scholarly journals Dee-jay drop that deadbeat : hip-hop's remix of fatherhood narratives

2018 ◽  
Author(s):  
◽  
Jessie L. Sr. Adolph
Keyword(s):  
African American ◽  
Identity Formation ◽  
Drug Addiction ◽  
Black Male ◽  
Hip Hop ◽  
Black Adolescents ◽  
Mass Incarceration ◽  
Male Engagement ◽  
Underground Economies ◽  
Rap Lyrics

This dissertation examines hip-hop fatherhood narratives from 2010-2015 influenced by drug addiction, mass incarceration, underground economies, trauma, and dysfunctional co-parenting. Explicitly, the paper explores how marginalized, urban African American dads are imagined as protectors, providers, and/or surrogates in hip-hop lyricism. Additionally, the research pays attention to hip-hop artists' depiction of identity orchestration and identity formation of black adolescents and patriarchs by utilizing David Wall's theories on identity stasis. Moreover, the dissertation critically analyzes hip-hop lyrics that reflect different concepts of maleness such as hyper-masculine, the complex cool, biblical, heroic, and hegemonic masculinities. In sum, the paper examines rap lyrics use of mimicry calling into question representative black male engagement with American patriarchy.

Impoliteness in hip-hop music

2021 ◽  
Author(s):  
Panagiotis Delis
Keyword(s):  
African American ◽  
Black Male ◽  
Hip Hop ◽  
Selection Process ◽  
White Male ◽  
White Female ◽  
Race And Gender ◽  
The Social ◽  
Determining Factors ◽  
And Gender

Abstract The aim of this paper is to examine the functionality of impoliteness strategies as rhetorical devices employed by acclaimed African American and White hip-hop artists. It focuses on the social and artistic function of the key discursive element of hip-hop, namely aggressive language. The data for this paper comprise songs of US African American and White performers retrieved from the November 2017 ‘TOP100 Chart’ for international releases on Spotify.com. A cursory look at the sub-corpora (Black male/ Black female/ White male/ White female artists’ sub-corpus) revealed the prominence of the ‘use taboo words’ impoliteness strategy. The analysis of impoliteness instantiations by considering race and gender as determining factors in the lyrics selection process unveiled that both male groups use impoliteness strategies more frequently than female groups. It is also suggested that Black male and White female singers employ impoliteness to resist oppression, offer a counter-narrative about their own experience and self (re)presentation and reinforce in group solidarity.

scholarly journals Dissecting the Word: The Use of the Lexeme Shit in Selected Performances of Comedian Dave Chappelle’s Stand-Up Routine

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Radosław Dylewski
Keyword(s):  
African American ◽  
African Americans ◽  
Hip Hop ◽  
American English ◽  
The Past ◽  
Song Lyrics ◽  
Context Specific ◽  
Analytical Section ◽  
Formal Equivalent ◽  
Rap Lyrics

Abstract The paper explores the use of the lexeme shit in the corpus of Dave Chappelle’s stand-up specials released between 2000 and 2019. It consists of two parts: theoretical and analytical. The first one presents theoretical and pragmatic considerations connected with stand-up routines, touches upon slang semantics, and depicts the links between Dave Chappelle’s stage persona and the hip hop community. Lastly, it presents the reader with the past and present-day status of the lexeme at issue. In the analytical section of the paper the use of shit in the aforesaid corpus is scrutinized from the semantic angle. The discussion is supplemented with the results culled from the corpus of rap lyrics compiled at the Faculty of English at Adam Mickiewicz University in Poznań. The paper argues that (i) shit has lost its taboo status and is mainly used in both corpora as a less formal equivalent of stuff, anything and something and (ii) Chappelle’s stage use of shit, even though present in a different context and serving context-specific purposes, corresponds to the use of African American rappers in their song lyrics (assuming that rap lyrics depict African American English, this conclusion can be extended to the sociolect of African Americans).

Introduction

2011 ◽  
Vol 40 (3) ◽  
pp. 1-3
Author(s):  
Christopher Driscoll
Keyword(s):  
African American ◽  
American Academy ◽  
Annual Meeting ◽  
Hip Hop ◽  
Religious Studies ◽  
Hip Hop Culture

At the 2010 annual meeting of the American Academy of Religion held in Atlanta, GA, a group of young scholars organized a wildcard session titled “What’s This ‘Religious’ in Hip Hop Culture?” The central questions under investigation by the panel were 1) what about hip hop culture is religious? and 2) how are issues of theory and method within African American religious studies challenged and/or rethought because of the recent turn to hip hop as both subject of study and cultural hermeneutic. Though some panelists challenged this “religious” in hip hop, all agreed that hip hop is of theoretical and methodological import for African American religious studies and religious studies in general. This collection of essays brings together in print many findings from that session and points out the implications of hip hop's influence on religious scholars' theoretical and methodological concerns.

SHIFTING POWER

2018 ◽  
Vol 15 (02) ◽  
pp. 417-439 ◽  
Author(s):  
Brianna Remster ◽  
Rory Kramer
Keyword(s):  
United States ◽  
African American ◽  
Racial Differences ◽  
Mass Incarceration ◽  
Racial Inequalities ◽  
Rural Districts ◽  
Contemporary United States ◽  
The Impact ◽  
Legislative Districts

AbstractWhile prisoners cannot vote, they are counted as residents of the often rural legislative districts where they are incarcerated rather than their home districts. We examine the extent to which incarceration shifts the balance of a representative democracy by considering its impact on legislative apportionment. Drawing on data from the Census, Pennsylvania Department of Corrections, and Pennsylvania Redistricting Commission, we develop a counterfactual framework to examine whether removing and returning prisoners to their home districts affects equal representation. Because prisoners are disproportionately African American, we also employ this counterfactual to assess racial differences in the impact of prison gerrymandering. Findings indicate that incarceration shifts political power from urban districts to suburban and rural districts through legislative apportionment. Moreover, non-White communities suffer the most. We conclude by considering how our findings fit a growing literature on the role of mass incarceration in [re]producing racial inequalities in the contemporary United States.

‘Where all my bad girls at?’

2021 ◽  
Vol 15 (1) ◽  
Author(s):  
Joyhanna Yoo Garza
Keyword(s):  
African American ◽  
Hip Hop ◽  
American English ◽  
African American English ◽  
Gender And Race ◽  
Linguistic Resources ◽  
Performance Challenges

This article examines the polyvalence of racial(ised) representations in K-pop performances. The analysis of K-pop star CL’s (2013) song and video ‘Nappeun gijibae’ (‘The bad girl’) demonstrates how the artist projects an assertive femininity by embodying and localising the Bad Bitch: a sexually agentive figure of womanhood from US hip hop. CL’s use of African American English and conventionalised hip hop tropes helps resignify gijibae, a pejorative Korean term for women. By shifting between decontextualised styles invoking a different time and place, CL is able to build a kind of chronotopic capital that transforms fragmented styles into an empowered cosmopolitan femininity. However, although CL’s performance challenges Korean gendered norms in its use of local linguistic resources, her selective appropriations of US Black and Chicanx cultural signifiers reproduce narrow images of racialised femininities and reify a hierarchy of valuation along lines of gender and race.

“You're Only Ever A Block From The ‘Hood”

2021 ◽  
Vol 33 (4) ◽  
pp. 152-170
Author(s):  
Alex Blue V
Keyword(s):  
Identity Formation ◽  
Hip Hop ◽  
Participant Observation ◽  
Automobile Plant ◽  
Original Intent ◽  
Spatial Reorientation ◽  
Field Notes ◽  
And Performance ◽  
Forms Of Violence ◽  
The City

This article explores the use of sound, lyrics, and performance as tools for spatial reorientation and reimagining, identity formation and affirmation, and counternarrative or counterarchive in a rapidly gentrifying contemporary Detroit, Michigan. Two discrete, yet discursively linked case studies are presented—performances by the same artist in two different spaces—that exhibit various modes of “flipping,” slang that can refer to multiple transformative practices in contemporary Detroit. These practices include the use of overdetermined spaces, or spaces that have been declared abandoned or vacant, for something other than their original intent—i.e. using a decommissioned automobile plant as a music video set; sampling, which can be understood as using sonic components from previously recorded songs in the creation of new hip-hop beats; buying homes in a state of disrepair, fixing and reselling them at large profits; and inverting meaning itself, via slang or coded language. Additionally Black techniques of sounding and performance are illuminated, with a focus on echo as a mode of co-creation. These various practices are all responses to the growing wave of gentrification that gains momentum in the city daily. The analysis draws primarily from ethnographic research conducted from 2016 to 2018, culling data from participant observation, recorded interviews, informal conversations, field notes, lyrical and video analysis, and the analysis of mediated accounts, both print and online. As the analysis shows, the strategies utilized by artists in Detroit ensure that no matter how much the spaces in Detroit continue to change, and no matter how much an attempt is made to provide racially curated space through various forms of violence, you’re only ever a block from the ‘hood.

Black “Crime,” Public Hysteria, and the Cinema of Containment: Black Cinema Aesthetics from Willie Dynamite to The Interrupters and a/k/a Mrs. George Gilbert

2021 ◽  
Vol 5 (1) ◽  
Author(s):  
Amy Abugo Ongiri
Keyword(s):  
African American ◽  
Visual Culture ◽  
Jim Crow ◽  
Mass Incarceration ◽  
Current Situation ◽  
Black Cinema ◽  
Black Subjectivity ◽  
Political Organizing

This essay will explore the ways in which African American visual culture has attempted to negotiate criminalization and the current situation of what Richard Iton rightfully characterizes as “hyperincarceration.” It will explore the ways in which contemporary African American visual culture is engaged in negotiating between the literal material realities and consequences of mass incarceration and aesthetic constructions of violence. While mass incarceration is increasingly becoming understood as “the New Jim Crow” for African American political organizing, Black criminality has become the key lens through which questions of masculinity, class exclusion, gender, and selfhood get negotiated in African American visual culture. This essay will argue that the “subtext of ongoing Black captivity” is the pretext for much of what drives Black action genres and African American representation in general as a key signifier of a racialized identity and as an indicator of a Black subjectivity fraught with complexities of non-belonging.

Hip-Hop to Prevent Substance Use and HIV among African-American Youth: A Preliminary Investigation

2008 ◽  
Vol 38 (4) ◽  
pp. 351-365 ◽  
Author(s):  
Jocelyn O. Turner-Musa ◽  
Warren A. Rhodes ◽  
P. Thandi Hicks Harper ◽  
Sylvia L. Quinton
Keyword(s):  
Substance Use ◽  
African American ◽  
Hip Hop ◽  
Preliminary Investigation ◽  
African American Youth

“Yo I am Superman, You Kiddo Go Home”: ritual impoliteness in Chinese freestyle rap battles

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Mian Jia ◽  
Shuting Yao
Keyword(s):  
African American ◽  
Content Analysis ◽  
Discourse Analysis ◽  
Mixed Methods ◽  
Hip Hop ◽  
Filial Piety ◽  
Social Values ◽  
Community Norms ◽  
Moral Qualities

Abstract Introduced by African American communities, Chinese rap battle features an intensive ritual exchange of impoliteness, aggression, and vulgarity, but its linguistic realizations have not been systematically examined. Taking Iron Mic as a case study, this paper explores how advanced and novice rappers perform ritual impoliteness in Chinese underground rap battle competitions. Using mixed methods of discourse analysis and content analysis, we analyze the ritual impoliteness strategies in 51 rounds of Chinese freestyle rap battles. The findings show that advanced and novice rappers employed comparable instances of taboo language, threatening, and insults on their opponents’ superficial qualities and rap skills. Moreover, advanced rappers performed significantly more boasting and ritual insults on the others’ moral qualities. Their use of ritual impoliteness is warranted by hip-hop community norms of authenticity and creativity as well as Chinese social values of reciprocity, filial piety, and moral educators. This paper contributes to the research on Chinese ritual impoliteness and rap battle competitions.

Japanese street dance culture in manga and anime: Hip hop transcription in Samurai Champloo and Tokyo Tribe-2

2021 ◽  
Vol 7 (1) ◽  
pp. 61-79
Author(s):  
Po-Lung Huang
Keyword(s):  
African American ◽  
Hip Hop ◽  
Cultural Context ◽  
Hip Hop Culture ◽  
Dance Culture ◽  
Local Media ◽  
Main Material

Street dance, one of the four most important elements of hip hop culture, was developed mainly by African American youths in the 1970s and imported to Japan in the 1980s. Since then, street dance has been diversified by local media such as manga/anime in Japan. This article therefore analyses how Japanese storytelling, exemplified by Shin’ichirō Watanabe’s anime Samurai Champloo (2004–05), Santa Inoue’s manga Tokyo Tribe-2 (1997–2005) and Tatsuo Satō’s anime adaptation Tokyo Tribes (2006–07), has transcribed the hip hop elements into the Tokugawa-Edo period’s art scenes and fictitious ‘Tōkyō’, and provides a basis for understanding hip hop culture in Japan by drawing on Charles Taylor’s ‘language of perspicuous contrast’ (1985). Although manga and anime quickly reflected popular cultural trends in Japan, hip hop elements did not manifest as main material until Tokyo Tribe-2 was released. Thus, there was apparently a prolonged interval between the arrival of hip hop culture in Japan and its representation by manga/anime after Japanese youths’ first fancied street dance. Therefore, street dance culture could have been transformed within the Japanese cultural context. This article also analyses the representation/transcription of street dance and hip hop in manga/amine by contextualizing the Japanese sociopolitical background to explain this prolonged interval.

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