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. InPulse 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 Peoplelays 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 politicsincluding the 2008 and 2012 elections and the cases of the Jena 6, Troy Davis, and Trayvon MartinPulse of the Peoplemakes 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.
24 Bars to Kill Armstrong, Andrew B
06/2019, Letnik:
14
eBook
The most clearly identifiable and popular form of Japanese
hip-hop, "ghetto" or "gangsta" music has much in common with its
corresponding American subgenres, including its portrayal of life
on the ...margins, confrontational style, and aspirational
"rags-to-riches" narratives. Contrary to depictions of an
ethnically and economically homogeneous Japan, gangsta J-hop gives
voice to the suffering, deprivation, and social exclusion
experienced by many modern Japanese. 24 Bars to Kill
offers a fascinating ethnographic account of this music as well as
the subculture around it, showing how gangsta hip-hop arises from
widespread dissatisfaction and malaise.
The neighborhoods of Fifth Ward, Fourth Ward, Third Ward, and the Southside of Houston, Texas, gave birth to Houston rap, a vibrant music scene that has produced globally recognized artists such as ...Geto Boys, DJ Screw, Pimp C and Bun B of UGK, Fat Pat, Big Moe, Z-Ro, Lil’ Troy, and Paul Wall. Lance Scott Walker and photographer Peter Beste spent a decade documenting Houston’s scene, interviewing and photographing the people—rappers, DJs, producers, promoters, record label owners—and places that give rap music from the Bayou City its distinctive character. Their collaboration produced the books Houston Rap and Houston Rap Tapes. This second edition of Houston Rap Tapes amplifies the city’s hip-hop history through new interviews with Scarface, Slim Thug, Lez Moné, B L A C K I E, Lil’ Keke, and Sire Jukebox of the original Ghetto Boys. Walker groups the interviews into sections that track the different eras and movements in Houston rap, with new photographs and album art that reveal the evolution of the scene from the 1970s to today’s hip-hop generation. The interviews range from the specifics of making music to the passions, regrets, memories, and hopes that give it life. While offering a view from some of Houston’s most marginalized areas, these intimate conversations lay out universal struggles and feelings. As Willie D of Geto Boys writes in the foreword, “Houston Rap Tapes flows more like a bunch of fellows who haven’t seen each other for ages, hanging out on the block reminiscing, rather than a calculated literary guide to Houston’s history."
Deutscher Gangsta-Rap III Marc Dietrich, Martin Seeliger / Marc Dietrich, Martin Seeliger
2022, 20220920, Letnik:
56
eBook
Deutscher Gangsta-Rap hat es als Ort der symbolischen Austragung sozialer Konflikte seit der Jahrtausendwende zu einiger Bekanntheit gebracht. Hier kommen nicht nur Spannungen zwischen Hoch- und ...Popkultur, Migrationsgesellschaft und Nationalitäten, wirtschaftlichen Erfolgen und künstlerischem Anspruch deutlich zum Tragen, sondern auch strafrechtlich verfolgbare Beleidigungen und gesellschaftliche Diskursfähigkeit. Die Beiträger*innen des Bandes zeigen, dass dieses Phänomen der pluralen Gesellschaft exemplarisch für die Ambivalenzen der Moderne steht.
Hip Hop Africa Charry, Eric; Polak, Rainer; Shipley, Jesse Weaver ...
10/2012
eBook
Hip Hop Africa explores a new generation of Africans who are not only consumers of global musical currents, but also active and creative participants. Eric Charry and an international group of ...contributors look carefully at youth culture and the explosion of hip hop in Africa, the embrace of other contemporary genres, including reggae, ragga, and gospel music, and the continued vitality of drumming. Covering Senegal, Mali, Côte d'Ivoire, Ghana, Nigeria, Kenya, Tanzania, Malawi, and South Africa, this volume offers unique perspectives on the presence and development of hip hop and other music in Africa and their place in global music culture.
Anthony Pinn examines how hip hop artists challenge white supremacist definitions of Blackness by challenging white distinctions between life and death.
Acting as both investigative journalist and irreverent critic, Ben Westhoff journeys across the southern United States in a small Hyundai to document the phenomenon of southern hip-hop. The exclusive ...interviews with the genre's prominent players take many forms-watching rappers "make it rain" in a Houston strip club, partying with The 2 Live Crew's Luke Campbell, visiting the gritty neighborhoods where T. I. and Lil Wayne grew up, and speaking with DJ Smurf and Ms. Peachez along the way. The celebrated but dark history of Houston's Rap-A-Lot Records, the lethal rivalry between Atlanta's Gucci Mane and Young Jeezy, and the venerable Scarface's memories from time in a mental institution are just a few of the textured and tricky subjects explored.
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.
