Marriage panacea: Black music re(imagines) sociological explanations of black inequality

2017 ◽  
Vol 29 (4) ◽  
pp. e12244
Author(s):  
Robert J. Patterson
Keyword(s):  
Black Music

America's First Black Music Historian

1973 ◽  
Vol 26 (3) ◽  
pp. 383-404
Author(s):  
Robert Stevenson
Keyword(s):  
Black Music

Black Music: Four Lives.A. B. Spellman

1971 ◽  
Vol 77 (2) ◽  
pp. 390-392
Author(s):  
Gary Schwartz
Keyword(s):  
Black Music

IMAGINING A BETTER WORLD:

2018 ◽  
Vol 15 (02) ◽  
pp. 353-385
Author(s):  
Lakeyta M. Bonnette-Bailey ◽  
Ray Block ◽  
Harwood K. McClerking
Keyword(s):  
African Americans ◽  
Civic Engagement ◽  
Political Participation ◽  
Hip Hop ◽  
Youth Culture ◽  
Black Youth ◽  
Black Music ◽  
Hip Hop Culture ◽  
Negative Messages ◽  
Mass Level

AbstractDespite a recent increase in research on its sociopolitical implications, many questions regarding rap music’s influence on mass-level participation remain unanswered. We consider the possibility that “imagining a better world” (measured here as the degree to which young African Americans are critical of the music’s negative messages) can correlate with a desire to “build a better world” (operationalized as an individual’s level of political participation). Evidence from the Black Youth Project (BYP)’s Youth Culture Survey (Cohen 2005) demonstrates that rap critique exerts a conditional impact on non-voting forms of activism. Rap critique enhances heavy consumers’ civic engagement, but this relationship does not occur among Blacks who consume the music infrequently. By demonstrating rap’s politicizing power and contradicting certain criticisms of Hip Hop culture, our research celebrates the possibilities of Black youth and Black music.

Bibliography of Black Music. Volume 1: Reference Materials

Notes ◽  
1982 ◽  
Vol 38 (4) ◽  
pp. 832
Author(s):  
Deane L. Root ◽  
Dominique-Rene deLerma ◽  
JoAnn Skowronski ◽  
Janet L. Sims ◽  
Neda M. Westlake ◽  
...  
Keyword(s):  
Reference Materials ◽  
Black Music

Bibliography of Black Music; Volume 1: Reference Materials

1984 ◽  
Vol 2 (2) ◽  
pp. 103
Author(s):  
Sam Dennison ◽  
Dominique-Rene de Lerma
Keyword(s):  
Reference Materials ◽  
Black Music

On Black Music Research

1983 ◽  
Vol 3 ◽  
pp. 46
Author(s):  
Samuel A. Floyd
Keyword(s):  
Black Music ◽  
Music Research

Humanistic perspectives from black music†

Music and Man ◽  
1974 ◽  
Vol 1 (3) ◽  
pp. 225-237
Author(s):  
Dominique‐René De Lerma
Keyword(s):  
Black Music

scholarly journals “The Mic Is My Piece”: Canadian Rap, the Gendered “Cool Pose,” and Music Industry Racialization and Regulation

2016 ◽  
Vol 26 (1) ◽  
pp. 255-290 ◽  
Author(s):  
Francesca D’Amico
Keyword(s):  
Music Industry ◽  
Black Music ◽  
Nation State ◽  
Cultural Intervention ◽  
Exclusionary Practices ◽  
Counter Narratives ◽  
National Imagination ◽  
Black Canadian ◽  
Cool Pose ◽  
Oppositional Politics

Over the course of the 1980s and 1990s, Black Canadian Rap artists, many of whom are the children of Caribbean-born immigrants to Canada, employed the hyper-racialized and hyper-gendered “Cool Pose” as oppositional politics to intervene in a conversation about citizenship, space, and anti-blackness. Drawing from local and trans-local imaginings and practices, Black Canadian rappers created counter-narratives intended to confront their own sense of exclusion from a nation that has consistently imagined itself as White and rendered the Black presence hyper-(in)visible. Despite a nationwide policy of sameness (multiculturalism), Black Canadian musicians have used Rap as a discursive and dialogical space to disrupt the project of Black Canadian erasure from the national imagination. These efforts provided Black youth with the critically important platform to critique the limitations of multiculturalism, write Black Canadian stories into the larger framework of the nation state, and remind audiences of the deeply masculinized and racialized nature of Canadian iconography. And yet, even as they engaged in these oppositional politics, rappers have consistently encountered exclusionary practices at the hands of the state that have made it increasingly difficult to sustain a Black music infrastructure and spotlight Canadian Rap’s political and cultural intervention.

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