scholarly journals Condom Use and Hip Hop Culture: The Case of Urban Young Men in New York City

2008 ◽  
Vol 98 (6) ◽  
pp. 1081-1085 ◽  
Author(s):  
Miguel A. Muñoz-Laboy ◽  
Daniel H. Castellanos ◽  
Chanel S. Haliburton ◽  
Ernesto Vasquez del Aguila ◽  
Hannah J. Weinstein ◽  
...  
Keyword(s):  
New York ◽  
New York City ◽  
Condom Use ◽  
York City ◽  
Hip Hop ◽  
Young Men ◽  
Hip Hop Culture

Abstract T P390: Baseline Stroke Knowledge of 4th-6th Grade Children in New York City Public Schools Has No Appreciable Trend from 2005-2014

Stroke ◽  
2015 ◽  
Vol 46 (suppl_1) ◽  
Author(s):  
James M Noble ◽  
Cailey Simmons ◽  
Mindy F Hecht ◽  
Olajide Williams
Keyword(s):  
New York ◽  
New York City ◽  
Public Schools ◽  
Real World ◽  
York City ◽  
Hip Hop ◽  
Expected Value ◽  
Stroke Symptom ◽  
Stroke Diagnosis ◽  
Stroke Knowledge

Background and Purpose: To examine whether the baseline stroke knowledge of children in schools participating in our Hip Hop Stroke program has changed since its inception in late 2005. Methods: We gathered baseline stroke knowledge surveys from 2,839 students enrolled in the Hip Hop Stroke program from November 2005 through April 2014 with median annual enrollment of 344 (range 55 to 582). All students were enrolled in New York City public schools, in 4th through 6th grade. Students who left ≥3 questions blank were discarded; other blank answers were treated as missing. Data were analyzed using binomial, Chi-Square and regression analysis (SPSS v22.0). Results: Overall there was no consistent trend in baseline stroke knowledge by academic year. Overall, 28.4% of students recognized stroke occurred in the brain (expected value 25% [p<0.001], range from 13.8-61.2% for any given year). With stroke diagnosis provided, 85.5% of 1436 students knew to call 911, whereas only 59.6% of 1243 students knew to call 911 when given a hypothetical real-world stroke symptom scenario without stroke diagnosis included, p<0.001. For a composite assessment of knowledge including 4 stroke symptoms (blurred vision, facial droop, sudden headache, slurred speech), 1 distractor (chest pain), and urgent action plan (call 911), asked consistently since 2006, overall students scored a mean 2.86 (95% CI: 2.80-2.92; possible range 0-6, expected value 2.75), with annual scores ranging from 2.54-3.56. Conclusion: Stroke knowledge among elementary school students remains low and has not appreciably changed during the last 9 years. The use of hypothetical real-world stroke symptom scenarios may more accurately reflect intent to call 911 for stroke than the use of questions in which stroke diagnosis is given.

scholarly journals Bisexual desire and familism: Latino/a bisexual young men and women in New York city

2009 ◽  
Vol 11 (3) ◽  
pp. 331-344 ◽  
Author(s):  
Miguel Muñoz‐Laboy ◽  
Carmen Juana Yon Leau ◽  
Veena Sriram ◽  
Hannah Jean Weinstein ◽  
Ernesto Vasquez del Aquila ◽  
...  
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Young Men ◽  
Men And Women

“Shine Your Light on the World”

2014 ◽  
Author(s):  
Rosemary Candelario
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Hip Hop ◽  
Gender Ideology ◽  
Dance Studies ◽  
The World ◽  
Utopian Community

In 2004, comedian Dave Chappelle brought residents of Yellow Springs, Ohio, and New York City together in Bedford-Stuyvesant, Brooklyn, for a hip-hop block party featuring a roster of socially engaged rap and neo-soul artists. This chapter argues that the 2006 film of the concert,Dave Chappelle’s Block Party, directed by Michel Gondry, endeavors to construct a utopian community centered on the birthplace of hip-hop. Employing dance studies methodologies to examine a non-dance event, this article attends to the choreography of the block, the party attendees and performers, and their spontaneous solo and group gestures and movements at the block party. Such an approach emphasizes the corporeality of the concert performers and attendees and allows an examination of their bodily signification in terms of race, gender, ideology, power, and ultimately the nation.

scholarly journals The Intertextuality and Translations of Fine Art and Class in Hip-Hop Culture

Arts ◽  
2018 ◽  
Vol 7 (4) ◽  
pp. 80 ◽  
Author(s):  
Adam de Paor-Evans
Keyword(s):  
New York ◽  
New York City ◽  
Cultural Values ◽  
Hip Hop ◽  
Fine Art ◽  
Hip Hop Culture ◽  
Class System ◽  
New Form ◽  
Political Act ◽  
Primary Form

Hip-hop culture is structured around key representational elements, each of which is underpinned by the holistic element of knowledge. Hip-hop emerged as a cultural counter position to the socio-politics of the urban condition in 1970s New York City, fuelled by destitution, contextual displacement, and the cultural values of non-white diaspora. Graffiti—as the primary form of hip-hop expression—began as a political act before morphing into an artform which visually supported the music and dance elements of hip-hop. The emerging synergies graffiti shared with the practices of DJing, rap, and B-boying (breakdancing) forged a new form of art which challenged the cultural capital of music and visual and sonic arts. This article explores moments of intertextuality between visual and sonic metaphors in hip-hop culture and the canon of fine art. The tropes of Michelangelo, Warhol, Monet, and O’Keefe are interrogated through the lyrics of Melle Mel, LL Cool J, Rakim, Felt, Action Bronson, Homeboy Sandman and Aesop Rock to reveal hip-hop’s multifarious intertextuality. In conclusion, the article contests the fallacy of hip-hop as mainstream and lowbrow culture and affirms that the use of fine art tropes in hip-hop narratives builds a critical relationship between the previously disparate cultural values of hip-hop and fine art, and challenges conventions of the class system.

Crews and Outside Influences

2017 ◽  
Author(s):  
Joseph C. Ewoodzie
Keyword(s):  
New York ◽  
New York City ◽  
Social Organization ◽  
Empirical Evidence ◽  
York City ◽  
Hip Hop ◽  
External Factors ◽  
Internal Logic ◽  
The Impact ◽  
Important Form

Chapter 4 adds more empirical evidence about how new actors became part of the scene. More particularly, it explains how actors came together to form DJing and MCing crews, an important form of social organization in the nascent hip hop world. It shows that the number of members in each crew, the required skills and responsibilities of each member of the crew, the styles of their performance, the venues of shows, and attire all came to hold great significance for the internal logic of the emerging entity. Additionally, it examines external factors that shaped conventions. It investigates the significance of performance routines and fashion and the impact of the New York City blackout of 1977. Further, it discuss how the term “hip hop” itself became adopted as the name for the scene, something that, surprisingly, previous historians of hip hop have ignored.

HIV Testing in a New York City Sample of Gay, Bisexual, and Other Young Men Who Have Sex with Men

2011 ◽  
Vol 23 (3) ◽  
pp. 411-427 ◽  
Author(s):  
Daniel E. Siconolfi ◽  
Perry N. Halkitis ◽  
Robert W. Moeller ◽  
Staci C. Barton ◽  
Sandra M. Rodriguez
Keyword(s):  
New York ◽  
New York City ◽  
Hiv Testing ◽  
York City ◽  
Young Men ◽  
Sex With Men

Knowledge and Use of Pre-Exposure Prophylaxis Among an Online Sample of Young Men Who Have Sex with Men in New York City

2013 ◽  
Vol 17 (6) ◽  
pp. 2180-2184 ◽  
Author(s):  
Katherine B. Rucinski ◽  
Nana P. Mensah ◽  
Kent A. Sepkowitz ◽  
Blayne H. Cutler ◽  
M. Monica Sweeney ◽  
...  
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Young Men ◽  
Sex With Men ◽  
Exposure Prophylaxis
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