Introduction

2020 ◽  
pp. 1-16
Author(s):  
Claudrena N. Harold
Keyword(s):  
Popular Culture ◽  
Hip Hop ◽  
Music History ◽  
Gospel Music ◽  
Cultural Criticism ◽  
Unique Contribution ◽  
Contemporary Gospel

The introduction combines autobiographical reflection with cultural criticism to outline the book’s unique contribution to gospel music history. It recounts the major debates that consumed gospel music insiders as the genre assumed a larger place within mainstream popular culture: Were contemporary gospel artists who experimented with the rhythms of R&B and hip-hop more concerned with selling records than saving souls, and if so, was gospel music on the same path of decline as its secular sibling R&B, which some critics insisted had lost its soul? Did acts like Andraé Crouch, the Winans, and Kirk Franklin really depart from the gospel tradition? Or were they simply following in the steps of their predecessors who had also employed new sounds and technologies to fulfill their evangelical mission?

Bombing, Breakin', and Gettin' down: The Folk and Popular Culture of Hip-Hop

1984 ◽  
Vol 43 (4) ◽  
pp. 287
Author(s):  
Sharon R. Sherman ◽  
Tony Silver ◽  
Henry Chalfant ◽  
Charles Ahearn
Keyword(s):  
Popular Culture ◽  
Hip Hop

scholarly journals “At This Age, This Is Who I Am”: CeCe Winans, Exilic Consciousness, and the American Popular Music Star System

2018 ◽  
Vol 2 (1) ◽  
pp. 475-485 ◽  
Author(s):  
Angela M. Nelson
Keyword(s):  
African American ◽  
Popular Culture ◽  
Popular Music ◽  
Gospel Music ◽  
Kingdom Of God ◽  
The Self ◽  
Star System ◽  
Christian Women ◽  
American Popular Culture ◽  
American Popular Music

Abstract My paper addresses the intersections of the American popular music star system, Black female Gospel singers, Gospel Music, and the exilic consciousness of the Sanctified Church with special attention to life and music of Gospelwoman Priscilla Marie “CeCe” Winans Love. I argue that CeCe Winans and the marketing campaign for Winans’ album Let Them Fall in Love, is indicative of the encroachment of American popular music’s star system into self-elected “exiled” Gospel Music and into the lives of “exiled” Gospelwomen. Gospelwomen are 20th and 21st century urban African American Protestant Christian women who are paid for singing Gospel Music and who have recorded at least one Gospel album for national distribution. The self-elected exile of Gospelwomen refers to their decision to live a life based on the values of the Kingdom of God while encountering and negotiating opposing values in American popular culture. Gospelwomen and Gospel Music are impacted by the demands of stardom in America’s celebrity culture which includes achieved success and branding. Gospelwomen negotiate these components of stardom molding them into mechanisms that conform to their beliefs and needs.

If I Be Lifted

2020 ◽  
pp. 145-153
Author(s):  
Claudrena N. Harold
Keyword(s):  
Music History ◽  
Gospel Music ◽  
West Side

This chapter examines one of the most celebrated choirs in gospel music history: Milton Brunson and the Thompson Community Singers (Tommies). Under the leadership of Brunson, the choir built on Chicago’s rich musical legacy to create a sound like no other in gospel. Dramatic ballads, house-wrecking shouts, and mid-tempo grooves—the Thompson Community Singers mastered them all with the perfect combination of style, precision, technique, and grace. In doing so, the choir from Chicago’s West Side provided a model for gospel musicians and choirs across the country. Through an analysis of how the Tommies provided a sonic bridge between gospel’s past and its future, this chapter examines how the choir’s sound provided a view of where the artform had been and where it was going.

Immunizing Strategies: Hip-Hop and Critique in Tanzania

Africa ◽  
2005 ◽  
Vol 75 (4) ◽  
pp. 488-509 ◽  
Author(s):  
Koen Stroeken
Keyword(s):  
African American ◽  
Popular Culture ◽  
Hip Hop ◽  
Social Impact ◽  
Freedom Of Expression ◽  
Political History ◽  
Social Critique ◽  
American Popular Culture ◽  
The Social ◽  
Public Exposure

AbstractTanzania has in the last decade seen a vibrant form of hip-hop emerge that is gaining wide public exposure thanks to its political tenor. First, this article illustrates how rap lyrics reflect Tanzanian political history and in part determine it. Bongo Flava, as the local hip-hop genre is called, has gained credibility by reinterpreting Nyerere's normative legacy and by expanding freedom of expression in the country, while unhampered by factors that normally mitigate the social impact of popular culture. Second, the article explores the global relevance of their social critique. Bongo Flava attempts to outwit the sophisticated indifference and neoliberalism of postcolonial rulers and ruled. Partly inspired by African American popular culture, many songs expose the postcolonial strategy of survival, which is to immunize oneself against the threat of commodification by fully embracing it, the contamination yielding extra power. The lyrics, in their irony and pessimism, exhibit the same immunizing tendency. However, this tendency is curbed by two principles that safeguard streetwise status: the rapper's willingness to ‘duel’ and the Kiswahili credo of activating bongo, ‘the brains’.

Afro-Samurai: techno-Orientalism and contemporary hip hop

Popular Music ◽  
2013 ◽  
Vol 32 (2) ◽  
pp. 259-275 ◽  
Author(s):  
Ken McLeod
Keyword(s):  
African American ◽  
Popular Culture ◽  
21St Century ◽  
Hip Hop ◽  
Media Coverage ◽  
Racial Formation ◽  
American Identity ◽  
High Tech ◽  
African American Identity

AbstractThis article examines the practice and recent rise in the use of various aspects of Japanese popular culture in hip hop, particularly as manifest in the work of RZA, Kanye West and Nicki Minaj. Often these references highlight the high-tech, futuristic aesthetic of much Japanese popular culture and thus resonate with concepts and practices surrounding Afro-futurism. Drawing on various theories of hybridity, this article analyses how Japanese popular culture has informed constructions of African American identity. In contrast to the often sensational media coverage of racial tensions between African American and Asian communities, the nexus of Japanese popular culture and African American hip hop evinces a sympathetic connection based on shared notions of Afro-Asian liberation and empowerment achieved, in part, through a common aesthetic of technological mastery and appropriation. The synthesis of Asian popular culture and African American hip hop represents a globally hybridised experience of identity and racial formation in the 21st century.

scholarly journals Media, ideological hegemony and popular music: Golden microphone song contestMedya, ideolojik hegemonya ve popüler müzik: Altın mikrofon şarkı yarışması

2015 ◽  
Vol 12 (2) ◽  
pp. 1446
Author(s):  
Levent Ergun
Keyword(s):  
Popular Culture ◽  
Mass Media ◽  
Popular Music ◽  
Music History ◽  
Symbiotic Relationship ◽  
Daily News ◽  
The Past ◽  
Theoretical Status ◽  
The Media ◽  
Popular Music History

<p>This article focuses on "Golden Microphone Award" song contest which has been organized under the sponsorship of Hürriyet Daily News between the years of 1965-68. Between the different forms of popular culture/music and mass media, there is a characteristically symbiotic relationship in which one almost can not survive in the absence of the other. Golden Microphone song contest, organized under the sponsorship of the mass media institution, Hürriyet Daily News, requires an evaluation in a scope that exceeds this symbiotic relationship. Because the role that Hürriyet plays in the circulation and the support of the dominant ideological definitions and representations is more important here. If we consider Golden Microphone contest as a moment,we can say that: there is a dynamic arena for the media, official ideology, musicians and audience in which both the elements of resistance and consent, the issues of the past and the future; hence overlapping and conflicting elements are available. In this framework, this research tries to analyse the dynamics of this specific moment of Turkish popular music history by using the theoretical status of media, sponsorship, ideology and hegemony concepts.  </p><p> </p><p><strong>Özet</strong></p><p>Bu makale, Hürriyet Gazetesi’nin sponsorluğunda 1965-68 yılları arasında düzenlenen “Altın Mikrofon Armağanı” adlı şarkı yarışması üzerine odaklanır. Popüler kültürün/müziğin farklı formları ile kitle iletişim araçları arasında, diğeri olmadan birisinin hayatını neredeyse sürdüremez olduğu karakteristik bir simbiyotik ilişki vardır. Bir kitle medyası olarak Hürriyet Gazetesinin sponsorluğunda düzenlenen “Altın Mikrofon” şarkı yarışması, bu simbiyotik ilişkiyi aşan bir çerçeve içinde değerlendirmeyi de gerektirmektedir. Çünkü Hürriyet’in egemen ideolojik tanımlar ve temsillerin dolaşımı ve pekiştirilmesinde oynadığı rol, burada çok daha önemlidir. Altın Mikrofon yarışmasını bir uğrak (moment) olarak ele alırsak şunu söyleyebiliriz: bu uğrakta gerek medya, gerek resmi ideoloji, gerekse müzisyenler ve izlerkitle için; hem direniş hem kabullenme ögeleri, hem geçmişin ve geleceğin unsurları, dolayısıyla hem birbiriyle örtüşen hem de çatışan ögelerin olduğu dinamik bir mücadele alanı bulunmaktadır. Bu çerçevede çalışma; medya, sponsorluk, ideoloji ve hegemonya kavramlarının teorik statüsünden yararlanarak, Türk popüler müzik tarihinin bu özgül uğrağını biçimlendiren dinamikleri analiz etme girişimidir.</p>

scholarly journals The Heroic Journey in Popular Culture

2016 ◽  
Vol 29 (1) ◽  
pp. 25-40
Author(s):  
Dhruba Karki
Keyword(s):  
New York ◽  
Popular Culture ◽  
Hip Hop ◽  
Modern World ◽  
Popular Appeal ◽  
Saturated Media ◽  
Transformation Of Consciousness ◽  
Celestial Sphere ◽  
East West ◽  
Business Trip

Popular culture integrates people in diverse settings. Individuals share ideas through materials they use, including food, dresses, movies, magazines, and holiday spots. In the past, people set for pilgrimage to holy sites; these days, they go on trekking through hills. Pilgrimages to consecrated sites have been replaced by people's journey to discotheque, fashion center and shopping complex in the modern time corporate world. What binds them together is the transformation of consciousness in line with the journey from the terrestrial to the celestial sphere. Specific human activities, including pilgrimage and business trip become popular culture when people make them significant parts of their lives. Sound and images of disco, jazz, hip-hop, and pop-rock have entered the streets and hotels equally in cities of the industrial world, from Lhasa to London, Karachi to Kathmandu, and Tokyo to New York, irrespective of their cultures and ethnic backgrounds. In today’s world of saturated media presence, images and icons of heroes and legends, motivated by commercial and popular appeal, are circulated with a greater speed, becoming simultaneously a shared mythic currency and continuity, the modern world embodiment of silk road business, and thus, crossing the East-West divide.

scholarly journals HIP HOP AS A REFLECTION OF AMERICAN VALUES: A SEMIOTICS ANALYSIS ON SAVE THE LAST DANCE AND STEP UP MOVIES

2019 ◽  
Vol 3 (2) ◽  
pp. 29
Author(s):  
Naris Eka Setyawati
Keyword(s):  
United States ◽  
Popular Culture ◽  
Juvenile Delinquency ◽  
United States Of America ◽  
Hip Hop ◽  
American Studies ◽  
Hard Work ◽  
First Order ◽  
American Values ◽  
Library Research

This study examines seven movies that are based on characters created by Duane Adler. They are two Save the Last Dance and five Step Up movies. This discussion is a library research which is conducted within the framework of American Studies approach under the scope of history, social, and culture. This research uses Barthes’ semiotics theory on myth to analyze the depiction of American phenomena in the movies.The objectives of this study are to examine the portrayal of Hip Hop in United States of America and to analyze the reflection of American values through movies. The discussions on the topic reveal that Hip Hop becomes the source for movies’ narratives. It is manifested in hip hop related scenes of the movies. They portray signs of rebellion and juvenile delinquency in the first order-semiological system. These portrayals reflect American values of rebellion and freedom. Moreover, life struggle and American belief in the land of opportunity play the signs in Barthes’ second order-semiological system. The American values reflected through the discussions are competitiveness, hard work, determined, optimism, and materialism.Keywords: Hip Hop, hip hop, popular culture, semiotics, American values

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