Exploring Positive Effects of Rap Music - Essay Example

? Exploring Positive Effects of Rap Music Your al Affiliation The paper explores different journal articles, books,discussions, and online sources in order to explore positive effects of rap music on youth in particular and society in general. Rap is a popular form of music and a unique manifestation of young African American culture. It emerged in the United States during the 1980s and 90s.The paper examines different scholarly resources to determine that rap has substantially positive effects on African-American youth and American society. However, targeting rap on the basis of bias, racial, or political reasons has promoted its negative image more than its positive aspects. Exploring the Positive Effects of Rap Music Rap is a popular form of music and a manifestation of young African American culture. It emerged in the United States during the 1980s and 90s.It is centuries old legacy of creative language which African-American used in daily life (Maurice, 1994).Some critics consider rap music as confusing and noisy part of contemporary American popular culture (Rose, 1994, p.1).Some attribute it as violent, sexist, and misogynist. On the other hand, culture and music critics admire rap's role as an educational resource. There seems a consensus in most of the studies that there are positive and negative rap (Henderson, 1996; Pressely, 1992; Rose, 1994 as cited in Tyson, 2002, p.135).Positive rap is consistently referred as rap that presents self protective concepts and skills, offers solutions, and provide inspiration to improve undesired conditions, such as, motivate and inspire people and heighten their consciousness (Tyson, 2002, p.135).The paper explores the positive effects of rap music on youth and society and concludes that despite its negative image, rap music holds its positive aspects and aspirations. No doubt, rap has become one of the most popular form of music amongst youngsters(Dyson,1996,p.10;Fried,1999,p.705;Rose,1995,p.45).Rap music has surpassed all other music formats, and reached beyond the previous top-selling music format, country music(Farley,1999,p.54) Rate of purchasing rap music has escalated from 3.8 to 11 percent during 1987 and 2008(RIAA, 2009 as cited in Hodges & David, 2011, p.322).It has become the most popular form of music among adolescent (Roberts, Foehr, & Rideout, 2005 as cited in Hodges & David, 2011, p.322). Rap music has surpassed all the societal division of race and socioeconomic status and emerged as a multi-billion dollar industry (Chappel, 2001, p.110). Tricia Rose (1994) also presents a compelling analysis of the development and history of hip hop as a musical and artistic expression of African-American people. Rap music must be regarded as a component in the greater context of hip hop culture. Rose (1994) defines rap music as, “a black cultural expression that prioritizes black voices from the margins of urban American...a form of rhymed storytelling” (p.2).Moreover, Rose(1994) examines hip hop culture on a broader level and states: ...attempts to negotiate new economic and technological conditions, as well as new patterns of race, class, and gender oppression in urban America...It is in fact, the dynamic an often contentious relationship between the two larger social and political forces and black cultural priorities that centrally shape and define hip-hop.(p.22) There are several research studies which explores the positive effects of rap music (Keyes, 2000; Henderson, 1996; Matinez, 1997; Pressley, 1992; Woldu, 1997). Meaning and Misconceptions Whitaker (1990, p.34) further explains that, despite the popularity of rap music and culture, it is heavily criticized due to the liberal and passionate usage of four letter word by rappers. Most of the people who criticize rap music are ignorant of  rap culture’s origin and the environment it originated from(Edward,n.d.,p.3).Those who defend rap observe that critics of rap culture belong to an older generation, therefore, it is the generation gap that prevents critics to listen and understand the real appeal of this music(Whitaker,1990,p.36). Rap Music is popular among America’s youth in their teens and early twenties irrespective of their color. A clear evidence of its popularity among people is the increase in record sales. There is a perception that rap music holds negative message, however, rappers are increasingly using their music for conveying positive and socially responsible message (Edward, 1993, p.3). Berry (1996, p.231) appreciates Rose’s assumption of analyzing rap music on the basis of complex social, cultural, and political points because it is desperately needed for the examination of rap music in today’s world. Most of the critics offer limited observations and perspectives which lead to “blanket assumptions” about rap music, such as, rap is violent, sexist, or racist. Rose (1994) examines the rap music, black culture, and American society. She attributes rap as a cultural expression that is embedded with a powerful and dominant ideological, technological, and industrial institutions. Rap provides business including economic opportunities, commercial marketing, technological innovation, and cultural productions. When it comes to cultural productions, rappers' use of posses and neighborhoods took the ghetto back into public consciousness. Furthermore, it satisfies the fundamental need of black American to own and make their territories acknowledged, recognized, and celebrated (pp.2-11). With the arrival of rock and roll music during 1950s, concerns arise about its lyrics and rhythms. Fears about its negative impact on young listeners caught roots and transmitted in twenty-first century. However, the criticism is primarily focused on heavy metal and rap now. It is often suggested that the lyrics and message in these types of music support and promote aggression, bigotry, illicit sexual behaviors, suicide, drug use, homicide, and violence(Ballard & Dodson,1999,p.476).The issue got significant ground since record companies, censorship supporters, parent groups, artists, and even federal government debated the issue quite feverishly. Moreover, the concerns about listening rap music also arise in the field of medicine. The American Academy of Pediatrics expressed concerns for the potential threats of rock lyrics on the health and well being of adolescents. The potential threats include: pregnancy, drugs, sexually transmitted disease, suicide, and accidents (Mendelson, 1989, p.314).It is because physicians consider adolescence as a difficult period in which kids are exposed to biological and psychological changes. In this age, they are expected to develop a strong set of beliefs and values through their perceptions of adult standards. Music preference of patients serves as a clue to their emotional and mental health. Music with explicit lyrics tends to skew and misrepresent the realities of life. Rock music is considered to symbolize the adolescent themes of rebellion and autonomy. Rap music is also infamous for its inflammatory content towards women. Two major forms of music are based on disrespect and sexual imagery (Brown & Hendee, 1989, p.1659).Moreover, rap music lyrics impact on mood, suicidal ideation, aggressive behaviors, and stereotypical ideas are also questioned (Samantha-King et al.,2009). Few studies that focus on the idea that music lyrics have direct impact on the increase in adolescent suicide have a general consensus that there may  be a direct association between music and suicide and suicide ideation, or similar thoughts(Scheel & Westefeld,1999,p.253) but there is no empirical evidence that associate heavy metal or rap with the suicidal behavior(Ballard & Coates,1995,p.148).Epstein, Pratto, and Skipper (1990) worked on a correlation research in order to investigate whether the preference of heavy metal or rap music could assist in predicting behavioral problems in middle school (mixed race) teenagers. The research findings suggested that there is no evidence to support the idea that some particular music can predict behavioral problems (pp.381-394). Despite the mutual consensus that there is no clear evidence of the connection between rap music and suicidal tendencies, people have not stopped filing lawsuits against musicians and holding them responsible for the suicide of young people. The rock band Judas Priest was accused of being responsible for the suicide of 18 and 20 years olds. Court decided that music may have a “toxic” effect or some negative influence; however, music solely cannot be blamed for the individual actions or decisions (Litman & Farberow, 1994 as cited in Samantha-King et al., 2009). The long history of African-American leaders speaking against rap music as self-destructive and hazardous for integration has not been main stream. However, it is a history that continues in current campaign against rap music and culture. The situation in unfortunate, like other forms of popular Black music, rap is regarded as American classical. Therefore, it is important but under attack because it is different from the norms of "respectable" culture (Thurston, 2005). People criticize rap music mainly because of its lyrics. During early days of rap, no one was concerned about it because it was nothing but a way of expression. However, during 1980s and early 1990s, a rap song came which talked about killing cops. It didn’t take long when people started listening gangster rap in which lyrics discussed about making money from drugs, killings, and pimping. People immediately started reacting and demanded to censor the music for underage people. The rapper who made cop song clarified that he never intended to promote cops killing and he was sorry for the wrongly perceived image. He clarified that his intention was to express his feelings about a particular cop who killed his innocent friend. Irrespective of reactions and intentions, the fact is that, all rap songs don’t even use bad language. Rapper usually talk about what happens in the world outside or discuss about the past stories and events. Some share their ideas and beliefs about White House. We can say that rap is predominantly about politics rather than just killing or pimping (Vargas, n.d.). Educational and Informational Aspect While discussing about the worth of rap music, Whitaker (1990, p.39) observes that rap music is all about the expression of youth’s views and movement. It is another form of social commentary which is no different from cultural expression that originated from other generations of Black people. Considering its cultural and social appeal and value for young generation, it is inferred that learning can be enhanced by using rap music. It can assist students to appreciate classic literature, politics, philosophy, ethics, and other areas of education (Baker, as cited in Waldron, 1990, p.16). Woldu (1997) highlights a training program which is designed particularly to enhance and develop teachers’ ability to teach a rap music course to their college students (pp.65-71). Spiritual Aspects of Rap and Black Community Rap music is a popular culture's product that is derived from African-American cultural repertoire. The rich culture repertoire includes particular devices, ideologies, techniques, and expressions thought their different art forms or other outcomes of African people that may influence their culture partially, such as, text, textures, and contexts. Usually derived from folk tradition and prevailing culture, these elements make the foundation of black aesthetics which gradually produce popular cultural products. Theology, religion, and spirituality are knitted in the social fabric of rap music as they are associated with Black's beliefs and values. It also constitutes rhythm, percussiveness, and reaction on call within their artistic grain and cultural settings (Nelson, 2011). Maurice (1994) admires rap music and states: The roots of the music are seen as part of the African-American oral and musical tradition that encompass the hidden message of slave folktales, the call and response of the Black church, the joy and pain of the blues, the jive talk and slang of disc jockeys and jazz musicians, the boasting of street talk, the wit of comedians, and the eloquence of Black activists. Rap shares West Africa as a common place of origin.(p.1) There are eleven components of black repertoire which are manifested in African American popular culture, it includes: middle-class ideology; religion and spirituality; rhythmic music; dance and gesture; church and night club; heroes and stereotypes; worship service and party; call-response; food and cuisine; city; and black body. Though all elements of this repertoire does not manifest themselves in all forms of popular African-American culture, three of four components in a popular cultural product give holistic impression of meaning, symbolism, and significance. In rap music, call-response, rhythm, and percussiveness construct a holistic interpenetration with religious and theological ideas and beliefs (Nelson, 2011). According to Nelson (2011) theological aspect of rap music is implicit and explicit in its element of percussiveness. In African American music, it promotes and preserves harmony, a sense of black solidarity, and authentication of Black aesthetics and cultural values. Percussiveness also works as a vital cultural restorative (Soitos, 1996, p.162).It has the potential to transmit new life to rap music and promote reclamation of African peoples. Its use in Black cultural products constitutes the solutions to the issues that Blacks are facing throughout the world. It implies that the use of Black repertoire in general and percussiveness in particular by popular creators, it holds a ritualistic characteristic which reconstructs, harmonizes, reproduces, and recovers the compassion of Black people. In rap music, African American rappers use percussiveness which is manifested in their extensive use of metaphor, descriptions, and conversion of body, mouth, and electronic technology into percussion tools. With the three elements, African music attains soothing transcendence since it is the final objective of the repertoire that takes to spirituality (Nelson, 2011). Irrespective of the main stream media representation of rap music as angry, violent, and damaging, in his interview with people in Oakland, Mazur (2000, p.299) found that they persistently claimed a completely opposite identity. They attribute it to be loving, peaceful, inclusive, spiritual, and positive change agent. These contradictions are crucial for understanding rap and hip hop culture. It is crucial to consider African Americans and Latinos at the outset of racism, poverty, unemployment, short life expectancy, arrests, incarceration, brutality, police, drugs, gangs, and violence. Any form of expression that is credible takes into account the reality as blues did. Chuck D explains this situation by saying that rap is Black urban youth's CNN. It provides them with the information about their world and it was confirmed during the interviews. With providing information and education to Black youth, rap serves the purpose of telling the reality and truth. It is crucial to express the way one feels about things around. Rap provides them with the unique opportunity to say what is happening in the form of music (as cited in Mazur, 2000, p.299).God and religion are nearly dead in western civilized society, however, they are very much alive in hip hop culture and the pulse is transmitted to other sectors where religious sensibilities are growing rapidly (Mazur, 2000, p.305). Community Building Aspects Rap music brings together a wide range of most complex cultural, social, and political problems of contemporary American society. Contradictory expressions are not equivalent to absence of intellectual vision as they are dominant feature of the community and popular cultural dialogues that presents different cultural, social, and political ideas. Frequent polyvocal dialogues appear irrational when they are intensified from the social context where people are always struggling for resources, pleasure, and meaning (Rose, 1994, p.2). Highly acclaimed research and academic works are conducted on hip hop culture (Dyson, 1996; Potter, 1995; Rose, 1994). Dyson (1996) criticizes the incomplete analysis of rap music as “gangsta”. He points out that art form and socio-political or cultural genre is not merely an African-American expression, but an American culture as well. Dyson argues and rejects the idea that sexist, misogynistic, and homophobic content is depressing. He suggests that when it comes to Black community, an individual can produce meaningful content in their context. The same idea is worked by group facilitator while attempting to do HHT (Hip hop Therapy) (as cited in Tyson, 2002, p.134). There is deeper spiritual aspect of truth telling in rap than merely informing or educating youth. It comes from heart and tells the truth. Rappers' work speaks about the community as a whole (Mazur, 2000, p.299). Aficionado refer rap as a culture of people who identify with it and feel that rappers represent them (as cited in Mazur, 2000, p.299)."Represent" is a word that rappers use frequently for describing their role; some of them takes it to another level and associated it with the role of priest and griot. It is crucial to remember that early South Bronx hip hop crew of innovators, such as, DJ Kool Here and Afrika Bambaataa were emerged as alternatives to gang violence and drugs. They had directed the destructive ideas into artistic expressions( Mazur, 2000, p.299). This tradition continues even today, dancers and breaking groups were basically the alternatives of fighting groups. Rap redirected the energy of youth in constructive and artistic form. The situation is same, the energy is there and that has to be directed somewhere (Malcolm, 1997 as cited in Mazur, 2000, p.300).Therefore, it is source of their paradoxical assessment of morality and spirituality and simultaneously, it is an expression of anger and aggression. In this way, it lessens anger by providing a positive outlet to direct their energy rather then utilizing it in destructive activities (Mazur, 2000, p.300). Henderson (1996) presents socio-political analysis of the resemblance between rap music and Black Nationalism. It’s a fact that Henderson’s analysis is incomplete and descriptive in nature. However, it completely supports the notion that was attributed as “conscious” rap music and its ability to work as a positive and vigorous agent of change among Black youth (pp.308-339).It makes their identities, it empowers them. Rap for Society Rap music is generally perceived as negative or violent by media in particular and society in general. Social work and associated mental health fields can benefit from the positive aspects of rap music. Social workers, counselors, and other mental health practitioners must shift their paradigm on rap music. If rap music is used as an engagement tool, there is evidence that greater success can be obtained while working with youth. It is because youth have greater acceptance of therapies which incorporate their strengths (Saleebey, 1996, p.396). Social workers prefer engaging clients in strength perspectives rather than client pathology. Hip hop therapy is an important example of the way social workers actualize this claim (Tyson,2000,p.142). When it comes to working with delinquent youth, one of the most powerful and culturally sensitive tools that have never been systematically explored is rap music. From widespread acceptance of rap music in not only American but international youth, it is suggested that rap  music’s social, cultural, and political lyrics and supporting themes can be used as an intervention in therapeutic work with youth. In particular, by using culturally relevant rap music’s intervention, some specific skills can be enhanced that is vital for youth development(Tyson,2002,p.132).For instance, research studies on juvenile delinquency and behavioral problems in adolescents identify that the concept of self and peer relation are two major areas where rap music can assist (Zimpler,1992,p.116). For resource and strength, hip-hop culture can be used effectively in order to engage youth in not only treatment, but also for enhancing their general therapeutic experience(Tyson,2002,p.132).Keyes (2000) examines the lyrical content of female rap music. She identifies that it holds powerful ability to deconstruct and reconstruct the identity of Black female (pp.255-269). Rose (1994) states, "that Black women rappers are rare examples of aggressive pro-women lyricists in popular music, and defend rap's ghetto stories as real-life reflections that should draw attention to the burning problems of racism and economic oppression, rather than to questions of obscenity"(p.1). Despite the positive influence of rap on youth, there are negative perceptions about rap music and rappers. Rap as Usual Suspect Rap music has become a scapegoat for State's inability or may be lack of will when it comes to deal with the violent susceptibilities. Rather than combating the actual source of violence that include: readily available weapons, drugs, and alcohol, policy makers of so-called pundits predicted that America's problems will come to end only when we will end rap music. Rap music and hip hop culture are originated by Black and Puerto Ricans as far as New York City is concerned. Most of the Latinos which include rap artists and radio celebrities oppose banning rap music. Those who oppose rap music are expressing their personal latent racial prejudice. It is not merely about cultural pride but a demand for the acknowledgement that African-American music has a huge contribution to the culture, be it Afro or Latino (Byone, n.d.). Race Connection Wass, Miller,& Stevenson (1989) suggest an association between the race of audience and  musician. They identify that race could be a strong factor in stereotyping that may clarify about the perception of relationship between behavior and music. For instance, a heavy metal band with Caucasian member may have more of male Caucasian fans who adopt the band’s attire and get engaged into violent actions(as cited in Samantha-King et al.,2009).However, the main reason that majority of Caucasian males with violent behavior are associated with heavy metal bands is due to their clothing, music, and social taste’s resemblance with the band’s members. Therefore, band is stereotyped as violent or aggression promoter (Wass, Miller, & Redditt, 1991, p.). A prominent African-American newspaper published series of articles accusing black musicians for holding their race back. The paper makes claims that music is killing people, making them insane, or leaving their religion. The important point to notice is that newspapers never attack urban upper class rappers, such as, 50 Cent or Ludacris, but Louis Armstrong, Duke Ellington, and Fats Waller. Amsterdam News wrote in 1925 that young girls and boys who are continuously exposed to jazz are either becoming bad or criminals (Thurston, 2005). According to Fried,“ Assumptions about the negative effects of rap music’s violent and explicit lyrics may not stem entirely from the lyrics”(as cited in Mancini and Ellen, n.d.).In a recent study, Fried asserts that public outcry against rap music stems from personal prejudice and subtle form of racism. She identifies that people’s perceptions are influenced by several factors, for instance, race, age, and social stereotypes. Rap music’s lyrics which are blamed for promoting violence, it is new and considered dangerous. Similarly, in initial day, people find waltz as obscene and wanted it to be banned. Fried’s study highlights the bitter fact that people still associate racial stereotypes with the lyrics. The participants may not realize it, but they do have prejudice against African race(as cited in Mancini and Ellen, n.d.)The audience processes the information and content of music from band as violent. We can say that the case is same when people attribute rap and African American music as violent (Fried, 1996, p.2135).It seems that rap lyrics and their expression of social discontent are not as important an issue outside the United States. Europeans love African-American contemporary music which includes rap and hip-hop (Mancini and Ellen, n.d.). On the other hand, Joyer and St. Lawrence (1991) research study disagree with the notion of indirect stereotyping. They suggest a direct effect of music on stereotyping. Feminist researchers came to the conclusion that heavy metal rock music not only promoted males stereotyping on sex role inventories, but also enhanced their negative attitude towards women (pp.49-63).According to Samantha-King et al. (2009) it suggests that the behavior is not about the fans, but music that promotes stereotyping and negative behavior. The conflict in ideas weakens the authenticity and emphasizes the need to do more research for some solid conclusions. In another study, the relationship between musical genre and race of singer is analyzed for reactions to violent lyrics. The objective of this research was to study pre-existing perceptions and stereotypes influence on the way people process new information. In particular, they wanted to study African American stereotype of being aggressive, hostile, or violent is used to process new information. The researchers used one rap and one folk song in their experiment. The results suggested that when either song was presented by African American singer or as rap, research participants reacted that the lyrics are offensive and need government censorship or regulation (Fried, 1996, pp.2140-2146).Therefore, the study suggests that it’s not about the lyrics but the genre and race of the musician that lead to negative perceptions about the song (Samantha-King et al., 2009). Critics of rap argue that the image of African American established by rappers make it difficult for whites to open full citizenship for Blacks. However, considering problems between civil rights leaders and popular Black music may hinder the opponents of contemporary music, as far as the proponents or promoters of rap music are concerned. The fact is that jazz, blues, rock 'n' roll and rhythm and blues were also stigmatized by the proponents of racial integration, therefore, rap is also denounced these days (Thurston, 2005). During the movement in 1920s, civil rights leaders were extremely skeptical of aggressive and sexual lyrics of popular blues and jazz. The concern took them to establish a record company that was assigned a job of enhancing the music taste of Black people. Two important leaders of movement, W.E.B. DuBois and A. Philip Randolph assured the assimilation of "the better class of records by colored artists" that implies the recording of "respectable" European classical music (Thurston, 2005).Similarly, civil rights leaders reacted to other form of African-American music. Martin Luther King also asked African Americans to leave new music as it takes people's minds into the depths of degradation and immorality. Randolph denounced R&B due to over sexuality and their imagery of Negro womanhood. These historical concerns suggest that cause of integration that is considered to be America's vital contribution has always been at odds. Many scholars consider that jazz, rock, blue, and R&B creators were great. Their courage and willingness to create beyond European cultural forms was appreciable. Most importantly, they spoke out loud about human conditions, such as, violence and sex which was not possible for white artists. If historical evidence is considered, critics must reconsider their opposition for the sake of racial unity and respectability (Thurston, 2005). Government Censorship Rap, either it is gangsta or others are a form of entertainment and expression. Some of the rappers may use words and images that present some criminal acts, it does not mean that they have criminal intentions or they are promoting crime. Their use of such content is the reflection of culture they have spawned. Most of the critics ignore the subtleties of rap music where rappers use a certain persona when they don't necessarily mean to endorse the ideas and actions it presents. Other people may not, but rap fans and listeners are aware of such ambiguities. Even if we consider the dose of violence and criminality, rap is not alone as it is prevalent in other forms of entertainment, such as; opera and classic movies often portray massive killings and violence. Associating rap or gangsta rap specifically seems to attempt singling out rap from other forms of entertainment for political reasons. The prejudice can be noticed when it comes to heavy metal, with its comparable content, it seems hard for them to censor or regulate it because it belongs to Black urban underclass (Ruane, 2009). The fact is that gangsta rap serves to provide positive role model for youngsters. They narrate stories of self-made individuals who achieved fame and riches despite their poor background. Censoring them will give a wrong message to those who aspire to be as their role models. It will discourage them to succeed in life and may invoke rebellious feelings (Ruane, 2009). Gangsta rap is accused of employing negative stenotypes; however, it does not go beyond reality and reason. Mostly, it is not more than a form of social realism that narrates the bitter truths of society. Rap music has called attention to societal issues, such as, poverty, bigotry, and oppression. These are the hard truths which policy makers would prefer to pretend non-existent because it reveals their own failure. They don't want the world to be aware of it even where such assertion is concentrated in way that make it entirely unrealistic representation of life. The idea would be as damaging as it is in other cases, such as, soap operas (Ruane, 2009). Government censorship is a precarious form of state control. Even if the argument of government censorship to safeguard public morals is accepted, it must be defined very specifically and conservatively in order to keep away from slippery slope towards totalitarianism. For permitting censorship of popular culture and its expressions because lyrics are somewhat subversive is strongly discouraged. It is because censorship integrates a very expansive idea of the proper domain of government regulation. The issue is more of parents' responsibility rather than state; parents must control and regulate the media their children are exposed to (Ruane, 2009).It is critical when we consider global media, such as, internet. Following the same logic, after censoring rap music, parents or other groups may demand to ban or censor internet. It is nearly impossible to enforce government censorship on national level. It is especially true when we consider the global nature of music in addition to cross-country following of artists and widespread availability of media. Ban on rap music can result in the sale of uncensored media though internet files swapping which is quire prevalent among young people throughout the world (Ruane, 2009). Conclusion Rap and hip hop has caused concerns on a large scale. Positive and negative effects of rap music have long been debated. This paper investigates the positive effects of rap music on youth in particular and society in general. Most of the critics offer limited observations and perspectives and entitle rap as violent, sexist, or racist. Rose (1994) attributes rap as a cultural expression that is embedded with a powerful and dominant ideological, technological, and industrial institutions. People criticize rap music mainly because of its lyrics. Mostly, it is not more than a form of social realism that narrates the bitter truths of society. State may dislike them because of their inability to control the root causes. Contradictory expressions are not equivalent to absence of intellectual vision as they are dominant feature of the community and popular cultural dialogues that presents different cultural, social, and political ideas. Rap is predominantly about politics rather than just killing or pimping. Despite all the negative connotations, followers attribute it to love, peaceful, inclusive, spiritual, and positive change agent. God and religion are nearly dead in western civilized society, but living in hip hop culture. Rappers' integrates the community as a whole. The music has redirected the energy of youth in constructive and artistic form. It lessens anger by providing a positive outlet to direct their energy rather than utilizing it in destructive activities. Rap music has become a scapegoat for State's inability or may be lack of will when it comes to deal with the violent susceptibilities. Perceptions about the negative effects of rap music’s violent and explicit lyrics are not entirely based on lyrics but stems from personal prejudice and subtle form of racism .Surprisingly, rap lyrics and their expression of social discontent are considered to be an asset of American culture. Associating rap or gangsta rap specifically seems to attempt singling out rap from other forms of entertainment for political reasons. Censorship will discourage them to succeed in life and may invoke rebellious feelings. It is nearly impossible to enforce government censorship on national level. Rap is a marketing tool in commercials, movies and other mainstream media, rap music and “hip-hop” has become a dominant force. Government must focus on eliminating root causes of the issues and utilize rap for positive change rather than banning it for the worse. Works Cited Berry, V. (1996).American Music [Review of the book Black noise: Rap music and black culture in contemporary America].University of Illinois Press, 14(2), 231-233.Available from jstor website: http://www.jstor.org/stable/3052359 Byone, Y. (n.d.). Rap Music: The Usual Suspect. Retrieved from: http://www.funk-the-system.net/usualsuspect.html Ballard, M.E., & Dodson, A.R. (1999). 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