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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Werner, Valentin. "Assessing hip-hop discourse: Linguistic realness and styling." Text & Talk 39, no. 5 (September 25, 2019): 671–98. http://dx.doi.org/10.1515/text-2019-2044.
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Abstract This study provides a corpus-linguistic take on hip-hop discourse (as represented in rap), relating to one of the most influential cultural mass movements to date. To this end, a custom-built corpus of lyrics by US-American rap artists (LYRAP) was compiled, containing performed hip-hop discourse over a 25-year period. This material is used to test the alignment of hip-hop discourse with African American English in terms of morphosyntax, and to determine the amount of styling present in the lyrics. In addition, a comparative perspective with pop lyrics (as represented in the LYPOP corpus) is established, and highly characteristic lexical and discourse features of hip-hop discourse are identified. The analyses suggest that “linguistic realness” (in terms of conveying a street-conscious identity) is created on multiple structural levels, but that different artists style their lyrics to various extents to achieve this realness, and that a complete congruence of African American English with hip-hop discourse cannot be traced.
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Gilbers, Steven, Nienke Hoeksema, Kees de Bot, and Wander Lowie. "Regional Variation in West and East Coast African-American English Prosody and Rap Flows." Language and Speech 63, no. 4 (November 4, 2019): 713–45. http://dx.doi.org/10.1177/0023830919881479.
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Regional variation in African-American English (AAE) is especially salient to its speakers involved with hip-hop culture, as hip-hop assigns great importance to regional identity and regional accents are a key means of expressing regional identity. However, little is known about AAE regional variation regarding prosodic rhythm and melody. In hip-hop music, regional variation can also be observed, with different regions’ rap performances being characterized by distinct “flows” (i.e., rhythmic and melodic delivery), an observation which has not been quantitatively investigated yet. This study concerns regional variation in AAE speech and rap, specifically regarding the United States’ East and West Coasts. It investigates how East Coast and West Coast AAE prosody are distinct, how East Coast and West Coast rap flows differ, and whether the two domains follow a similar pattern: more rhythmic and melodic variation on the West Coast compared to the East Coast for both speech and rap. To this end, free speech and rap recordings of 16 prominent African-American members of the East Coast and West Coast hip-hop communities were phonetically analyzed regarding rhythm (e.g., syllable isochrony and musical timing) and melody (i.e., pitch fluctuation) using a combination of existing and novel methodological approaches. The results mostly confirm the hypotheses that East Coast AAE speech and rap are less rhythmically diverse and more monotone than West Coast AAE speech and rap, respectively. They also show that regional variation in AAE prosody and rap flows pattern in similar ways, suggesting a connection between rhythm and melody in language and music.
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Boyer, Holly. "The Alert Collector: Hip Hop in the United States." Reference & User Services Quarterly 55, no. 3 (March 24, 2016): 215. http://dx.doi.org/10.5860/rusq.55n3.215.
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Hip hop is a ubiquitous part of American society in 2015—from Kanye West announcing his future presidential bid to discussions of feminism surrounding Nikki Minaj’s anatomy, to Kendrick Lamar’s concert with the National Symphony Orchestra, to Questlove leading the Tonight Show Band, hip hop has exerted its influence on American culture in every way and form.Hip hop’s origin in the early 1970s in the South Bronx of New York City is most often attributed to DJ Kool Herc and his desire to entertain at a party. In the 1980s, hip hop continued to gain popularity and speak about social issues faced by young African Americans. This started to change in the 1990s with the mainstream success of gangsta rap, where drugs, violence, and misogyny became more prominent, although artists who focused on social issues continued to create. The 2000s saw rap and hip hop cross genre boundaries, and innovative and alternative hip hop grew in popularity.
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Young, Jamaal, Jemimah Young, Marti Cason, Nickolaus Ortiz, Marquita Foster, and Christina Hamilton. "Concept Raps versus Concept Maps: A Culturally Responsive Approach to STEM Vocabulary Development." Education Sciences 8, no. 3 (July 31, 2018): 108. http://dx.doi.org/10.3390/educsci8030108.
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This article argues that the development of rap song lyrics or lyrical concept mapping can be a viable pedagogical alternative to the development of concept maps as a means to reinforce STEM vocabulary. Hip-hop pedagogy is a culturally responsive pedagogy that leverages the funds of knowledge acquired from hip-hop culture. Unfortunately, many students with strong hip-hop cultural identities may lack equally strong mathematics identities. Given the success of hip-hop pedagogies within the science content area, we posit that hip-hop pedagogies are appropriate in other STEM content areas such as mathematics. Concept mapping is an instructional tool that has been empirically validated as an effective means to develop strong conceptualizations of mathematics content. While hip-hop pedagogy is well established in the science content area, it remains underdeveloped within mathematics education. We argue that the lyrical structure of a rap song is fundamentally similar to the structure of a concept map. This article provides a framework to support lyrical concept mapping as a culturally responsive instructional tool that can be used as an alternative to traditional concept mapping. Special attention is placed on the use of hip-hop pedagogy to affirm and empower dually marginalized students.
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Bennett, Andy. "Hip hop am Main: the localization of rap music and hip hop culture." Media, Culture & Society 21, no. 1 (January 1999): 77–91. http://dx.doi.org/10.1177/016344399021001004.
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Yanchenko, Ya M. "HIP-HOP AS A DISCURSIVE SPACE OF THE SUBCULTURE." Bulletin of Udmurt University. Series History and Philology 30, no. 3 (July 15, 2020): 403–7. http://dx.doi.org/10.35634/2412-9534-2020-30-3-403-407.
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The goal of the article is detection and description of the main linguistic peculiarities of the discourse of hip-hop subculture. The lack of research devoted to hip-hop language and high popularity of rap music give grounds to consider this problem relevant to solve. The article examines the factors of the formation of the subculture and their impact on the linguistic representation of the mental world of the hip-hop culture representatives. It is concluded that there is a direct connection between conditions and lifestyle (economic instability, high crime rates, racial decimations) of hip-hop representatives and the use of language. The article confirms the importance of the category of participants in the discourse, which leads to a high level of axiology and subjectivity of hip-hop discourse. The presence of intertextuality, which is manifested both in the structure of the text of rap songs and in their content, is explained. The article describes the specific character of creolization of songs of this genre, which assumes its materialization at two levels: visual (video clips) and melodic (tempo, rhythm of music).
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Zemke-White, Kirsten. "Global Noise: Rap and Hip-Hop outside the USA.:Global Noise: Rap and Hip-Hop outside the USA." American Ethnologist 30, no. 2 (May 2003): 326–27. http://dx.doi.org/10.1525/ae.2003.30.2.326.2.
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Golpushnezhad, Elham. "Untold Stories of DIY/Underground Iranian Rap Culture: The Legitimization of Iranian Hip-Hop and the Loss of Radical Potential." Cultural Sociology 12, no. 2 (June 2018): 260–75. http://dx.doi.org/10.1177/1749975518769001.
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In this article, I aim to explore how legitimization and de-radicalization of the underground hip-hop subculture have restrained the DIY creation of social norms and cultural behaviours that mobilized Iranian hip-hop in the early 2000s. The article offers a critical discussion of the literature around legitimization of DIY/underground subcultures, specifically youth musical subcultures such as punk and hip-hop, before turning to an analysis of Iranian hip-hop culture in three phases: (1) hip-hop and the creation of a community, 2000–2003; (2) the golden age of Iranian hip-hop, 2003–2009; (3) contemporary Iranian hip-hop, 2009–2016. The article suggests that these three phases have finally led to the entry of hip-hop into the mainstream system and cultural industry, as recent trends bringing it in line with the values and standards of Islamic Iran result in turning underground DIY culture into a mainstream popular form of music supported and funded (indirectly) by the Islamic state.
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Becker, Sarah, and Castel Sweet. "“What Would I Look Like?”: How Exposure to Concentrated Disadvantage Shapes Hip-Hop Artists’ Connections to Community." Sociology of Race and Ethnicity 6, no. 1 (July 20, 2018): 61–75. http://dx.doi.org/10.1177/2332649218784964.
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Hip-hop has deep historical ties to disadvantaged communities. Resounding success in mainstream and global music markets potentially disrupts those connections. The authors use in-depth interviews with 25 self-defined rap/hip-hop artists to explore the significance of place in modern hip-hop. Bringing together historical studies of hip-hop and sociological neighborhood studies, the authors examine hip-hop artists’ community connections. Findings reveal that exposure to concentrated racial and economic disadvantage shapes how artists interpret community, artistic impact, and social responsibility. This supports the “black placemaking” framework, which highlights how black urban neighborhood residents creatively build community amid structural disadvantage. The analysis also elucidates the role specific types of physical places play in black placemaking processes.
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Mendes, Gabriel Gutierrez, and Gabriel Chavarry Neiva. "O rap na cidade:." Tríade - Revista de Comunicação, Cultura e Mídia 7, no. 14 (April 23, 2019): 199–219. http://dx.doi.org/10.22484/2318-5694.2019v7n14p199-219.
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O propósito do artigo é mobilizar o conceito de “quinto elemento” da cultura Hip Hop, entendido como arma em potencial contra confinamentos cognitivos e relevante gatilho estético de resistência no ambiente urbano, para investigar a intervenção das Rodas de Rap do Circuito Carioca de Ritmo e Poesia (CCRP) na cidade do Rio de Janeiro. O artigo atesta a dimensão comunitária do rap nas Rodas, definindo-a como resultado da “criatividade social” das "neotribos" que giram no entorno do Hip Hop carioca. Inspirado pela noção de “quinto elemento”, o rap é se apresenta como uma linguagem capaz de produzir um élan comunitário na vida da cidade, a partir de sua música. Assim como em sua origem em NY, quando jovens do sul do Bronx redefiniram suas identidades culturais num espaço urbano violento e empobrecido, o rap, através das Rodas no Rio de Janeiro, segue emergindo com energia e vitalidade para intervir na dinâmica da cidade.
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Putri, Niken Fatma, and Fauzia Fauzia. "THE USE OF SLANG AMONG AMERICAN YOUTHS AS RELATED TO THE RISE OF HIP HOP CULTURE: A SOCIOLINGUISTICS ANALYSIS." UAD TEFL International Conference 1 (November 20, 2017): 371. http://dx.doi.org/10.12928/utic.v1.189.2017.
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This article entitled “The Use of Slang among American Youths as Related to The rise of Hip Hop Culture: A Sociolinguistics Analysis”. This research focuses on the types of slang commonly used by American youths and the influence of hip hop on slang use among American youths.This research belongs to descriptive qualitative research as a method. The subject of this research is rap song lyrics, utterances in slang in America YouTube video and Ellen Show: On Fleek Episode as well as the Urban Dictionary slangs. Then, the objects of this research are the use of slang. The researcher collected the data through the utterances in the rap song lyrics, movie and video, and also slangs in Urban Dictionary.The results of this analysis show that the type of slang used among American youths are divided into two types. They are based on use and word formation. Meanwhile the use of slang among American youths is related to the rise of hip hop culture influence which brought by some of rap song. The slang contained in rap song lyrics are spread easily by the massive consumption of social media and enlighten highly by the report of conventional media.
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Bramwell, Richard, and James Butterworth. "Beyond the street: the institutional life of rap." Popular Music 39, no. 2 (May 2020): 169–86. http://dx.doi.org/10.1017/s0261143020000355.
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AbstractThis article draws on ethnographic fieldwork conducted over the course of one year in London and Bristol to examine the performance of rap in English youth centres. Youth centres play a significant role in supporting and shaping rap culture. However, historically dominant narratives within hip-hop studies and hip-hop culture depict rap as a vernacular cultural form that emerges from ‘the street’, and which derives its authenticity through its relation to ‘the street’. We seek to move beyond such discourses and towards a recognition of the institutional processes, structures and networks that shape and sustain rap culture. Our focus on the institutional life of rap leads to an analysis of the various possibilities, limitations and tensions that arise in the coming together of public funding, and social policy priorities, local organisations and black vernacular culture.
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Rodríguez Álvarez, Alberto, and Lucía Iglesias Da Cunha. "La «cultura hip hop»: revisión de sus posibilidades como herramienta educativa." Teoría de la Educación. Revista Interuniversitaria 26, no. 2 (December 15, 2014): 163–82. http://dx.doi.org/10.14201/teoredu2014261163182.
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El presente trabajo revisa el significado y la presencia social de la «cultura hip hop» en actividades educativas dirigidas a la población joven. Se pretende dar a conocer la evolución del hip hop, sus agentes, sus prácticas, su relación con el mundo de la industria musical y el de la acción sociocultural.Se ofrece información de interés sobre el contenido de las letras de rap español, que han sido analizadas con el objetivo de contrastar las ideas que transmiten y sus referencias a los preceptos legitimados en la «cultura hip hop». Con ello se logra una pequeña aproximación al potencial del hip hop como medio de expresión de los valores que se identifican con la «cultura hip hop». Así, se conoce mejor el fundamento sobre el que se basan algunas experiencias educativas que han utilizado el hip hop para promover cambios en barrios, colectivos sociales o grupos de jóvenes.
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Lawson, Carl J. "Mortality in American Hip-Hop and Rap Recording Artists, 1987–2014." Medical Problems of Performing Artists 30, no. 4 (December 1, 2015): 211–16. http://dx.doi.org/10.21091/mppa.2015.4039.
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BACKGROUND: The deaths of American hip-hop and rap recording artists often receive considerable media attention. However, these artists’ deaths have not been examined as a distinct group like the deaths of rock, classical, jazz, and pop music artists. This is a seminal epidemiological analysis on the deaths of an understudied group, American hip-hop and rap music recording artists. METHODS: Media reports were analyzed of the deaths of American hip-hop and rap music recording artists that occurred from January 1, 1987 to December 31, 2014. The decedents’ age, sex, race, cause of death, stage names, and city and state of death were recorded for analysis. RESULTS: The most commonly reported cause of death was homicide. The 280 deaths were categorized as homicide (55%), unintentional injury (13%), cardiovascular (7%), undetermined/undisclosed (7%), cancer (6%), other (5%), suicide (4%), and infectious disease (3%). The mean reported age at death was 30 yrs (range 15–75) and the median was 29 yrs; 97% were male and 92% were black. All but one of the homicides were committed with firearms. CONCLUSIONS: Homicide was the most commonly reported cause of death. Public health focus and guidance for hip-hop and rap recording artists should mirror that for African-American men and adolescent males ages 15–54 yrs, for whom the leading causes of death are homicide, unintentional injury, and heart disease. Given the preponderance of homicide deaths in this analysis, premature mortality reduction efforts should focus on violence prevention and conflict mitigation.
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Harrison, Anthony Kwame. "Racial Authenticity in Rap Music and Hip Hop." Sociology Compass 2, no. 6 (November 2008): 1783–800. http://dx.doi.org/10.1111/j.1751-9020.2008.00171.x.
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Olavarria, Margot. "Rap And Revolution Hip–Hop Comes To Cuba." NACLA Report on the Americas 35, no. 6 (May 2002): 28–30. http://dx.doi.org/10.1080/10714839.2002.11722523.
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Ravelo, Reisner de Jesús. "Hip Hop (Lirica del Rap) y Subjetividad Política." TEMPUS PSICOLÓGICO 2, no. 1 (September 14, 2018): 130–53. http://dx.doi.org/10.30554/tempuspsi.1.2.2066.2019.
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En este artículo de revisión se tiene como objetivo examinar los problemas, disciplinas, metodologías, categorías y preguntas de las investigaciones sobre el Hip Hop. Los problemas cardinales abordados por las investigaciones son, género, ciudadanía, comunicación, educación, cultura y paz, la cuestión de las culturas juveniles constituye el eje articulador. Las perspectivas disciplinares son, antropológica, lingüística, sociológica y educativa. El enfoque investigativo dominante es el cualitativo y las perspectivas metodológicas de mayor uso son la descriptiva interpretativa y las narrativas. Las principales categorías indagadas por los autores son: cultura; comunicación; joven e identidad; educación, resistencia y conflicto. Las preguntas que formulan los investigadores se ubican en cinco campos, interacción cultural, jóvenes, poética e interacción, género, resistencia y conflicto.
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de Souza, Angela Maria. "Globalizing Locations: Production-Consumption Relations in the Hip-hop Movement in Brazil and Portugal." International Review of Social Research 2, no. 1 (February 1, 2012): 77–92. http://dx.doi.org/10.1515/irsr-2012-0006.
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Abstract: This article is part of the ethnography for the doctoral thesis in social anthropology, in which the fieldwork was conducted in Greater Lisbon and Greater Florianópolis on the hip hop Movement. This analysis addresses two rap styles, Rap Creole, in Lisbon, made predominantly by Cape Verdeans and Angolans immigrants, and in Florianópolis, rap de quebrada, a form of expression of the population, mostly black residents, of the periphery. In both rap styles can be perceived the development of an aesthetics that becomes outlined in the tension between the individual and the collective, the global and the local. Based on the styles mentioned here, I reflect on consumption relations that create networks and flows among the hip hop movement in different urban spaces, creating a kind of parallel globalization among the peripheries, but remaking itself in a variety of cultural contexts.
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de Paor-Evans, Adam. "The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap." Open Cultural Studies 2, no. 1 (July 1, 2018): 122–35. http://dx.doi.org/10.1515/culture-2018-0012.
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Abstract In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and sociopolitical presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society
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Marques, Ana Carolina dos Santos, and Ricardo Lopes Fonseca. "O Ensino de conteúdos geográficos a partir do hip hop." GEOGRAFIA (Londrina) 26, no. 2 (August 3, 2017): 182. http://dx.doi.org/10.5433/2447-1747.2017v26n2p182.
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O Hip Hop é um movimento cultural praticado majoritariamente pela população negra e, assim como o racismo, se manifesta no espaço geográfico e consequentemente pode ser estudado pela Geografia, possibilitando trabalhar inúmeros conteúdos. Desta forma, o presente artigo tem por objetivo investigar e compreender como o Hip Hop, por meio do pilar rap, pode ser abordado no ensino de Geografia, auxiliando na construção dos conhecimentos geográficos. O referencial teórico traz a questão racial presente no Brasil, para então conceituar o movimento Hip Hop, bem como apresentar suas características e contribuições no ensino de Geografia. Há ainda um relato acerca de uma oficina pedagógica realizada no Colégio Estadual Marcelino Champagnat em Londrina (PR) com educandos do 2º ano matutino, em que foi abordado o Hip Hop e ocorreu a construção de raps por parte dos educandos. Por fim, os raps elaborados são analisados por meio da Análise de Conteúdo de Bardin (1977), buscando identificar os conteúdos da ciência geográfica presentes nestes e a importância do rap na construção e compreensão dos conteúdos no ensino de Geografia, entre eles: os problemas sociais, a economia e a luta por uma educação de qualidade.
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Hodgman, Matthew R. "Class, Race, Credibility, and Authenticity within the Hip-Hop Music Genre." Journal of Sociological Research 4, no. 2 (November 16, 2013): 402. http://dx.doi.org/10.5296/jsr.v4i2.4503.
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<p>After its advent in the 1970s, the rap music genre was represented almost exclusively by male black artists who honestly and realistically embodied a poor urban image. Images of black urban poverty in music videos and rap lyrics were consistently used by black artists to emphasize and authenticate who they were and where they came from. With the upsurge of white rap acts starting in the early 90s and continuing through the early 21<sup>st</sup> century, the means by which rap authenticity is measured have been permanently renegotiated. Before the emergence of white rappers, race was the primary signifier of rapper authenticity. After the success of white rappers such as Eminem new parameters of what constitute credibility and authenticity in the rap genre have been forged. This article discusses the significance of the continued presence of white rappers in hip-hop in terms of class and race in relation to artistic credibility within the rap genre. On a larger scale, this article considers questions related to cultural interloping upon a racially concentrated art form. It is concluded that class has generally emerged as the premier indicator or variable of authenticity throughout rap. </p>
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Niang, Abdoulaye. "Hip-hop, musique et Islam : le rap prédicateur au Sénégal." Cahiers de recherche sociologique, no. 49 (March 28, 2011): 63–94. http://dx.doi.org/10.7202/1001412ar.
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L’intrication du discours religieux et de la musique rap à travers la figure du « MC prêcheur » est historiquement liée au processus de formation du mouvement hip-hop, ancré dans une dynamique interculturelle fortement teintée de religiosité. Le discours du rap prédicateur au Sénégal, dans le champ de la communication religieuse, peut être analysé comme une : Mais, ce discours, cette tendance du rap marque aussi le caractère hybride d’un mouvement engagé socialement, politiquement, culturellement ; et placé à la croisée de dynamiques multiples, souvent diffluentes (engagement et business, localité et globalité) dont la mise en convergence constitue un de ses défis quotidiens.
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Silva Souza, Ana Lúcia. "Discursos sobre identidades negras na cultura hip-hop." Pontos de Interrogação — Revista de Crítica Cultural 2, no. 2 (September 27, 2015): 24. http://dx.doi.org/10.30620/p.i..v2i2.1550.
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ResumoEste artigo objetiva analisar de que maneira os discursos da cultura hip-hop, emespecial os modos de dizer que marcam a poesia do rap, contribuem para se repensar as relações étnico-raciais no Brasil, temática especialmente importante para o momento e a Lei 10639/03, que alterou a LDB 9394/86 e tornou obrigatório o ensino da história e cultura africana e afro-brasileiras nos currículos escolares de todas as redes de ensino do país completa dez anos e ainda mostra-se como um grande desafio no que se refere à sua implementação. Com este propósito, o artigo toma como referência a letra de um rap que focaliza aspectos da história e da cultura da população negra no Brasil e organiza um discurso contundente sobre o que pode ser entendido como culturas e identidades negra.Palavras-chaveLinguagem. Hip-hop. Relações étnico-raciais.
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de Paor-Evans, Adam. "The Intertextuality and Translations of Fine Art and Class in Hip-Hop Culture." Arts 7, no. 4 (November 16, 2018): 80. http://dx.doi.org/10.3390/arts7040080.
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Hip-hop culture is structured around key representational elements, each of which is underpinned by the holistic element of knowledge. Hip-hop emerged as a cultural counter position to the socio-politics of the urban condition in 1970s New York City, fuelled by destitution, contextual displacement, and the cultural values of non-white diaspora. Graffiti—as the primary form of hip-hop expression—began as a political act before morphing into an artform which visually supported the music and dance elements of hip-hop. The emerging synergies graffiti shared with the practices of DJing, rap, and B-boying (breakdancing) forged a new form of art which challenged the cultural capital of music and visual and sonic arts. This article explores moments of intertextuality between visual and sonic metaphors in hip-hop culture and the canon of fine art. The tropes of Michelangelo, Warhol, Monet, and O’Keefe are interrogated through the lyrics of Melle Mel, LL Cool J, Rakim, Felt, Action Bronson, Homeboy Sandman and Aesop Rock to reveal hip-hop’s multifarious intertextuality. In conclusion, the article contests the fallacy of hip-hop as mainstream and lowbrow culture and affirms that the use of fine art tropes in hip-hop narratives builds a critical relationship between the previously disparate cultural values of hip-hop and fine art, and challenges conventions of the class system.
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Washington, Ahmad R. "Addressing Social Injustice with Urban African American Young Men Through Hip-hop: Suggestions for School Counselors." Journal for Social Action in Counseling & Psychology 7, no. 1 (June 1, 2015): 101–21. http://dx.doi.org/10.33043/jsacp.7.1.101-121.
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In this manuscript, the author discusses how hip-hop and rap music can be used to as a tool for social justice advocacy to stimulate urban African American young men’s sociopolitical empowerment to combat educational barriers. The manuscript includes a historical examination of the environment in which hip-hop culture was conceived. The focus then shifts to how particular hip-hop artists’ lyrical content is germane to the social justice advocacy orientation mandate of 21st century professional school counselors working in urban settings. Finally, practical suggestions are be provided for how social justice oriented professional school counselors can apply this content when working directly with urban African American young men.
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Regmi, Aarati. "Redefining the Society in Hip-Hop Music: A Nepali Perspective." SCHOLARS: Journal of Arts & Humanities 3, no. 1 (March 1, 2021): 18–25. http://dx.doi.org/10.3126/sjah.v3i1.35355.
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Nepali Rapper Utsaha Joshi, aka Uniq poet's title song “Mero Desh Birami” and Chirag Khadka's album 5:55 title song “Samadhi and Aaago ko Jhilko” display intimate relationships between the socio-political and cultural context and the youngsters' powerful voice through music. This paper analyzes rap music as a medium and power to convey socio-cultural values, truth of conspiracy, and interests among youngsters. Both singers have portrayed the mainstream culture, faith, and patriotism, which have shaped people’s minds and behaviours. Rap songs have become so popular among young people who have always been informed by specific phenomenal interests. It has touched the consciousness that shapes the relationship between humans and culture. The road to these rap songs speaks the voice of cultural roots via its elements. To add, rap singers display popular means of conveying cultural intimacy through their music and of introducing a phenomenal symbol of society. However, Nepali Hip-hop redefines a relative degree of social conspiracy rather, it promotes positivity among the youngsters as it motivates and generates energy. Yet, hip-hop generates and navigates a voice of fear, woes, dissatisfaction, disagreement, anxiety, and other sensitive anti-socio-political crimes like rape, homicide, power augmentation game, etc.
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Williams, Justin A. "The Construction of Jazz Rap as High Art in Hip-Hop Music." Journal of Musicology 27, no. 4 (2010): 435–59. http://dx.doi.org/10.1525/jm.2010.27.4.435.
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Multiple factors contributed to the elevation of jazz as "high art" in mainstream media reception by the 1980s. The stage was thus set for hip-hop groups in the late-1980s and early 90s (such as Gang Starr, A Tribe Called Quest, and Digable Planets) to engage in a relationship with jazz as art and heritage. "Jazz codes" in the music, said to signify sophistication, helped create a rap-music subgenre commonly branded "jazz rap." Connections may be identified between the status of jazz, as linked to a high art ideology in the 1980s, and the media reception of jazz rap as an elite rap subgenre (in opposition to "gangsta" rap and other subgenres). Contemplation of this development leads to larger questions about the creation of hierarchies, value judgments, and the phenomenon of elite status within music genres.
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Vito, Christopher. "Shop talk: The influence of hip hop on Filipino‐American barbers in San Diego." Global Hip Hop Studies 1, no. 1 (June 1, 2020): 13–23. http://dx.doi.org/10.1386/ghhs_00002_1.
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Barber culture frequently intersects with hip hop. Barbershops often incorporate rap music, street wear apparel and popular culture into their daily environment. In tandem, an important part of hip hop culture is the haircuts and designs that people choose to get. Many Filipino-Americans across the United States utilize barber and hip hop culture to help create their own unique sense of identity ‐ a sense of identity forged in the fires of diaspora and postcolonial oppression. In this first instalment of the GHHS ‘Show and Prove’ section ‐ short essays on hip hop visual culture, arts and images ‐ I illustrate the ways in which Filipino-Americans in San Diego use barber shops both as a means of entrepreneurialism and as a conduit to create a cultural identity that incorporates hip hop with their own histories of migration and marginalization. I interview Filipino-American entrepreneur Marc Canonizado, who opened his first San Diego-based business, Goodfellas Barbershop Shave Parlor, in 2014. We explore the complex linkages between barbershops, Filipino-Americans and hip hop culture, as well as discuss his life story and plans for the future.
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Souza, Angela Maria de, and Deise Lucy Oliveira Montardo. "Music and musicalities in the hip hop movement: gospel rap." Vibrant: Virtual Brazilian Anthropology 8, no. 1 (June 2011): 7–38. http://dx.doi.org/10.1590/s1809-43412011000100001.
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This article reflects on issues first raised in the doctoral thesis in Social Anthropology entitled “The Road is Long and the Ground is Slippery!: the hip hop movement in Florianópolis and Lisbon” (Souza 2009) and which provides ethnographic support for the reflections raised here about this vibrant v.8 n.1 angela m. de souza, deise l. montardo musical production. Rap is music that was born in ghettos and peripheries. It has become a strong reference for youth and is inserted in a variety of social, cultural and religious contexts. Reflecting on this musical production is a complex task, mainly in an attempt to create distinctions, boundaries and limits that insist on not being maintained in defined spaces. To the contrary, shifting, movement and circulation are elements of these musicalities, one of which is gospel rap. In a dialog with ethnomusicology, this article approaches this musical style, principally through discussions about “performance” and “event,” essential factors that guide the contours of what we call aesthetic-musical styles within the hip hop movement in which gospel rap is inserted.
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Jennings, Kyesha. "City Girls, hot girls and the re-imagining of Black women in hip hop and digital spaces." Global Hip Hop Studies 1, no. 1 (June 1, 2020): 47–70. http://dx.doi.org/10.1386/ghhs_00004_1.
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Through a hip hop feminist lens, how are we to interpret black girls’ and women’s self-identification in digital spaces that visibly resonate with new/remixed images? And more importantly, what happens when black female rap artists and their fan base disrupt, subvert or challenge dominant gender scripts in hip hop in order to navigate broader discourses on black female sexuality? Drawing on the work of Joan Morgan and hip hop feminist scholarship in general, this essay aims to offer a critical reading of ‘hot girl summer’. Inspired by Houston rapper Megan Thee Stallion’s lyrics on ‘Cash Shit’, where she raps about ‘real hot girl shit’, the phrase has morphed into a larger-than-life persona not only for Megan’s rap superstar profile, but also for a number of black girls. According to Megan, a hot girl summer is ‘about women and men being unapologetically them[selves] […] having a good-ass time, hyping up their friends, doing [them]’. What does ‘hot girl summer’ tell us about significant changes in the ways that black women cultivate community in digital spaces, how they construct their identities within systems of controlling images and grapple with respectability politics? In order to address these questions with a critical lens, using an interdisciplinary approach grounded in black feminism and hip hop feminism, this essay offers a theoretical approach to a digital hip hop feminist sensibility (DHHFS). Too little has been said about black women’s representation in digital spaces where they imagine alternative gender performance, disrupt hegemonic tropes and engage in participatory culture.
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Stofken, Ingo, and Tony Mitchell. "Global noise - Rap and Hip-Hop outside the USA." Lied und populäre Kultur / Song and Popular Culture 48 (2003): 309. http://dx.doi.org/10.2307/4147844.
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Lázaro, Gilson, and Osvaldo Silva. "Hip-hop em Angola: O rap de intervenção social." Cadernos de Estudos Africanos, no. 31 (June 1, 2016): 41–67. http://dx.doi.org/10.4000/cea.2013.
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Short, Helen. "Book Review: Therapeutic Uses of Rap and Hip-Hop." British Journal of Music Therapy 26, no. 2 (December 2012): 39–42. http://dx.doi.org/10.1177/135945751202600208.
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Zemke-White, Kirsten. "Global Noise: Rap and Hip-Hop outside the USA." American Ethnologist 30, no. 2 (May 2003): 326–27. http://dx.doi.org/10.1525/ae.2003.30.2.326.1.
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Barros, Bruna Fernandes. "Pathos e argumentação como empoderamento no RAP." Revista do GELNE 21, no. 2 (July 29, 2019): 31–42. http://dx.doi.org/10.21680/1517-7874.2019v21n2id14365.
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O presente trabalho tem como objetivo identificar e analisar a argumentação por meio do estudo das emoções, aplicando as categorias de análise da patemização do discurso propostas por Charaudeau (2010) no rap, mais especificamente nas músicas Bate poeira e Você não vai, de Karol Conka. O objeto de análise foi escolhido tanto devido ao caráter subversivo do movimento hip hop (ao qual o rap pertence), quanto à forma de construção do próprio ritmo, que utiliza raciocínio rápido e lógico para elaboração de suas letras. O debate acerca de questões étnicas, de gênero e sociais na música de Conka foi o fator fundamental para a seleção das canções a serem analisadas. Neste trabalho, situaremos o hip hop historicamente e abordaremos a noção de pathos na argumentação para, assim, analisar o objeto. Entendemos que esse estudo se faz necessário a fim de compreender como as emoções e o possível despertar destas no público pode funcionar a fim de persuadir e/ou difundir uma ideia.
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Inkster, Becky, and Akeem Sule. "Drug term trends in American hip-hop lyrics." Journal of Public Mental Health 14, no. 3 (September 21, 2015): 169–73. http://dx.doi.org/10.1108/jpmh-05-2015-0019.
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Purpose – Many young people around the world embrace hip-hop music and culture. Since the genre’s conception in the 1970s, hip-hop music and lyrics have made regular references to drugs. Understanding the relevance of these documented trends is important, especially as adolescence is a period of high risk for substance misuse. The purpose of this paper is to explore how and possibly why different lyrical trends in hip-hop music have emerged, risen and fallen out of popularity by examining word usage frequency of drug terminology in hip-hop lyrics spanning several decades of this genre. Design/methodology/approach – Electronic searches were completed using an open source database known as Rap Genius Rap Stats, which contains verified annotations and text. Word frequency was plotted against time using data available from 1988 to 2015. Word frequency was defined as a percentage of the number of hip-hop songs containing a specific drug-term (per year) based on the number of hip-hop songs recorded/produced (that year). Standardized “medical/pharmaceutical” terminologies and common “street” terminologies were plotted independently for time series visualization. Drug terms were represented using the highest frequency search term. Generic “street” terms with multiple meanings were excluded. Findings – As might be predicted, the usage of “street” terms in hip-hop lyrics was more frequently observed than the usage of “medical/pharmaceutical” terms. An exception was the term “crack”, which was included in both plots as this word could be referenced as a “street” term and as a “medical/pharmaceutical” term. The authors observed larger fluctuations in “street” term usage across time relative to only slight fluctuations of “medical/pharmaceutical” term usage across time. Originality/value – In this study, the authors illustrate several drug terminology trends in hip-hop lyrics. The authors discuss some of the socio-political, socio-demographic and geographical implications that may have influenced these trends, such as the rise of the “street” term molly that emerged when references to molly made by hip-hop artists became increasingly popular and a more suburban demographic transpired. This preliminary work may help to enhance two-way youth-oriented communication between health care professionals and service users, possibly improving the translation of drug-related medical messages. The preliminary work may also inform future research to consider whether such lyrical trends precede or follow changes in population substance use.
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Forman, Murray. "‘Represent’: race, space and place in rap music." Popular Music 19, no. 1 (January 2000): 65–90. http://dx.doi.org/10.1017/s0261143000000015.
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Say somethin' positive, well positive ain't where I liveI live around the corner from West HellTwo blocks from South Shit and once in a jail cellThe sun never shined on my side of the street, see?(Naughty By Nature, ‘Ghetto Bastard (Everything's Gonna Be Alright)’, 1991, Isba/Tommy Boy Records)If you're from Compton you know it's the 'hood where it's good(Compton's Most Wanted, ‘Raised in Compton’, 1991, Epic/Sony)IntroductionHip hop's capacity to circumvent the constraints and limiting social conditions of young Afro-American and Latino youths has been examined and celebrated by cultural critics and scholars in various contexts since its inception in the mid-1970s. For instance, the 8 February 1999 issue of US magazine Time featured a cover photo of ex-Fugees and five-time Grammy award winner Lauryn Hill with the accompanying headline ‘Hip-Hop Nation: After 20 Years – how it's changed America’. Over the years, however, there has been little attention granted to the implications of hip hop's spatial logics. Time's coverage is relatively standard in perceiving the hip hop nation as a historical construct rather than a geo-cultural amalgamation of personages and practices that are spatially dispersed.
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Reyna, Christine, Mark Brandt, and G. Tendayi Viki. "Blame It on Hip-Hop: Anti-Rap Attitudes as a Proxy for Prejudice." Group Processes & Intergroup Relations 12, no. 3 (April 17, 2009): 361–80. http://dx.doi.org/10.1177/1368430209102848.
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This research investigated the stereotypes associated with rap music and hip-hop culture, and how those stereotypes may influence anti-Black attitudes and justifications for discrimination. In three studies—using a representative sample from America, as well as samples from two different countries—we found that negative stereotypes about rap are pervasive and have powerful consequences. In all three samples, negative attitudes toward rap were associated with various measures of negative stereotypes of Blacks that blamed Blacks for their economic plights (via stereotypes of laziness). Anti-rap attitudes were also associated with discrimination against Blacks, through both personal and political behaviors. In both American samples, the link between anti-rap attitudes and discrimination was partially or fully mediated by stereotypes that convey Blacks' responsibility. This legitimizing pattern was not found in the UK sample, suggesting that anti-rap attitudes are used to reinforce beliefs that Blacks do not deserve social benefits in American society, but may not be used as legitimizing beliefs in other cultures.
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Sorett, Josef. "“It’s Not the Beat, but It’s the Word that Sets the People Free”: Race, Technology, and Theology in the Emergence of Christian Rap Music." Pneuma 33, no. 2 (2011): 200–217. http://dx.doi.org/10.1163/027209611x575014.
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AbstractIn an effort to address lacunae in the literature on hip hop, as well as to explore the role of new music and media in Pentecostal traditions, this essay examines rap music within the narratives of American religious history. Specifically, through an engagement with the life, ministry, and music of Stephen Wiley — who recorded the first commercially-released Christian rap song in 1985 — this essay offers an account of hip hop as a window into the intersections of religion, race, and media near the end of the twentieth century. It shows that the cultural and theological traditions of Pentecostalism were central to Wiley’s understanding of the significance of racial ideology and technology in his rap ministry. Additionally, Wiley’s story helps to identify a theological, cultural, and technological terrain that is shared, if contested, by mainline Protestant, neo-Pentecostal, and Word of Faith Christians during a historical moment that has been described as post-denominational.
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Alves, Cristiano Nunes. "O circuito rap “indé” em paris: dinâmicas socioterritoriais e mensagem ultramar." GEOUSP: Espaço e Tempo (Online) 20, no. 1 (May 10, 2016): 34. http://dx.doi.org/10.11606/issn.2179-0892.geousp.2016.97502.
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Aborda-se o circuito rap independente em Paris, o chamado “rap indé”, produção musical da cultura hip hop, constituída por materialidades e fluxos dinamizados por agentes cujas raízes estão em territórios ultramarinos. Lançando mão de um levantamento documental e bibliográfico, e, de uma série de entrevistas e visitas técnicas, problematiza-se a relação do hip hop com o lugar, e propõe-se uma análise do rap indé a partir da teoria dos circuitos da economia urbana nos países subdesenvolvidos. Observa-se que o circuito indé, fortalecido na Île-de-France, sobretudo desde meados dos anos 1990, mobiliza toda a região, tendo em Clignancourt, importante lugar de encontro e articulação. Sua produção dá-se em estúdios e selos de menor porte, caracterizando-se ainda por pequenas espessuras ligadas aos eventos musicais, e, divulgação e comercialização alternativas aos grandes circuitos da economia. Trata-se de um estudo buscando alternativas para pensar os modos de se analisar, a partir da música, as dinâmicas socioterritoriais na cidade contemporânea.