Hip hop: from live performance to mediated narrative

Hip hop culture originated during the mid-1970s as an integrated series of live community-based practices. It remained a function of live practice and congregation for a number of years, exclusive to those who gathered together along NYC blocks, in parks, and in select clubs such as the now famous Harlem World or T-Connection. Early MCs (or ‘rappers’) and DJs, graffiti artists and breakdancers, forged a ‘scene’ entirely dependent upon face-to-face social contact and interaction. Indeed, the event itself, as an amalgam of dance, dress, art and music, was intrinsic to hip hop culture during these years. As one might expect, the art's earliest years went largely unrecorded and undocumented. However, in 1979, Sugarhill Records, a small label in New Jersey, released a single entitled ‘Rapper's Delight’. It was an unexpected event for many of hip hop's original proponents, those pioneers immersed in the art's early live scene. Grandmaster Flash comments:I was approached in '77. A gentleman walked up to me and said, ‘We can put what you're doing on record.’ I would have to admit that I was blind. I didn't think that somebody else would want to hear a record re-recorded onto another record with talking on it. I didn't think it would reach the masses like that. I didn't see it. I knew of all the crews that had any sort of juice and power, or that was drawing crowds. So here it is two years later, and I hear ‘To the hip-hop, to the bang to the boogie’, and it's not Bam, Herc, Breakout, AJ. Who is this? (quoted in George 1993, p. 49)

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Buddy Esquire and the early hip hop flyer

Popular Music ◽

10.1017/s0261143013000512 ◽

2014 ◽

Vol 33 (1) ◽

pp. 19-38

Author(s):

Amanda Lalonde

Keyword(s):

20Th Century ◽

Hip Hop ◽

Early 20Th Century ◽

Community Based ◽

Jazz Age ◽

Hip Hop Culture ◽

Art Deco ◽

The Past ◽

Design Style

AbstractBetween 1978 and 1984 Buddy Esquire designed over 300 hip hop flyers. His career coincided with the first flourishing of the Bronx scene, when hip hop shifted from a community-based event to a full-blown commercial phenomenon. This paper analyses Buddy Esquire's flyer design style, supported by a discussion with the flyer artist. The analysis demonstrates that Esquire's ‘neo-deco’ style communicates the aspiration of live hip hop to classiness by suppressing overt graffiti elements, by alluding to the nightclub culture of disco and by using the Art Deco stylings of the Jazz Age as a signifier of sophistication. The paper then moves beyond an interpretation of the flyers, searching for reflections of Buddy Esquire's aesthetic in early hip hop culture. Finally, it proposes that Buddy Esquire's flyers challenge assumptions in current hip hop scholarship regarding early hip hop's aesthetic relationship to the past (particularly the early 20th century) and its self-documenting impulse.

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Between Live Performance and Mediated Narrative

The Oxford Handbook of Hip Hop Music ◽

10.1093/oxfordhb/9780190281090.013.36 ◽

2018 ◽

Author(s):

Eli T. Bacon

Keyword(s):

Hip Hop ◽

A Cappella ◽

Live Performance ◽

Communicative Practices ◽

Hip Hop Culture ◽

Visual Discourse ◽

Communicative Strategies ◽

History Of ◽

The Relationship

This chapter considers how the history and development of battle rapping has influenced the wider trajectory of hip hop music and culture. Starting with a history of battle rap, told with an eye toward changes in the purpose(s), communicative practices, and modes of circulation of battles, the chapter labels three distinct eras: the Party Era (1970–1981), Lyricist Era (1981–1999), and Theatrical Era (1999 to present). These three eras trace the shift to written and rote preparations within rap battle culture, the more prominent role of visual discourse within battles, and a musical shift to an a cappella format. Moving from the very center of hip hop culture, to the peripheries, and back to somewhere in between, rap battling has come to be framed as a subculture within hip hop. Within this frame, the communicative strategies of battle rappers require “decoding,” as does the relationship between battle rap subcultures and hip hop culture. To explicate this argument, the second section decodes some of the communicative practices of a contemporary written battle.

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Community-based dental programs: University of Medicine and Dentistry of New Jersey-New Jersey Dental School

Journal of Dental Education ◽

10.1002/j.0022-0337.1999.63.12.tb03337.x ◽

1999 ◽

Vol 63 (12) ◽

pp. 969-975 ◽

Cited By ~ 1

Author(s):

WR Cinotti ◽

RA Saporito ◽

CA Feldman ◽

G Mardirossian ◽

J DeCastro

Keyword(s):

New Jersey ◽

Dental School ◽

Community Based

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Introduction

Bulletin for the Study of Religion ◽

10.1558/bsor.v40i3.001 ◽

2011 ◽

Vol 40 (3) ◽

pp. 1-3

Author(s):

Christopher Driscoll

Keyword(s):

African American ◽

American Academy ◽

Annual Meeting ◽

Hip Hop ◽

Religious Studies ◽

Hip Hop Culture

At the 2010 annual meeting of the American Academy of Religion held in Atlanta, GA, a group of young scholars organized a wildcard session titled “What’s This ‘Religious’ in Hip Hop Culture?” The central questions under investigation by the panel were 1) what about hip hop culture is religious? and 2) how are issues of theory and method within African American religious studies challenged and/or rethought because of the recent turn to hip hop as both subject of study and cultural hermeneutic. Though some panelists challenged this “religious” in hip hop, all agreed that hip hop is of theoretical and methodological import for African American religious studies and religious studies in general. This collection of essays brings together in print many findings from that session and points out the implications of hip hop's influence on religious scholars' theoretical and methodological concerns.

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Theological Implications Of Hip-Hop Culture

10.2986/tren.001-0952 ◽

2004 ◽

Author(s):

William BRANCH

Keyword(s):

Hip Hop ◽

Hip Hop Culture

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Marginal assessment of the cost and benefits of aphasia treatment: Evidence from community-based telerehabilitation treatment for aphasia

Journal of Telemedicine and Telecare ◽

10.1177/1357633x20982773 ◽

2021 ◽

pp. 1357633X2098277

Author(s):

Molly Jacobs ◽

Patrick M Briley ◽

Heather Harris Wright ◽

Charles Ellis

Keyword(s):

Cost Effectiveness ◽

Economies Of Scale ◽

Reference Group ◽

Unit Cost ◽

Community Based ◽

Face To Face ◽

Conduction Aphasia ◽

Aphasia Treatment ◽

The Cost ◽

The Relationship

Introduction Few studies have reported information related to the cost-effectiveness of traditional face-to-face treatments for aphasia. The emergence and demand for telepractice approaches to aphasia treatment has resulted in an urgent need to understand the costs and cost-benefits of this approach. Methods Eighteen stroke survivors with aphasia completed community-based aphasia telerehabilitation treatment, utilizing the Language-Oriented Treatment (LOT) delivered via Webex videoconferencing program. Marginal benefits to treatment were calculated as the change in Western Aphasia Battery-Revised (WAB-R) score pre- and post-treatment and marginal cost of treatment was calculated as the relationship between change in WAB-R aphasia quotient (AQ) and the average cost per treatment. Controlling for demographic variables, Bayesian estimation evaluated the primary contributors to WAB-R change and assessed cost-effectiveness of treatment by aphasia type. Results Thirteen out of 18 participants experienced significant improvement in WAB-R AQ following telerehabilitation delivered therapy. Compared to anomic aphasia (reference group), those with conduction aphasia had relatively similar levels of improvement whereas those with Broca’s aphasia had smaller improvement. Those with global aphasia had the largest improvement. Each one-point of improvement cost between US$89 and US$864 for those who improved (mean = US$200) depending on aphasia type/severity. Discussion Individuals with severe aphasia may have the greatest gains per unit cost from treatment. Both improvement magnitude and the cost per unit of improvement were driven by aphasia type, severity and race. Economies of scale to aphasia treatment–cost may be minimized by treating a variety of types of aphasia at various levels of severity.

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Who said hip-hop was dead? The politics of hip-hop culture in Immortal Technique’s lyrics

International Journal of Cultural Studies ◽

10.1177/1367877914528529 ◽

2014 ◽

Vol 18 (4) ◽

pp. 395-411 ◽

Cited By ~ 7

Author(s):

Christopher Vito

Keyword(s):

Hip Hop ◽

Hip Hop Culture

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IMAGINING A BETTER WORLD:

Du Bois Review Social Science Research on Race ◽

10.1017/s1742058x18000322 ◽

2018 ◽

Vol 15 (02) ◽

pp. 353-385

Author(s):

Lakeyta M. Bonnette-Bailey ◽

Ray Block ◽

Harwood K. McClerking

Keyword(s):

African Americans ◽

Civic Engagement ◽

Political Participation ◽

Hip Hop ◽

Youth Culture ◽

Black Youth ◽

Black Music ◽

Hip Hop Culture ◽

Negative Messages ◽

Mass Level

AbstractDespite a recent increase in research on its sociopolitical implications, many questions regarding rap music’s influence on mass-level participation remain unanswered. We consider the possibility that “imagining a better world” (measured here as the degree to which young African Americans are critical of the music’s negative messages) can correlate with a desire to “build a better world” (operationalized as an individual’s level of political participation). Evidence from the Black Youth Project (BYP)’s Youth Culture Survey (Cohen 2005) demonstrates that rap critique exerts a conditional impact on non-voting forms of activism. Rap critique enhances heavy consumers’ civic engagement, but this relationship does not occur among Blacks who consume the music infrequently. By demonstrating rap’s politicizing power and contradicting certain criticisms of Hip Hop culture, our research celebrates the possibilities of Black youth and Black music.

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