The Anthology of Rap by
An extraordinary collection of lyrics showcasing rap's poetic depth and diversity From the school yards of the South Bronx to the tops of the Billboard charts, rap has emerged as one of the most influential musical and cultural forces of our time. In The Anthology of Rap, editors Adam Bradley and Andrew DuBois explore rap as a literary form, demonstrating that rap is also a wide-reaching and vital poetic tradition born of beats and rhymes. This pioneering anthology brings together more than three hundred rap and hip-hop lyrics written over thirty years, from the "old school" to the "golden age" to the present day. Rather than aim for encyclopedic coverage, Bradley and DuBois render through examples the richness and diversity of rap's poetic tradition. They feature both classic lyrics that helped define the genre, including Grandmaster Flash & the Furious Five's "The Message" and Eric B. & Rakim's "Microphone Fiend," as well as lesser-known gems like Blackalicious's "Alphabet Aerobics" and Jean Grae's "Hater's Anthem." Both a fan's guide and a resource for the uninitiated, The Anthology of Rap showcases the inventiveness and vitality of rap's lyrical art. The volume also features an overview of rap poetics and the forces that shaped each period in rap's historical development, as well as a foreword by Henry Louis Gates, Jr., and afterwords by Chuck D and Common. Enter the Anthology to experience the full range of rap's artistry and discover a rich poetic tradition hiding in plain sight.
Beyond Money, Cars, and Women: Examining Black Masculinity in Hip Hop Culture by
Masculinity and hip hop are two topics that have been gaining wide attention in recent years. However, research has often been limited to solely criticizing the hip hop movement and examining the culture from a very parochial outsiderOCOs perspective. An in-depth study of the relationship between hip hop and black masculinity, with commentary from the very men who are affected by it, is missing from the academia. It is with this thought that I have written my book. I wish to give a voice to tho..."
The Black Church and Hip-Hop Culture: Toward Bridging the Generational Divide by
Throughout the 1950s and 1960s, the Black Church stood as the stronghold of the Black Community, fighting for equality and economic self-sufficiency and challenging its body to be self-determined and self-aware. Hip Hop Culture grew from disenfranchised urban youth who felt that they had no support system or resources. Impassioned with the same urgent desires for survival and hope that their parents and grandparents had carried, these youth forged their way from the bottom of America's belly one rhyme at a time. For many young people, Hip Hop Culture is a supplement, or even an alternative, to the weekly dose of Sunday-morning faith. In this collection of provocative essays, leading thinkers, preachers, and scholars from around the country confront both the Black Church and the Hip Hop Generation to realize their shared responsibilities to one another and the greater society. Arranged into three sections, this volume addresses key issues in the debate between two of the most significant institutions of Black Culture. The first part, "From Civil Rights to Hip Hop," explores the transition from one generation to another through the transmission--or lack thereof--of legacy and heritage. Part II, "Hip Hop Culture and the Black Church in Dialogue," explores the numerous ways in which the conversation is already occurring--from sermons to theoretical examinations and spiritual ponderings. Part III, "Gospel Rap, Holy Hip Hop, and the Hip Hop Matrix," clarifies the perspectives and insights of practitioners, scholars, and activists who explore various expressions of faith and the diversity of locations where these expressions take place. In The Black Church and Hip Hop Culture, pastors, ministers, theologians, educators, and laypersons wrestle with the duties of providing timely commentary, critical analysis, and in some cases practical strategies toward forgiveness, healing, restoration, and reconciliation. With inspiring reflections and empowering discourse, this collection demonstrates why and how the Black Church must re-engage in the lives of those who comprise the Hip Hop Generation.
Black Masculinity and Hip-hop Music Black Gay Men Who Rap by
This book offers an interdisciplinary study of hip-hop music written and performed by rappers who happen to be out black gay men. It examines the storytelling mechanisms of gay themed lyrics, and how these form protests and become enabling tools for (black) gay men to discuss issues such as living on the down-low and HIV/AIDS. It considers how the biased promotion of feminised gay male artists/characters in mainstream entertainment industry has rendered masculinity an exclusively male heterosexual property, providing a representational framework for men to identify with a form of "homosexual masculinity"--One that is constructed without having to either victimise anything feminine or necessarily convert to femininity. The book makes a strong case that it is possible for individuals (like gay rappers) to perform masculinity against masculinity, and open up a new way of striving for gender equality.--
Black Noise: Rap Music and Black Culture in Contemporary America by
From its beginnings in hip hop culture, the dense rhythms and aggressive lyrics of rap music have made it a provocative fixture on the American cultural landscape. In Black Noise: Rap Music and Black Culture in Contemporary America, Tricia Rose, described by the New York Times as a "hip hop theorist," takes a comprehensive look at the lyrics, music, cultures, themes, and styles of this highly rhythmic, rhymed storytelling and grapples with the most salient issues and debates that surround it. Assistant Professor of Africana Studies and History at New York University, Tricia Rose sorts through rap's multiple voices by exploring its underlying urban cultural politics, particularly the influential New York City rap scene, and discusses rap as a unique musical form in which traditional African-based oral traditions fuse with cutting-edge music technologies. Next she takes up rap's racial politics, its sharp criticisms of the police and the government, and the responses of those institutions. Finally, she explores the complex sexual politics of rap, including questions of misogyny, sexual domination, and female rappers' critiques of men. But these debates do not overshadow rappers' own words and thoughts. Rose also closely examines the lyrics and videos for songs by artists such as Public Enemy, KRS-One, Salt N' Pepa, MC Lyte, and L.L. Cool J. and draws on candid interviews with Queen Latifah, music producer Eric "Vietnam" Sadler, dancer Crazy Legs, and others to paint the full range of rap's political and aesthetic spectrum. In the end, Rose observes, rap music remains a vibrant force with its own aesthetic, "a noisy and powerful element of contemporary American popular culture which continues to draw a great deal of attention to itself" [Publisher description].
Book of Rhymes: The Poetics of Hip Hop by
The definitive account of rap and hip hop as forms of American poetry "Bradley is a visionary critic, skillful and wise.... Book of Rhymes is a tour de force, brilliantly renovating hip hop criticism as [lit] rescues the forgotten vanguard of American poetry." --Henry Louis Gates, Jr. Rap may be the most revolutionary development in poetry over the past forty years, yet its originality is hidden in plain sight. Often overshadowed by the beat, bluster, and hype surrounding the music, lyrics are the heart of hip hop. Book of Rhymes explores America's least-understood poets by unpacking their complex craft and according them the respect they deserve as lyricists. Examining the language and techniques of hip hop's most memorable artists, literary scholar Adam Bradley argues that a new world of rhythm and rhyme awaits us if we put aside preconceptions and encounter rap with new ears and new eyes. Updated to reflect nearly a decade of the genre's evolution, Book of Rhymes remains the definitive work on the poetry of hip hop.
Bounce: Rap Music and Local Identity in New Orleans by
Over the course of the twentieth century, African Americans in New Orleans helped define the genres of jazz, rhythm and blues, soul, and funk. In recent decades, younger generations of New Orleanians have created a rich and dynamic local rap scene, which has revolved around a dance-oriented style called "bounce." Hip-hop has been the latest conduit for a "New Orleans sound" that lies at the heart of many of the city's best-known contributions to earlier popular music genres. Bounce, while globally connected and constantly evolving, reflects an enduring cultural continuity that reaches back and builds on the city's rich musical and cultural traditions. In this book, the popular music scholar and filmmaker Matt Miller explores the ways in which participants in New Orleans's hip-hop scene have collectively established, contested, and revised a distinctive style of rap that exists at the intersection of deeply rooted vernacular music traditions and the modern, globalized economy of commercial popular music. Like other forms of grassroots expressive culture in the city, New Orleans rap is a site of intense aesthetic and economic competition that reflects the creativity and resilience of the city's poor and working-class African Americans.
Can't Stop Won't Stop: A History of the Hip-hop Generation by
Hip-hop is now a global multi-billion pound industry. It has spawned superstars all across the world. There have been tie-in clothing lines, TV stations, film companies, cosmetics lines. It even has its own sports, its own art style, its own dialect. It is an all-encompassing lifestyle. But where did it all begin? Who created it? How did it become such a phenomenon? Jeff Chang, an American journalist, has written the most comprehensive book on hip-hop to date. He introduces the major players who came up with the ideas that form the basic elements of the culture. He describes how it all began with social upheavals in Jamaica, the Bronx, the Black Belt of Long Island and South Central LA. He not only provides a history of the music, but a fascinating insight into the social background of young black America. Stretching from the early 70s through to the present day, this is the definitive history of hip-hop. It will be essential reading for all DJs, B-Boys, MCs and anyone with an interest in the history of America.
The Chican@ Hip Hop Nation: Politics of a New Millennial Mestizaje by
The population of Mexican-origin peoples in the United States is a diverse one, as reflected by age, class, gender, sexuality, and religion. Far from antiquated concepts of mestizaje, recent scholarship has shown that Mexican@/Chican@ culture is a mixture of indigenous, African, and Spanish and other European peoples and cultures. No one reflects this rich blend of cultures better than Chican@ rappers, whose lyrics and iconography can help to deepen our understanding of what it means to be Chican@ or Mexican@ today. While some identify as Mexican mestizos, others identify as indigenous people or base their identities on their class and racial/ethnic makeup. No less significant is the intimate level of contact between Chican@s and black Americans. Via a firm theoretical foundation, Pancho McFarland explores the language and ethos of Chican@/Mexican@ hip hop and sheds new light on three distinct identities reflected in the music: indigenous/Mexica, Mexican nationalist/immigrant, and street hopper. With particular attention to the intersection of black and Chicano cultures, the author places exciting recent developments in music forms within the context of progressive social change, social justice, identity, and a new transnational, polycultural America.
Close to the Edge: In Search of the Global Hip Hop Generation by
At its rhythmic, beating heart this book asks whether Hip Hop can change the world. Hip Hop OCo rapping, rhyming, b-boying, d-jaying, graffiti - captured the imagination of the teenage Sujatha Fernandes in the Sydney suburbs in the 1990s, inspiring her and politicising her along the way. Armed with mc-ing skills, academic credentials and an urge to immerse herself in global hip hop, she launches on a journey into street culture around the world. From the ghettos of Chicago to the barrios of Caracas and Havana and the sprawling suburbs of Sydney, she grapples with questions of global voices and local critiques, and the rage that underlies both. An engrossing read and an exhilarating global ride, this punchy book also asks hard questions about dispossession, racism, poverty and the hope for change through a microphone.
Cuban Underground Hip Hop: Black Thoughts, Black Revolution, Black Modernity by
In the wake of the 1959 Cuban Revolution, a key state ideology developed: racism was a systemic cultural issue that ceased to exist after the Revolution, and any racism that did persist was a result of contained cases of individual prejudice perpetuated by US influence. Even after the state officially pronounced the end of racism within its borders, social inequalities tied to racism, sexism, and homophobia endured, and, during the economic liberalization of the 1990s, widespread economic disparities began to reemerge. Cuban Underground Hip Hop focuses on a group of self-described antiracist, revolutionary youth who initiated a social movement (1996-2006) to educate and fight against these inequalities through the use of arts-based political activism intended to spur debate and enact social change. Their "revolution" was manifest in altering individual and collective consciousness by critiquing nearly all aspects of social and economic life tied to colonial legacies. Using over a decade of research and interviews with those directly involved, Tanya L. Saunders traces the history of the movement from its inception and the national and international debates that it spawned to the exodus of these activists/artists from Cuba and the creative vacuum they left behind. Shedding light on identity politics, race, sexuality, and gender in Cuba and the Americas, Cuban Underground Hip Hop is a valuable case study of a social movement that is a part of Cuba's longer historical process of decolonization.
Emerald Street: A History of Hip Hop in Seattle by
From the first rap battles in Seattle?s Central District to the Grammy stage, hip hop has shaped urban life and the music scene of the Pacific Northwest for more than four decades. In the early 1980s, Seattle?s hip-hop artists developed a community-based culture of stylistic experimentation and multiethnic collaboration. Emerging at a distance from the hip-hop centers of New York City and Los Angeles, Seattle?s most famous hip-hop figures, Sir Mix-A-Lot and Macklemore, found mainstream success twenty years apart by going directly against the grain of their respective eras. In addition, Seattle has produced a two-time world-champion breaking crew, globally renowned urban clothing designers, an international hip-hop magazine, and influential record producers. In Emerald Street, Daudi Abe chronicles the development of Seattle hip hop from its earliest days, drawing on interviews with artists and journalists to trace how the elements of hip hop?rapping, DJing, breaking, and graffiti?flourished in the Seattle scene. He shows how Seattle hip-hop culture goes beyond art and music, influencing politics, the relationships between communities of color and law enforcement, the changing media scene, and youth outreach and educational programs. The result is a rich narrative of a dynamic and influential force in Seattle music history and beyond. Emerald Street was made possible in part by a grant from 4Culture?s Heritage Program.
From Black Power to Hip Hop: Racism, Nationalism, and Feminism by
Despite legislation designed to eliminate unfair racial practices, the United States continues to struggle with a race problem. Some thinkers label this a "new" racism and call for new political responses to it. Using the experiences of African American women and men as a touchstone for analysis, Patricia Hill Collins examines new forms of racism as well as political responses to it.In this incisive and stimulating book, renowned social theorist Patricia Hill Collins investigates how nationalism has operated and re-emerged in the wake of contemporary globalization and offers an interpretation of how black nationalism works today in the wake of changing black youth identity. Hers is the first study to analyze the interplay of racism, nationalism, and feminism in the context of twenty-first century black America.From Black Power to Hip Hop covers a wide range of topics including the significance of race and ethnicity to the American national identity; how ideas about motherhood affect population policies; African American use of black nationalism ideologies as anti-racist practice; and the relationship between black nationalism, feminism and women in the hip-hop generation.
From Grassroots to Comercialization: Hip Hop and Rap Music in the USA by
In the past three decades hip hop has developed from an underground movement in one of New York City's poorest boroughs, the Bronx, to a worldwide multi-billion-dollar industry.Nowadays one could not imagine chart shows, discos or house-parties without rap music. According to Guthrie P. Ramsey, Jr., rap music, which belongs under the cultural umbrella called hip hop, 'is virtually everywhere: television, radio, film, magazines, art galleries, and in 'underground' culture'. In this work Karl Kovacs will examine the reasons for hip hop's international success, the dangers of it, and the motivations rappers had and still have to pursue their art. It is yet to be answered if the success of this form of art has been a blessing or a curse for its performers and their audience, the so-called hip hop generation.
Global Linguistic Flows: Hip Hop Cultures, Youth Identities, and the Politics of Language by
Located at the intersection of sociolinguistics and Hip Hop Studies, this cutting-edge book moves around the world - spanning Africa, Asia, Australia, the Americas and the European Union - to explore Hip Hop cultures, youth identities, the politics of language, and the simultaneous processes of globalization and localization. Focusing closely on language, these scholars of sociolinguistics, linguistic anthropology, cultural studies, and critical pedagogies offer linguistic insights to the growing scholarship on Hip Hop Culture, while reorienting their respective fields by paying closer attention to processes of globalization and localization. The book engages complex processes such as transnationalism, (im)migration, cultural flow, and diaspora in an effort to expand current theoretical approaches to language choice and agency, speech style and stylization, codeswitching and language mixing, crossing and sociolinguistic variation, and language use and globalization. Moving throughout the Global Hip Hop Nation, through scenes as diverse as Hong Kong's urban center, Germany's Mannheim inner-city district of Weststadt, the Brazilian favelas, the streets of Lagos and Dar es Salaam, and the hoods of the San Francisco Bay Area, this global intellectual cipha breaks new ground in the ethnographic study of language and popular culture.
Graffiti Grrlz: Performing Feminism in the Hip Hop Diaspora by
An inside look at women graffiti artists around the world Since the dawn of Hip Hop graffiti writing on the streets of Philadelphia and New York City in the late 1960s, writers have anonymously inscribed their tag names on trains, buildings, and bridges. Passersby are left to imagine who the author might be, and, despite the artists' anonymity, graffiti subculture is seen as a "boys club," where the presence of the graffiti girl is almost unimaginable. In Graffiti Grrlz, Jessica Nydia Pabón-Colón interrupts this stereotype and introduces us to the world of women graffiti artists. Drawing on the lives of over 100 women in 23 countries, Pabón-Colón argues that graffiti art is an unrecognized but crucial space for the performance of feminism. She demonstrates how it builds communities of artists, reconceptualizes the Hip Hop masculinity of these spaces, and rejects notions of "girl power." Graffiti Grrlz also unpacks the digital side of Hip Hop graffiti subculture and considers how it widens the presence of the woman graffiti artist and broadens her networks, which leads to the formation of all-girl graffiti crews or the organization of all-girl painting sessions. A rich and engaging look at women artists in a male-dominated subculture, Graffiti Grrlz reconsiders the intersections of feminism, hip hop, and youth performance and establishes graffiti art as a game that anyone can play.
The Healing Power of Hip Hop by
In The Healing Power of Hip Hop, Raphael Travis Jr. offers a passionate look into existing tensions aligned with Hip Hop and demonstrates the beneficial quality it can have empowering its audience. His unique perspective takes Hip Hop out of the negative light and shows readers how Hip Hop has benefited the Black community. Organized to first examine the social and historical framing of Hip Hop culture and Black experiences in the United States, the remainder of the book is dedicated to elaborating on consistent themes of excellence and well-being in Hip Hop, and examining evidence of new ambassadors of Hip Hop culture across professional disciplines. The author uses research-informed language and structures to help the reader fully understand how Hip Hop creates more pathways to health and learning for youth and communities.
Hip-Hop and Philosophy: Rhyme 2 Reason by
Is there too much violence in hip-hop music? What’s the difference between Kimberly Jones and the artist Lil' Kim? Is hip-hop culture a "black" thing? Is it okay for N.W.A. to call themselves niggaz and for Dave Chappelle to call everybody bitches? These witty, provocative essays ponder these and other thorny questions, linking the searing cultural issues implicit -- and often explicit -- in hip-hop to the weighty matters examined by the great philosophers of the past. The book shows that rap classics by Lauryn Hill, OutKast, and the Notorious B.I.G. can help uncover the meanings of love articulated in Plato's Symposium; that Rakim, 2Pac, and Nas can shed light on the conception of God's essence expressed in St. Thomas Aquinas's Summa Theologica; and explores the connection between Run-D.M.C., Snoop Dogg, and Hegel. Hip-Hop and Philosophy proves that rhyme and reason, far from being incompatible, can be mixed and mastered to contemplate life's most profound mysteries.
Hip Hop's Amnesia: From Blues and the Black Women's Club Movement to Rap and the Hip Hop Movement by
What did rap music and hip hop culture inherit from the spirituals, classic blues, ragtime, classic jazz, and bebop? What did rap music and hip hop culture inherit from the Black Women's Club Movement, New Negro Movement, Harlem Renaissance, Hipster Movement, and Black Muslim Movement? How did black popular music and black popular culture between 1900 and the 1950s influence white youth culture, especially the Lost Generation and the Beat Generation, in ways that mirror rap music and hip hop culture's influence on contemporary white youth music, culture, and politics? In Hip Hop's Amnesia award-winning author, spoken-word artist, and multi-instrumentalist Reiland Rabaka answers these questions by rescuing and reclaiming the often-overlooked early twentieth century origins and evolution of rap music and hip hop culture. Hip Hop's Amnesia is a study about aesthetics and politics, music and social movements, as well as the ways in which African Americans' unique history and culture has consistently led them to create musics that have served as the soundtracks for their socio-political aspirations and frustrations, their socio-political organizations and nationally-networked movements. The musics of the major African American social and political movements of the 1950s, 1960s, and 1970s were based and ultimately built on earlier forms of "African American movement music." Therefore, in order to really and truly understand rap music and hip hop culture we must critically examine both classical African American musics and the classical African American movements that these musics served as soundtracks for. This book is primarily preoccupied with the ways in which post-enslavement black popular music and black popular culture frequently served as a soundtrack for and reflected the grassroots politics of post-enslavement African American social and political movements. Where many Hip Hop Studies scholars have made clever allusions to the ways that rap music and hip hop culture are connected to and seem to innovatively evolve earlier forms of black popular music and black popular culture, Hip Hop's Amnesia moves beyond anecdotes and witty allusions and earnestly endeavors a full-fledged critical examination and archive-informed re-evaluation of "hip hop's inheritance" from the major African American musics and movements of the first half of the twentieth century: classic blues, ragtime, classic jazz, swing, bebop, the Black Women's Club Movement, the New Negro Movement, the Harlem Renaissance, the Bebop Movement, the Hipster Movement, and the Black Muslim Movement.
Hip Hop Around the World: an Encyclopedia [2 Volumes] by
Hip hop music has gone from being a marginalized genre in the late 1980s to the predominant style of music in America, the UK, Nigeria, South Africa, and other countries around the world. Hip Hop around the World includes more than 450 entries on global hip hop culture as it includes music, art, fashion, dance, social and cultural movements, organizations, and styles of hip hop. Virtually every country is represented in the text. Most of the entries focus on music styles and notable musicians and are unique in that they discuss the sound of various hip hop styles and musical artists' lyrical content, vocal delivery, vocal ranges, and more. Many additional entries deal with dance styles, such as breakdancing or b-boying/b-girling, popping/locking, clowning, and krumping, and cultural movements, such as black nationalism, Nation of Islam, Five Percent Nation, and Universal Zulu Nation. Country entries take into account politics, history, language, authenticity, and personal and community identification. Special care is taken to draw relationships between people and entities such as mentor-apprentice, producer-musician, and more.
Hip Hop Beats, Indigenous Rhymes: Modernity and Hip Hop in Indigenous North America by
Argues that Indigenous hip hop is the latest and newest assertion of Indigenous sovereignty throughout Indigenous North America.
Hip Hop Dance: Meanings and Messages by
Tracing the African American dance from the Diaspora to the dance floor, this book covers a social history germane not only to the African American experience, but also to the global experience of laborers who learn lessons from hip hop dance. Examining hip hop dance as text, as commentary, and as a function of identity construction within the confines of consumerism, the book draws on popular cultural images from films, commercials, and dance studios. A bibliography, discography, and filmography are included. Instructors considering this book for use in a course may request an examination copy here.
The Hip Hop Generation: Young Blacks and the Crisis in African-American Culture by
Young blacks born between 1965 and 1984 belong to the first generation to have grown up in post-segregation America. Their historical significance is tremendous, but until now there has been no in-depth study of the African American youth who are making this important chapter in our nation's history. Bakari Kitwana, one of black America's sharpest young cultural critics, offers a sobering look at his generation's disproportionate incarceration and unemployment rates, as well as the collapse of its gender relations, and gives his own provocative social and political analysis. He finds the pain of his generation buried in tough, slick gangsta movies, and their voice in the lyrics of rap music, "the black person's CNN." By turns scathing, funny, and analytic, The Hip Hop Generation will stand as the testament of black youth culture at the turn of the century. With extraordinary insight and understanding, Bakari Kitwana has combined the culture and politics of his generation into a pivotal work in American studies.
Hip Hop Inheritance: From the Harlem Renaissance to the Hip Hop Feminist Movement by
Hip Hop's Inheritance arguably offers the first book-length treatment of what hip hop culture has, literally, 'inherited' from the Harlem Renaissance, the Black Arts movement, the Feminist Art movement, and 1980s and 1990s postmodern aesthetics. By comparing and contrasting the major motifs of the aforementioned cultural aesthetic traditions with those of hip hop culture, all the while critically exploring the origins and evolution of black popular culture from antebellum America through to 'Obama's America, ' Hip Hop's Inheritance demonstrates that the hip hop generation is not the first generation of young black (and white) folk preoccupied with spirituality and sexuality, race and religion, entertainment and athletics, or ghetto culture and bourgeois culture. Taking interdisciplinarity and intersectionality seriously, Hip Hop's Inheritance employs the epistemologies and methodologies from a wide range of academic and organic intellectual/activist communities in its efforts to advance an intellectual history and critical theory of hip hop culture. Drawing from academic and organic intellectual/activist communities as diverse as African American studies and women's studies, postcolonial studies and sexuality studies, history and philosophy, politics and economics, and sociology and ethnomusicology, Hip Hop's Inheritance calls into question one-dimensional and monodisciplinary interpretations or, rather, misinterpretations, of a multidimensional and multivalent form of popular culture that has increasingly come to include cultural criticism, social commentary, and political analysis
Hip Hop Matters: Politics, Pop Culture, and the Struggle for the Soul of a Movement by
Avoiding the easy definitions and caricatures that tend to celebrate or condemn the "hip hop generation," Hip Hop Matters focuses on fierce and far-reaching battles being waged in politics, pop culture, and academe to assert control over the movement. At stake, Watkins argues, is the impact hip hop has on the lives of the young people who live and breathe the culture. He presents incisive analysis of the corporate takeover of hip hop and the rampant misogyny that undermines the movement's progressive claims. Ultimately, we see how hip hop struggles reverberate in the larger world: global media consolidation; racial and demographic flux; generational cleavages; the reinvention of the pop music industry; and the ongoing struggle to enrich the lives of ordinary youth.
Hip Hop Movement: From R&B and the Civil Rights Movement to Rap and the Hip Hop Generation by
The Hip Hop Movement offers a critical theory and alternative history of rap music and hip hop culture by examining their roots in the popular musics and popular cultures of the Civil Rights Movement and Black Power Movement. Connecting classic rhythm & blues and rock & roll to the Civil Rights Movement, and classic soul and funk to the Black Power Movement, The Hip Hop Movement explores what each of these musics and movements contributed to rap, neo-soul, hip hop culture, and the broader Hip Hop Movement. Ultimately, this book's remixes (as opposed to chapters) reveal that black popular music and black popular culture have always been more than merely "popular music" and "popular culture" in the conventional sense and reflect a broader social, political, and cultural movement. With this in mind, sociologist and musicologist Reiland Rabaka critically reinterprets rap and neo-soul as popular expressions of the politics, social visions, and cultural values of a contemporary multi-issue movement: the Hip Hop Movement. Rabaka argues that rap music, hip hop culture, and the Hip Hop Movement are as deserving of critical scholarly inquiry as previous black popular musics, such as the spirituals, blues, ragtime, jazz, rhythm & blues, rock & roll, soul, and funk, and previous black popular movements, such as the Black Women's Club Movement, New Negro Movement, Harlem Renaissance, Civil Rights Movement, Black Power Movement, Black Arts Movement, and Black Women's Liberation Movement. This volume, equal parts alternative history of hip hop and critical theory of hip hop, challenges those scholars, critics, and fans of hip hop who lopsidedly over-focus on commercial rap, pop rap, and gangsta rap while failing to acknowledge that there are more than three dozen genres of rap music and many other socially and politically progressive forms of hip hop culture beyond DJing, MCing, rapping, beat-making, break-dancing, and graffiti-writing.
Hip Hop on Film: Performance Culture, Urban Space, and Genre Transformation in The 1980s by
Early hip hop film musicals have either been expunged from cinema history or excoriated in brief passages by critics and other writers. Hip Hop on Film reclaims and reexamines productions such as Breakin' (1984), Beat Street (1984), and Krush Groove (1985) in order to illuminate Hollywood's fascinating efforts to incorporate this nascent urban culture into conventional narrative forms. Such films presented musical conventions against the backdrop of graffiti-splattered trains and abandoned tenements in urban communities of color, setting the stage for radical social and political transformations. Hip hop musicals are also part of the broader history of teen cinema, and films such as Charlie Ahearn's Wild Style (1983) are here examined alongside other contemporary youth-oriented productions. As suburban teen films banished parents and children to the margins of narrative action, hip hop musicals, by contrast, presented inclusive and unconventional filial groupings that included all members of the neighborhood. These alternative social configurations directly referenced specific urban social problems, which affected the stability of inner-city families following diminished governmental assistance in communities of color during the 1980s. Breakdancing, a central element of hip hop musicals, is also reconsidered. It gained widespread acclaim at the same time that these films entered the theaters, but the nation's newly discovered dance form was embattled--caught between a multitude of institutional entities such as the ballet academy, advertising culture, and dance publications that vied to control its meaning, particularly in relation to delineations of gender. As street-trained breakers were enticed to join the world of professional ballet, this newly forged relationship was recast by dance promoters as a way to invigorate and "remasculinize" European dance, while young women simultaneously critiqued conventional masculinities through an appropriation of breakdance. These multiple and volatile histories influenced the first wave of hip hop films, and even structured the sleeper hit Flashdance (1983). This forgotten, ignored, and maligned cinema is not only an important aspect of hip hop history, but is also central to the histories of teen film, the postclassical musical, and even institutional dance. Kimberley Monteyne places these films within the wider context of their cultural antecedents and reconsiders the genre's influence.
The Hip Hop Wars: What We Talk About When We Talk About Hip Hop--and Why It Matters by
How hip hop shapes our conversations about race -- and how race influences our consideration of hip hop Hip hop is a distinctive form of black art in America-from Tupac to the Pulitzer Prize-winning Kendrick Lamar, hip hop has long given voice to the African American experience. As scholar and cultural critic Tricia Rose argues, hip hop, in fact, has become one of the primary ways we talk about race in the United States. But hip hop is in crisis. For years, the most commercially successful hip hop has become increasingly saturated with caricatures of black gangstas, thugs, pimps, and hos. This both represents and feeds a problem in black American culture. Or does it? In The Hip-Hop Wars, Rose explores the most crucial issues underlying the polarized claims on each side of the debate: Does hip hop cause violence, or merely reflect a violent ghetto culture? Is hip hop sexist, or are its detractors simply anti-sex? Does the portrayal of black culture in hip hop undermine black advancement? A potent exploration of a divisive and important subject, The Hip Hop Wars concludes with a call for the regalvanization of the progressive and creative heart of hip hop. What Rose calls for is not a sanitized vision of the form, but one that more accurately reflects a much richer space of culture, politics, anger, and yes, sex, than the current ubiquitous images in sound and video currently provide.
Holy Hip Hop in the City of Angels by
A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program for monographs. Visit www.luminosoa.org to learn more. In the 1990s, Los Angeles was home to numerous radical social and environmental eruptions. In the face of several major earthquakes and floods, riots and economic insecurity, police brutality and mass incarceration, some young black Angelenos turned to holy hip hop--a movement merging Christianity and hip hop culture--to "save" themselves and the city. Converting street corners to open-air churches and gangsta rap beats into anthems of praise, holy hip hoppers used gospel rap to navigate complicated social and spiritual realities and to transform the Southland's fractured terrains into musical Zions. Armed with beats, rhymes, and bibles, they journeyed through black Lutheran congregations, prison ministries, African churches, reggae dancehalls, hip hop clubs, Nation of Islam meetings, and Black Lives Matter marches. Zanfagna's fascinating ethnography provides a contemporary and unique view of black LA, offering a much-needed perspective on how music and religion intertwine in people's everyday experiences.
The Languages of Global Hip Hop by
In the case of hip-hop, the forces of top-down corporatization and bottom-up globalization are inextricably woven. This volume takes the view that hip-hop should not be viewed with this dichotomous dynamic in mind and that this dynamic does not arise solely outside of the continental US. Close analysis of the facts reveals a much more complex situation in which market pressures, local (musical) traditions, linguistic and semiotic intelligibility, as well as each country's particular historico-political past conspire to yield new hybrid expressive genres. This exciting collection looks at linguistic, cultural and economic aspects of hip-hop in parallel and showcases a global scope. It engages with questions of code-switching, code-mixing, the minority language/regional dialect vs. standard dynamic, the discourse of political resistance, immigrant ideologies, youth and new language varieties and will be essential reading for graduates and researchers in sociolinguistics and discourse analysis.
Manifest TechniqueTitle: Manifest Technique : Hip Hop, Empire, and Visionary Filipino American Culture by
An obscured vanguard in hip hop Filipino Americans have been innovators and collaborators in hip hop since the culture's early days. But despite the success of artists like Apl.de.Ap of the Black Eyed Peas and superstar producer Chad Hugo, the genre's significance in Filipino American communities is often overlooked. Mark R. Villegas considers sprawling coast-to-coast hip hop networks to reveal how Filipino Americans have used music, dance, and visual art to create their worlds. Filipino Americans have been exploring their racial position in the world in embracing hip hop's connections to memories of colonial and racial violence. Villegas scrutinizes practitioners' language of defiance, placing the cultural grammar of hip hop within a larger legacy of decolonization. An important investigation of hip hop as a movement of racial consciousness, Manifest Technique shows how the genre has inspired Filipino Americans to envision and enact new ideas of their bodies, their history, and their dignity.
Muslim Cool: Race, Religion, and Hip Hop in the United States by
Interviews with young Muslims in Chicago explore the complexity of identities formed at the crossroads of Islam and hip hop This groundbreaking study of race, religion and popular culture in the 21st century United States focuses on a new concept, "Muslim Cool." Muslim Cool is a way of being an American Muslim--displayed in ideas, dress, social activism in the 'hood, and in complex relationships to state power. Constructed through hip hop and the performance of Blackness, Muslim Cool is a way of engaging with the Black American experience by both Black and non-Black young Muslims that challenges racist norms in the U.S. as well as dominant ethnic and religious structures within American Muslim communities. Drawing on over two years of ethnographic research, Su'ad Abdul Khabeer illuminates the ways in which young and multiethnic US Muslims draw on Blackness to construct their identities as Muslims. This is a form of critical Muslim self-making that builds on interconnections and intersections, rather than divisions between "Black" and "Muslim." Thus, by countering the notion that Blackness and the Muslim experience are fundamentally different, Muslim Cool poses a critical challenge to dominant ideas that Muslims are "foreign" to the United States and puts Blackness at the center of the study of American Islam. Yet Muslim Cool also demonstrates that connections to Blackness made through hip hop are critical and contested--critical because they push back against the pervasive phenomenon of anti-Blackness and contested because questions of race, class, gender, and nationality continue to complicate self-making in the United States.
The New H. N. I. C.: The Death of Civil Rights and the Reign of Hip Hop by
Frames hip-hop as the defining cultural force in the aftermath of the Civil Rights and Black Power eras When Lauryn Hill stepped forward to accept her fifth Grammy Award in 1999, she paused as she collected the last trophy, and seeming somewhat startled said, "This is crazy, 'cause this is hip hop music.'" Hill's astonishment at receiving mainstream acclaim for music once deemed insignificant testifies to the explosion of this truly revolutionary art form. Hip hop music and the culture that surrounds it--film, fashion, sports, and a whole way of being--has become the defining ethos for a generation. Its influence has spread from the state's capital to the nation's capital, from the Pineapple to the Big Apple, from 'Frisco to Maine, and then on to Spain. But moving far beyond the music, hip hop has emerged as a social and cultural movement, displacing the ideas of the Civil Rights era. Todd Boyd maintains that a new generation, having grown up in the aftermath of both Civil Rights and Black Power, rejects these old school models and is instead asserting its own values and ideas. Hip hop is distinguished in this regard because it never attempted to go mainstream, but instead the mainstream came to hip hop. The New H.N.I.C., like hip hop itself, attempts to keep it real, and challenges conventional wisdom on a range of issues, from debates over use of the "N-word," the comedy of Chris Rock, and the "get money" ethos of hip hop moguls like Sean "P. Diddy" Combs and Russell Simmons, to hip hop's impact on a diverse array of figures from Bill Clinton and Eminem to Jennifer Lopez. Maintaining that Martin Luther King, Jr.'s "I Have a Dream" speech is less important today than DMX's It's Dark and Hell is Hot, Boyd argues that Civil Rights as a cultural force is dead, confined to a series of media images frozen in another time. Hip hop, on the other hand, represents the vanguard, and is the best way to grasp both our present and future.
Noise and Spirit: The Religious and Spiritual Sensibilities of Rap Music by
Rap music is often seen as a Black secular response to pressing issues of our time. Yet, like spirituals, the blues, and gospel music, rap has deep connections to African American religious traditions. Noise and Spirit explores the diverse religious dimensions of rap stemming from Islam (including the Nation of Islam and Five Percent Nation), Rastafarianism, and Humanism, as well as Christianity. The volume examines rap's dialogue with religious traditions, from the ways in which Islamic rap music is used as a method of religious and political instruction to the uses of both the blues and Black women's rap for considering the distinction between God and the Devil. The first section explores rap's association with more easily recognizable religious traditions and communities such as Christianity and Islam. The next presents discussions of rap and important spiritual considerations, including on the topic of death. The final unit wrestles with ways to theologize about the relationship between the sacred and the profane in rap.
The Organic Globalizer: Hip Hop, Political Development, and Movement Culture by
The Organic Globalizer is a collection of critical essays which takes the position that hip-hop holds political significance through an understanding of its ability to at once raise cultural awareness, expand civil society's focus on social and economic justice through institution building, and engage in political activism and participation. Collectively, the essays assert hip hop's importance as an "organic globalizer:" no matter its pervasiveness or reach around the world, hip-hop ultimately remains a grassroots phenomenon that is born of the community from which it permeates. Hip hop, then, holds promise through three separate but related avenues: (1) through cultural awareness and identification/recognition of voices of marginalized communities through music and art; (2) through social creation and the institutionalization of independent alternative institutions and non-profit organizations in civil society geared toward social and economic justice; and (3) through political activism and participation in which demands are articulated and made on the state.With editorial bridges between chapters and an emphasis on interdisciplinary and diverse perspectives, The Organic Globalizer is the natural scholarly evolution in the conversation about hip-hop and politics.
Prophets of the Hood: Politics and Poetics in Hip Hop by
At once the most lucrative, popular, and culturally oppositional musical force in the United States, hip hop demands the kind of interpretation Imani Perry provides here: criticism engaged with this vibrant musical form on its own terms. A scholar and a fan, Perry considers the art, politics, and culture of hip hop through an analysis of song lyrics, the words of the prophets of the hood. Recognizing prevailing characterizations of hip hop as a transnational musical form, Perry advances a powerful argument that hip hop is first and foremost black American music. At the same time, she contends that many studies have shortchanged the aesthetic value of rap by attributing its form and content primarily to socioeconomic factors. Her innovative analysis revels in the artistry of hip hop, revealing it as an art of innovation, not deprivation. Perry offers detailed readings of the lyrics of many hip hop artists, including Ice Cube, Public Enemy, De La Soul, krs-One, OutKast, Sean "Puffy" Combs, Tupac Shakur, Lil' Kim, Biggie Smalls, Nas, Method Man, and Lauryn Hill. She focuses on the cultural foundations of the music and on the form and narrative features of the songs--the call and response, the reliance on the break, the use of metaphor, and the recurring figures of the trickster and the outlaw. Perry also provides complex considerations of hip hop's association with crime, violence, and misogyny. She shows that while its message may be disconcerting, rap often expresses brilliant insights about existence in a society mired in difficult racial and gender politics. Hip hop, she suggests, airs a much wider, more troubling range of black experience than was projected during the civil rights era. It provides a unique public space where the sacred and the profane impulses within African American culture unite.
Pulse of the People: Political Rap Music and Black Politics by
Hip-Hop music encompasses an extraordinarily diverse range of approaches to politics. Some rap and Hip-Hop artists engage directly with elections and social justice organizations; others may use their platform to call out discrimination, poverty, sexism, racism, police brutality, and other social ills. In Pulse of the People, Lakeyta M. Bonnette illustrates the ways rap music serves as a vehicle for the expression and advancement of the political thoughts of urban Blacks, a population frequently marginalized in American society and alienated from electoral politics. Pulse of the People lays a foundation for the study of political rap music and public opinion research and demonstrates ways in which political attitudes asserted in the music have been transformed into direct action and behavior of constituents. Bonnette examines the history of rap music and its relationship to and extension from other cultural and political vehicles in Black America, presenting criteria for identifying the specific subgenre of music that is political rap. She complements the statistics of rap music exposure with lyrical analysis of rap songs that espouse Black Nationalist and Black Feminist attitudes. Touching on a number of critical moments in American racial politics--including the 2008 and 2012 elections and the cases of the Jena 6, Troy Davis, and Trayvon Martin--Pulse of the People makes a compelling case for the influence of rap music in the political arena and greatly expands our understanding of the ways political ideologies and public opinion are formed.
Rap Music and Culture by
The primary source writings in this anthology have been selected to provide your readers with a broad range of viewpoints on rap music and culture. Students are encouraged to see the validity of divergent opinions, so that they may understand the topics of discussion inclusively. An important question about the topic is presented in each chapter, such as "Does rap culture perpetuate violence?" and the viewpoints that follow are organized based on their response to the question. Fact boxes summarize important information for researchers, and an extensive bibliography is included.
Religion and Hip Hop by
Religion and Hip Hop brings together the category of religion, Hip Hop cultural modalities and the demographic of youth. Bringing postmodern theory and critical approaches in the study of religion to bear on Hip Hop cultural practices, this book examines how scholars in religious and theological studies have deployed and approached religion when analyzing Hip Hop data. Using existing empirical studies on youth and religion to the cultural criticism of the Humanities, Religion and Hip Hop argues that common among existing scholarship is a thin interrogation of the category of religion. As such, Miller calls for a redescription of religion in popular cultural analysis - a challenge she further explores and advances through various materialist engagements. Going beyond the traditional and more common approach of analyzing rap lyrics, from film, dance, to virtual reality, Religion and Hip Hop takes a fresh approach to exploring the paranoid posture of the religious in popular cultural forms, by going beyond what "is" religious about Hip Hop culture. Rather, Miller explores what rhetorical uses of religion in Hip Hop culture accomplish for various and often competing social and cultural interests.
Religion in Hip Hop: Mapping the New Terrain in the US by
Now a global and transnational phenomenon, hip hop culture continues to affect and be affected by the institutional, cultural, religious, social, economic and political landscape of American society and beyond. Over the past two decades, numerous disciplines have taken up hip hop culture for its intellectual weight and contributions to the cultural life and self-understanding of the United States. More recently, the academic study of religion has given hip hop culture closer and more critical attention, yet this conversation is often limited to discussions of hip hop and traditional understandings of religion and a methodological hyper-focus on lyrical and textual analyses. Religion in Hip Hop: Mapping the Terrain provides an important step in advancing and mapping this new field of Religion and Hip Hop Studies. The volume features 14 original contributions representative of this new terrain within three sections representing major thematic issues over the past two decades. The Preface is written by one of the most prolific and founding scholars of this area of study, Michael Eric Dyson, and the inclusion of and collaboration with Bernard 'Bun B' Freeman fosters a perspective internal to Hip Hop and encourages conversation between artists and academics.
Remix and Life Hack in Hip Hop: Towards a Critical Pedagogy of Music by
The creative labour of few mega stars is calculated in billions of dollars. But for most hiphoppas, their creative labour may never get expressed in economic terms. Instead it is expressed in social capital, the production of collective and individual subjectivities, the bonds of love that build and hold communities together, and the healing of broken hearts, broken homes, and broken neighborhoods in broken cities.
Rhyme's Challenge: Hip Hop, Poetry, and Contemporary Rhyming Culture by
Rhyme's Challenge offers a concise, pithy primer to hip-hop poetics while presenting a spirited defense of rhyme in contemporary American poetry. David Caplan's stylish study examines hip-hop's central but supposedly outmoded verbal technique: rhyme. At a time when print-based poets generally dismiss formal rhyme as old-fashioned and bookish, hip-hop artists deftly deploy it as a way to capture the contemporary moment. Rhyme accommodates and colorfully chronicles the most conspicuous conditions and symbols of contemporary society: its products, technologies, and personalities. Ranging from Shakespeare and Wordsworth to Eminem and Jay-Z, David Caplan's study demonstrates the continuing relevance of rhyme to poetry -- and everyday life.
Roc the Mic Right: The Language of Hip Hop Culture by
Complementing a burgeoning area of interest and academic study, Roc the Mic Right explores the central role of language within the Hip Hop Nation (HHN). With its status convincingly argued as the best means by which to read Hip Hop culture, H. Samy Alim then focuses on discursive practices, such as narrative sequencing and ciphers, or lyrical circles of rhymers. Often a marginalized phenomenon, the complexity and creativity of Hip Hop lyrical production is emphasised, whilst Alim works towards the creation of a schema by which to understand its aesthetic. Using his own ethnographic research, Alim shows how Hip Hop language could be used in an educational context and presents a new approach to the study of the language and culture of the Hip Hop Nation: 'Hiphopography'. The final section of the book, which includes real conversational narratives from Hip Hop artists such as The Wu-Tang Clannbsp;and Chuck D, focuses on direct engagement with the language. A highly accessible and lively work on the most studied and read about language variety in the United States, this book will appeal not only to language and linguistics researchers and students, but holds a genuine appeal to anyone interested in Hip Hop or Black African Language.
Sounding Race in Rap Songs by
As one of the most influential and popular genres of the last three decades, rap has cultivated a mainstream audience and become a multimillion-dollar industry by promoting highly visible and often controversial representations of blackness. Sounding Race in Rap Songs argues that rap music allows us not only to see but also to hear how mass-mediated culture engenders new understandings of race. The book traces the changing sounds of race across some of the best-known rap songs of the past thirty-five years, combining song-level analysis with historical contextualization to show how these representations of identity depend on specific artistic decisions, such as those related to how producers make beats. Each chapter explores the process behind the production of hit songs by musicians including Grandmaster Flash and the Furious Five, The Sugarhill Gang, Run-D.M.C., Public Enemy, N.W.A., Dr. Dre, and Eminem. This series of case studies highlights stylistic differences in sound, lyrics, and imagery, with musical examples and illustrations that help answer the core question: can we hear race in rap songs? Integrating theory from interdisciplinary areas, this book will resonate with students and scholars of popular music, race relations, urban culture, ethnomusicology, sound studies, and beyond.
Therapeutic Uses of Rap and Hip-Hop by
In perceiving all rap and hip-hop music as violent, misogynistic, and sexually charged, are we denying the way in which it is attentive to the lived experiences, both positive and negative, of many therapy clients? This question is explored in great depth in this anthology, the first to examine the use of this musical genre in the therapeutic context. The contributors are all experienced therapists who examine the multiple ways that rap and hip-hop can be used in therapy by listening and discussing, performing, creating, or improvising. The text is divided into three sections that explore the historical and theoretical perspectives of rap and hip-hop in therapy, describe the first-hand experiences of using the music with at-risk youth, and discuss the ways in which contributors have used rap and hip-hop with clients with specific diagnoses, respectively. Within these sections, the contributors provide rationale for the use of rap and hip-hop in therapy and encourage therapists to validate the experiences for those for whom rap music is a significant mode of expression. Editors Susan Hadley and George Yancy go beyond promoting culturally competent therapy to creating a paradigm shift in the field, one that speaks to the problematic ways in which rap and hip-hop have been dismissed as expressive of meaningless violence and of little social value. More than providing tools to incorporate rap into therapy, this text enhances the therapist's cultural and professional repertoire.
Urban God Talk: Constructing a Hip Hop Spirituality by
Urban God Talk: Constructing a Hip Hop Spirituality, edited by Andre Johnson, is a collection of essays that examine the religious and spiritual in hip hop. The contributors argue that the prevailing narrative that hip hop offers nothing in the way of religion and spirituality is false. From its beginning, hip hop has had a profound spirituality and advocates religious views--and while not orthodox or systemic, nevertheless, many in traditional orthodox religions would find the theological and spiritual underpinnings in hip hop comforting, empowering, and liberating. In addition, this volume demonstrates how scholars in different disciplines approach the study of hip hop, religion, and spirituality. Whether it is a close reading of a hip hop text, ethnography, a critical studies approach or even a mixed method approach, this study is a pedagogical tool for students and scholars in various disciplines to use and appropriate for their own research and understanding. Urban God Talk will inspire not only scholars to further their research, but will also encourage publishers to print more in this field. The contributors to this in-depth study show how this subject is an underrepresented area within hip hop studies, and that the field is broad enough for numerous monographs, edited works, and journal publications in the future.
The Vinyl Ain't Final: Hip Hop and the Globalization of Black Popular Culture by
'Hip Hop is Dead! Long Live Hip Hop!'From the front lines of hip hop culture and music in the USA, Britain, France, Japan, Germany, Hawaii, Tanzania, Cuba, Samoa and South Africa, academics, poets, practitioners, journalists, and political commentators explore hip hop -- both as a culture and as a commodity.From the political economy of the South African music industry to the cultural resistance forged by Afro-Asian hip hop, this potent mix of contributors provides a unique critical insight into the implications of hip hop globally and locally.Indispensable for fans of hip hop culture and music, this book will also appeal to anyone interested in cultural production, cultural politics and the implications of the huge variety of forms hip hop encompasses.
We Still Here : Hip Hop North of the 49th Parallel by
"We Still Here maps the edges of hip-hop culture and makes sense of the rich and diverse ways people create and engage with hip-hop music within Canadian borders. Contributors to the collection explore the power of institutions, mainstream hegemonies, and the processes of historical formation in the evolution of hip-hop culture. Throughout, the volume foregrounds the generative issues of gender, identity, and power, in particular in relation to the Black diaspora and Indigenous cultures. Exposing the distinct inner mechanics of Canadian hip hop from a variety of perspectives. The contributions of artists in the scene are front and centre in this collection. By amplifying rarely heard voices within hip-hop culture, We Still Here argues for its power to disrupt national formations and highlights the people and communities who make hip hop happen."-- Provided by publisher.