Beyond Gangsta: Hip-Hop, Skate Culture and Web Culture in the Music of Tyler, the Creator

Gustavo Souza Marques

doi:10.4236/adr.2015.31002

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ADR> Vol.3 No.1, February 2015

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Beyond Gangsta: Hip-Hop, Skate Culture and Web Culture in the Music of Tyler, the Creator

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DOI: 10.4236/adr.2015.31002 5,323 Downloads 6,245 Views

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Gustavo Souza Marques^*

Affiliation(s)

School of Music, University College Cork, Cork, Ireland.

ABSTRACT

This article came from the homonymous PhD proposal submitted and accepted by Music School of University College Cork (UCC, Ireland) to be started in September 2015 under the guidance of Dr. J. Griffith Rollefson. It aims to point out and discuss the articulations made by rapper, producer, actor and video director Tyler Okonma, known by the stage name Tyler, the Creator, to shift, but also maintain, some frames of gangsta rap discourse. Noticed by his rape fantasies lyrics and ultraviolent shouts, most present in his two first albums, Tyler has been acclaimed for his notable musical talent but criticized for its misogynist themes. Despite this outrageous aspect of its music, his confessional and often self-depreciating lyrics have been a novelty for constant self-pride and powerful hip-hop lyrics. Moreover, it works as a compensation for his aggressiveness since it could be seen as a demonstration of fragility rather than sexual domination. The way he uses hip-hop mentality, skate culture nihilism and Web 2.0 platforms to promote his art has made him one of the most prominent hip-hop artists from 21st century. Based on related authors on hip-hop topics like gangsta, misogyny, media and racial stereotypes this article discuss the ways in which Tyler, the Creator reflects but also denies the most known and commented frames of rap music.

KEYWORDS

Hip-Hop, Misogyny, Skateboard, Web 2.0, Tyler the Creator

Conflicts of Interest

The authors declare no conflicts of interest.

Cite this paper

Marques, G. (2015) Beyond Gangsta: Hip-Hop, Skate Culture and Web Culture in the Music of Tyler, the Creator. Art and Design Review, 3, 8-12. doi: 10.4236/adr.2015.31002.

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