Impact and Implications of Rap and Hip-Hop Music as a Form of Resistance

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.

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AKTUALISASI SIMBOL-SIMBOL PERLAWANAN DALAM PERTUNJUKAN MUSIK HIP-HOP TRAHGALI SOULJA DI SURAKARTA

Sorai: Jurnal Pengkajian dan Penciptaan Musik ◽

10.33153/sorai.v12i1.2621 ◽

2019 ◽

Vol 12 (1) ◽

pp. 31-43

Author(s):

Surya Purnama Putra

Keyword(s):

Social Media ◽

Hip Hop ◽

Positive Response ◽

Hip Hop Music ◽

Front Stage ◽

Musical Behavior ◽

Front Region

This paper contains the actualization of resistance symbols contained in the performances of Trahgali Soulja, a hip-hop music group based in Surakarta. This includes reviewing the audience’s response to the music performed. The problems that arise are (1) the efforts of the Soulja Trahgali music group in constructing the symbols of resistance, (2) the form of actualization of ideas or the construction of symbols through the stage actions performed by Trahgali Soulja that illustrate the ideology of resistance, and ( 3) audience’s response to the stage action offered by Trahgali Soulja. The production and packaging of Trahgali Soulja’s performances are carried out on the backstage/back region - including the discovery of musical ideology, the process of interpreting the ideology of resistance, and the behind-the-scene communications among players. Then a scenario for the performance is employed in the stage action on the front stage/front region, and of course there are elements to support the performances being prepared. The positive response is shown by the audience with the emergence of the Red Ax Soldier community which supports the entire behavior of Trahgali Soulja, and not even rarely did this community adopt the musical behavior of Trahgali Soulja. In addition, social media such as Facebook, YouTube and Instagram also become the showrooms for this group’s hip-hop songs.Keywords: actualization, symbol of resistance, hip-hop music performances, trahgali soulja.

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"You Can't Sing without the Bling": The Toll of Excessive Sample License Fees on Creativity in Hip-Hop Music and the Need for a Compulsory Sound Recording Sample License System

UCLA Entertainment Law Review ◽

10.5070/lr8111027056 ◽

2004 ◽

Vol 11 (1) ◽

Author(s):

Josh Norek

Keyword(s):

Hip Hop ◽

Sound Recording ◽

Hip Hop Music ◽

License System

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Remixing Mixedness

Imagining the Mulatta ◽

10.5622/illinois/9780252043284.003.0006 ◽

2020 ◽

pp. 179-214

Author(s):

Jasmine Mitchell

Keyword(s):

Black Male ◽

Hip Hop ◽

Mixed Race ◽

Music Videos ◽

Hollywood Film ◽

Racial Democracy ◽

London 2012 ◽

Hip Hop Music ◽

A Site ◽

Bidding Process

Chapter 5 explores the transnational dimensions of racial imaginings through the vision of Brazil as a mixed-race tropical paradise in both U.S. and Brazilian productions. U.S. hip-hop music videos such as Snoop Dogg and Pharrell’s “Beautiful” (2003), will.i.am’s “I Got It from My Mama” (2007), and the Hollywood film Fast Five (2011) exploit Brazil’s image as a racial paradise and a site of black male independence, based on its reputation as a racial democracy with a large mixed-race population and the imagery of the Brazilian mulata. The chapter ends with how the Brazilian state presented the Rio 2016 Olympics bidding process and the London 2012 handover ceremony on a global stage through images of multiculturalism.

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