scholarly journals Rap jako muzyka tożsamościowa: od czarnego getta do polskiego pop-nacjonalizmu

2016 ◽  
pp. 57-79
Author(s):  
Piotr Majewski
Keyword(s):  
New York ◽  
Hip Hop ◽  
Rap Music ◽  
The United States ◽  
Global Scale ◽  
Business Practices ◽  
Hip Hop Culture ◽  
Black Ghetto ◽  
Beliefs And Values ◽  
American Society

Rap as identity music: from the black ghetto to Polish pop-nationalismIn today’s world, cultural products, technologies, information and ideologies more and more permeate from one society to another, crossing all kinds of borders in the least expected way. Rap career is an illustration of this process. It was created in the late seventies and eighties of the twentieth century in New York ghettos and today it represents one of the most popular genres on the global scale. Rap is not only a symbol of revolution and the domination of Western capitalist business practices but also a cultural tool by which different groups, often marginalized or considering themselves as such, express their own identity. I am analyzing the indicated above phenomenon using two, extreme at first glance, examples. First, I present the story of the emergence and development of hip-hop culture in the United States. I try to show how rap music, which is an important element of this culture, allowed a marginalized part of American society for manifesting and communicating their views, beliefs and values, becoming a “transmission channel” for various ideologies, including the ideology of black nationalism. In the second part of the text, I am additionally analyzing the artwork and public appearances by Tadeusz “Tadek“ Polkowski, a Polish rapper, whom I consider a representative of an expanding hip-hop society relating to or sympathizing with the national movement. The music he creates is designed not only to restore the Poles’ “memory”, and therefore also the pride in their heroic and admirable past, but also to open their eyes to what is happening in their country that he believes is being colonized by the occupants. Rap jako muzyka tożsamościowa: od czarnego getta do polskiego pop-nacjonalizmuWe współczesnym świecie wytwory kultury, technologie, informacje i ideologie coraz częściej przenikają z jednego społeczeństwa do drugiego, przekraczając różnego rodzaju granice w najmniej oczekiwany sposób. Przykładem tego procesu jest kariera rapu, który powstał na przełomie lat 70. i 80. XX wieku w nowojorskich gettach, a współcześnie jest jednym z najbardziej popularnych gatunków muzycznych w skali globu. Rap jest bowiem nie tylko symbolem rewolucji informatycznej i dominacji zachodnich, kapitalistycznych praktyk biznesowych, lecz także kulturowym narzędziem, za pomocą którego różne grupy, często marginalizowane bądź za takie się uważające, wyrażają własną tożsamość. Zasygnalizowany powyżej fenomen analizuję, posługując się dwoma, skrajnymi na pierwszy rzut oka, przykładami. W pierwszej części artykułu przedstawiam historię powstania i rozwoju kultury hip-hopowej w Stanach Zjednoczonych. Staram się przy tym pokazać, w jaki sposób muzyka rapowa, będąca ważnym elementem tej kultury, pozwoliła marginalizowanej część społeczeństwa na manifestowanie i komunikowanie swoich poglądów, przekonań oraz wartości, stając się „kanałem transmisyjnym” dla różnych ideologii, w tym także ideologii czarnego nacjonalizmu. W drugiej części tego tekstu analizuję twórczość i wypowiedzi medialne Tadeusza „Tadka” Polkowskiego, polskiego rapera, którego postrzegam jako przedstawiciela coraz liczniejszej grupy hiphopowców związanych bądź sympatyzujących z ruchem narodowym. Tworzona przez niego muzyka ma za zadanie nie tylko przywrócić Polakom „pamięć”, a zatem także dumę z ich heroicznej i godnej podziwu przeszłości, lecz także otworzyć oczy na to, co dzieje się w ich „skolonizowanym przez okupantów państwie”.

scholarly journals Rap Music

2017 ◽  
Author(s):  
Austin McCoy
Keyword(s):  
New York ◽  
Los Angeles ◽  
Hip Hop ◽  
Rap Music ◽  
Mass Incarceration ◽  
The United States ◽  
Hip Hop Culture ◽  
Cultural Form ◽  
The 1960S ◽  
Latinx Youth

Rap is the musical practice of hip hop culture that features vocalists, or MCs, reciting lyrics over an instrumental beat that emerged out of the political and economic transformations of New York City after the 1960s. Black and Latinx youth, many of them Caribbean immigrants, created this new cultural form in response to racism, poverty, urban renewal, deindustrialization, and inner-city violence. These new cultural forms eventually spread beyond New York to all regions of the United States as artists from Los Angeles, New Orleans, Miami, and Chicago began releasing rap music with their own distinct sounds. Despite efforts to demonize and censor rap music and hip hop culture, rap music has served as a pathway for social mobility for many black and Latinx youth. Many artists have enjoyed crossover success in acting, advertising, and business. Rap music has also sparked new conversations about various issues such as electoral politics, gender and sexuality, crime, policing, and mass incarceration, as well as technology.

Rap/Hip-Hop

Music ◽  
2019 ◽  
Author(s):  
Cheryl L. Keyes
Keyword(s):  
New York ◽  
Hip Hop ◽  
Rap Music ◽  
Latino Youth ◽  
Secondary Markets ◽  
Hip Hop Culture ◽  
Urban Street ◽  
Trade Magazines ◽  
Black And Latino Youth ◽  
Written Sources

Rap evolved as a vernacular term used among African Americans to define a stylized way of speaking. Over the years, black radio disc jockeys, musicians, literary figures, and 1960s political figures incorporated rap into their performances or way of speaking to appeal to black audiences. By the early 1970s, rap continued its development in the urban streets among “rhymin’ emcees” (MCs) accompanied by pre-recorded music, provided by a disc jockey on two turntables. This concept became associated with a youth arts movement driven and populated by black and Latino youth in New York City called hip-hop. Comprised of four elements—breakdancing (b-boying/b-girling), graffiti (writing), disc jockeying (DJing), and emceeing (MCing)—hip-hop also distinguishes a distinct form of dress, gesture, and language that embodies an urban street consciousness. By the late 1970s, the rhymin’ MC/DJ combination attracted music entrepreneurs who recognized the commercial potential with the release of the recording “Rapper’s Delight” by the Sugarhill Gang. Subsequently, music trade magazines such as Billboard contributed to popularizing the MC/DJ concept as rap music. Additionally, the production of hip-hop arts via the silver screen, advertising, and fashion industries further contributed to its rise to global prominence. Realizing its viability to a growing youth constituency, entrepreneurs placed significant value on certain elements of hip-hop believed to be more marketable to youth consumers in the popular music mainstream. For example, MCing and DJing became primary markets while breakdancing and graffiti served as hip-hop’s secondary markets. As such, rap music eventually eclipsed in popularity breakdancing and graffiti, thus solidifying this music category. Occasionally, critics and aficionados use rap music interchangeably with hip-hop. The sources herein will be used interchangeably as rap music/hip-hop along with their associates (breakdance and graffiti), and allied traditions. Similar to the burgeoning success of hip-hop culture in the mainstream popular culture, rap garnered the attention of academicians during the late 1980s, who perceived it as fertile ground for the study of popular youth culture. This is evident with a flurry of theses, articles, books, journalistic writings, and photo-essays leading to the establishment of hip-hop studies. Today, there are thousands of written sources on hip-hop. Rather than attempting to present all of these written sources, which would be beyond the scope of this bibliography, this article instead offers a survey of book sources and seminal journal articles that reflect the erudition, scholarly depth, and interdisciplinary scope of hip-hop studies.

Shop talk: The influence of hip hop on Filipino‐American barbers in San Diego

2020 ◽  
Vol 1 (1) ◽  
pp. 13-23 ◽  
Author(s):  
Christopher Vito
Keyword(s):  
Hip Hop ◽  
San Diego ◽  
Rap Music ◽  
Life Story ◽  
The United States ◽  
Filipino Americans ◽  
Filipino American ◽  
Hip Hop Culture ◽  
Sense Of Identity ◽  
Shop Talk

Barber culture frequently intersects with hip hop. Barbershops often incorporate rap music, street wear apparel and popular culture into their daily environment. In tandem, an important part of hip hop culture is the haircuts and designs that people choose to get. Many Filipino-Americans across the United States utilize barber and hip hop culture to help create their own unique sense of identity ‐ a sense of identity forged in the fires of diaspora and postcolonial oppression. In this first instalment of the GHHS ‘Show and Prove’ section ‐ short essays on hip hop visual culture, arts and images ‐ I illustrate the ways in which Filipino-Americans in San Diego use barber shops both as a means of entrepreneurialism and as a conduit to create a cultural identity that incorporates hip hop with their own histories of migration and marginalization. I interview Filipino-American entrepreneur Marc Canonizado, who opened his first San Diego-based business, Goodfellas Barbershop Shave Parlor, in 2014. We explore the complex linkages between barbershops, Filipino-Americans and hip hop culture, as well as discuss his life story and plans for the future.

scholarly journals The Alert Collector: Hip Hop in the United States

2016 ◽  
Vol 55 (3) ◽  
pp. 215
Author(s):  
Holly Boyer
Keyword(s):  
United States ◽  
New York ◽  
New York City ◽  
Hip Hop ◽  
Social Issues ◽  
Symphony Orchestra ◽  
The United States ◽  
South Bronx ◽  
Gangsta Rap ◽  
American Society

Hip hop is a ubiquitous part of American society in 2015—from Kanye West announcing his future presidential bid to discussions of feminism surrounding Nikki Minaj’s anatomy, to Kendrick Lamar’s concert with the National Symphony Orchestra, to Questlove leading the Tonight Show Band, hip hop has exerted its influence on American culture in every way and form.Hip hop’s origin in the early 1970s in the South Bronx of New York City is most often attributed to DJ Kool Herc and his desire to entertain at a party. In the 1980s, hip hop continued to gain popularity and speak about social issues faced by young African Americans. This started to change in the 1990s with the mainstream success of gangsta rap, where drugs, violence, and misogyny became more prominent, although artists who focused on social issues continued to create. The 2000s saw rap and hip hop cross genre boundaries, and innovative and alternative hip hop grew in popularity.

Blame It on Hip-Hop: Anti-Rap Attitudes as a Proxy for Prejudice

2009 ◽  
Vol 12 (3) ◽  
pp. 361-380 ◽  
Author(s):  
Christine Reyna ◽  
Mark Brandt ◽  
G. Tendayi Viki
Keyword(s):  
Hip Hop ◽  
Rap Music ◽  
Social Benefits ◽  
Negative Attitudes ◽  
Negative Stereotypes ◽  
Hip Hop Culture ◽  
Three Samples ◽  
Legitimizing Beliefs ◽  
American Society ◽  
The Uk

This research investigated the stereotypes associated with rap music and hip-hop culture, and how those stereotypes may influence anti-Black attitudes and justifications for discrimination. In three studies—using a representative sample from America, as well as samples from two different countries—we found that negative stereotypes about rap are pervasive and have powerful consequences. In all three samples, negative attitudes toward rap were associated with various measures of negative stereotypes of Blacks that blamed Blacks for their economic plights (via stereotypes of laziness). Anti-rap attitudes were also associated with discrimination against Blacks, through both personal and political behaviors. In both American samples, the link between anti-rap attitudes and discrimination was partially or fully mediated by stereotypes that convey Blacks' responsibility. This legitimizing pattern was not found in the UK sample, suggesting that anti-rap attitudes are used to reinforce beliefs that Blacks do not deserve social benefits in American society, but may not be used as legitimizing beliefs in other cultures.

scholarly journals Hip-Hop Music and Social Identity - An Analysis on the Construction of Jim Smith in the Movie ‘8 Mile’

2021 ◽  
Vol 6 (4) ◽  
pp. 13
Author(s):  
Yi Wang
Keyword(s):  
United States ◽  
Hip Hop ◽  
Rap Music ◽  
Lower Class ◽  
The United States ◽  
The World ◽  
Hip Hop Music ◽  
American Society ◽  
Sharp Criticism ◽  
The U.S

When it comes to American hip-hop music and rap music, people always think of the African American singers in loose clothes, the flashing lights on the dirty stage, all kinds of alcohol and cigarettes, as well as many drunken scenes. However, such a familiar scene is indeed an authentic portrayal of the United States. If you have heard about hip hop music, it is not difficult to find that many hip-hop lyrics are often full of dirty abuse, cold ridicule and sharp criticism. In a sense, hip hop music and rap music can be considered a kind of 'voice resistance' from the lower class of American society. However, it has not changed their current situation, and hip hop music and rap music are still regarded as inappropriate for children and teenagers. It is noteworthy that in recent years, with the popularity of hip-hop music, people from all over the world have gradually paid attention to this unique music style. At the same time, more and more people from the lower class of the United States are also be concerned by the U.S. government.

Flow

2019 ◽  
Author(s):  
Mitchell Ohriner
Keyword(s):  
Hip Hop ◽  
Rap Music ◽  
Music Analysis ◽  
The United States ◽  
Close Reading ◽  
South Bronx ◽  
The World ◽  
Key Concepts ◽  
Voice Flow ◽  
Computational Music Analysis

Originating in dance parties in the South Bronx in the late 1970s, hip hop and rap music have become a dominant style of popular music in the United States and a force for activism all over the world. So, too, has scholarship on this music grown, yet much of this scholarship, employing methods drawn from sociology and literature, leaves unaddressed the expressive musical choices made by hip-hop artists. This book addresses flow, the rhythm of the rapping voice. Flow presents theoretical and analytical challenges not encountered elsewhere. It is rhythmic as other music is rhythmic. But it is also rhythmic as speech and poetry are rhythmic. Key concepts related to rhythm, such as meter, periodicity, patterning, and accent, are treated independently in scholarship of music, poetry, and speech. This book reconciles those approaches, theorizing flow by integrating the methods of computational music analysis and humanistic close reading. Through the analysis of large collections of verses, it addresses questions in the theories of rhythm, meter, and groove in the unique ecology of rap music. Specifically, the work of Eminem clarifies how flow relates to text, the work of Black Thought clarifies how flow relates to other instrumental streams, and the work of Talib Kweli clarifies how flow relates to rap’s persistent meter. Although the focus throughout is rap music, the methods introduced are appropriate for other genres mix voices and more rigid metric frameworks and further extends the valuable work on hip hop from other perspectives in recent years.

Since 1945: New Amenities, New Hazards

2000 ◽  
Author(s):  
William B. Meyer
Keyword(s):  
New York ◽  
Large Scale ◽  
Social Scientist ◽  
World History ◽  
The United States ◽  
Economic Role ◽  
The Past ◽  
American Society ◽  
Service Employment

If the average citizen's surroundings defined the national climate, then the United States grew markedly warmer and drier in the postwar decades. Migration continued to carry the center of population west and began pulling it southward as well. The growth of what came to be called the Sunbelt at the "Snowbelt's" expense passed a landmark in the early 1960s when California replaced New York as the most populous state. Another landmark was established in the early 1990s when Texas moved ahead of New York. In popular discussion, it was taken for granted that finding a change of climate was one of the motives for relocating as well as one of the results. It was not until 1954, though, that an American social scientist first seriously considered the possibility. The twentieth-century flow of Americans to the West Coast, the geographer Edward L. Ullman observed in that year, had no precedent in world history. It could not be explained by the theories of settlement that had worked well in the past, for a substantial share of it represented something entirely new, "the first large-scale in-migration to be drawn by the lure of a pleasant climate." If it was the first of its kind, it was unlikely to be the last. For a set of changes in American society, Ullman suggested, had transformed the economic role of climate. The key changes included a growth in the numbers of pensioned retirees; an increase in trade and service employment, much more "footloose" than agriculture or manufacturing was; developments in technology making manufacturing itself more footloose; and a great increase in mobility brought about by the automobile and the highway. All in one way or another had weakened the bonds of place and made Americans far freer than before to choose where to live. Whatever qualities made life in any spot particularly pleasant thus attracted migration more than in the past. Ullman grouped such qualities together as "amenities." They ranged from mountains to beaches to cultural attractions, but climate appeared to be the most important, not least because it was key to the enjoyment of many of the rest. Ullman did not suppose that all Americans desired the same climate. For most people, in this as in other respects, "where one was born and lives is the best place in the world, no matter how forsaken a hole it may appear to an outsider."

scholarly journals Condom Use and Hip Hop Culture: The Case of Urban Young Men in New York City

2008 ◽  
Vol 98 (6) ◽  
pp. 1081-1085 ◽  
Author(s):  
Miguel A. Muñoz-Laboy ◽  
Daniel H. Castellanos ◽  
Chanel S. Haliburton ◽  
Ernesto Vasquez del Aguila ◽  
Hannah J. Weinstein ◽  
...  
Keyword(s):  
New York ◽  
New York City ◽  
Condom Use ◽  
York City ◽  
Hip Hop ◽  
Young Men ◽  
Hip Hop Culture
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