scholarly journals The Ugandan hip-hop image: the uses of activism and excess in fragile sites

Popular Music ◽  
2020 ◽  
Vol 39 (3-4) ◽  
pp. 420-438
Author(s):  
Simran Singh
Keyword(s):  
Hip Hop ◽  
Economic Freedom ◽  
First Generation ◽  
Fragile Site ◽  
Fragile Sites ◽  
Race And Gender ◽  
Global Industry ◽  
Neoliberal Capitalism ◽  
And Gender ◽  
Characteristics Of Image

AbstractThis article discusses the characteristics of image in Ugandan hip-hop with a particular focus on representations of activism and excess. Locating Uganda as a fragile site on the basis of widespread political, social and economic marginalisation, this examination considers members of Uganda's first generation of hip-hop artists, to argue that both activism and excess act in singular response to these circumstances. Finding articulation in strivings for economic freedom and social justice, the Ugandan hip-hop image reveals negotiations of histories of colonialism and of contemporary neoliberal capitalism: in doing so, it raises intersections of race and gender, informed by hip-hop's significance as a multi-billion-dollar global industry. This cross-disciplinary inquiry combines ethnomusicology with media, cultural and visual studies in dialogue with political economy.

Impoliteness in hip-hop music

2021 ◽  
Author(s):  
Panagiotis Delis
Keyword(s):  
African American ◽  
Black Male ◽  
Hip Hop ◽  
Selection Process ◽  
White Male ◽  
White Female ◽  
Race And Gender ◽  
The Social ◽  
Determining Factors ◽  
And Gender

Abstract The aim of this paper is to examine the functionality of impoliteness strategies as rhetorical devices employed by acclaimed African American and White hip-hop artists. It focuses on the social and artistic function of the key discursive element of hip-hop, namely aggressive language. The data for this paper comprise songs of US African American and White performers retrieved from the November 2017 ‘TOP100 Chart’ for international releases on Spotify.com. A cursory look at the sub-corpora (Black male/ Black female/ White male/ White female artists’ sub-corpus) revealed the prominence of the ‘use taboo words’ impoliteness strategy. The analysis of impoliteness instantiations by considering race and gender as determining factors in the lyrics selection process unveiled that both male groups use impoliteness strategies more frequently than female groups. It is also suggested that Black male and White female singers employ impoliteness to resist oppression, offer a counter-narrative about their own experience and self (re)presentation and reinforce in group solidarity.

“The White Girl in the Middle”

2014 ◽  
Author(s):  
Raquel Monroe
Keyword(s):  
Hip Hop ◽  
White Female ◽  
White Girl ◽  
Race And Gender ◽  
Female Protagonist ◽  
And Gender ◽  
Gender Theories ◽  
Selling Point ◽  
Choreographic Analysis ◽  
Better Than

This chapter illustrates how the narratives of hip-hop dance films have historically used white female dancers to introduce mainstream white audiences to hip-hop dance forms. In Step Up 2: The Streets, however, the white female protagonist is not an outsider introduced to hip-hop dance forms, instead she is from the very streets where hip-hop originates. Yet her success as a white female hip-hop dancer weighs on her ability to perform “black” corporeality equal to or better than her black counterparts. Using choreographic analysis and critical race and gender theories, the chapter argues that hip-hop dance forms render whiteness hyper-visible, but the white performance of black performativity becomes the selling point for films like Step Up 2: The Streets, where black performers are cast as ancillary characters to authenticate the white protagonists.

Race, Gender, and the Pursuit of Recognition

2017 ◽  
Author(s):  
Joseph C. Ewoodzie
Keyword(s):  
Social Networks ◽  
Puerto Rican ◽  
Hip Hop ◽  
Symbolic Capital ◽  
Early Years ◽  
South Bronx ◽  
Race And Gender ◽  
Internal Logic ◽  
And Gender

Chapter 5 concentrates on the role of race and gender in the pursuit of recognition. Details about the role and influence of women in the early years of hip hop have mostly been ignored in previous works, but this chapter shows that women were significant to the internal logic of the scene. Exploring the rise and fall of The Mercedes Ladies, the first all-female DJing and MCing crew, we see that the masculine orientation of the scene limited how much symbolic capital could be accrued because the most important social networks in the scene (e.g., those of party promoters, club owners, and security crews) were dominated by males. This chapter also explores the rise of Charlie Chase, a popular Puerto Rican DJ, to demonstrate how race mattered in the pursuit of symbolic capital. Even though all young people in the South Bronx neighborhoods, including non-blacks, were invited to the parties, not all could, without opposition, become famous performers. This was because the most desirable role in the scene, being a performer, was reserved for blacks, while non-blacks who attempted to cross this boundary faced some resistance.

The Intersection of Race, Gender, and Rap Music Perceptions: A Content Validation Study of the Rap-Music Attitude and Perception Scale

2019 ◽  
Vol 3 (1) ◽  
pp. 25-50
Author(s):  
Edgar H. Tyson ◽  
Tiffany L. Brown ◽  
Antoine Lovell
Keyword(s):  
Hip Hop ◽  
Rap Music ◽  
Group Differences ◽  
Racially Diverse ◽  
Race And Gender ◽  
Music Attitude ◽  
Development Approach ◽  
And Gender ◽  
Qualitative Responses ◽  
Insight Into

ObjectivesThis study examines the content validity of a newly developed measure, the Rap-Music Attitude and Perception (RAP) scale.MethodsUtilizing data from a racially diverse sample of undergraduate college students (N= 871), this investigation highlights an underutilized mixed method, qualitative–quantitative scale development approach, while investigating relationships between race, gender, and rap music views.FindingsResults indicate overlap between themes identified in participants' qualitative responses and RAP scale items. Furthermore, there were several within and between (race and gender) group differences in the endorsement of RAP scale items.ConclusionsImplications of these results support the utility of the RAP for examining perceptions of rap music and provide insight into how the intersection of race and gender relates to hip-hop music themes.

Geographies of Campus Inequality

2020 ◽  
Author(s):  
Janel E. Benson ◽  
Elizabeth M. Lee
Keyword(s):  
First Generation ◽  
College Campuses ◽  
College Aspirations ◽  
First Generation Students ◽  
Generation Status ◽  
Race And Gender ◽  
Selective College ◽  
Race Ethnicity ◽  
And Gender ◽  
Ethnicity And Gender

In efforts to improve equity, selective college campuses are increasingly focused on recruiting and retaining first-generation students—those whose parents have not graduated from college. In Geographies of Campus Inequality, sociologists Benson and Lee argue that these approaches may fall short if they fail to consider the complex ways first-generation status intersects with race, ethnicity, and gender. Drawing on interview and survey data from selective campuses, the authors show that first generation students do not share a universal experience. Rather, first generation students occupy one of four disparate geographies on campus within which they negotiate academic responsibilities, build relationships, engage in campus life, and develop post-college aspirations. Importantly, the authors demonstrate how geographies are shaped by organizational practices and campus constructions of class, race, and gender. Geographies of Campus Inequality expands the understanding of first-generation students’ campus lives and opportunities for mobility by showing there is more than one way to be first generation.

For Those in the “Ghetto Torture Chambers”

2020 ◽  
Author(s):  
Matthew Teutsch ◽  
Jason Lee Oakes
Keyword(s):  
African American ◽  
Connective Tissue ◽  
Hip Hop ◽  
Urban Landscape ◽  
The Other ◽  
Literary Genre ◽  
Race And Gender ◽  
Gangsta Rap ◽  
Cultural Productions ◽  
And Gender

This chapter explores the connective tissue that joins the urban noir tradition to the representations of antiheros that populate Iceberg Slim’s texts and many hip hop narratives. Specifically, it analyzes Slim’s construction of realness in his writings and his 1976 album Reflections in order to understand how his work shapes a notion of “pulp authenticity” that would come to influence gangsta rap. Slim and his hip hop progeny arose from the noir tradition, a literary genre that confronted anxieties of race and gender identity amid an ever-changing urban landscape. Pulp authenticity incorporates the sensational on one hand and varying forms of genuineness on the other, appearing in African American noir cultural productions in the latter part of the twentieth century and into the twenty-first. At its core, pulp authenticity funnels “genuineness” through a genre that privileges the sensational.

scholarly journals Women Hip-Hop Artists and Womanist Theology

Religions ◽  
2021 ◽  
Vol 12 (12) ◽  
pp. 1063
Author(s):  
Angela M. Mosley
Keyword(s):  
Black Women ◽  
Identity Politics ◽  
Hip Hop ◽  
Rap Music ◽  
Gender Performance ◽  
Hip Hop Culture ◽  
Race And Gender ◽  
White American ◽  
European Standards ◽  
And Gender

Hip-Hop is a cultural phenomenon steeped in the conservative ideologies of individualism and capitalism. It sells a lifestyle and its most recent surge of rap music and popular culture spotlights Black women more than ever before. Although Black women have always been significant piece in Hip-Hop culture, their artistry has jolted its systemic capitalism and patriarchy to engage intersectionality through a discourse of classism, sexual orientation, and racism while upending White supremacy’s either:or binary. Applying the principles of Womanism, Black female Hip-Hop artists negotiate cultural identity politics as activists to innovatively expand thought on gender performance and produce a fusion of contemporary Blackness for the 21st century. Their artivism builds a safe environment of differences within society using conscious thought, language, and performative methods to defy the White American ethos of sexism, misogyny, and materialism. By garnering a better knowledge of their existence through Indigenous African spirituality, Black women reclaim ownership of their bodies from Western European standards, including race, and gender to challenge Christianity’s meaning of martyrdom. This act of reclamation provides a reformative tool of inclusion and being fluidity through Hip-Hop music and its culture.

Direct from a Never Scared Bicentennial Nigger

2018 ◽  
Author(s):  
Terrence T. Tucker
Keyword(s):  
Civil Rights ◽  
Hip Hop ◽  
The United States ◽  
Race And Gender ◽  
Stand Up Comedy ◽  
Whoopi Goldberg ◽  
Black Life ◽  
And Gender ◽  
Historical Moment ◽  
Post Civil Rights

This chapter examines the work of Richard Pryor and his comic successors, who build on his work while taking it in dynamic and unprecedented directions. In particular, this chapter focuses its attention on comedy albums that combine the live stand-up of the comics with recorded bits that reinforce critiques in other forms. So, Pryor’s Bicentennial Nigger uses skits to help reject the romanticized narrative of the United States at the bicentennial. One of the most immediate successors to Pryor was Whoopi Goldberg, whose Direct from Broadway pulls from the template that Moms Mabley constructed by directly confronting the oppression that sits at the intersection of race and gender. However, Goldberg expands on Pryor’s work not through the inclusion of a female voice but by transforming the exploration of black life into a female-centric critique of white, Western, supremacist, patriarchal hegemony. This chapter argues that Chris Rock most effectively realizes Pryor’s legacy of comic rage. Rock’s work, from Bring the Pain (1996) to Never Scared (2004), engages directly with the historical moment of post–civil rights America and is most clearly represented in Rock’s infusion of hip-hop into the structure and style of mainstream stand-up comedy.

Referral Patterns for Youths Identified at Risk for Suicide by Trained Gatekeepers

Crisis ◽  
2012 ◽  
Vol 33 (2) ◽  
pp. 113-119 ◽  
Author(s):  
Michael S. Rodi ◽  
Lucas Godoy Garraza ◽  
Christine Walrath ◽  
Robert L. Stephens ◽  
D. Susanne Condron ◽  
...  
Keyword(s):  
Suicide Prevention ◽  
Demographic Characteristics ◽  
Service Access ◽  
Referral Patterns ◽  
Race And Gender ◽  
Lee Smith ◽  
Prevention Behavior ◽  
Key Variables ◽  
And Gender ◽  
To Receive

Background: In order to better understand the posttraining suicide prevention behavior of gatekeeper trainees, the present article examines the referral and service receipt patterns among gatekeeper-identified youths. Methods: Data for this study were drawn from 26 Garrett Lee Smith grantees funded between October 2005 and October 2009 who submitted data about the number, characteristics, and service access of identified youths. Results: The demographic characteristics of identified youths are not related to referral type or receipt. Furthermore, referral setting does not seem to be predictive of the type of referral. Demographic as well as other (nonrisk) characteristics of the youths are not key variables in determining identification or service receipt. Limitations: These data are not necessarily representative of all youths identified by gatekeepers represented in the dataset. The prevalence of risk among all members of the communities from which these data are drawn is unknown. Furthermore, these data likely disproportionately represent gatekeepers associated with systems that effectively track gatekeepers and youths. Conclusions: Gatekeepers appear to be identifying youth across settings, and those youths are being referred for services without regard for race and gender or the settings in which they are identified. Furthermore, youths that may be at highest risk may be more likely to receive those services.

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