“Soul Breeze”

Soul in Seoul ◽  
2020 ◽  
pp. 89-118
Author(s):  
Crystal S. Anderson
Keyword(s):  
Black Male ◽  
Hip Hop ◽  
Black Female ◽  
Soul Music ◽  
Korean Music ◽  
Musical Arrangements ◽  
1960S And 1970S

Korean R&B artists cite the R&B tradition by emulating R&B instrumentation and gospel-inflected vocals and enhance the tradition through Korean music strategies that invoke multiple R&B genres and vocal styles. While Korean R&B artists are linked to pop groups through their reliance on R&B vocal styles, Korean R&B artists are more immersed in a variety of R&B genres. Korean R&B groups draw on complex musical arrangements featuring horns as part of a 1960s and 1970s soul music aesthetic. Korean R&B groups also draw on the Black female vocal tradition informed by gospel. At the same time, Korean R&B vocalists invoke multiple Black male vocal styles and multiple genres, including jazz and hip-hop. Through this intertextuality, Korean R&B artists participate in a globalized R&B tradition, expanding it beyond the Black/white binary.

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.

Remixing Mixedness

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.

scholarly journals Azealia Banks: ‘Chasing Time’, erotics, and body politics

Popular Music ◽  
2018 ◽  
Vol 37 (2) ◽  
pp. 157-174
Author(s):  
Kai Arne Hansen ◽  
Stan Hawkins
Keyword(s):  
New York ◽  
Hip Hop ◽  
Black Female ◽  
Body Politics ◽  
Female Subjectivity ◽  
Methods Of Analysis ◽  
New Generation ◽  
The Relationship ◽  
Critical Investigation ◽  
Performance Strategies

AbstractDuring the 2010s a new generation of queer hip hop artists emerged, providing an opportunity to engage with a set of politics defined by art, fashion, lyrics and music. A leading proponent of this movement was Azealia Banks, the controversial rapper, artist and actress from New York. This study instigates a critical investigation of her performance strategies in the track and video, ‘Chasing Time’ (2014), offering up various perspectives that probe into queer agency. It is suggested that techniques of sonic styling necessitate a consideration of subjectivity alongside genre and style. Employing audiovisual methods of analysis, we reflect on the relationship between gendered subjectivity and modalities of queerness as a means for demonstrating how aesthetics are staged and aligned to advanced techniques of production. It is argued that the phenomenon of eroticised agency, through hyperembodied display, is central to understanding body politics. This article opens a space for problematising issues of black female subjectivity in a genre that is traditionally relegated to the male domain.

Black Female Counselor and the Black Male Client

1975 ◽  
Vol 3 (2) ◽  
pp. 53-58 ◽  
Author(s):  
Seymour Bryson ◽  
Harold Bardo ◽  
Constance Johnson
Keyword(s):  
Black Male ◽  
Black Female ◽  
Male Client

scholarly journals Azealia Banks's “212”: Black Female Identity and the White Gaze in Contemporary Hip-Hop

2016 ◽  
Vol 10 (1) ◽  
pp. 54-81 ◽  
Author(s):  
JAMES MCNALLY
Keyword(s):  
Hip Hop ◽  
Female Sexuality ◽  
Racial Politics ◽  
Black Female ◽  
The Political ◽  
Musical Culture ◽  
Public Rhetoric ◽  
Racial Inequalities ◽  
Black Female Identity ◽  
White Gaze

AbstractAzealia Banks's 2011 hit single “212” established her as one of hip-hop's rising stars, with critics highlighting the song's provocative lyrics and Banks's ability as an MC as standout qualities. Banks would later receive attention for her public dispute with white rapper Iggy Azalea, whom she accused of exploiting black musical culture. This article integrates an analysis of “212” with a discussion of Banks's recent public rhetoric in order to examine the ways in which Banks rearticulates the figure of the black female rapper and criticizes white fascination with black female sexuality and black cultural forms. I conclude by situating this discussion within the broader context of contemporary “post-racial” politics, in which the political elements of hip-hop and the systemic racial inequalities they address have become increasingly marginalized in favor of “color-blind” conceptions of United States society and popular culture.

scholarly journals Dee-jay drop that deadbeat : hip-hop's remix of fatherhood narratives

2018 ◽  
Author(s):  
◽  
Jessie L. Sr. Adolph
Keyword(s):  
African American ◽  
Identity Formation ◽  
Drug Addiction ◽  
Black Male ◽  
Hip Hop ◽  
Black Adolescents ◽  
Mass Incarceration ◽  
Male Engagement ◽  
Underground Economies ◽  
Rap Lyrics

This dissertation examines hip-hop fatherhood narratives from 2010-2015 influenced by drug addiction, mass incarceration, underground economies, trauma, and dysfunctional co-parenting. Explicitly, the paper explores how marginalized, urban African American dads are imagined as protectors, providers, and/or surrogates in hip-hop lyricism. Additionally, the research pays attention to hip-hop artists' depiction of identity orchestration and identity formation of black adolescents and patriarchs by utilizing David Wall's theories on identity stasis. Moreover, the dissertation critically analyzes hip-hop lyrics that reflect different concepts of maleness such as hyper-masculine, the complex cool, biblical, heroic, and hegemonic masculinities. In sum, the paper examines rap lyrics use of mimicry calling into question representative black male engagement with American patriarchy.

Soul in Seoul

2020 ◽  
Author(s):  
Crystal S. Anderson
Keyword(s):  
African American ◽  
Popular Music ◽  
Hip Hop ◽  
Cultural Work ◽  
Musical Aesthetics ◽  
Korean Music ◽  
Rhythm And Blues ◽  
Musical Production ◽  
Music Aesthetics ◽  
American Popular Music

Soul in Seoul: African American Popular Music and K-pop examines how K-pop cites musical and performative elements of Black popular music culture as well as the ways that fans outside of Korea understand these citations. K-pop represents a hybridized mode of Korean popular music that emerged in the 1990s with global aspirations. Its hybridity combines musical elements from Korean and foreign cultures, particularly rhythm and blues-based genres (R&B) of African American popular music. Korean pop, R&B and hip-hop solo artists and groups engage in citational practices by simultaneously emulating R&B’s instrumentation and vocals and enhancing R&B by employing Korean musical strategies to such an extent that K-pop becomes part of a global R&B tradition. Korean pop groups use dynamic images and quality musical production to engage in cultural work that culminates the kind of global form of crossover pioneered by Black American music producers. Korean R&B artists, with a focus on vocals, take the R&B tradition beyond the Black-white binary, and Korean hip-hop practitioners use sampling and live instrumentation to promote R&B’s innovative music aesthetics. K-pop artists also cite elements of African American performance in Korean music videos that disrupt limiting representations. K-pop’s citational practices reveal diverse musical aesthetics driven by the interplay of African American popular music and Korean music strategies. As a transcultural fandom, global fans function as part of K-pop’s music press and deem these citational practices authentic. Citational practices also challenge homogenizing modes of globalization by revealing the multiple cultural forces that inform K-pop.

Epilogue

2017 ◽  
Author(s):  
Miles White
Keyword(s):  
Black Male ◽  
Hip Hop ◽  
American Culture ◽  
Black American ◽  
Male Body ◽  
American Power ◽  
Hip Hop Culture ◽  
Mediated Images

This concluding chapter examines how, in the post-MTV world of video culture and the post-hardcore rap world of commodity thugs, mediated images of the black male body remain a fantasy of masculine desire that encapsulates extreme alternatives of heroism and villainy for white and other youth who often have few other references for black American culture. It reiterates on the conclusions drawn from the previous chapters; and furthermore examines the implications of Barack Obama's 2008 electoral victory, his engagement and association with hip-hop culture, his triumph over American power expressed through whiteness, and his overall role as what the author here terms as “the first hip-hop president.”

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