The New Hip-Hop Generation of China

2020 ◽  
pp. 75-91
Author(s):  
Yehan Wang
Keyword(s):  
Hip Hop ◽  
Hip Hop Culture ◽  
Mainstream Media ◽  
Media Companies ◽  
Reality Show ◽  
Youth Subcultures ◽  
Subway Stations ◽  
Mainstream Culture

In 2017, an online reality show single-handedly ignited China's passion for hip hop, garnering more than 2.5 billion views and ensuring stardom for its contestants. Prior to this, Chinese hip-hop culture was only an “underground culture”; a small number of people sang in subway stations, not in mainstream media or culture. Based on research into the concept of “post-subculture” and the Birmingham school's theory of youth subcultures, this research takes the TV music show The Rap of China as an exemplary case study and explores how media companies make use of power emerging from fandom to “break the rules” of the traditions of mainstream culture in China. Through online observations of hip-hop songs and artists as well as interviews of hip-hop fans, this research explores the identities constructed in the age of consumerism and how new hip-hop generation fans perceive hip-hop culture.

Rap in Greece: Gendered configurations of power in-between the rhymes

2018 ◽  
Vol 4 (2) ◽  
pp. 205-222 ◽  
Author(s):  
Alkisti Efthymiou ◽  
Haris Stavrakakis
Keyword(s):  
Hip Hop ◽  
Rap Music ◽  
Gender Norms ◽  
The Political ◽  
Political Resistance ◽  
Hip Hop Culture ◽  
Sexist Language ◽  
Everyday Experiences ◽  
New Generation ◽  
Mainstream Culture

Hip hop culture in Greece – and especially rap music – seems to be going through a period of bloom. Since 2010, a new generation of Greek-based non-commercial rap artists has surged in popularity, making rhymes and tunes about their everyday experiences (drugs, sex, nightlife, violence, poverty), while self-producing their records and maintaining a critical stance towards mainstream culture and media. In the lyrics of most artists of the genre, misogynist and homophobic assumptions are frequently reproduced, despite the rappers’ expressed militancy against all forms of authority. The article examines this dissonance – created when sexist language is employed in critiques against power – and traces the intersections of gender, sexuality and political resistance within contemporary non-commercial rap in Greece. The authors focus on the produced masculinities and femininities, on the political subjects interpellated by the lyrics and on points of destabilizing regulatory gender norms. More specifically, they highlight the ways in which heteronormative masculinity is reinforced (even) in ‘politically conscious’ Greek-speaking rap and, within the same music genre, we look for its undoing.

This Is Not a Drill: Towards a Sonic and Sensorial Musicriminology

2021 ◽  
pp. 174165902110306
Author(s):  
Murray Lee
Keyword(s):  
United States ◽  
Hip Hop ◽  
Significant Contribution ◽  
The United States ◽  
Cultural Criminology ◽  
Street Life ◽  
Mainstream Media ◽  
The United Kingdom ◽  
Cultural Order

The first half of this article makes that case for, and develops, a preliminary conceptual framework for a ‘musicriminology’. A response to recent provocations for a more sensorially orientated criminology, and more general appeals for cultural criminology to engage rigorously with popular music and sound, a musicriminology could constitute significant contribution to the cultural criminological field. The article proposes two key conceptual themes, culture and co-production that underpin such a framework. Into these broad ( Double-C) themes are incorporated theories of the cultural, material, aesthetics, sonics, and the sensorial. The second half of the article uses drill music, a subset of rap or hip-hop music, as a case study. The focus is on the popular western Sydney drill group OneFour, who have recently been subject to police attempts to suppress them on the basis that their lyrics ‘incite violence’. With dark, nihilistic and sometimes violent lyrics typically narrating street life, drill is often characterised by performers’ relationship to place –groups are sometimes even named after their postcode. In the United States, the United Kingdom, and Australia drill music has attracted the attention of police, politicians, and mainstream media for artists’ alleged relationship to street-based violence. The article suggests that OneFour’s music challenges an accepted aesthetic and cultural order. However, somewhat ironically the group has become more popular as a result of police attempts to criminalise them and to re-assert such an order.

scholarly journals Brotherhood and Hip-Hop: The Case of Chinese Hip-Hop Club Triple H

SAGE Open ◽  
2021 ◽  
Vol 11 (4) ◽  
pp. 215824402110615
Author(s):  
Xi Chen ◽  
Yazhou Tong ◽  
Jinsheng Zhang
Keyword(s):  
Hip Hop ◽  
New Approach ◽  
Hip Hop Culture ◽  
Triple H

After hip-hop increased in popularity in Chinese entertainment programs, different perceptions of hip-hop in China reflected a clash of various thinking patterns among audiences, with hip-hop club Triple H on the cusp of controversy. Taking Triple H as a case study, this paper aims to explore how emotional attachments influence the development of Chinese hip-hop clubs in post-subculture. The findings indicated that the brotherhood rooted in hip-hop culture has been reshaped by the hybridity of Chinese hip-hop featuring fraternity mixed with sensitivity, loyalty filled with controversy, and heroism heightened by diversity. This paper argues that the recurring theme of “brotherhood” contributing to the charisma of Chinese hip-hop clubs cannot be partially interpreted as either gangster love or an underground bond, which gives rise to a new approach to the notion of authenticity, with hip-hop interpreted as a distinctive lifestyle.

scholarly journals PIPELINES AND TIGHT RHYMES: VIRTUAL MEDIA AND HIP-HOP IN JAPAN & NEW ZEALAND

2021 ◽  
Author(s):  
◽  
Andrew William Peter Witty
Keyword(s):  
New Zealand ◽  
Hip Hop ◽  
Virtual Communities ◽  
Driving Forces ◽  
Virtual Networks ◽  
Global Networks ◽  
Hip Hop Culture ◽  
American Experience ◽  
English Speaking ◽  
Mainstream Culture

<p>This thesis looks at hip-hop as a contemporary pop cultural phenomena and its relationship with media in the construction of underground hip-hop communities in Japanese and New Zealand settings. My work on hip-hop in Japan illustrates how global networks influence a traditionally mono-cultural society reckoning with a style connected to African-American experience. A New Zealand setting illustrates how virtual networks allow connections to wider hip-hop culture from a geographically isolated setting and legitimises the local scene. In looking at both settings side-by-side, this thesis underscores the various ways that virtual networks and their increased visibility are used contemporaneously in the construction of local hip-hop scenes as a tool to understand and promote hip-hop music. Based on a mix of virtual fieldwork, fieldwork in New Zealand, as well as fieldwork in Japan, this thesis shows that questions of authenticity in hip-hop have become more complex through different manifestations of hip-hop culture that challenge traditional understandings of the genre’s meaning. This is a result of the varying levels of user-agency in virtual networks. In a Japanese setting, we see an increased importance placed on virtual networks, allowing hip-hop fans and musicians alike to be part of the immediate conversation. Language barriers to hip-hop’s dominant English vernacular mean that this conversation is generally filtered through the most dominant networks and ‘mainstream’ culture. These impressions of hip-hop are the driving forces of style for the Japanese scene, leading to a collapse of the dichotic underground/mainstream divide seen in the earlier generations of Japanese hip-hop. In a New Zealand setting, virtual networks are used to connect with English speaking hip-hop musicians overseas, allowing musicians to operate in ‘underground’ virtual communities that are not physically manifested in New Zealand. By drawing attention to the ways that hip-hop culture is formed, legitimized, and understood in these two geographic and cultural settings, this thesis demonstrates that hip-hop culture exists in an integral relationship with virtual media and explores questions of appropriation, imitation, and authenticity.</p>

“Be Current, or You Become the Old Man”: Crossing the Generational Divide in Hip-Hop Education

2020 ◽  
pp. 004208592091435 ◽  
Author(s):  
Jason D. Rawls ◽  
Emery Petchauer
Keyword(s):  
Hip Hop ◽  
Youth Culture ◽  
Classroom Community ◽  
Personal Identification ◽  
Building Relationships ◽  
Hip Hop Culture ◽  
Large Segment ◽  
Hip Hop Education ◽  
Generational Divide

Hip-hop culture has been an influential force on a large segment of this generation’s teachers and a tool for building relationships with students. The contemporary hip-hop of today’s generation differs from that of many hip-hop educators/pedagogues. This case study explored how one hip-hop generation teacher attempted to cross this generational divide rather than discount youth culture in the classroom. The findings of this study focus on how the teacher’s personal identification with hip-hop culture informed his relationships with students and how he drew from key narratives and ideas in hip-hop to communicate his views of his classroom community.

This Bridge Called Dubsmash

Renegades ◽  
2021 ◽  
pp. 37-50
Author(s):  
Trevor Boffone
Keyword(s):  
New York ◽  
Los Angeles ◽  
Hip Hop ◽  
American South ◽  
Hip Hop Culture ◽  
Digital Communities ◽  
Second Tier ◽  
The American South ◽  
Equity And Inclusion

This chapter analyzes the varied ways that Renegades build digital communities using Dubsmash and Instagram. It argues that online communities hold the potential to democratize access and reject coastal biases typically seen in popular US culture. The traditional entertainment centers of Los Angeles and New York City, while still important, are relegated to second-tier status behind cities such as Dallas, Houston, and Atlanta, in addition to less populated areas across the American South. By taking up digital space on an inclusive platform, Renegades re-center traditional scripts of community building, effectively demonstrating the necessity for culturally responsive communities. These Dubsmashers search for what is familiar and lay the groundwork for equity and inclusion from there, promoting a shared sense of values that enables a plurality of voices to rise to the top. The chapter uses the official Dubsmash Instagram account as a case study, unpacking the nuanced ways that Dubsmash promotes the work of its most well-known influencers alongside a growing set of Renegades who show brand loyalty by regularly engaging with the app and who promote this subset of hip hop culture through their micro-performances on Dubsmash. Specifically, this chapter explores the different ways that Dubsmash has used dance challenge and games to bring people together and further a sense of connection during the COVID-19 pandemic of 2020.

The Moral Priorities of Rap Listeners

2018 ◽  
Vol 18 (3-4) ◽  
pp. 312-342
Author(s):  
Kalonji L.K. Nzinga ◽  
Douglas L. Medin
Keyword(s):  
Hip Hop ◽  
Local Context ◽  
Moral Foundations ◽  
Good Person ◽  
Hip Hop Culture ◽  
Cultural Approach ◽  
Moral Socialization ◽  
The Status ◽  
Youth Subcultures

AbstractA cross-cultural approach to moral psychology starts from researchers withholding judgments about universal right and wrong and instead exploring what the members of a community subjectively perceive to be moral or immoral in their local context. This study seeks to identify the moral concerns that are most relevant to listeners of hip-hop music. We use validated psychological surveys including the Moral Foundations Questionnaire (Graham, Haidt, & Nosek 2009) to assess which moral concerns are most central to hip-hop listeners. Results show that hip-hop listeners prioritize concerns of justice and authenticity more than non-listeners and deprioritize concerns of respecting authority. These results suggest that the concept of the “good person” within hip-hop culture is fundamentally a person that is oriented towards social justice, rebellion against the status quo, and a deep devotion to keeping it real. Results are followed by a discussion of the role of youth subcultures in moral socialization.

scholarly journals FASHION AND COMMODIFICATION: AN ANALYSIS ON THE GLOBAL PHENOMENON OF SUPREME

2021 ◽  
Vol 8 (2) ◽  
pp. 153
Author(s):  
Winda Eka Pahla Ayuningtyas ◽  
Galant Nanta Adhitya
Keyword(s):  
Hip Hop ◽  
Global Information ◽  
Case Study Method ◽  
Cultural Products ◽  
Hip Hop Culture ◽  
Cultural Boundaries ◽  
The World ◽  
Technological Developments ◽  
Limited Edition

Globalization is the global information spread and people interconnectivity. It is driven by technological developments in transportation and communication, removing cultural boundaries among nations. Cultural differences are increasingly less tangible and visible in all cultural products, including in fashion. Due to globalization, fashion brands that originate in a certain country can open stores across multiple continents. The invention of the Internet further widens their accessibility by consumers in any part of the world. However, globalization also brings an affordability gap between the upper and the lower classes. Nonetheless, fashion brands can also take advantage of this economic difference in appealing to their consumers. One of those brands is Supreme. Founded in 1994, it became the most sought-after hypebeast brand among street-fashion enthusiasts worldwide. How do they do it in less than 30 years is interesting to analyze. To answer this objective, this article is conducted from the cultural studies standpoint and the case study method. There are three formulas of positioning it adopts in order to grow globally: (1) the commodification African-American community, (2) the use of celebrity endorsement, and (3) the hype of limited-edition releases. Supreme sells oversized streetwear, heavily influenced by Hip-hop culture, a music genre rooted in the lives of African Americans. The brand makes use of celebrities, especially rappers, to endorse its clothes and accessories. It also continually makes headlines by releasing limited-edition products as well as collaborating with well-known figures and brands.

scholarly journals PIPELINES AND TIGHT RHYMES: VIRTUAL MEDIA AND HIP-HOP IN JAPAN & NEW ZEALAND

2021 ◽  
Author(s):  
◽  
Andrew William Peter Witty
Keyword(s):  
New Zealand ◽  
Hip Hop ◽  
Virtual Communities ◽  
Driving Forces ◽  
Virtual Networks ◽  
Global Networks ◽  
Hip Hop Culture ◽  
American Experience ◽  
English Speaking ◽  
Mainstream Culture

<p>This thesis looks at hip-hop as a contemporary pop cultural phenomena and its relationship with media in the construction of underground hip-hop communities in Japanese and New Zealand settings. My work on hip-hop in Japan illustrates how global networks influence a traditionally mono-cultural society reckoning with a style connected to African-American experience. A New Zealand setting illustrates how virtual networks allow connections to wider hip-hop culture from a geographically isolated setting and legitimises the local scene. In looking at both settings side-by-side, this thesis underscores the various ways that virtual networks and their increased visibility are used contemporaneously in the construction of local hip-hop scenes as a tool to understand and promote hip-hop music. Based on a mix of virtual fieldwork, fieldwork in New Zealand, as well as fieldwork in Japan, this thesis shows that questions of authenticity in hip-hop have become more complex through different manifestations of hip-hop culture that challenge traditional understandings of the genre’s meaning. This is a result of the varying levels of user-agency in virtual networks. In a Japanese setting, we see an increased importance placed on virtual networks, allowing hip-hop fans and musicians alike to be part of the immediate conversation. Language barriers to hip-hop’s dominant English vernacular mean that this conversation is generally filtered through the most dominant networks and ‘mainstream’ culture. These impressions of hip-hop are the driving forces of style for the Japanese scene, leading to a collapse of the dichotic underground/mainstream divide seen in the earlier generations of Japanese hip-hop. In a New Zealand setting, virtual networks are used to connect with English speaking hip-hop musicians overseas, allowing musicians to operate in ‘underground’ virtual communities that are not physically manifested in New Zealand. By drawing attention to the ways that hip-hop culture is formed, legitimized, and understood in these two geographic and cultural settings, this thesis demonstrates that hip-hop culture exists in an integral relationship with virtual media and explores questions of appropriation, imitation, and authenticity.</p>

scholarly journals Hip-Hop Culture: A Case Study of Beats by Dre for Entrepreneurship

2019 ◽  
Vol 5 ◽  
pp. 1
Author(s):  
Daryl D. Green ◽  
Braden Dwyer ◽  
Sinai G. Farias ◽  
Cade Lauck ◽  
JoziRose Mayfield ◽  
...  
Keyword(s):  
College Students ◽  
Hip Hop ◽  
Business Professionals ◽  
Business World ◽  
Hip Hop Culture ◽  
Entrepreneurial Spirit ◽  
Mind Set

This case study examines Beats by Dr. Dre on how to infuse the entrepreneurial spirit in today’s college students, given the backdrop of hip-hop culture. In more than 10 years, the legendary music record producer Jimmy Iovine and hip-hop icon Dr. Dre has turned a small subculture success into a multibillion-dollar business. With that growth of Beats by Dre, there are opportunities for universities to learn from this company. Through the lens of hip-hop, readers can observe the characteristics of effective entrepreneurship, which is essential for success in the business world. The result of this investigation is significant because the results can better assist scholars and practitioners on how to inject the entrepreneurial mind-set in young business professionals.

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