Black Noise: Rap Music and Black Culture in Contemporary America by
Voices from the margins : rap music and contemporary black cultural production -- "All aboard the night train" : flow, layering, and rupture in postindustrial New York -- Soul sonic forces : technology, orality, and black cultural practice in rap music -- Prophets of rage : rap music and the politics of black cultural expression -- Bad sistas : black women rappers and sexual politics in rap music.
Born to Use Mics: Reading Nas's Illmatic by
In Born to Use Mics, Michael Eric Dyson and Sohail Daulatzai have brought together renowned writers and critics including Mark Anthony Neal, Marc Lamont Hill, Eddie S. Glaude, Jr., and many others to confront Illmatic song by song, with each scholar assessing an individual track from the album. The result is a brilliant engagement with and commentary upon one of the most incisive sets of songs ever laid down on wax.
Remix and Life Hack in Hip Hop: Towards a Critical Pedagogy of Music by
INTRODUCTION: From Culture to the Production of Aesthetic Systems -- WHY HIPHOP KULTURE?-- SUBJECTIVITIES TRAPPED BY SYSTEMS OF GLOBAL CAPITAL -- REMIX AND LIFE HACK --TOWARDS A CRITICAL PEDAGOGY OF MUSIC
Remix: Making Art and Commerce Thrive in the Hybrid Economy by
The author of Free Culture shows how we harm our children-and almost anyone who creates, enjoys, or sells any art form-with a restrictive copyright system driven by corporate interests. Lessig reveals the solutions to this impasse offered by a collaborative yet profitable "hybrid economy". Lawrence Lessig, the reigning authority on intellectual property in the Internet age, spotlights the newest and possibly the most harmful culture war-a war waged against our kids and others who create and consume art. America's copyright laws have ceased to perform their original, beneficial role: protecting artists' creations while allowing them to build on previous creative works.
Mashed Up : Music, Technology, and the Rise of Configurable Culture by
The book suggests the emergence of a new ethic of configurable collectivism; an economic reunion of labor; a renegotiation of the line between public and private; a shift from linear to recursive logic; and a new'DJ consciousness,'in which the margins are becoming the new mainstream. Whether these changes are sudden or gradual, violent or peaceful, will depend on whether we heed the lessons of configurability, or continue to police and punish the growing ranks of the mashed up.
Making Beats: The Art of Sample-Based Hip-Hop by
Based on ten years of research among hip-hop producers, Making Beats was the first work of scholarship to explore the goals, methods, and values of a surprisingly insular community. Focusing on a variety of subjects—from hip-hop artists'pedagogical methods to the Afrodiasporic roots of the sampling process to the social significance of “digging” for rare records—Joseph G. Schloss examines the way hip-hop artists have managed to create a form of expression that reflects their creative aspirations, moral beliefs, political values, and cultural realities.
Sound Unbound: Sampling Digital Music and Culture by
Sound Unbound is about the remix -- how music, art, and literature have blurred the lines between what an artist can do and what a composer can create. The music that accompanies the book features Nam Jun Paik, the Dada Movement, John Cage, Sonic Youth, and many other examples of avant-garde music.
Aerosol Kingdom: Subway Painters of New York City by
From a vast array of inherited traditions and gritty urban lifestyles talented and renegade young New Yorkers spawned a culture of their own, a balloon-lettered shout heralding the coming of hip-hop. Though helpless in checking its spreading appeal, city fathers immediately went on the attack and denounced it as vandalism. Many aficionados, however, recognized its trendy aesthetic immediately. By the 1980s spray-paint art hit the mainstream, and subway painters, mostly from marginal barrios of the city, became art world darlings. Their proliferating, ephemeral art was spotlighted in downtown galleries, in the media, and thereafter throughout the land.
Trespass - A History of Uncommissioned Urban Art by
The city as canvas: How self-expression, politics, and protest reclaim the streets. The book is set out in thematic chapters that engage with the central theme of 'trespassing'. While images of the works are allowed to speak for themselves, each theme is prefaced by a brief essay to provide thought-provoking context to the history, politics, protest, and illicit performance of self-expression in the social space.
Street Logos by
Graffiti art is constantly changing. From Los Angeles to Barcelona, Stockholm to Tokyo, Melbourne to Milan, wall spaces are a breeding ground for graphic and typographic forms as artists unleash their daily creations. Street Logos is a worldwide celebration of these new developments in twenty-first-century graffiti.
The Art of Rebellion 2: World of Urban Art Activism by
The Art of Rebellion 2 features an up to the minute international survey of street art, spotlighting dozens of new and unknown protagonists alongside many well known and respected artists who have been at it for years. Since the publication of the first volume, there has been a surge in street art activity and a growing awareness of the art form in the public eye; this volume takes the reader on a lush visual journey through that artistic explosion and features tons of new work with original styles, techniques and intent. T
Somebody Scream! Rap Music's Rise to Prominence in the Aftershock of Black Power by
In Somebody Scream, Marcus Reeves explores hip-hop music and its politics. Looking at ten artists that have impacted rap―from Run-DMC (Black Pop in a B-Boy Stance) to Eminem (Vanilla Nice)―and puts their music and celebrity in a larger socio-political context. In doing so, he tells the story of hip hop's rise from New York-based musical form to commercial music revolution to unifying expression for a post-black power generation.
From Jim Crow to Jay-Z: Race, Rap, and the Performance of Masculinity by
This multilayered study of the representation of black masculinity in musical and cultural performance takes aim at the reduction of African American male culture to stereotypes of deviance, misogyny, and excess. Broadening the significance of hip-hop culture by linking it to other expressive forms within popular culture, Miles White examines how these representations have both encouraged the demonization of young black males.
Rap Music and the Poetics of Identity by
Drawing extensively on recent scholarship in popular music studies, cultural theory, communications, critical theory, and musicology, Krims redefines 'music theory' as meaning simply 'theory about music', in which musical poetics (the study of how musical sound is deployed) may play a crucial role when its claims are contextualized and demystified.
The Mark of Criminality: Rhetoric, Race, and Gangsta Rap in the War-on-Crime Era by
The Mark of Criminality illustrates the ways that the “war on crime” became conjoined—aesthetically, politically, and rhetorically—with the emergence of gangsta rap as a lucrative and deeply controversial subgenre of hip-hop.
The Anthology of Rap: by
Rap has emerged as one of the most influential cultural forces of our time. In this work, the editors demonstrate that rap is also a wide reaching and vital poetic tradition born of beats and rhymes. This pioneering anthology brings together more than three hundred lyrics written over thirty years, from the "old school" to the "golden age" to the present day. Rather than aim for encyclopedic coverage, the editors render through examples the richness and diversity of rap's poetic tradition.
Dirty South: OutKast, Lil Wayne, Soulja Boy, and the Southern Rappers Who Reinvented Hip-Hop by
Acting as both investigative journalist and irreverent critic, Ben Westhoff journeys across the southern United States in a small Hyundai to document the phenomenon of southern hip-hop. The exclusive interviews with the genre's prominent players take many forms—watching rappers “make it rain” in a Houston strip club, partying with The 2 Live Crew's Luke Campbell, visiting the gritty neighborhoods where T. I. and Lil Wayne grew up, and speaking with DJ Smurf and Ms. Peachez along the way.
From Kung Fu to Hip Hop: Globalization, Revolution, and Popular Culture by
Explores the revolutionary potential of Bruce Lee and hip hop culture in the context of antiglobalization struggles and transnational capitalism.
Global Noise: Rap and Hip Hop Outside the USA by
The essays reveal diasporic manifestations of international hip hop that are rarely acknowledged in the growing commentary on the genre in the US. In the voices of rappers from around the globe with divergent backgrounds of race, nationality, class and gender, the authors find a consistent rhetoric of opposition and resistance to institutional forms of repression and the construction of a cohesive, historically-based subculture capable of accommodating regional and national diversities.
Hip Hop Africa: New African Music in a Globalizing World by
Hip Hop Africa explores a new generation of Africans who are not only consumers of global musical currents, but also active and creative participants. Eric Charry and an international group of contributors look carefully at youth culture and the explosion of hip hop in Africa. This volume offers unique perspectives on the presence and development of hip hop and other music in Africa and their place in global music culture.
Afro-Colombian Hip-Hop: Globalization, Transcultural Music, and Ethnic Identities by
Explores the impact that globalization and the transnational spread of U.S. popular culture—specifically hip-hop and rap—are having on the social identities of younger generations of black Colombians. Along with addressing why and how hip-hop has migrated so effectively to Colombia's black communities, Dennis introduces readers to some of the country's most renowned Afro-Colombian hip-hop artists, their musical innovations, and production and distribution practices.
The Vinyl Ain't Final: Hip Hop and the Globalization of Black Popular Culture by
‘Hip Hop is Dead! Long Live Hip Hop!'From the front lines of hip hop culture and music in the USA, Britain, France, Japan, Germany, Hawaii, Tanzania, Cuba, Samoa and South Africa, academics, poets, practitioners, journalists, and political commentators explore hip hop -- both as a culture and as a commodity.
Hip Hop Movement: From R&B and the Civil Rights Movement to Rap and the Hip Hop Generation by
The Hip Hop Movement offers a critical theory and alternative history of rap music and hip hop culture by examining their roots in the popular musics and popular cultures of the Civil Rights Movement and Black Power Movement. Connecting classic rhythm & blues and rock & roll to the Civil Rights Movement, and classic soul and funk to the Black Power Movement, The Hip Hop Movement explores what each of these musics and movements contributed to rap, neo-soul, hip hop culture, and the broader Hip Hop Movement.
Can't Stop Won't Stop: a History of the Hip-Hop Generation by
Can't Stop Won't Stop chronicles the events, the ideas, the music, and the art that marked the hip-hop generation's rise from the ashes of the 60s into the new millennium. Here is a powerful cultural and social history of the end of the American century, and a provocative look into the new world that the hip-hop generation created.
Hip Hop's Inheritance: From the Harlem Renaissance to the Hip Hop Feminist Movement by
Drawing from academic and organic intellectual/activist communities as diverse as African American studies and women's studies, postcolonial studies and sexuality studies, history and philosophy, politics and economics, and sociology and ethnomusicology, Hip Hop's Inheritance calls into question one-dimensional and monodisciplinary interpretations or, rather, misinterpretations, of a multidimensional and multivalent form of popular culture that has increasingly come to include cultural criticism, social commentary, and political analysis.
I Mix What I Like!: a Mixtape Manifesto by
Ball analyzes the colonization and control of popular music and posits the homemade hip-hop mixtape as an emancipatory tool for community resistance. I mix what I like! is an investigation of the cultural dimension of antiracist organizing in the Black community. Jared positions the so-called "hip-hop nation" as an extension of the internal colony that is modern African America, and suggests that the low-tech hip-hop mixtape may be one of the best weapons we have against Empire.
Muslim Cool: Race, Religion, and Hip Hop in the United States by
Constructed through hip hop and the performance of Blackness, Muslim Cool is a way of engaging with the Black American experience by both Black and non-Black young Muslims that challenges racist norms in the U.S. as well as dominant ethnic and religious structures within American Muslim communities. Drawing on ethnographic research, Su'ad Abdul Khabeer illuminates the ways in which young and multiethnic U.S. Muslims draw on Blackness to construct their identities as Muslims.
To the Break of Dawn: A Freestyle on the Hip Hop Aesthetic by
Music critic William Jelani Cobb takes readers inside the beats, the lyrics, and the flow of hip-hop, separating mere corporate rappers from the creative MCs that forged the art in the crucible of the street jam.The four pillars of hip hop—break dancing, graffiti art, deejaying, and rapping—find their origins in traditions as diverse as the Afro-Brazilian martial art Capoeira and Caribbean immigrants' turnstile artistry.
The New H. N. I. C. (Head Niggas in Charge) : the Death of Civil Rights and the Reign of Hip Hop by
But moving far beyond the music, hip hop has emerged as a social and cultural movement, displacing the ideas of the Civil Rights era. Todd Boyd maintains that a new generation, having grown up in the aftermath of both Civil Rights and Black Power, rejects these old school models and is instead asserting its own values and ideas. Hip hop is distinguished in this regard because it never attempted to go mainstream, but instead the mainstream came to hip hop.
Hip Hop America by
Post-soul -- Hip hop wasn't just another date -- Gangsters, real and unreal -- The "I" of me -- Black owned? -- Permanent business -- Sample this -- Where my eyes can see -- New jack swing to ghetto glamour -- National music -- Sound of Philadelphia, dunking -- Capitalist tool -- Too live -- Skills to pay the bills -- Funk the world -- "Da joint!" and beyond -- We ain't goin' nowhere, twenty-first-century bling.
Hip Hop Family Tree by
The lore of the early days of hip hop has become the stuff of myth, so what better way to document this fascinating, epic true story than in another great American mythological medium — the comic book? Encyclopedic history of the formative years of the music genre that changed global culture.
I Am Hip-Hop: Conversations on the Music and Culture by
What is Hip-Hop?'In order to answer this question, author Andrew J. Rausch interviewed 24 individuals whose creative expressions are intimately associated with the world of hip-hop music and culture. Those interviewed include emcees, DJs, producers, graffiti artists, poets, and journalists.
Hip Hop's Amnesia: From Blues and the Black Women's Club Movement to Rap and the Hip Hop Movement by
Hip Hop's Amnesia endeavors a full-fledged critical examination and archive-informed re-evaluation of “hip hop's inheritance” from the major African American musics and movements of the first half of the twentieth century: classic blues, ragtime, classic jazz, swing, bebop, the Black Women's Club Movement, the New Negro Movement, the Harlem Renaissance, the Bebop Movement, the Hipster Movement, and the Black Muslim Movement.
Yes, Yes Y'all: the Experience Music Project Oral History of Hip-Hop's First Decade by
An account of the origins of hip-hop music as presented by its founders and stars traces the work of such performers as DJ Kool Herc, Grandmaster Flash, and DMC.