scholarly journals “The Ultimate Drive by”: Racionais MC’s, Ice Cube, and the Pursuit of Blackness

2021 ◽  
Vol 23 (43) ◽  
pp. 42-55
Author(s):  
Paulo Dutra
Keyword(s):  
Hip Hop ◽  
Black People ◽  
Public Policies ◽  
Artistic Expression ◽  
Ice Cube ◽  
Hip Hop Music ◽  
The Usa

Abstract: Considering that hip-hop music is the foremost contemporary artistic expression of Black lives I discuss American rapper Ice Cube’s track “I wanna Kill Sam” and Brazilian group Racionais Mc’s’s track “Racistas otários”. The two tracks have in common the fact that they address the experiences of Black people through their relationship with public policies and institutions that claim to promote the emancipation of Black people in Brazil and in the USA. I, then, demonstrate that the Racionais and Ice Cube symbolically (re)dimension contemporary “Blackness” as a result of the constant physical and symbolic clashes that started back in the slavery regime.

Reifying Contemporary Versions of Liquified Racism: Black Representation in Competitive Swimming

2021 ◽  
pp. 019372352110121
Author(s):  
Anthony C. Peavy ◽  
Emilee T. Shearer
Keyword(s):  
Content Analysis ◽  
Racial Discrimination ◽  
Black People ◽  
Division I ◽  
Women's College ◽  
Competitive Swimming ◽  
Black Representation ◽  
Critical Content ◽  
The Usa ◽  
Racial Hierarchies

Throughout history, water as a tool for racialized oppression has been in constant evolution. From utilizing water as a passage to transport slaves, to using fire hoses as a form of punishment toward Black people, liquified racism is a concept we coined to represent past and present racial discrimination through the use of water. In this paper, we conducted a critical content analysis of the USA swim team and the swim team pages of the top ten Division I men’s and women’s college swimming programs to uncover how liquified racism is prominent within these contexts. Findings suggest that Blackness is racialized, tokenized, and perpetually silenced on swimming websites. We argue that Black individuals lacking representation in this sport, along with discourse surrounding competitive swimming, ultimately promotes whiteness, racial hierarchies, and an illusion of postracism.

The Black Lives Matter movement: A call to action: Acts 10:11–16, 25–28, 34–35

2017 ◽  
Vol 114 (3) ◽  
pp. 347-356 ◽  
Author(s):  
J. Alfred Smith
Keyword(s):  
Police Officers ◽  
Black People ◽  
White Supremacy ◽  
Call To Action ◽  
Black Lives Matter ◽  
The Usa ◽  
Black Life ◽  
Black Christians ◽  
American Society ◽  
Justice Movements

The Black Lives Matter movement is one of the most dynamic social justice movements currently emerging in the USA. This movement led by young Blacks unapologetically calls out the shameful, historical legacy of American racism and White supremacy while asserting the humanity and sacredness of Black lives, particularly those of unarmed persons senselessly murdered by police officers. While Black Lives Matter is a new movement, it is also an extension of the 400-year struggle of Black people in America to affirm Black dignity, equality, and human rights, even while the major institutions of American society have propagated doctrines and enforced unjust rules/laws to denigrate Black life. Black Christians have found hope and inspiration from the Gospel to claim their humanity and to struggle to gain justice for Black lives and for the lives of all oppressed people. In addition, the Black Lives Matter movement provides a helpful critique of many Black churches, challenging them to confront their biases, which label young Black males as “thugs” (the new N-word) and which cruelly demonize the LGBTQ community. The story of Peter and Cornelius in Acts 10 provides a scriptural basis for Christian introspection and responses to God’s vision for beloved community, and for the call to action from the Black Lives Matter movement.

scholarly journals Waikīkī: A paradisiac‐parasitic pacific paradise

2021 ◽  
Vol 2 (1) ◽  
pp. 2.1-2.12
Author(s):  
Daniel Kauwila Mahi
Keyword(s):  
Hip Hop ◽  
The People ◽  
Feature Lines ◽  
The World ◽  
Hip Hop Music ◽  
The Way

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.

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

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.

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.

Sign in / Sign up

Export Citation Format

Share Document