Relevant bibliographies by topics / Hip hop

Academic literature on the topic 'Hip hop'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Hip hop"

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Kim, Pil Ho, and Wonseok Lee. "Industrial Hip Hop Against Hip Hop Industry." Journal of Popular Music Studies 33, no. 4 (December 1, 2021): 39–42. http://dx.doi.org/10.1525/jpms.2021.33.4.39.

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Zimányi, Gabriella, and Anita Lanszki. "The Influence of Social Media on Hip-Hop Dancers and their Classes." Tánc és Nevelés 1, no. 1 (August 17, 2020): 97–112. http://dx.doi.org/10.46819/tn.1.1.97-112.

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The popularity of social media has influenced the field of the arts including the world of hip-hop dance as well. The platforms allowed hip-hop dancers to reach entire crowds throughout the online surfaces. Choreographers and dancers became famous by their shared videos, which soon lead to the appearance of a growing number of edited, performance-like, therefore, manipulated class footages. These posts show a distorted image and unrealistic expectations regarding the purpose of taking classes. The influence of these videos has been unknown so far but it is a heated topic amongst hip-hop dancers. The relation of social media and hip-hop dance was studied through a qualitative research with participants from Budapest, London and Los Angeles (n=6). The results show that social media sometimes individually and other times regionally can be an advantage or a disadvantage both for hip-hop dancers and the classes that they take. The platforms also influence hip-hop teachers and their students mentally and physically, it effects their motivation, sponsorship and job opportunities as well.
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Ralph, Michael. "Hip-Hop." Social Text 27, no. 3 (2009): 141–46. http://dx.doi.org/10.1215/01642472-2009-025.

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BALDO, Maria Isabel. "Hip Hop." Grau Zero – Revista de Crítica Cultural 3, no. 2 (April 11, 2016): 101–23. http://dx.doi.org/10.30620/gz.v3n2.p101.

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Respaldado no horizonte de educação popular de Paulo Freire, sobretudo no que se refere à prática educativa como a junção do saber popular com o saber erudito, e na perspectiva da ecologia de saberes promulgada por Boaventura de Sousa Santos, o presente artigo pretende situar a cultura Hip Hop – por nós aqui entendida também como um movimento social urbano – como possibilidade possível de educação emancipatória e, deste modo, de empoderamento e visibilidade social de vozes silenciadas nas periferias, respaldada na resistência e na participação coletiva. [Recebido: 20 set. 2015 – Aceito: 21 out. 2015]
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Wojnowska, Anna. "Hip-hop subculture and the resocialization of the juvenile." Pedagogika 27, no. 1 (2018): 303–9. http://dx.doi.org/10.16926/p.2018.27.24.

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Johnson, Adeerya. "Dirty South Feminism: The Girlies Got Somethin’ to Say Too! Southern Hip-Hop Women, Fighting Respectability, Talking Mess, and Twerking Up the Dirty South." Religions 12, no. 11 (November 22, 2021): 1030. http://dx.doi.org/10.3390/rel12111030.

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Within southern hip-hop, minimal credit has been given to the Black women who have curated sonic and performance narratives within the southern region. Many southern hip-hop scholars and journalists have centralized the accomplishments and masculinities of southern male rap performances. Here, dirty south feminism works to explore how agency, location, and Black women’s rap (lyrics and rhyme) and dance (twerking) performances in southern hip-hop are established under a contemporary hip-hop womanist framework. I critique the history of southern hip-hop culture by decentralizing male-dominated and hyper-masculine southern hip-hop identities. Second, I extend hip-hop feminist/womanist scholarship that includes tangible reflections of Black womanhood that emerge out of the South to see how these narratives reshape and re-inform representations of Black women and girls within southern hip-hop culture. I use dirty south feminism to include geographical understandings of southern Black women who have grown up in the South and been sexually shamed, objectified and pushed to the margins in southern hip-hop history. I seek to explore the following questions: How does the performance of Black women’s presence in hip-hop dance localize the South to help expand narratives within dirty south hip-hop? How can the “dirty south” as a geographical place within hip-hop be a guide to disrupt a conservative hip-hop South through a hip-hop womanist lens?
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Yang, Zhuoxi. "Research on The Identity Construction of Chinese Hip-Hop Fans." Lecture Notes in Education Psychology and Public Media 3, no. 1 (March 1, 2023): 136–47. http://dx.doi.org/10.54254/2753-7048/3/2022481.

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Hip-Hop culture was born in black neighborhoods in the United States, Since its introduction to China, it has been excluded from the mainstream cultural system and remained "underground" for a long time. However, with the broadcast of "The Rap of China", a show featuring hip-hop music, hip-hop culture has attracted widespread attention in China, and the number of Chinese hip-hop fans has exploded. This paper takes Chinese hip-hop culture and Chinese hip-hop fans as the research objects, attempts to explore how hip-hop fans achieve identity construction from their perspective. This research mainly adopts quantitative research and qualitative research through questionnaires and in-depth interviews with hip-hop fans, and finds that the identity construction of hip-hop fans has two aspects: self-identity construction through hip-hop fans' pursuit of an "ideal self", resonance with hip-hop music and consumption behavior, and social identity construction through their interaction with "in-groups" and "out-groups". Although there are some limitations in the methods and conclusions, this paper will still be beneficial to further explore the chinese hip-hop fans research from the perspective of identity construction.
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Harper, P. Thandi Hicks, Warren A. Rhodes, Duane E. Thomas, George Leary, and Sylvia L. Quinton, Esq. "Hip-Hop Development™ Bridging the Generational Divide for Youth Development." Journal of Youth Development 2, no. 2 (September 1, 2007): 42–55. http://dx.doi.org/10.5195/jyd.2007.345.

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Hip-Hop culture in the lives of youth can not be ignored. This research is based on the premise that youth workers who expect ongoing successes must increase their Hip-Hop culture competence. The study examined the knowledge of and attitude towards Hip-Hop by educators who participated in a Hip-Hop 101 workshop. Their perceptions relevant to the importance of Hip-Hop awareness and application for positively influencing youth behaviors were also explored. Results revealed that workshop participants significantly increased their Hip-Hop knowledge. They also demonstrated significantly more favorable attitudes toward Hip-Hop and its use for youth development. Findings suggest that the workshop promoted an environment conducive to bridging the generation gap between youth who embrace Hip-Hop, and educators who have a less favorable view. This research provides insight into Hip-Hop Developmenttm as a core component for establishing the kinds of youth-adult partnerships necessary for today’s Hip-Hop generation’s self-growth, skill enhancement, and leadership development.
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Sidjabat, Yedija Remalya, Vissia Ita Yulianto, and Royke Bobby Koapaha. "POLITIK IDENTITAS DALAM PERSPEKTIF POSKOLONIAL STUDI KASUS HIP HOP DANGDUT GRUP NDX A.K.A." CaLLs (Journal of Culture, Arts, Literature, and Linguistics) 4, no. 2 (November 28, 2018): 77. http://dx.doi.org/10.30872/calls.v4i2.1693.

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Hip hop dangdut is music identity of NDX A.K.A group. Hip hop dangdut that became popular in society also bring the pros and cons for some groups. Political identity in this research investigates background in choosing music dangdut and hip hop that integrated in NDX’s songs. Political identity used to see the factor that played a role in formation of hip hop dangdut, but not fully realized by NDX group. Political identity in formation of hip hop dangdut then analyzed in textual and contextual to answer the contestation of hip hop dangdut in postcolonial perspective. The concept postcolonial in this research is criticized dominance or the form of leadership culture (hegemony) conducted by capitalists. Hip hop dangdut formed because of the hegemony of media in popularizing hip hop that occurs massively. Contestation on hip hop dangdut identity is analyzed using the concept of mimicry and hybridity to see ‘in-between’ space or third space that can be described the position of hip hop dangdut. Negotiations between hip hop and dangdut is a form of hybridity that takes place in ambivalence, which is mimicking and mocking, and not entirely subordinated to the cultural discrimination that occurs to the strategy of globalization. The performance and NDX music that performed on stage shows the cultural identity negotiations between hip hop and dangdut that formed in the third space.
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Chen, Xi, Yazhou Tong, and Jinsheng Zhang. "Brotherhood and Hip-Hop: The Case of Chinese Hip-Hop Club Triple H." SAGE Open 11, no. 4 (October 2021): 215824402110615. http://dx.doi.org/10.1177/21582440211061532.

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After hip-hop increased in popularity in Chinese entertainment programs, different perceptions of hip-hop in China reflected a clash of various thinking patterns among audiences, with hip-hop club Triple H on the cusp of controversy. Taking Triple H as a case study, this paper aims to explore how emotional attachments influence the development of Chinese hip-hop clubs in post-subculture. The findings indicated that the brotherhood rooted in hip-hop culture has been reshaped by the hybridity of Chinese hip-hop featuring fraternity mixed with sensitivity, loyalty filled with controversy, and heroism heightened by diversity. This paper argues that the recurring theme of “brotherhood” contributing to the charisma of Chinese hip-hop clubs cannot be partially interpreted as either gangster love or an underground bond, which gives rise to a new approach to the notion of authenticity, with hip-hop interpreted as a distinctive lifestyle.
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Dissertations / Theses on the topic "Hip hop"

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Süß, Heidi. "Hip-Hop-Feminismus." Universität Hildesheim, 2016. https://ul.qucosa.de/id/qucosa%3A15447.

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Der Begriff HipHop-Feminismus wurde von der amerikanischen Kulturkritikerin Joan Morgan etabliert und beschreibt einen Feminismus, der den Lebenswelten HipHop-sozialisierter Frauen (of color) gerechter werden soll. Neben der selbstreflexiven Auseinandersetzung mit der eigenen Positionierung innerhalb einer als sexistisch geltenden Kultur, zählen auch kritische Diskurse um rassisierte Repräsentationen von women of color und die Aufarbeitung weiblicher HipHop-Geschichte zu den Themen des HipHop-Feminismus.
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Süß, Heidi. "Hip-Hop-Feminismus." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-221253.

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Der Begriff HipHop-Feminismus wurde von der amerikanischen Kulturkritikerin Joan Morgan etabliert und beschreibt einen Feminismus, der den Lebenswelten HipHop-sozialisierter Frauen (of color) gerechter werden soll. Neben der selbstreflexiven Auseinandersetzung mit der eigenen Positionierung innerhalb einer als sexistisch geltenden Kultur, zählen auch kritische Diskurse um rassisierte Repräsentationen von women of color und die Aufarbeitung weiblicher HipHop-Geschichte zu den Themen des HipHop-Feminismus.
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Adão, Sandra Regina. "Movimento hip hop." Florianópolis, SC, 2006. http://repositorio.ufsc.br/xmlui/handle/123456789/88959.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Ciências da Educação. Programa de Pós-Graduação em Educação
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A presente pesquisa é um convite ao leitor a navegar no que foi vivido por mim, no papel de pesquisadora ao buscar o movimento cultural juvenil hip hop na Escola de Educação Básica Lucia do Livramento Mayvorne, no Morro do Monte Serrat em Florianópolis. Em todo processo investigativo procurei ter um olhar para este movimento cultural juvenil e para os adolescentes aqui chamados por: Margarida, Rosa, Violeta, Cravo, Dália, Jasmim, Girassol, Bromélia, Lírio e Cacto que trouxeram suas experiências desta cultura dando corpo à pesquisa. Entendi que os gestos, movimentos corporais e o estilo de seu vestuário vinham imbuídos da identidade negra, com suas tranças e seu gingado corporal. O conceito de identidade diz respeito ao pertencimento social, cultural, étnico e de gênero, pertencimento que se constrói na família, nos ambientes sociais e institucionais, por meio de comparações e contrastes nas inter-relações socioculturais. Vi em meu corpo e no prazer pela dança uma cumplicidade para a pesquisa. Compõem esta pesquisa as falas dos adolescentes, do professor de educação física, da professora de arte-educação e da diretora da escola, em relação ao corpo e dança que é o principal objeto deste estudo, onde busquei minhas reflexões, tendo como base o referencial-teórico metodológico dos estudos culturais. Na experiência da dança e do corpo os adolescentes mostraram sua importância fotografando as coreografias do movimento cultural juvenil hip hop. Fica, para a leitura do trabalho completo, a reflexão desta cultura na fala dos adolescentes negros/as pesquisados. The current research is an invitation to the reader to sail into what has been lived for me, as a researcher, reaching the hip-hop young cultural movement in the Lucia do Livramento Mayvorne´s elementary school, in the Monte Serrat hill in Florianópolis. Through the whole investigative process, I tried to have a look on this young cultural movement and on the adolescents here called: Daisy, Rose, Violet, Clove, Dahlia, jasmine, sunflower, Bromeliad, Lily and Cactus that brought their experiences of this culture giving substance to the Research. I understood that gestures, corporal motion and vestry style came imbued with the black identity, marked by their braid hairs and body swaying. The concept of identity says about the social, cultural, ethnic and gender belonging, which is constructed in family, social and institutional atmospheres, over comparisons and assays in the socio-cultural inter-relations. I have seen in my body and in the pleasure for dance complicity for the research. This research is composed by the discourse of the adolescents, physical education teachers, arts teacher and the school principal, in connection to the body and dance, which are the main object of this research, where I searched for my reflections, having the theoretical-methodological allusion of the cultural researches as support. On the dance and body experience, the adolescents manifested their importance by photographing the choreographies of the hip-hop young cultural movement. Stays for the reading of the complete research, the reflection of this culture on the discourse of black adolescents that were here investigated.
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Pavicic, Christine. "Hip hop dancing bodies : eine interkulturelle Studie der Hip-Hop-Kultur /." Hamburg : Kovač, 2007. http://www.verlagdrkovac.de/978-3-8300-2754-6.htm.

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Pavicic, Christine. "Hip hop dancing bodies eine interkulturelle Studie der Hip-Hop-Kultur." Hamburg Kovač, 2006. http://www.verlagdrkovac.de/978-3-8300-2754-6.htm.

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Del, Hierro Marcos Julian. "It's Bigger and hip-hop Richard Wright, hip-hop, and masculinity /." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2009. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

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Isoke, Saidah K. "“Thank God for Hip-hop”: Black Female Masculinity in Hip-hop Culture." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492775852958055.

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Haery, Todd Cameron. "(Pro-) Socially conscious hip hop: Empathy and attitude, prosocial effects of hip hop." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587747399137313.

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Freire, Rebeca Sobral. "Hip Hop Feminista? convenções de gênero e feminismos no movimento Hip Hop soteropolitano." reponame:Repositório Institucional da UFBA, 2011. http://www.repositorio.ufba.br/ri/handle/ri/6303.

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Esta dissertação discute questões em torno das convenções de gênero e feminismo no Hip Hop em Salvador a partir da perspectiva das jovens militantes. Busca-se analisar a possibilidade de um hip hop feminista soteropolitano, com vistas à compreensão do feminismo na sua pluralidade como movimento social. Para tanto, considera-se as formas de apropriação dos discursos feministas e o engajamento em suas bandeiras na militância das interlocutoras da pesquisa. Ressalta-se a atenção à articulação entre os marcadores sociais de gênero, sexualidade e raça na prática política investigada. Assumindo o método qualitativo de pesquisa, esta investigação de cunho etnográfico utilizou-se de entrevistas semiestruturadas realizadas junto às hip hoppers, bem como da observação participante oriunda da convivência junto ao grupo estudado, sob o aporte interdisciplinar dos estudos de gênero e feministas.
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Jenkins, Derrick J. Sr. "Hip Hop Activism in Education: The Historical Efforts of Hip Hop Congress to Advance Critical Hip Hop Pedagogy through the Urban Teachers Network." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1338905792.

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Books on the topic "Hip hop"

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Royston, Angela. Hip-hop. Chicago: Capstone Raintree, 2013.

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Richard, Big. Hip hop: Consciência e atitude : inclui dicionário hip hop. São Paulo: Livro Pronto, 2005.

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Ferrari, Paolo. Hip hop. Firenze: Giunti, 2006.

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Koviloski, Aleksandar. Hip Hop Recnik: HIP-HOP DICTIONARY (first english-macedonian hip-hop dictionary). Skopje, Republic of Macedonia: Sovremenost, 2008.

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Fitzgerald, Tamsin. Hip-hop and urban dance. Chicago, Ill: Heineman Library, 2008.

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Tarr, Matthew. [ Hip-hop]. London: Chelsea College of Art and Design, 1998.

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Nini, Soraya. Hip-hop. Nice: Z'editions, 1996.

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Hnatov, Catherine. Hip, hop. Long Island City, NY: Star Bright Books, 2010.

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Souza, Jusamara Vieira. Hip hop da rua para escola. Porto Alegre, RS [i.e. Rio Grande do Sul, Brazil]: Editora Sulina, 2005.

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Hook, Sue Vander. Hip-hop fashion. Oxford: Raintree, 2011.

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Book chapters on the topic "Hip hop"

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Olorunda, Tolu. "Hip-Hop." In The Substance of Truth, 117–23. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-534-5_17.

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Zinnecker, Jürgen, Imbke Behnken, Sabine Maschke, and Ludwig Stecher. "Hip-Hop." In Null Zoff & Voll Busy, 144–45. Wiesbaden: VS Verlag für Sozialwissenschaften, 2002. http://dx.doi.org/10.1007/978-3-322-95013-0_19.

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Zinnecker, Jürgen, Imbke Behnken, Sabine Maschke, and Ludwig Stecher. "Hip-Hop." In null zoff & voll busy, 144–45. Wiesbaden: VS Verlag für Sozialwissenschaften, 2002. http://dx.doi.org/10.1007/978-3-663-10915-0_39.

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Rappe, Michael. "Hip-Hop." In Handbuch Popkultur, 113–18. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05601-6_21.

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Gill, Jon Ivan. "Hip-Hop." In The Palgrave Handbook of Radical Theology, 597–606. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96595-6_39.

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Clauhs, Matthew, Bryan Powell, and Ann C. Clements. "Hip Hop." In Popular Music Pedagogies, 174–80. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429294440-17.

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Vito, Christopher. "Hip-hop." In The Routledge Encyclopedia of Citizen Media, 196–201. London: Routledge, 2020. http://dx.doi.org/10.4324/9781315619811-33.

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Rivera, Raquel Z. "Whose Hip Hop?" In New York Ricans from the Hip Hop Zone, 79–96. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1057/9781403981677_4.

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Kurfürst, Sandra. "Hip Hop Dance." In Dancing Youth, 145–66. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839456347-007.

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Tate, Greg. "Hip Hop Nation." In The Rock History Reader, 271–74. Third edition. | New York : Routledge, 2018.: Routledge, 2019. http://dx.doi.org/10.4324/9781315394824-51.

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Conference papers on the topic "Hip hop"

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Harper, P. Thandi. "Hip-Hop Development Theory Within Hip-Hop Praxis Pedagogy." In AERA 2024. USA: AERA, 2024. http://dx.doi.org/10.3102/ip.24.2112639.

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Cummings, Robert, Brittany Chambers, Amber Reid, and Kinnis Gosha. "STEM Hip-hop Pedagogy." In the 2019 ACM Southeast Conference. New York, New York, USA: ACM Press, 2019. http://dx.doi.org/10.1145/3299815.3314431.

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Fassbender, William. "“It’s Bigger Than Hip-Hop”: Recognizing Hip-Hop Literacies as Critical Youth Cultural Capital." In 2024 AERA Annual Meeting. Washington DC: AERA, 2024. http://dx.doi.org/10.3102/2109157.

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Adjapong, Edmund. "For White Hip-Hop Educators...and the Rest of Ya'll Too: Examining Positionality in Hip-Hop Education." In 2022 AERA Annual Meeting. Washington DC: AERA, 2022. http://dx.doi.org/10.3102/1889460.

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Eloisa Aznar Bigcas, Alva Celina. "Hip-hop: Street Dance Lexicon in Singapore." In Annual International Conference on Language, Literature and Linguistics. Global Science & Technology Forum (GSTF), 2015. http://dx.doi.org/10.5176/2251-3566_l315.68.

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Cooke, Sekou, and Nadia M. Anderson. "Jefferson, Hip-Hop, and the Oppressive Grid." In 106th ACSA Annual Meeting. ACSA Press, 2018. http://dx.doi.org/10.35483/acsa.am.106.17.

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Kemayo, Kamau. "Black Linguistic Elegance and Hip Hop Lyricism." In Annual International Conference on Contemporary Cultural Studies. Global Science & Technology Forum (GSTF), 2015. http://dx.doi.org/10.5176/2382-5650_ccs15.10.

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Collell, Guillem. "Hip Hop, a Contemporary Footbridge Designer’s Delight." In Footbridge 2022 (Madrid): Creating Experience. Madrid, Spain: Asociación Española de Ingeniería Estructural, 2021. http://dx.doi.org/10.24904/footbridge2022.123.

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<p>Do contemporary footbridge designers take ideas originated from vulnerable and disadvantaged social groups into account? I believe the direct response, unfortunately, is clearly no, they do not.</p><p>Footbridge design is a top-down practice, typically associated with a sophisticated yet snob and elitistic culture. This paper strives to debunk this misconception with a counterexample. The counterexample must represent of today’s society and it must take form to include different cultural contexts. You cannot find a better example to illustrate such a fine and necessary opportunity as what hip hop represents in current culture.</p>
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Adjapong, Edmund. "Radically Dreaming of the Future of Hip-Hop and Education: On Keeping It Real With Hip-Hop Educators." In 2023 AERA Annual Meeting. Washington DC: AERA, 2023. http://dx.doi.org/10.3102/2016460.

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Edwards, Laura. "Hip-Hop Español: Cultural Identity Development Through Counter-Framed Narratives in Hip-Hop Literacy Español After-School Program." In 2024 AERA Annual Meeting. Washington DC: AERA, 2024. http://dx.doi.org/10.3102/2110110.

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Reports on the topic "Hip hop"

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Camarillo, G., and A. Keranen. Host Identity Protocol (HIP) Multi-Hop Routing Extension. RFC Editor, October 2010. http://dx.doi.org/10.17487/rfc6028.

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Wallin-Ruschman, Jennifer. The Moving to the Beat Documentary and Hip-Hop Based Curriculum Guide: Youth Reactions and Resistance. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.192.

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McLain-Jespersen, Samuel. "Had sh'er haute gamme, high technology": An Application of the MLF and 4-M Models to French-Arabic Codeswitching in Algerian Hip Hop. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.1630.

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4

Chen, Ching-Fong. PSEUDO-HOT-ISOSTATIC PRESSING (P-HIP). Office of Scientific and Technical Information (OSTI), February 2022. http://dx.doi.org/10.2172/1845226.

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Butler, Bryan, Tom Barse, Nahla V. Bassil, and Kim Lewers. How we came to have the 'Monocacy' hop. Yakima, WA: Hop Growers of America, August 2023. http://dx.doi.org/10.32747/2023.8127202.ars.

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Abstract:
The popularity of local craft beers in the US is growing, as is the desire for beers made with all-local ingredients. Maryland breweries have been able to use locally grown ingredients, including hops, but have not been able to claim use of a hop native to Maryland. 'Monocacy' hop was discovered in Maryland on a farm that was part of the original Carrollton Manor, once owned by Charles Carroll, a signer of the Declaration of Independence, in what was likely a cottage garden between the house and barn. Molecular fingerprinting established it as unique and clustering with hop accessions native to North America. Compared with cultivars currently grown in Maryland, 'Monocacy' is very large and vigorous, late maturing, and tolerant of of two-spotted spider mites, potato leafhoppers, and hop downy mildew. 'Monocacy' produces high yields of large open cones with an herbaal-floral aroma and abundant lupulin. Most hops have more alpha acids than beta acids, and contribute a bitter flavor to beers. The 'Monocacy' alpha acid content was lower than the beta acid content, with alpha to beta acid ratios ranging from 0.54 to 0.59 and could contribute to a beer that is not overly bitter. High myrcene (12.85%) and caryophyllene (38.13%) suggest a spicy-floral character. 'Monocacy' added an earthy and spicy note to lighter beers, and in some beers when used as a dry hop it added a light fruity note on the pallet in the finish. The most recent beer using 'Monocacy' had a medium-light body with a bisquity malt aroma and delicate "spicy/hoppy" nose. Maryland breweries are anxious to use this hop in their beers.
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Bae, Donal S., and Benjamin Shore. Pediatric Septic Hip. Touch Surgery Simulations, January 2016. http://dx.doi.org/10.18556/touchsurgery/2015.s0061.

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Cochran, Diana, and Brandon Carpenter. Hop Research Project: Installation of the Hop Yard. Ames: Iowa State University, Digital Repository, 2016. http://dx.doi.org/10.31274/farmprogressreports-180814-37.

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Hinden, B., and G. Fairhurst. IPv6 Minimum Path MTU Hop-by-Hop Option. RFC Editor, August 2022. http://dx.doi.org/10.17487/rfc9268.

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Camarillo, G., P. Nikander, J. Hautakorpi, A. Keranen, and A. Johnston. HIP BONE: Host Identity Protocol (HIP) Based Overlay Networking Environment (BONE). RFC Editor, January 2011. http://dx.doi.org/10.17487/rfc6079.

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Clarke, Kester Diederik. Formed HIP Can Processing. Office of Scientific and Technical Information (OSTI), July 2015. http://dx.doi.org/10.2172/1210211.

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