Ways Crenshaw Criticizes, Refutes, Or Counters The Defense/Justification Of 2 Live Crew’s Lyrics And Performance Practice

Ways Crenshaw Criticizes, Refutes, Or Counters The Defense/Justification Of 2 Live Crew’s Lyrics And Performance Practice

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In 1990, the rap group 2 Live Crew was literally put on trail in court in front of a jury for what some people in the US were calling “obscene” lyrics and performance.

paragraph 1: define what you think the word “obscene” or “obscenity” means to you, personally

paragraph 2: Read the initial article “Obscenity or Art? Trial on Rap Lyrics Opens”. State what you learned, what you know or have heard about 2 Live Crew’s music, do you consider it (their music) to be obscenity or art?

paragraph 3: Read Professor Henry Louis Gates, Jr’s Op-Ed from the 1990 New York Times. What is one of the arguments/reasons/ways/methods Professor Gates uses to defend 2 Live Crew from prosecution or how does he explain the existence of their narratives and lyrics?

paragraph 4: One of the responses to Gates was from Professor Kimberle Crenshaw. Read her article “Beyond Racism and Misogyny: Black Feminism and 2 Live Crew” and “Mapping the Margins: Intersectionality, Identity Politics, and Violence Against Women of Color.” In what ways does Crenshaw criticize, refute, or counter the defense/justification of 2 Live Crew’s lyrics and performance practice?

paragraph 5: The “obscenity or art” debate described in the above article(s) happened 30 years ago. Is this conversation still relevant to study and discuss in contemporary 2020 society? Why or why not?

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