant to define the reflexivity, and intertextuality of the postmodern period, not being connected to historical content in the current times. The style is a representation of the shift that has remained exclusive in defining change at the current times. There is no need for extensive reliance on past practices (Robertson, Ralston, & Crittenden, 2012).
Literature and society are resultants of the extensively dominated, as well as determined by capitalist ideology but as capitalism has changed so has the literal theory. This is main definition of the movement from modernisms to postmodernism.
Parody is an element that defines mocking. It is true that a trait in a given subculture may mock other traits within the same subculture to define a given social element. This dictates there must be one of the elements that will conform to the values of the other. As a result, one order of a subculture may disorder other elements of other subcultures. The mocking may develop other texts that may be extensive useful and influential for change in the society (Robertson, Ralston, & Crittenden, 2012).
On the other hand, meta-narratives such as functionalism and Marxism may be exclusive useful in the definition of postmodernism. They are exclusive elements of influence that may induce change in the society. They are elements that slowly extend modernity to the society. They are proper elements to dictate value in the current society. Proper arguments of the modern society mainly rely on such elements of meta-narratives such as functionalism and Marxism (Hossieni & Khalili, 2011).
Because of application of these theories, subculture reorders have been witnessed and are becoming exclusively vital in defining postmodernisms and the practices that are being witnessed in different fields of the modern society (Hossieni & Khalili, 2011). The music industry also faces exclusive influence to postmodernisms following the change that is being witnessed in the industry.
Harkness, G., 2013., Gangs and gangsta rap in Chicago: A microscenes perspective. Poetics, 41(2), 151-176.
Hossieni, A., & Khalili, S., 2011., Explanation of creativity in postmodern educational ideas. Procedia - Social and Behavioral Sciences, 15, 1307-1313.
Mccrary, J., 2003., Effects of Listeners' and Performers' Race on Music Preferences. Journal of Research in Music Education, 41(3), 200.
O'meara, C., 2003., The Raincoats: breaking down punk rock's masculinities.Popular Music, 22(3), 299-313.
Riley, A., 2005., The Rebirth Of Tragedy Out Of The Spirit Of Hip Hop: A Cultural Sociology Of Gangsta Rap Music. Journal of Youth Studies, 8(3), 297-311.
Robertson, C., J., Ralston, D., A., & Crittenden, W., F., 2012., The relationship between cultural values and moral philosophy: a generational subculture theory approach. AMS Review, 2(2-4), 99-107.
Söderman, J., 2013., The formation of ‘Hip-Hop Academicus’ – how American scholars talk about the academisation of hip-hop. British Journal Of Music Education, 30(03), 369-381.