Queer Hip Hop

2018 ◽  
Author(s):  
Shanté Paradigm Smalls
Keyword(s):  
Cultural Production ◽  
Hip Hop ◽  
Music Industry ◽  
Hip Hop Culture ◽  
Hip Hop Music ◽  
Bisexual And Transgender ◽  
History Of

This chapter explores the relatively long history of the queer presence inside of hip hop cultural production. Starting in the late 1970s and ending in the current moment, this historiography argues that queer and/or lesbian, gay, bisexual, and transgender (LGBT) artists in hip hop music have chartered and navigated perilous landscapes—in the music industry, in hip hop culture, and in the broader US pop terrain. The discussion details the notable queer artists, some known and some forgotten, who have made possible the seeming ease with which queer and queer-friendly artists emerging in the 2000s and afterward have captured audiences in multiple mainstream areas.

scholarly journals "The Cashtro Hop Project" Hip Hop music and an exploration of the construction of artistic self-identity

2021 ◽  
Author(s):  
Christopher Joseph Cachia
Keyword(s):  
Identity Formation ◽  
Hip Hop ◽  
Self Presentation ◽  
Self Identity ◽  
Hip Hop Culture ◽  
Cultural Artifact ◽  
Musical Production ◽  
Hip Hop Music ◽  
Artistic Self ◽  
Specific Concern

While Hip Hop culture has regularly been legitimized within academia as a social phenomenon worthy of scholarly attention (witness the growing number of studies and disciplines now taking Hip Hop as object for analysis), this is the first Hip Hop-themed project being completed within the academy. Indeed, academic and critical considerations of one's own Hip Hop-based musical production is a novel venture; this project, as a fusion of theory with practice, has thus been undertaken so as to occupy that gap. The paper's specific concern is with how (independent) Hip Hop recording artists work to construct their own selves and identity (as formed primarily through lyrical content); the aim here is to explore Hip Hop music and the construction of artistic self· presentation. I therefore went about the task of creating my own album - my own Hip Hop themed musical product - in order to place myself in the unique position to examine it critically as cultural artifact, as well as to write commentary and (self-)analyses concerning various aspects of (my) identity formation. The ensuing outlined tripartite theoretical framework is to serve as a model through which other rappers/academics may think about, discuss, and analyze their own musical output, their own identities, their own selves.

scholarly journals Od znaku „Polski Walczącej” po hasło „FaceBóg” – rola polskiego graffiti w latach 1942–2011

2019 ◽  
pp. 127-140
Author(s):  
Konrad Nowak-Kluczyński
Keyword(s):  
Hip Hop ◽  
Second World War ◽  
Street Art ◽  
Social Psychological ◽  
Hip Hop Culture ◽  
Polish Literature ◽  
History Of ◽  
The 1960S ◽  
Second World

Against the general opinion the history of graffiti goes back to the beginnings of civilization. There are numerous examples of graffiti, for instance the inscriptions hollowed with a chisel found on the ancient household artifacts or on the walls. The inscriptions had an informative function but they were also magical. The phenomenon of spray art was widespread in the 1960s and the beginning of the Polish taggers subculture was in the 1980s, although one can find street art during the Second World War. But it is usually neglected or disregarded in the Polish literature. The Anchor – the sign of “Fighting Poland”, was placed on pavements, walls, notice boards or train stops of the occupied country. It was the sign of the fight for freedom and independence. As the years passed, the Polish reality was changing and the role of graffiti also changed. Now, it expresses itself in slogans, appeals, messages, drawings, portraits or murals. The aim of the work is to show the role of the Polish graffiti between 1942 and 2011. The author analyses graffiti in a number of aspects and throughout many years. The author identifies Polish spray art with teenage rebellion, sense of humor, political engagement, commentary or the negation of reality. Moreover, the article focuses on social, psychological or urban aspects of the examined phenomenon and identifies it with widespread modern hip-hop culture.

Authors and Rappers: Italian Hip Hop and the Shifting Boundaries of Canzone d’Autore

Popular Music ◽  
2007 ◽  
Vol 26 (3) ◽  
pp. 463-488 ◽  
Author(s):  
MARCO SANTORO ◽  
MARCO SOLAROLI
Keyword(s):  
Cultural Production ◽  
Hip Hop ◽  
Rap Music ◽  
Qualitative Interviews ◽  
Point Of View ◽  
Current Status ◽  
Theoretical Point ◽  
Hip Hop Culture ◽  
Boundary Making ◽  
The Impact

AbstractBy offering a historical reconstruction of the process of contextualisation of hip hop culture in Italy over the last fifteen years, the article assesses the current status of canzone d’autore and its changing configuration under the impact of rap music. From a theoretical point of view, the conceptual framework combines the sociological definition of ‘field of cultural production’ elaborated by Pierre Bourdieu with the related literature on social and symbolic boundaries. From a methodological point of view, the analysis is based on the data collected by Club Tenco (a cultural organisation which plays an institutional role within the field of canzone d’autore) as well as on a series of qualitative interviews carried out with a number of Italian rappers and cantautori. Special attention is paid to a very few crucial figures that can be considered paradigmatic examples in the dynamic process of boundary-making of the two cultural (sub-)fields of Italian rap and canzone d’autore.

Affective Gestures

2017 ◽  
Author(s):  
Miles White
Keyword(s):  
Material Culture ◽  
Community Of Practice ◽  
Hip Hop ◽  
The Body ◽  
Individual Identity ◽  
Historical Evolution ◽  
Hip Hop Culture ◽  
Hip Hop Music

This chapter looks at the ways in which the body, aesthetic features of hip-hop music, and the material culture that surrounds it are deployed to construct affect and help delineate between what is meant by hard and hardcore, both as music and as masculine performance. In hip-hop culture, uniqueness and the expression of individual identity are prioritized through behavior, modes of dress, language, and other ways. Those who adopt these styles of behavior in mannerism, dress, speech, or attitude become part of a community of practice that is able to persist because the expressive codes associated with the culture have the power to invoke it through any number of performative texts. The chapter also traces the historical evolution of hip-hop culture from a largely benign music to something more malevolent.

Rap, Islam and Jihadi Cool: The attractions of the Western jihadi subculture

2021 ◽  
pp. 174165902110255
Author(s):  
Sune Qvotrup Jensen ◽  
Jeppe Fuglsang Larsen ◽  
Sveinung Sandberg
Keyword(s):  
Hip Hop ◽  
Historical Analysis ◽  
Recent Scholarship ◽  
Hip Hop Music ◽  
Hybrid Culture ◽  
History Of ◽  
The Aesthetic ◽  
The Relationship ◽  
Insight Into

Recent scholarship has explored the potential of subcultural theory for understanding the convergence of Western street and jihadi subcultures. The role of jihadi rap in this radical hybrid culture, however, is yet uncharted. We argue that subcultural analysis allows an understanding of the aesthetic fascination of jihadism, sometimes referred to as jihadi cool, and that jihadi rap should be seen as an integrated part of this cultural amalgam. To better understand the role of hip-hop in the hybrid street-jihadi culture, this paper offers a historical analysis of the relationship between hip-hop and Islam and detailed insight into the more contemporary, and marginal, phenomena of jihadi rap. We track the continuities and discontinuities from the presence of Black Islam in early hip hop to recent convergences between hip hop and jihadism. Our analysis draws on Lévi-Strauss concepts of bricolage and floating signifiers. Subcultures and hip-hop music are seen as bricolages that draw on a multitude of cultural references with their own particular history. In these cultural bricolages, Islam often acts as a floating signifier, with different and often ambiguous meanings. We argue and demonstrate that Islam has a long history of being part of hip-hop rebellion and attraction and that this, channelled through jihadi rap, can contribute to jihadi cool and the contemporary pull of Western jihadi subcultures.

scholarly journals "The Cashtro Hop Project" Hip Hop music and an exploration of the construction of artistic self-identity

2021 ◽  
Author(s):  
Christopher Joseph Cachia
Keyword(s):  
Identity Formation ◽  
Hip Hop ◽  
Self Presentation ◽  
Self Identity ◽  
Hip Hop Culture ◽  
Cultural Artifact ◽  
Musical Production ◽  
Hip Hop Music ◽  
Artistic Self ◽  
Specific Concern

While Hip Hop culture has regularly been legitimized within academia as a social phenomenon worthy of scholarly attention (witness the growing number of studies and disciplines now taking Hip Hop as object for analysis), this is the first Hip Hop-themed project being completed within the academy. Indeed, academic and critical considerations of one's own Hip Hop-based musical production is a novel venture; this project, as a fusion of theory with practice, has thus been undertaken so as to occupy that gap. The paper's specific concern is with how (independent) Hip Hop recording artists work to construct their own selves and identity (as formed primarily through lyrical content); the aim here is to explore Hip Hop music and the construction of artistic self· presentation. I therefore went about the task of creating my own album - my own Hip Hop themed musical product - in order to place myself in the unique position to examine it critically as cultural artifact, as well as to write commentary and (self-)analyses concerning various aspects of (my) identity formation. The ensuing outlined tripartite theoretical framework is to serve as a model through which other rappers/academics may think about, discuss, and analyze their own musical output, their own identities, their own selves.

scholarly journals Pragmatic Function(s) of Pronouns and Pronominals in Nigerian Hip Hop Music

2015 ◽  
Vol 15 (2) ◽  
Author(s):  
M Temitope ◽  
I Filani
Keyword(s):  
Hip Hop ◽  
Music Industry ◽  
Pragmatic Function ◽  
Hip Hop Music

Rivalry and enmity are phenomena that seem to have permeated the Nigerian music industry, especially the hip hop genre. In this regard, Nigerian hip hop artistes employ language to demonstrate their superiority over one another. A strategy employed by Nigerian hip hop artistes to assert their differences and superiority is the pragmatic use of pronouns. Here, pronouns are said to do more than achieve coherence.The paper investigates how Nigerian hiphop artistes use pronouns to achieve pragmatic meanings. Nigerian hip hop artistes employ pronouns to project their individuality and personality; identify and solidarise with their fans, and map boundary and polarity with their rivals. The paper submits that, while using pronouns, the Nigerian hip hop artistes express a sense of rivalry and enmity, individuality and personality; identity and solidarity.Key Words: Rivalry, Nigerian Hip hop artistes, pronouns, pragmatic meanings

Influencer prevalence and role on cigar brand Instagram pages

2020 ◽  
pp. tobaccocontrol-2020-055994
Author(s):  
Mario Antonio Navarro ◽  
Erin Keely O'Brien ◽  
Ollie Ganz ◽  
Leah Hoffman
Keyword(s):  
Social Media ◽  
African Americans ◽  
Hip Hop ◽  
Music Industry ◽  
Potential Utility ◽  
The Past ◽  
Hip Hop Music ◽  
Education Campaigns

PurposeInfluencers market products for tobacco companies on social media. This is the first study to systematically examine leading cigar brands’ use of influencers on their brand Instagram pages.MethodsWe identified 24 leading cigar brands, using July 2017–June 2018 US retail data. We identified cigar brands that had official appearing Instagram pages, with at least one influencer in the past 20 posts. We coded characteristics of the past three posts from each of five brand pages that contained influencers, such as setting and what the influencer was doing. Finally, we described influencer characteristics.ResultsApproximately one-third of the 24 brands had official Instagram accounts with at least one influencer in the past 20 posts. We identified 28 influencers, typically people of colour from the hip-hop music industry, some with millions of followers. Influencers included Bella Thorne (@bellathorne), Shaquille O’Neal (@shaq) and T.I. (@troubleman31). Brands’ posts that contained influencers showed the influencer using/holding a product, wearing branded merchandise or appearing in photos with a brand watermark. Three brands’ pages posted sponsored event photos (ie, concerts and events using branded backgrounds).DiscussionCigar brands commonly use influencers to market their products on brand Instagram pages. Results are consistent with previous findings that cigar companies’ marketing may target younger African Americans and highlight the potential utility of education campaigns that similarly engage influencers.

Asian Americans in Hip-Hop

2020 ◽  
Author(s):  
Ninochka McTaggart ◽  
Oliver Wang
Keyword(s):  
Asian Americans ◽  
Hip Hop ◽  
Pacific Islander ◽  
Hip Hop Culture ◽  
Asian Pacific Islander ◽  
History Of ◽  
Pacific Islander Americans ◽  
Asian Pacific ◽  
Key Participants

This entry surveys the history of Asian Pacific Islander Americans participation and involvement in expressive forms of hip-hop culture. While acknowledging that hip-hop has its roots in Afro-diasporic traditions, the entry highlights the various ways in which Asian Pacific Islander Americans have been both key participants and innovators within that culture. Particular attention is paid to specific forms of hip-hop: graffiti writing, dancing, rapping/MCing and DJing/turntablis. Each of these include succinct historical summaries of their development. The participation of Asian Pacific Islander Americans are then discussed, ending with annotated lists of select, key figures within each form.

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