Exploring the Complexity of Depicting Culture, Ethnicity and Race in Media

value. Recognition and dignified treatment, commonly associated with the upper class, are desired by everyone. Initially intended for African Americans, hip hop music evolved in the 1990s to cater to white youths and promote their social values such as alcoholism and violence.

The dominant audience for hip hop music is now white, while nonwhite youth listen to it in order to be seen and acknowledged as people of higher social status, even though the content reflects white interests. The act of imagining oneself as a member of a certain group in order to consume products targeted towards that group has a significant impact on one's identity (Klostermann, 2003). When nonwhites consume popular culture that primarily targets white audiences, it has profound consequences. Nonwhites feel excluded and marginalized, while also suffering from stereotypes and feeling inferior to whites due to societal standards and economic conditions. Nonwhites sometimes associate themselves with whites in order to personally connect with hip hop music and feel a sense of belonging to the audience (Klosterman, 2003).

The hip hop music initially targeted people of color as their audience, but it has now shifted its focus to targeting white audiences due to their financial power. This shift in target audience leaves black people feeling helpless and powerless, as it suggests that they are unable to dominate other races' cultures. Furthermore, this situation is aggravated by the fact that the majority of hip hop musicians are black, yet they have been enticed by money to modify their culturally significant art form in order to promote the values of a group that marginalizes them. Unfortunately, popular culture does not successfully bring these two groups together or

bridge the existing gap between them. Instead, it exacerbates the divide, as evidenced by the case of hip hop music.

The act of making hip hop songs for white audiences is seen as appropriating black culture, leading to consequences for the black community. This action is viewed as mocking and suggests that white people can easily adopt and exploit cultures that are not their own because of their financial power. Many cultural artifacts, like hip hop songs, are intentionally created to appeal to white audiences. This further reinforces the notion that non-white communities are subordinate to white culture's dominance.

The act of white individuals appropriating hip hop music, originally intended for a black audience, serves to marginalize and alienate the black community. This can be seen as either demonstrating the superiority of white culture in taking important cultural elements from non-white communities or highlighting the perceived inferiority and powerlessness of black culture, allowing their cherished art forms to be easily appropriated. Moreover, this appropriation of hip hop also reflects a lack of understanding and disregard for aspects of black culture. Initially used by urban black youth as a means to express themselves and escape the violence and poverty associated with city life, hip hop music has been transformed into a vehicle promoting vices like alcoholism and violence – traits commonly associated with white youth – further undermining this cultural artifact belonging to the black community.

Conclusion

The impact of popular culture on certain groups can be significant, especially when it is appropriated. An example of this is evident in the case of hip hop music, originally created to promote the interests of black individuals.

However, white individuals have taken over and now use it to benefit white youth while marginalizing black individuals. This perpetuates racism and reinforces the perception that black people are inferior, helpless, and powerless by showing their inability to protect their own cultural creations.

References

1. Klosterman, C. (2003). Sex, drugs, and cocoa puffs: A low culture manifesto. London: Fabe