South Bronx DJs vs. Other DJs

2017 ◽  
Author(s):  
Joseph C. Ewoodzie
Keyword(s):  
Hip Hop ◽  
Social Worlds ◽  
The South ◽  
South Bronx ◽  
Skill Sets ◽  
The Social ◽  
The City

This chapter’s first section, introduces two new actors, Afrika Bambaataa and Grandmaster Flash, both of whom followed in the footsteps of Kool DJ Herc. It provides their biographical portraits and discuss how they became established DJs in the South Bronx. It present the different skill-sets they brought with them. It further discusses the importance, at least for Herc and Bambaataa, of graffiti writing. The chapter then takes the reader to Harlem, Brooklyn, and Queens to examine the DJing scene in these other locales. The stories included here, for the most part, have never been published, and thus have never been part of popular narratives about how hip hop emerged. Nevertheless, they are crucial because they illuminate the social worlds against which the South Bronx DJs defined themselves. The final portion of the chapter identifies the bases on which the South Bronx scene opposed itself to those of other parts of the city: (a) break-centered DJing versus song-centered DJing; (b) bigger, more established, and more lucrative venues versus smaller, less established, and less lucrative venues; (c) dancing with a partner versus competitive break dancing; (d) twenty-one-and-older audiences versus twenty-one-and-under audiences; and (e) formal attire, including suits and dresses, versus less formal attire, including jeans and sneakers.

Sampling Myth

2018 ◽  
pp. 1-23
Author(s):  
Catherine M. Appert
Keyword(s):  
Hip Hop ◽  
The Other ◽  
The South ◽  
South Bronx ◽  
Musical Genre ◽  
The Social ◽  
Musical Gesture ◽  
Origin Myths ◽  
Ethnographic Analysis

This chapter traces how the stories people tell through and about hip hop produce diasporic connections. It introduces two fundamental and interlinked origin myths that are central to how music means in Senegalese hip hop (Rap Galsen). One connects hip hop to griots and indigenous oralities; the other centers on the South Bronx and urban marginalization. It argues that analyzing hip hop within specific local musical histories complicates frameworks of resistance in global hip hop studies. Rather than objectifying the sounds of hip hop or reducing them to a medium of resistance, it approaches hip hop meaning through an ethnographic analysis of musical genre that examines the social significances of sound and musical gesture. It shows how hip hop’s aural palimpsests relate to strategic practices of memory.

Movimiento Hip Hop en Ciudad de Punta Arenas. / Hip Hop Culture in Punta Arenas

2014 ◽  
Vol 3 (06) ◽  
pp. 67-81
Author(s):  
Pablo Tascón España
Keyword(s):  
Social Sciences ◽  
Young People ◽  
Social Structure ◽  
Cultural Change ◽  
Hip Hop ◽  
Hip Hop Culture ◽  
Current Action ◽  
The Social ◽  
Historical Root ◽  
The City

El presente estudio busca comprender bajo un enfoque naturalista cómo en un periodo denominado por autores de las Ciencias Sociales ( Bajoit, 2009; Sandoval, 2010) de “cambio cultural”, emerge el movimiento Hip Hop y su particular forma de expresión en la ciudad de Punta Arenas. La investigación tiene un objetivo central y busca interpretar la relación entre la expresión contracultural y los jóvenes que son parte de tal, como así también sus significados respecto al ser actores del mismo. La investigación pretende identificar, entonces, la lógica de acción actual de los jóvenes y a su vez dilucidar si existe relación o no con la raíz histórica del movimiento Hip Hop, es decir una expresión de disidencia en razón de la estructura social establecida y las contradicciones que afloran de la misma. The following study aims to understand under the naturalist approach how in a period called for authors of the social sciences (Bajoit, 2009; Sandoval, 2010) of “cultural change”, emerges the Hip Hop movement and its particular form of expression in the city of Punta Arenas. The research has a main objective and seeks to interpret the relation between the expression counterculture and the young people that are part of it, likewise the meaning concerning to be actors of it. The research pretends to identify the logic of current action of the youngsters and at the same time elucidate if there is a relation or not with the historical root of the movement “Hip Hop”, i.e. an expression of dissent aiming with the social structure established and the contradictions that came out from itself.

scholarly journals Perlindungan Hukum dari Negara Terhadap Masyarakat Fakir Miskin Menurut Konsep Welfare State (Studi Pengentasan Kemiskinan Masyarakat di Kota Palembang)

2020 ◽  
Vol 5 (2) ◽  
pp. 269
Author(s):  
Muhammad Zainul Arifin ◽  
Muhammad Syahri Ramadhan ◽  
Happy Warsito ◽  
Ardian Nugraha
Keyword(s):  
Welfare State ◽  
Social Service ◽  
Poverty Reduction ◽  
Poor People ◽  
The South ◽  
Indonesian Government ◽  
The Poor ◽  
The Social ◽  
The Right ◽  
The City

The process of implementing the concept of a welfare state by the Indonesian government towards its people is a problem of poverty. The number of needy people in Indonesia is enormous. This is what underlies poverty to be considered a serious problem so that the Indonesian government provides specific regulations related to poverty handling through the issuance of Law no. 13 of 2001 concerning Management of the Poor. In the South Sumatra region, particularly the city of Palembang itself, the problem of poverty is a big task that must be faced by regional officials and other related agencies. The Social Service of South Sumatra Province stated that Palembang City was the city with the highest number of poor people compared to other districts / cities in South Sumatra. This of course requires the right policies in handling it, one of which is through the issuance of the Regional Regulation of South Sumatra Province Number 7 of 2017 concerning poverty reduction in South Sumatra

Conclusion

2017 ◽  
Author(s):  
Joseph C. Ewoodzie
Keyword(s):  
Social Order ◽  
Hip Hop ◽  
Theoretical Framework ◽  
Academic Disciplines ◽  
Racial Groups ◽  
The South ◽  
South Bronx ◽  
Popular Narrative ◽  
The World ◽  
Rock N Roll

The first section provides includes an assessment of what can be added to our understanding of how hip hop started. It points especially to areas for in which more data are needed. It also provides sketches of how one might use the theoretical framework developed in this work to study the evolution of hip hop beyond the 1970s. The second section concerns how the theoretical arguments in this book can go beyond the world of hip hop and be put to use in studies of the birth of similar entities, such as other musical forms (rock n’ roll or jazz), professions, academic disciplines, racial groups, and nations. The final sections of the chapter presents the substantive implications of this work. As opposed to the popular narrative that portrays life in the South Bronx during the 1970s as the quintessence of social and personal disorganization, the story of hip hop shows that, at least among youth, the South Bronx was a place of creative vibrancy with its own form of social order. It argues that, if we look closely, we shall see that other American ghettoes also exhibited (and continue to exhibit) such vivacity.

scholarly journals Battling in the Bronx: Social Choreography and Outlaw Culture Among Early Hip-Hop Streetdancers in New York City

2018 ◽  
Vol 50 (2) ◽  
pp. 62-75 ◽  
Author(s):  
Imani Kai Johnson
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Hip Hop ◽  
Growing Up ◽  
The South ◽  
South Bronx ◽  
Life Lessons ◽  
Social Choreography ◽  
The Impact

This article closely examines oral histories of b-boys Aby and Kwikstep, b-girl Baby Love, and poppers Cartoon and Wiggles, and the social choreography necessary to navigate the streets of the South Bronx in the 1970s and 1980s that has an indelible link to four core battling principles as articulated by 1970s b-boy Trac2: survivalism, strategizing, nomadism, and illusionism. By comparing and contrasting foundational elements of battling techniques with life lessons about growing up in the Bronx, the comparison signals the impact of “outlaw culture” within hip-hop, and the counterdominant sensibilities taught in battle cyphers.

scholarly journals A Question of Race: Ana Tijoux’s album Vengo

2021 ◽  
pp. 203-222
Author(s):  
Laurence De Backer
Keyword(s):  
Hip Hop ◽  
The South ◽  
Subject Positions ◽  
Political Subject ◽  
The Social ◽  
To Come ◽  
Racial Hierarchies ◽  
Ways Of Being

This article hones in on the question of ‘race’ in hip-hop artist Ana Tijoux’s album Vengo (2014), which anticipates, in a musical format, the social demands which would emerge years later in Chile’s Estallido Social. More specifically, it dissects the ways in which this socially-engaged rapper transcodes (Hall, “Representation” 270) the racialized categories of ‘indio’ and ‘the south’ from a position of colonial difference (Mignolo 61). I argue that, by adopting this subversive and historicizing semiotic strategy, she casts these oppressive labels into productive political subject positions from which to level received racial hierarchies rooted in colonialism and reinforced by neoliberalism. They offer the individuals who are classified as such a blueprint to mobilize themselves and enact alternative ways of being; to come up for their rights; and to resist the inequalities that are perpetuated and naturalized by a system of organization which ranks them as inferior.

Creating Conventions

2017 ◽  
Author(s):  
Joseph C. Ewoodzie
Keyword(s):  
Hip Hop ◽  
The South ◽  
South Bronx ◽  
Internal Logic ◽  
Vital Part

If Part One of this book described the beginnings of a new entity, this second part describes how it coalesced. If the former showed how sites of difference developed and how proto-boundaries formed, the latter discusses how a certain set of relations and proto-boundaries became longer lasting. Chapter 3 argues that boundaries become more durable when an internal logic develops within them. It shows that some conventions were intentionally introduced from within the scene; some came from inside the scene but were the result of accidents; some came from outside but were intentionally incorporated; and some were imposed on the scene from changes in the surrounding context. The empirical details of these arguments about the making of hip hop include an exploration of how scratching was invented; how security crews became important; how MCing emerged as a vital part of South Bronx parties; how hustlers became part of the scene; and how DJs and MCs competed with one another for recognition in the South Bronx. Further, I show how, with the entrée of new actors, certain attributes of the emerging entity became standard while others died off.

Herc: The New Cool in the Bronx

2017 ◽  
Author(s):  
Joseph C. Ewoodzie
Keyword(s):  
Social Environment ◽  
Hip Hop ◽  
Historical Context ◽  
Social Activities ◽  
South Bronx ◽  
Historical Figures ◽  
The Social ◽  
Historical Role

Chapter 1 presents an overview of the historical context in which hip hop emerged. The first section describes the social and economic context of the South Bronx during the 1970s, drawing on scholarship from history and sociology, journalistic accounts, and historical documentaries. The second section provides story lines about the most popular social activities engaged in by youth at the time: graffiti-writing, DJing, and dancing. The final section provides an explanation of how, within a chaotic social environment, these somewhat divergent social activities were linked together to begin forming the new entity. It also explores the historical role of Kool DJ Herc. By focusing on Herc, it demonstrates how sociologists can refrain from portraying actors as heroic and self-motivated yet still acknowledge their pivotal role as historical figures.

Sign in / Sign up

Export Citation Format

Share Document