Where in the world is the hip hop nation?

Popular Music ◽  
2003 ◽  
Vol 22 (2) ◽  
pp. 241-245
Author(s):  
Inez H. Templeton
Keyword(s):  
Hip Hop ◽  
Author(s):  
Mitchell Ohriner

Originating in dance parties in the South Bronx in the late 1970s, hip hop and rap music have become a dominant style of popular music in the United States and a force for activism all over the world. So, too, has scholarship on this music grown, yet much of this scholarship, employing methods drawn from sociology and literature, leaves unaddressed the expressive musical choices made by hip-hop artists. This book addresses flow, the rhythm of the rapping voice. Flow presents theoretical and analytical challenges not encountered elsewhere. It is rhythmic as other music is rhythmic. But it is also rhythmic as speech and poetry are rhythmic. Key concepts related to rhythm, such as meter, periodicity, patterning, and accent, are treated independently in scholarship of music, poetry, and speech. This book reconciles those approaches, theorizing flow by integrating the methods of computational music analysis and humanistic close reading. Through the analysis of large collections of verses, it addresses questions in the theories of rhythm, meter, and groove in the unique ecology of rap music. Specifically, the work of Eminem clarifies how flow relates to text, the work of Black Thought clarifies how flow relates to other instrumental streams, and the work of Talib Kweli clarifies how flow relates to rap’s persistent meter. Although the focus throughout is rap music, the methods introduced are appropriate for other genres mix voices and more rigid metric frameworks and further extends the valuable work on hip hop from other perspectives in recent years.


Author(s):  
Raymond A. Patton

This chapter explores the divergent reactions of punk scenes around the world to the changing forces of neoconservative/neoliberal politics and globalization. Some scenes embraced a new punk variant of the previous generation’s tiermondisme (“third worldism”), creating new alliances across the three worlds of the late Cold War era, along with new collaborations with reggae and hip-hop artists. Others, however, turned inward to an insular punk tribalism. Both were skeptical of the emerging global neoliberal order and often also participated in the politically ambiguous antiglobalization rallies that emerged in the 1980s and continued into the 1990s. By the mid-1980s, punk scenes around the world found themselves dividing along the lines of an emergent political spectrum, into warring factions of xenophobic reactionary skinheads and globally minded progressive punks. This divide was intensified by the overlying tension between bands that found market success and those that vehemently rejected any sign of it.


2021 ◽  
Vol 2 (1) ◽  
pp. 2.1-2.12
Author(s):  
Daniel Kauwila Mahi

Waikīkī is a world-renowned leisure destination; at least, that is the image flung vehemently around the world about Hawaii. This framing of Hawaii as paradisiac is parasitic, it eats away and denigrates the enduring relationship that Hawaii the land and the people have. During the COVID-19 pandemic, we have seen a shift in the way our home feels. Tourism, a self-proclaimed necessity of Hawaii’s economy, was not only put on hold, it was essentially eliminated. Through this project I would like to present pre/post-colonialist modalities of Hawaii, to contest and disarm this space densely affected by militourism. Hawaii has been framed as a leisure destination first by colonialists and much later by hip hop music. My approach to contesting these projections is to refuse this notion and feature lines from songs, chants and prayers related to Waikīkī which are pre/postcolonial and have been influenced by colonialism through hip hop.


Author(s):  
Eric Avila

If the sixties radicalized the content of American culture, the nineties revolutionized its form. The digital revolution began in California and enveloped the entire world, creating unprecedented opportunities for instantaneous communication and self-expression. “The world wide web of American culture” first describes the impact on American culture of 1970s counterculture; the music genres of disco, pop, and hip hop; the AIDS crisis; and the excesses of 1980s culture. It then explains how the rise of the Internet fostered a new plurality in American society. American culture continues to unite diverse and disparate segments of the population, even as it remains a battleground, fraught with the very tensions and conflicts that define the nation’s history and identity.


Callaloo ◽  
2012 ◽  
Vol 35 (2) ◽  
pp. 555-558
Author(s):  
Alessandro Porco
Keyword(s):  
Hip Hop ◽  

Author(s):  
Rosemary Candelario

In 2004, comedian Dave Chappelle brought residents of Yellow Springs, Ohio, and New York City together in Bedford-Stuyvesant, Brooklyn, for a hip-hop block party featuring a roster of socially engaged rap and neo-soul artists. This chapter argues that the 2006 film of the concert,Dave Chappelle’s Block Party, directed by Michel Gondry, endeavors to construct a utopian community centered on the birthplace of hip-hop. Employing dance studies methodologies to examine a non-dance event, this article attends to the choreography of the block, the party attendees and performers, and their spontaneous solo and group gestures and movements at the block party. Such an approach emphasizes the corporeality of the concert performers and attendees and allows an examination of their bodily signification in terms of race, gender, ideology, power, and ultimately the nation.


2020 ◽  
Vol 7 (1) ◽  
pp. 1
Author(s):  
Mayza Nisrin Abielah

Cultural imperialism aims at how dominant culture affects other cultures to gain control of certain cultures and create the view that their dominant culture is the center for all countries in the world, which will create uniformity around the world. Therefore, this study will discuss how Asian rappers are influenced by American hip hop culture and how they benefitted from their careers’ success. The theory used in this study is cultural imperialism by John Tomlinson to see the influence of cultural imperialism in American hip hop culture to Asian rappers. The method used in this study is qualitative research by Creswell. The result shows that America’s cultural imperialism influences Asian Rappers by adopting its culture, language, and style of American hip hop. However, its influence is not harmful since the Asian rappers use this to gain more recognition from people, especially in Western, and to be accepted in representing Asian immigrants in the United States.


Author(s):  
Joseph C. Ewoodzie

The first section provides includes an assessment of what can be added to our understanding of how hip hop started. It points especially to areas for in which more data are needed. It also provides sketches of how one might use the theoretical framework developed in this work to study the evolution of hip hop beyond the 1970s. The second section concerns how the theoretical arguments in this book can go beyond the world of hip hop and be put to use in studies of the birth of similar entities, such as other musical forms (rock n’ roll or jazz), professions, academic disciplines, racial groups, and nations. The final sections of the chapter presents the substantive implications of this work. As opposed to the popular narrative that portrays life in the South Bronx during the 1970s as the quintessence of social and personal disorganization, the story of hip hop shows that, at least among youth, the South Bronx was a place of creative vibrancy with its own form of social order. It argues that, if we look closely, we shall see that other American ghettoes also exhibited (and continue to exhibit) such vivacity.


2020 ◽  
pp. 109-142
Author(s):  
J. Lorenzo Perillo

This chapter continues to emphasize embodied critiques against liberal multiculturalism and post-raciality by turning to large-scale commercial competitions and their increasing role in rejuvenating street dance globally. The chapter focuses on the World Hip-Hop Dance Championships (HHI), which enlists judges to watch more than 3,500 dancers from over fifty countries. With an analysis of judges and their practices from 2012 to 2014, the chapter shows that their standardization euphemizes racial, gender, ethnic, and technical difference. At the same time, the chapter reveals dance criticism that undermines the stereotype of Filipinos as naturally gifted dancers in the cultural imaginary. Discourse around dance judging enables discussions of how multiple ethnic traditions are codified similarly amidst a vexed desire for hip-hop universalism.


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