‘Scottish people can't rap’: the local and global in Scottish hip-hop

Popular Music ◽

10.1017/s0261143021000040 ◽

2021 ◽

pp. 1-16

Author(s):

Dave Hook

Keyword(s):

Hip Hop ◽

Complex Relationship ◽

Global Culture ◽

Local Representation ◽

Lyric Analysis ◽

Cultural Forms ◽

Everyday Realities ◽

Cultural Structure

Abstract Hip-hop is a global culture, where local representation is a core tenet of its ideology. It therefore provides opportunities to observe how a global cultural structure is interpreted, realigned and expressed in local cultural forms. This article combines autoethnography and rap lyric analysis to consider the complex relationship between the local and global in relation to cultural articulation and authenticity. Through a study of the poetics of Scottish hip-hop, a series of patterns and connections appear relating to interpretation, negotiation and hybridisation of local and global culture, presenting a demonstration of how the local, global and individual intersect to ‘devise unique ways of communicating thoughts, emotions and everyday realities’ (Alim 2003, Journal of English Linguistics, March, 31/1, pp. 60–84, p. 62). Furthermore, this article presents a framework for autoethnographic study of hip-hop, signposting bridging points between scholarship and practice.

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The Needle Drop

Transfers ◽

10.3167/trans.2018.080307 ◽

2018 ◽

Vol 8 (3) ◽

pp. 100-117

Author(s):

William B. Noseworthy

Keyword(s):

Social Context ◽

South Korea ◽

Hip Hop ◽

The Other ◽

Art Form ◽

Popular Appeal ◽

Cultural Forms ◽

The One

Scholarship in the field of hip-hop studies has convincingly argued against a “cultural grey out” and in favor of “local idiosyncrasies” in the mobility of cultural forms. That said, no published study has focused on the movements of the artists themselves in a transpacific context that places scenes in Japan, South Korea, Indonesia, Cambodia, and Vietnam in conversation with one another. Varying histories of colonialism and postcolonial movements are essential aspects of each social context. I argue that the transpacific lens allows scholars to draw out the movements of individuals, influences, and emergent trends in the art form to better understand how artists are, metaphorically, scratching back and forth between representing originality on the one hand and the need for popular appeal on the other. I draw on vinyl itself as a metaphor for this article, which is framed as an EP.

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Growing up in hip hop: The expression of self in hypermasculine cultures

Global Hip Hop Studies ◽

10.1386/ghhs_00005_1 ◽

2020 ◽

Vol 1 (1) ◽

pp. 71-94 ◽

Cited By ~ 1

Author(s):

Dave Hook

Keyword(s):

Personal Growth ◽

Hip Hop ◽

Growing Up ◽

Global Culture ◽

Social Commentary ◽

Hip Hop Culture ◽

People's Party ◽

Multi Method Approach ◽

Growth Change ◽

Method Approach

Recently, rappers Talib Kweli and Evidence discussed the conflict between rapper identity and individual identity as a person ages, with Kweli describing how a rapper’s persona ‘becomes like an armour’ and Evidence observing that ‘after a while that stops getting rewarding’ (People’s Party with Talib Kweli 2019: 54). These observations highlight the difficulties for artists to be able to express their own growth and development as their artist personas become ‘fixed’. This fixing or flattening of persona, combined with a hypermasculine culture that reflects a society where even the phrase ‘to catch feelings’ is a derogatory term, creates an environment in which opportunities for expression of personal growth, change and emotional responses have become limited. Taking an autoethnographic, multi-method approach, this article looks at examples in my own work with hip hop group Stanley Odd, which focus on personal, reflexive commentary as opposed to cultural or social commentary. Through the analysis of three songs released between 2012 and 2014, this article describes creative tactics and responses designed to navigate the boundaries of hip hop culture, Scottish culture and global culture, circumventing restrictions on emotive responses.

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Midfielders, MCs, and Mediascapes: Soccer and Hip-Hop's Global Hope for the Third World

Elements ◽

10.6017/eurj.v3i2.8995 ◽

2007 ◽

Vol 3 (2) ◽

Author(s):

Alex Brady

Keyword(s):

Hip Hop ◽

Third World ◽

Social Boundaries ◽

The Third ◽

The World ◽

Economic Trends ◽

Cultural Forms ◽

The Third World ◽

Globalized World

As the world becomes increasingly interconnected due to the cultural and economic trends that we have collectively labeled "globalization," various localized communities and their respective cultural phenomena have collided with unprecedented vigor. This paper explores two such phenomena-the international communities of soccer and of hip-hop-and documents thae role that these forms play in the globalized world. Both in their marketing and through the various ways in which different groups have interpreted them. If they are to be understood as a means by which the Third World can transcend longstanding social boundaries, can we truly say that globalized media is accurately representing these ideals? Drawing extensively on a wide variety of scholarship concerning both of these cultural forms, this essay attempts to consider this question. <br />

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Transcultural Voices

10.21832/singh8137 ◽

2021 ◽

Author(s):

Jaspal Naveel Singh

Keyword(s):

Identity Construction ◽

Hip Hop ◽

Gender And Sexuality ◽

Global Culture ◽

Hip Hop Culture ◽

Linguistic Ethnography ◽

Discourse Studies

This book presents the narratives and voices of young, mostly male practitioners of hip hop culture in Delhi, India. Through a combination of linguistic ethnography, sociolinguistics and discourse studies, the book addresses issues including gender and sexuality, identity construction and global culture.

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A Virtual Ethnography Study: The Role of Cultural Radios in Campursari Music Proliferation in East Java

ETNOSIA Jurnal Etnografi Indonesia ◽

10.31947/etnosia.v5i2.9787 ◽

2020 ◽

Author(s):

Zainal Abidin Achmad ◽

Rachmah Ida ◽

Mustain Mustain

Keyword(s):

Hip Hop ◽

Participant Observation ◽

Traditional Music ◽

Global Culture ◽

Virtual Ethnography ◽

Local Identities ◽

The People ◽

Physical Interactions ◽

One Year

Campursari music is a trend on the radio and a favorite of the people of East Java, so it is shifting towards popular culture. This study aims to uncover the proliferation of campursari music and the role of cultural radios. This qualitative research uses a virtual ethnography method, which focuses on the physical presence and virtual text together. The subjects are technology (radio and communication technology on the internet), humans (radio listeners), physical interactions, and virtual interactions. Data collection used participant observation through observation and interviews offline and online in the form of various texts, writings, images, and audiovisuals on Facebook, Twitter, WhatsApp, Instagram, and Youtube. The informants of this study were four cultural experts, namely: Sumadi, Anton Sani, Ibnu Hajar, and Juwono. This study carried out participatory involvement for one year in the virtual world and 30 days living in four cities: Surabaya, Nganjuk, Banyuwangi, and Sumenep. Manthous's campursari music is a fusion of pentatonic and diatonic scales despite the addition of various musical instruments. It has several sub-genres, including campursari janger, campursari kendang-kempul, campursari keroncong dangdut, campursari dangdut Madura, campursari jaranan dangdut, campursari dangdut koplo, campursari dangdut hip-hop, and campursari dangdut acoustic. Cultural programs and campursari music reinforce the reliability of radio to maintain local culture (Javanese, Madura, Using). They are a means of maintaining local identities to stem global culture. No matter how hard the invasion of foreign culture, can not disrupt the local tastes of people. Campursari music proliferation is a modification to traditional music to serve the tastes of the people, to avoid it from extinction. Campursari music must be able to adapt to the current era. The four radio cultures in East Java make campursari music a primary commodity to attract radio listeners and as part of the lives of local people.

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FROM STREET DANCES AND 'BREAKING' TO NIGHT CLUBBING: POPULAR ENTERTAINMENT AS CULTURAL AND SYMBOLIC CAPITAL IN CONTEMPORARY ATHENS

The Unfamiliar ◽

10.2218/tu.v2i2.67 ◽

2012 ◽

Vol 2 (2) ◽

Author(s):

Natalia Koutsougera

Keyword(s):

Identity Formation ◽

Hip Hop ◽

Symbolic Capital ◽

Popular Entertainment ◽

Anthropological Study ◽

Cultural Forms ◽

Main Components ◽

Local Discourses ◽

Key Aspects ◽

Global And Local

This paper is an anthropological portrayal of two cultural forms of popular entertainment, with a central emphasis on their dance practices: hip hop dance styles and night clubbing. Their main components are discussed in relation to emotions, materials and regulatory language and how these surround the sense of authenticity of the self, grounding the notion of the popular. Breakdance, street dances of the Athens hip hop scene and night clubbing practices in the western suburbs of Athens unravel in a descriptive manner in order to illuminate their interwoven elements in terms of authenticity and the permutations of the popular. The cultural and symbolic agendas of the subjectivities and collectivities engaged in these popular cultural forms unveil, along with the ways global and local discourses intersect, to produce a territory for identity formation. By highlighting the key aspects of popular entertainment in contemporary Greece, the aim of this article is to contribute to the anthropological study of popular culture by pointing out its role in the processes of shaping and performing subjectivity and in the production of authenticity.

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