Relevant bibliographies by topics / Rap and hip hop

Academic literature on the topic 'Rap and hip hop'

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Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Rap and hip hop"

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Pennycook, Alastair. "Global Noise and Global Englishes." Cultural Studies Review 9, no. 2 (September 13, 2013): 192–200. http://dx.doi.org/10.5130/csr.v9i2.3572.

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Global Noise: Rap and Hip-Hop Outside the USA, alluding to Tricia Rose’s US rap-music book, Black Noise, aims to do much more than merely extend the reach of the study of rap and hip-hop beyond the USA, as its subtitle might suggest. While acknowledging the importance of the work of both Rose and Potter, this collection’s editor, Tony Mitchell, contests their respective views that rap and hip-hop are essentially expressions of African-American culture, and that all forms of rap and hip-hop derive from these origins. He argues that these forms have become ‘a vehicle for global youth affiliations and a tool for reworking local iden- tity all over the world’.
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Knobloch-Westerwick, Silvia, Paige Musto, and Katherine Shaw. "Rebellion in the Top Music Charts." Journal of Media Psychology 20, no. 1 (January 2008): 15–23. http://dx.doi.org/10.1027/1864-1105.20.1.15.

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Abstract. In spite of great public concern about offensive messages in hip-hop/rap and rock, actual quantitative prevalence is rarely examined. This investigation analyzed 260 rap/hip-hop and rock songs from the top-charts of 1993 and 2003 for rebellious messages about impulsive and hostile behaviors. Results show that the majority of top songs contain rebellious messages. Songs with messages about impulsiveness are more common than those about hostility in the rap/hip-hop genre and have increased.
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Grewal, Sara Hakeem. "Hip Hop and the University." Journal of Popular Music Studies 32, no. 3 (August 27, 2020): 73–97. http://dx.doi.org/10.1525/jpms.2020.32.3.73.

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While hip hop and the university appear to operate within radically different social (and socioeconomic) spheres, we nevertheless see increasing overlap between the two that demonstrates a mutual interest and perhaps desire between the two. With the rise of hip hop studies on the one hand and a remarkable array of hip hop songs and films that address the university space and/or university education on the other, these two discursive spheres produce knowledges that are both complementary and contradictory. By analyzing several texts—major academic works of hip hop scholarship; films on hip hop and the university, especially Method Man and Redman’s 2001 How High; and the rap oeuvres of Kanye West and J. Cole—this article examines the ways in which the epistemologies of hip hop and the university interact and conflict. By examining these texts, I show that academic epistemologies, or what I term “book knowledge,” inadvertently impose a hierarchical and colonizing frame on rap and hip hop, such as the practice of “close reading” rap as poetry. Instead, I argue that we can learn how to ethically inhabit and transform the university space by drawing from hip hop’s commitment to producing the radical, decolonial, and embodied practices of “street knowledge.”
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Grewal, Sara Hakeem. "Hip Hop and the University." Journal of Popular Music Studies 32, no. 3 (August 26, 2020): 73–97. http://dx.doi.org/10.1525/jpms.2020.323007.

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While hip hop and the university appear to operate within radically different social (and socioeconomic) spheres, we nevertheless see increasing overlap between the two that demonstrates a mutual interest and perhaps desire between the two. With the rise of hip hop studies on the one hand and a remarkable array of hip hop songs and films that address the university space and/or university education on the other, these two discursive spheres produce knowledges that are both complementary and contradictory. By analyzing several texts—major academic works of hip hop scholarship; films on hip hop and the university, especially Method Man and Redman’s 2001 How High; and the rap oeuvres of Kanye West and J. Cole—this article examines the ways in which the epistemologies of hip hop and the university interact and conflict. By examining these texts, I show that academic epistemologies, or what I term “book knowledge,” inadvertently impose a hierarchical and colonizing frame on rap and hip hop, such as the practice of “close reading” rap as poetry. Instead, I argue that we can learn how to ethically inhabit and transform the university space by drawing from hip hop’s commitment to producing the radical, decolonial, and embodied practices of “street knowledge.”
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Templeton, Inez H. "Where in the world is the hip hop nation?" Popular Music 22, no. 2 (May 2003): 241–45. http://dx.doi.org/10.1017/s0261143003003155.

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The ‘Hood Comes First: Race, Space and Place in Rap and Hip-Hop. By Murray Forman. Middletown: Wesleyan University Press, 2002. 400 pp.Global Noise: Rap and Hip-Hop Outside the USA. Edited by Tony Mitchell. Middletown: Wesleyan University Press, 2001. 352 pp.
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Nzinga, Kalonji L. K., and Douglas L. Medin. "The Moral Priorities of Rap Listeners." Journal of Cognition and Culture 18, no. 3-4 (August 13, 2018): 312–42. http://dx.doi.org/10.1163/15685373-12340033.

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AbstractA cross-cultural approach to moral psychology starts from researchers withholding judgments about universal right and wrong and instead exploring what the members of a community subjectively perceive to be moral or immoral in their local context. This study seeks to identify the moral concerns that are most relevant to listeners of hip-hop music. We use validated psychological surveys including the Moral Foundations Questionnaire (Graham, Haidt, & Nosek 2009) to assess which moral concerns are most central to hip-hop listeners. Results show that hip-hop listeners prioritize concerns of justice and authenticity more than non-listeners and deprioritize concerns of respecting authority. These results suggest that the concept of the “good person” within hip-hop culture is fundamentally a person that is oriented towards social justice, rebellion against the status quo, and a deep devotion to keeping it real. Results are followed by a discussion of the role of youth subcultures in moral socialization.
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Berkson, Sam. "Hip Hop World News: reporting back." Race & Class 59, no. 2 (October 2017): 102–14. http://dx.doi.org/10.1177/0306396817716053.

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Responding to the BBC 4 documentary, The Hip Hop World News, the author examines a number of debates that the programme, narrated by Rodney P, a pioneer of British rap music, and a believer in the revolutionary potential of hip hop culture, throws up. For hip hop also has many reactionary elements and has become big business for the corporations and rap ‘stars’ involved in its production. Beyond just pointing to individual rappers who have been ‘conscious’ political voices, such as Public Enemy’s Chuck D, we are shown structures embedded in the origins and ‘elements’ of hip hop that continue to make it a ‘voice of the voiceless’. Some people, like Lord Jamar, who is interviewed on the documentary, have argued that hip hop as a black art form can only be performed by black artists, yet, as Rodney P points out, hip hop has been adopted everywhere to express and transmit the situations and struggles of marginalised and oppressed groups all over the globe.
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SOLOMON, THOMAS. "‘Living underground is tough’: authenticity and locality in the hip-hop community in Istanbul, Turkey." Popular Music 24, no. 1 (January 2005): 1–20. http://dx.doi.org/10.1017/s0261143004000273.

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Hip-hoppers in Istanbul, Turkey, spend much discursive energy talking and rapping about how the Turkish hip-hop movement is underground, putting a particularly local spin on their uses of a global cultural form. This spatial metaphor has thus become central to local constructions of hip-hop in Istanbul. This paper explores the different meanings the underground concept has for Turkish hip-hoppers through a combination of ethnographic research and readings of locally produced hip-hop texts. Through discourses on and around the underground metaphor, Turkish hip-hoppers use the globally circulating music genre of rap and the associated arts of hip-hop to construct a specifically local identity, re-emplacing rap and hip-hop within the landscape of Istanbul. The paper uses this case study to explore how people can use mediated music in constructing new imaginaries and identities and more specifically how people can use mediated music as a vehicle for the imagining of place.
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Fikentscher, Kai, David Toop, and Jon Michael Spencer. "Rap Attack 2: African Rap to Global Hip Hop." Ethnomusicology 38, no. 2 (1994): 349. http://dx.doi.org/10.2307/851745.

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Lessard, Guillaume. "Du gangsta rap au hip-hop conscient : subversions et alternatives critiques en réponse aux mythes américains." Cahiers d'histoire 34, no. 1 (August 14, 2017): 187–217. http://dx.doi.org/10.7202/1040828ar.

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L’émergence du gangsta rap américain au tournant des années 1990 a stimulé des débats d’envergure nationale sur la question de la liberté d’expression. Bien que le hip-hop ait émergé victorieux de cette guerre culturelle, il semble que grâce à un procédé de marginalisation des discours jugés subversifs, le récit national américain soit demeuré largement inchangé face aux attaques du gangsta rap. Toutefois, avec l’émergence du hip-hop conscient, de nouveaux récits critiques contribuent à nuancer les mythes nationaux américains de l’intérieur et offrent des conceptions alternatives de l’identité américaine au travers de la culture hip-hop.
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Dissertations / Theses on the topic "Rap and hip hop"

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Correa, Cristina, Karla Henríquez, Rodrigo Hidalgo, and Juan Pablo Olavarría. "El hip hop en Chile." Tesis, Universidad de Chile, 1999. http://repositorio.uchile.cl/handle/2250/138741.

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Seminario para optar al grado de Magister en Comunicación Social
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¿Qué es el hip hop? ¿Una tendencia musical, el rap? ¿Una gráfica que comprende murales, graffitis y firmas (tags)? ¿Una danza, el break dance? ¿Una moda? No es tan simple. Este múltiple canal de expresión al que adscriben cada vez más jóvenes chilenos presenta características propias que complejizan esta primera definición. Al estudiarlo pretendemos develar los elementos ideológicos presentes en él, sus alcances sociales, sus significados psicológicos, su ethos. Este trabajo es entonces un estudio descriptivo que aborda la producción de sujetos, identidades y circuitos sociales en el movimiento cultural llamado hip hop. En primera instancia, abordaremos las caracterizaciones del hip hop en el contexto de la cultura global imperante. Es decir, cuáles son sus propiedades dentro de la industria cultural y como funciona su especificidad en tanto fenómeno cultural en un contexto global en América Latina. En este sentido será necesario explorar la cosmovisión que opera en su textualidad, qué ideologías se hallan presentes en su estructura de funcionamiento, volcadas a la cotidianidad, en las áreas de producción, distribución y consumo. Dado que el hip hop en su origen aparece como un movimiento underground, que dispara desde los márgenes del sistema, y que como expresión cultural tiene su raíz primera en los getthos neoyorquinos; cabe entonces ver qué elementos de este hip hop originario se hallan presentes en el modo en que se da en nuestro territorio. Una vez establecidas sus características, deberemos analizar los mecanismos de identificación que genera en los jóvenes chilenos. Es decir, profundizar en la resignificación identitaria de que es objeto el fenómeno al insertarse en nuestra especificidad histórica, social y cultural. Por qué es que los jóvenes chilenos hallan en el hip hop un lugar donde “ser ellos”, y “cómo es que lo son”. Cómo es que la especificidad estética del hip hop juega un rol preponderante en el acercamiento del joven que busca su identidad, a una cosmovisión. En un mundo donde la preponderancia de lo cotidiano crece en detrimento de los grandes relatos, la conformación de una identidad propia vuelve la vista a los subgrupos. La realización del sujeto se da en la comunidad inmediata, que comparte la cotidianidad del sentido común y una determinada forma de producción cultural. Ahora bien, la cultura como universo simbólico nos remite a un imaginario del individuo en un proceso de constante flujo textual, en un permanente reenvío de significados (semas). Así, la semiótica y el psicoanálisis nos proveerán las herramientas científicas para analizar las distintas manifestaciones artísticas del sujeto, y cómo opera a nivel de conciencia e identidad los entrecruzamientos de lo imaginario y lo simbólico. Si se mira bien, a poco andar parece existir una tensión basamental. El hip hop nace de la marginalidad, es una reacción subversiva encarnada en el ícono de la pandilla, del que vive en gethos. El hip hop al llegar a nuestro país, y al poco a poco desmenuzar el cómo se va consumiendo, distribuyendo y produciendo, incorporándose al modus vivendis del joven chileno, cambia su marginalidad esencial. Es un fenómeno de masas marginal. Esta paradoja crece cuando el adscribir al hip hop es un gesto entendido como rebelde, aún asumiendo que el hip hop en sí no lo sea. Dicho de otro modo: en sus principios (valóricos y temporales) el hip hop es subversivo, “es” desde la ilegalidad, pero llegado a nuestro país, esta subversividad se trastoca en múltiples y contradictorias formas. Nuestra labor es establecer la dirección de estas mutaciones, y comprobar entonces cuál es el efecto real del hip hop en la juventud chilena: porqué adscriben a él, qué elementos presenta, dónde radica su fortaleza pulsional. Con ello no sólo se satisface un legítimo interrogante meramente intelectual, académico: conocer qué contenidos transmiten y cómo operan los dispositivos utilizados por la juventud chilena; si no que se pretende explotar -en el sentido de agotar- la ideología que subsume toda la cultura actual en el marco del mundo globalizado, denunciando así, su caducidad en términos de forma y contenido.
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Sousa, Jocimara Rodrigues de. "Rap, Rupturas e Continuidades: Uma análise sobre a relação entre o Rap e a Mídia." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/100/100135/tde-14102015-115141/.

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Este trabalho apresenta uma análise sobre a difusão do rap no cenário cultural, a partir da influência de um dos principais mediadores culturais presentes nesse processo, a mídia hegemônica. Dessa maneira, buscou-se identificar as consequências desse fenômeno nos processos de produção, difusão e recepção cultural, a partir da análise da cobertura midiática sobre o rap e o hip-hop no Brasil, entre os anos 1980 e 2000. Partindo da premissa de que o rap figura como uma ferramenta de instrumentalização da luta pelo reconhecimento de direitos das minorias políticas, além de revelar uma linguagem estética relevante, que rompe com os padrões tradicionais de produção artística, a presente pesquisa foca no processo de mediação do rap pelo agente midiático, especificamente, a partir da veiculação de seu conteúdo no jornal Folha de S.Paulo, nas revistas Veja e BIZZ e na programação da emissora MTV. Considerando o fato de que o rap se constitui em uma expressão inovadora, tanto no campo cultural quanto social, durante a trajetória da pesquisa ficou evidente o seu apelo mercadológico e o crescente interesse com que a mídia acompanhou a evolução desse fenômeno. Considerando a aproximação da mídia à cena rap, foi possível verificar a influência exercida da primeira sobre a segunda, revelando as relações simbióticas e recíprocas entre as esferas de mediação, produção e de circulação no campo cultural. A análise também revelou que a abordagem da mídia tradicional sobre o rap mobiliza códigos que o associam a três perspectivas: moda, movimento e mercado. A alternância do predomínio de uma dessas abordagens se alinha às transformações sociais e à emergência de novos discursos que ecoam em um determinado contexto. Contudo, a partir da ocupação de um espaço definitivo do rap na mídia hegemônica e da consolidação de um mercado próprio, o rap passa a contar com uma nova frente dentro do movimento que se mobiliza a partir dos recursos materiais e simbólicos em voga para elaborar estratégias alternativas de produção, difusão e comercialização cultural.
This work presents an analysis about the rap diffusion in the cultural scene, starting from the influence of one of the main cultural mediators present in this process, the mainstream media. Therefore, it was identified the consequences of this phenomenon in production processes, dissemination and cultural reception, from the analysis of media coverage of the rap and hip-hop in Brazil, between the years of 1980 and 2000. Considering that rap figures as tool of instrumentalization of the struggle for recognition of rights of political minorities, besides proves itself a relevant aesthetic language, which breaks with traditional patterns of artistic production, the following research focuses on the process of mediation by rap media agent, specifically, based on the diffusion of their content in Folha de S.Paulo newspaper, in the magazines Veja and BIZZ and on MTV station. Considering the fact that rap constitutes an innovative expression, both in the cultural field as social, while devoloping this research, it became clear its marketing appeal and the growing interest that the media followed the evolution of this phenomenon. Considering the approach of the media to rap scene, it was possible to identify the influence exerted from media to rap, revealing the symbiotic and reciprocal relationship between mediation spheres, production and circulation in the cultural field. The analysis also revealed that the approach and influence of traditional media over the rap mobilizes codes that combines it into three perspectives: fashion, moviment and market. The alternation of the predominance of one of these approaches is aligned with the social changes and the emergence of new discourses that echo in a determinated context. However, from the occupation of a definitive rap space in the mainstream media and the consolidation of its own market, the rap now has a new front in the movement that is mobilized from the material and symbolic resources in vogue to develop alternative strategies production, dissemination and cultural marketing.
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Turner, Patrick. "Hip hop versus rap : an ethnography of the cultural politics of new hip hop practices." Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/4745/.

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Using field observations, interview narratives, and lyrical analysis, this thesis argues that the increasing presence of hip hop arts in social spheres not popularly associated with hip hop such as community activism, school-based education and theatre is traceable to an intra cultural political struggle I term ‘hip hop versus rap’. Hip hop versus rap opposes the notion of a temporally prior, authentic hip hop culture to its degeneration into commercial and ‘anti-social’ rap music. As a redemptive discourse hip hop versus rap seeks to annex a socially responsible hip hop culture from its popular caricature by culturally exogenous interests. As part of a progressive grassroots, hip hop’s extension into new educational and artistic domains thus marks, at one level, a continuation of longstanding black diaspora struggles around race and cultural cooptation. Correspondingly, a hallmark of its pedagogic practices on the ground is a continuous reflexive commentary on the progressive uses to which hip hop can and should be put. These new hip hop practices, moreover, are philosophically and politically heterogeneous with respect to their sources, motives, and output. Hip hop versus rap can equally serve racial absolutism and mysticism, on the one hand, and, on the other, an avowed commitment to artistic and pedagogic innovation troubling fixed cultural and ethnic borders. Of equal significance, however, hip hop’s ‘communitarian’ ‘grassroots’ turn is also related to emerging forms of municipal and state sponsorship. In conditions of social risk and individualisation youth and educational services are seen as needing as far as possible to be fashioned around the cultural dispositions and preferences of their ‘at-risk’ users - or consumers. This means that another signal feature of hip hop versus rap – particularly as an educational project – is the way in which it marks a convergent point of vernacular cultural politics and histories and historically novel approaches by the state to the support, control and regulation of problem youth.
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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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Evans, Derek. ""It's bigger that hip hop" popular rap music and the politics of the hip hop generation /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5034.

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Thesis (M.A.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on March 25, 2008) Includes bibliographical references.
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Branch, William. "Theological implications of hip-hop culture." Theological Research Exchange Network (TREN), 2004. http://www.tren.com.

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Branch, William. "Thelogical implications of hip-hop culture." Theological Research Exchange Network (TREN), 2004. http://www.tren.com.

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Zibordi, Marcos Antonio. "Hip hop paulistano, narrativa de narrativas culturais." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27152/tde-29062015-144403/.

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Orientada, sobretudo, por noções de complexidade epistemológica, esta tese desenvolve proposta de abordagem transdisciplinar integrando as quatro manifestações artísticas e o discurso da chamada \"cultura hip hop\" na cidade de São Paulo. Apesar da tendência às pesquisas mutiladoras dessa tradição compósita, este trabalho propõe uma visão integrada dos seus elementos, a saber: a dança (break), a produção de imagens (nesta tese, grafites e pichações), o canto de longos poemas (rap) sobre bases sonoras criadas por manipuladores de discos e outros recursos tecnológicos (DJs). Há ainda o \"quinto elemento\" - o \"conhecimento\" - ou os enunciados ligados aos referenciais culturais dos adeptos do hip hop. As manifestações corpóreas, pictóricas, rimadas e musicais são tomadas como narrativas e o discurso, como religioso. As narrativas, em geral, são líricas e poéticas nas imagens, épicas nas letras de rap, dramáticas na dança e paródicas nas mãos dos DJs. O conhecimento orienta a postura de praticantes e admiradores fomentando uma comunidade cultural sectária e dogmática similar às religiões de salvação. Para realizar esse percurso, o cruzamento teórico envolveu certos ramos da teoria da Literatura, da Filosofia, da Semiótica e da Sociologia.
This thesis seeks a transdisciplinary approach of the so-called \"hip hop culture\" in the city of Sao Paulo, aiming to comprise its four artistic manifestations and its discourse, chiefly based on notions of epistemological complexity. Granted, there is a mutilative proclivity on researching such a composite tradition. Nonetheless, this paper offers an integrated point of view of the said elements. That is, dance (break), imagery production (graffitti, in the context of this thesis), the chanting of long poems (rapping) over sonic bases produced by records and other technological resources manipulators (DJs). There is also a fifth element: knowledge, or the cultural statements of the hip hop suporters. Its bodily, pictorial, rhyming, and musical manifestations are taken as narratives, and its discourse, as a religious text. These narratives generally have lyrical and poetical imagery, and comprise the epic rap lyrics, the dramatic dance moves and the parodical creations of the DJs. This knowledge guides the hip hop followers\' and admirer\'s attitude, leading to a sectarian and dogmatic cultural community, much similar to those formed by the believers of salvation religious denominations. In order to achieve this goal, the author has assembled a theoretical cross-over with certain realms of Literary Theory, Philosophy, Semiotics, and Sociology.
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LOMBARD, DESCHAMPS PASCALE. "Ethnologie urbaine du mouvement hip-hop : les b-boys dans leurs usages et représentations spécifiques des territoires urbains." Paris 7, 1998. http://www.theses.fr/1998PA070032.

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La culture hip-hop, culture de rue, culture de ville, appartient a une generation de jeunes qui relevent le defi "d'exister dans la place" au sein des disparites ethniques et sociales des grandes metropoles post-modernes. Elle s'elabore aux etats-unis a partir de 1970 dans la continuite de l'histoire de la communaute afro-americaine. Tout en precisant les particularismes de la branche francaise de ce mouvement culturel, ethnique, identitaire fortement mondialise en tant que systeme de pensee globale, on s'attache plus precisemment aux influences contextuelles du milieu urbain qui ont fait d'elle une authentique culture de l'urbanite. Le hip-hop procede a une mise en scene des territoires de la ville dont les procedures exploratoires et les representations langagieres et poetiques sont au fondement d'une nouvelle geographie symbolique. Celle-ci trace par exemple d'autres limites dans la relation centre/peripheries. Elle distille le quotidien des quartiers de banlieues dans une profusion de code de communication typiques centres autour de la notion de style. En associant les notions d'espace concret et d'espace social, en s'interrogeant egalement sur la fiabilite d'une approche ethnographique dans la perception signifiante d'une telle interaction, on analyse le rap, les graffiti, les choregraphies hip-hop et les rituels quotidiens des membres du mouvement (les b- boys) comme forces representatives du positionnement des sujets dans l'actualite urbaine. Le rap delivre une interpretation poetique des territoires, interpretation scandee au rythme des pulsations des musiques amplifiees. Le tag s'attache materiellement a l'occupation obsessionnelle de l'espace urbain porteur d'une trace pour laquelle l'auteur vivant hesite toujours entre visibilite et invisibilite. Toutes les pratiques ont pour point commun de permettre de dire son nom et son lieu. Elles font de la ville un enchevetrement sensible de formes urbaines constamment redessinees par un recit
Hip-hop culture, at the mean time street culture and urban culture, belongs to a young generation who takes up the challenge to exist in spite of all the ethnic and social disparities proper to the huges post-modern cities. She was elaborated in united-states in the seventies in continuity with afro-american community history. As we precise the particularisms of the trench hip-hop movement at the same time cultural, ethnic, based on identity, clearly developed as a global system of ideas, we analyse more precisely the influences of the local urban context that makes the hip-hop becoming an authentic urban culture. The hip-hop occupies the territories of the city true explorations and representations that build a new symbolic geography. For example, she shows us others limits into the classic relation between inner city and suburbs. She produce new codes of communication focused on the concept of style, coming from the suburds reality of every days. Mixing the concept of real space and social space, and asking the interest of the ethnographic tool in such experience, we analyse rap music, graffiti, hip-hop dances and all the usual rituals of the members (the b-boys) as representative forces of the position of the subjects into urban reality. Rap give a poetic interpretation of the territories. Tag occupy as an obsession all the urban space that carry the sign for wich his author still hesitates between visibility and non visibility. All the uses have a commun point : the possibility for the b- boys to tell their name and precise their place. They descrive the town as a sensible fabric made of urban forms permanently re-designed true the narrating
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Lee, Jooyoung Kim. "Rap dreams." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1997614291&sid=2&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Books on the topic "Rap and hip hop"

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Sacks, Nathan. Rap/hip-hop. Minneapolis: Twenty-First Century Books, 2013.

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Garofoli, Wendy. Hip-hop history. Mankato, Minn: Capstone Press, 2010.

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Hip-hop history. London: Raintree, 2011.

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Bynoe, Yvonne. Encyclopedia of rap and hip-hop culture. Westport, Conn: Greenwood Press, 2006.

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Hip-hop. Madrid: Celeste Ediciones, 1998.

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Higgins, Dalton. Hip hop world. Berkeley, CA: Groundwood Books, 2009.

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True hip-hop. New York: Mark Batty Publisher, 2010.

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Higgins, Dalton. Hip hop world. Berkeley, CA: Groundwood Books, 2009.

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Hip-hop greats. Mankato, Minn: Capstone Press, 2012.

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Dorchin, Uri. Zeman emet: Hip-hop be-Yiśraʼel : hip-hop Yisʻreʼeli = Real time : hip-hop in Israel : Israeli hip-hop. Tel-Aviv: Resling, 2012.

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Book chapters on the topic "Rap and hip hop"

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Rap and Hip-Hop." In Anthology to Accompany Gateways to Understanding Music, 428–29. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-56.

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Perkinson, James W. "Rap Rapture and Manic Mortality." In Shamanism, Racism, and Hip Hop Culture, 117–36. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1057/9781403979186_5.

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Li, Xinling. "Revelations from Black Gay Men Who Rap." In Black Masculinity and Hip-Hop Music, 77–99. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-3513-6_4.

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Gill, Jon Ivan. "Underground hip-hop as the flow of life." In Underground Rap as Religion, 41–53. [1.] | New York : Routledge, 2019. | Series: Routledge studies in hip hop and religion: Routledge, 2019. http://dx.doi.org/10.4324/9781315142555-4.

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Gill, Jon Ivan. "Underground hip-hop culture and aesthetic process of religion." In Underground Rap as Religion, 174–82. [1.] | New York : Routledge, 2019. | Series: Routledge studies in hip hop and religion: Routledge, 2019. http://dx.doi.org/10.4324/9781315142555-13.

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Palma-Martos, María Luisa, Manuel Cuadrado-García, and Juan D. Montoro-Pons. "Breaking the Gender Gap in Rap/Hip-Hop Consumption." In Music as Intangible Cultural Heritage, 51–65. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76882-9_5.

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AbstractSome music genres have traditionally and mainly been consumed by men. This is the case of rap/hip-hop. However, data on the consumption of this genre in recent years shows a relevant increase in the number of women interested in this type of music. It would therefore seem to be pertinent to analyse this new trend, not only as a question linked to gender studies but also to marketing decision-making for the music industry, which is struggling to attract new audiences, a factor compounded in the pandemic. To frame this analysis, literature on music consumption, specifically in relation to gender and rap as an alternative music genre, has been reviewed from different approaches. An exploratory survey was conducted to obtain an insight into rap/hip-hop consumption and appreciation by gender. Results show that rap concert attendees’ satisfaction and interest in this kind of music are high, irrespective of gender. Only knowledge, which has not been as extensively studied, seems to be different between men and women, with this factor being slightly higher for the former. In addition, the identification of three clusters (involved, apathetic and hedonists), including both women and men, leads us to suggest that the gender gap in rap/hip-hop consumption is closing.
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Thomas, Greg. "The “Sound Clash” of The Naked Truth: Erotic Maroonage, Public Enemies, and “Rap COINTELPRO”." In Hip-Hop Revolution in the Flesh, 159–90. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230619111_8.

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do Nascimento, André Marques. "Counter-Hegemonic Linguistic Ideologies and Practices in Brazilian Indigenous Rap." In The Sociolinguistics of Hip-hop as Critical Conscience, 213–35. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-59244-2_9.

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Vernon, Jim. "‘Sounding Black’: Theorizing Blackness in Justin Adams Burton’s Posthuman Rap." In Sampling, Biting, and the Postmodern Subversion of Hip Hop, 43–61. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74903-3_4.

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Vernon, Jim. "‘Pure Treason, I’ll Tell You Why’: The Erasure of Hip Hop Culture by Rap Music and Postmodern Hip Hop Studies." In Sampling, Biting, and the Postmodern Subversion of Hip Hop, 25–42. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74903-3_3.

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Conference papers on the topic "Rap and hip hop"

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French, Kenneth. ""Topomusica" in rap music: Role of geography in hip-hop music." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.18.

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Watkins, Lee. "Blackness transmuted and sinified by way of rap music and hip hop in the new China." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.38.

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Dirzu, DS, P. Virgil, and N. Ilinca. "ESRA19-0474 Hip surgery." In Abstracts of the European Society of Regional Anesthesia, September 11–14, 2019. BMJ Publishing Group Ltd, 2019. http://dx.doi.org/10.1136/rapm-2019-esraabs2019.20.

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Molinaro, Dean D., Inseung Kang, Jonathan Camargo, and Aaron J. Young. "Biological Hip Torque Estimation using a Robotic Hip Exoskeleton." In 2020 8th IEEE RAS/EMBS International Conference for Biomedical Robotics and Biomechatronics (BioRob). IEEE, 2020. http://dx.doi.org/10.1109/biorob49111.2020.9224334.

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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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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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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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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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Hennebry, E., E. Court, A. Bartlett, and S. Dennis. "88 COVID and the BRI: a hip fracture story." In ESRA 2021 Virtual Congress, 8–9–10 September 2021. BMJ Publishing Group Ltd, 2021. http://dx.doi.org/10.1136/rapm-2021-esra.88.

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Reports on the topic "Rap and 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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