How Brenda’s Baby Got California Love

2018 ◽  
Author(s):  
Marcus Anthony Hunter ◽  
Zandria F. Robinson
Keyword(s):  
Cultural Production ◽  
Hip Hop ◽  
Black People ◽  
Black Panther Party ◽  
Police Brutality ◽  
Black Music ◽  
Power Politics ◽  
Black Life ◽  
And Gender

Centering the lives, music, and experiences of Tupac Shakur and his mother, Afeni Shakur, this chapter explores the migration stories of black people across the Black Map through the lens of hip hop music, the Black Panther Party, the Up South, Out South, and West South. Emphasizing the importance of cultural production and black music, the authors highlight the role of race, place, police brutality, and gender in black life and politics. Focused on the connections across space and time, this chapter demonstrates the key role black power politics, police brutality, and hip hop in the politics and migrations of black people throughout the chocolate cities.

Bounce to the Chocolate City Future

2018 ◽  
Author(s):  
Marcus Anthony Hunter ◽  
Zandria F. Robinson
Keyword(s):  
Hurricane Katrina ◽  
Cultural Production ◽  
Black People ◽  
Forced Migration ◽  
Black Music ◽  
Deep South ◽  
Power Politics ◽  
Gender Nonconforming ◽  
Black Life

Centering the life, music, and experiences of New Orleans–based bounce music artist Big Freedia, this chapter explores the migration stories of black people across the Black Map through the lens of hip hop music, bounce music, gender-nonconforming peoples, Hurricane Katrina, Down South, and the Deep South. Emphasizing the importance of cultural production and black music, the authors highlight the role of race, place, music, forced migration, gender, and sexual orientation in black life and politics. Focused on the connections across space and time, this chapter demonstrates the key role black power politics, natural disasters, sexuality, and regional sounds in the politics and migrations of black people throughout the chocolate cities.

When and Where the Spirit Moves You

2018 ◽  
Author(s):  
Marcus Anthony Hunter ◽  
Zandria F. Robinson
Keyword(s):  
Black Women ◽  
Civil Rights ◽  
Civil Rights Movement ◽  
Women Of Color ◽  
Black People ◽  
Black Music ◽  
Soul Music ◽  
Black Life ◽  
And Gender

Centering the life, music, and experiences of Aretha Franklin, this chapter explores the migration stories of black women across the Black Map through the lens of soul music, the Mid-South, and during the civil rights movement. Emphasizing the importance of intersectionality, the authors highlight the role of race, place, and gender in black life and politics. Focused on the connections across space and time, this chapter demonstrates the key role black music and women of color play in the politics and migrations of black people throughout the chocolate cities.

Introduction1

2016 ◽  
Author(s):  
Njoroge Njoroge
Keyword(s):  
African Diaspora ◽  
Cultural Production ◽  
Ralph Ellison ◽  
Black Music ◽  
History Of ◽  
The Rich ◽  
Black Life ◽  
Source Of Information ◽  
Rich History

In those days it was either live with music or die with noise, and we chose rather desperately to live. —Ralph Ellison Black music has always been a tremendous source of information and inspiration for musicians, dancers, and music lovers. Listening to the music opens new worlds and windows onto the rich history of black music, society, and struggle in the circum-Caribbean, and provides a rich archive of the creative musical genius of the African diaspora. Music always expresses the interrelationships of movement, memory, and history, but this is preeminently true of the music of the African diaspora. This book uses music as both optic and focus, to examine and rethink both the modes of black cultural production and social formations in the African diaspora. The music has always been both an expression of “black” life and part of the philosophy that developed and emerged with that life, “as history and as art” (...

Black Cultural Production after Civil Rights

2019 ◽  
Keyword(s):  
Civil Rights ◽  
Civil Rights Movement ◽  
Cultural Production ◽  
Black People ◽  
Black Politics ◽  
Civil Rights Era ◽  
Black Liberation ◽  
Political Debates ◽  
Black Art ◽  
And Gender

Through its analysis of film, drama, fiction, visual culture, poetry, and other cultural -artifacts, Black Cultural Production after Civil Rights offers a fresh examination of how the historical paradox by which unprecedented civil rights gains coexist with novel impediments to collectivist black liberation projects. At the beginning of the 1970s, the ethos animating the juridical achievements of the civil rights movement began to wane, and the rise of neoliberalism, a powerful conservative backlash, the co-optation of “race-blind” rhetoric, and the pathologization and criminalization of poverty helped to retrench black inequality in the post-civil rights era. This book uncovers the intricate ways that black cultural production kept imagining how black people could achieve their dreams for freedom, despite abject social and political conditions. While black writers, artists, historians, and critics have taken renewed interest in the historical roots of black un-freedom, Black Cultural Production insists that the 1970s anchors the philosophical, aesthetic, and political debates that animate contemporary debates in African American studies. Black cultural production and producers help us think about how black people might achieve freedom by centralizing the roles black art and artists have had in expanding notions of freedom, democracy, equity, and gender equality. Black cultural production continues to engage in social critique and transformation and remains an important site for the (re)making of black politics.

The Two Ms. Johnsons

2018 ◽  
Author(s):  
Marcus Anthony Hunter ◽  
Zandria F. Robinson
Keyword(s):  
Black Women ◽  
Women Of Color ◽  
Black People ◽  
Gender Violence ◽  
Space And Time ◽  
Black Life

Centering the lives, experiences, and murders of transwomen activists Marsha P. Johnson and Duanna Johnson, this chapter explores the migration stories of black women across the Black Map. Emphasizing the importance of intersectionality, the authors highlight the role of race, gender violence, and homophobia in black life and politics. Focused on the connections across space and time, this chapter demonstrates the key role transwomen and women of color play in the politics and migrations of black people throughout the chocolate cities.

scholarly journals The evolving role of business in contributing to social justice in South Africa in terms of legislative measures

2016 ◽  
Vol 13 (2) ◽  
pp. 465-472 ◽  
Author(s):  
Karunanidhi Reddy
Keyword(s):  
South Africa ◽  
Black People ◽  
Race And Gender ◽  
Disadvantaged Communities ◽  
Goods And Services ◽  
The Social ◽  
Descriptive Approach ◽  
And Gender ◽  
Legislative Measures

Apartheid in South Africa has burdened the nation with high levels of poverty, illiteracy and other forms of social and economic inequality. The resultant challenges included discrimination on grounds of race and gender, which prevented much of the population from fair opportunities for business ownership and management, and securing senior jobs, as well as obtaining access to goods and services. Many businesses were closed to Black people and separate and inferior facilities were provided for them. Further, workplace discrimination was supported by the law. This article uses a descriptive approach to reveal, particularly in terms of the legislative measures introduced, the social responsibility of business in a transforming society, more especially the transformation of the historically disadvantaged communities.

Sino Caribbean Performance and Music

2020 ◽  
Author(s):  
Tzarina T. Prater
Keyword(s):  
Identity Formation ◽  
Cultural Production ◽  
Hip Hop ◽  
Historical Narratives ◽  
African Caribbean ◽  
Integral Role ◽  
Anglo American ◽  
Nationalism And Identity ◽  
Colonial Capitalism

Studying Sino Caribbean participation in the two cultural juggernauts of Caribbean cultural production, music and Carnival, reveals the vexed position of these modes of performance in relation to conventional historical narratives of colonialism, as well as struggles related to multiple and resilient essentialist discourses of nationalism and identity formation. The complex diasporic histories of music and Carnival are tied to violent exploitive labor formations at the core of colonial capitalism. Sino Caribbean experiences are marked by marginalization, conflict, and rebellion as well as acclimation, inclusion, and challenge to diasporic theories and critical praxis. This labor history is frequently ignored by cultural chauvinists whose critical lenses do not engage beyond the Anglo-American academic bastions. Outside of music aficionados and Caribbean communities, very few are familiar with the integral role of Sino Caribbean peoples in the production and dissemination of reggae, jazz, and by extension, hip-hop music. This historical and critical lacuna can be addressed by shifting away from Atlantic- and Pacific Rim–bound ideological articulations of diaspora that ignore the contiguities of African, Caribbean, and Asian experiences in the Caribbean, and by focusing on this history as integral to a greater understanding of colonial and neocolonial political and economic formations.

The impossibility of being Drake: Or, what it means to be a successful (Black) Canadian rapper

2020 ◽  
Vol 1 (1) ◽  
pp. 95-114 ◽  
Author(s):  
Alexandra Boutros
Keyword(s):  
Cultural Production ◽  
Hip Hop ◽  
The United States ◽  
Music Criticism ◽  
Public Performance ◽  
Discursive Analysis ◽  
Black Canadian ◽  
Imagined Nation ◽  
Discursive Constructions

This article takes Canadian hip hop artist Drake, his celebrity and his body of work as a point of departure for an examination of discursive constructions of race, hip hop and Canada in intersection. Canada’s role in the global hip hop movement has always been contested; circumscribed from abroad by its proximity to the United States and at home by its ideological positioning of Black citizens and Black cultural production vis-à-vis the imagined nation. Framed by broader questions of the role of hip hop in the Canadian public sphere, this discursive analysis analyses the work and utterances of Drake as well as discourses produced about Drake through music criticism and by other hip hop artists. Drake’s public performance of Blackness via hip hop is framed by overlapping and competing ideologies. Drake ‐ whose public persona seems to embody a number of seemingly competing identities ‐ is ‘impossible’ in so far as he is the product of intersecting, circulating conceptualizations of Blackness that render only some performances of Blackness both commercially viable and authentically hip hop, while others remain impossible, unacceptable, unutterable or unimaginable both inside and outside the nation state.

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.

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