scholarly journals The Intertextuality and Translations of Fine Art and Class in Hip-Hop Culture

Arts ◽  
2018 ◽  
Vol 7 (4) ◽  
pp. 80 ◽  
Author(s):  
Adam de Paor-Evans
Keyword(s):  
New York ◽  
New York City ◽  
Cultural Values ◽  
Hip Hop ◽  
Fine Art ◽  
Hip Hop Culture ◽  
Class System ◽  
New Form ◽  
Political Act ◽  
Primary Form

Hip-hop culture is structured around key representational elements, each of which is underpinned by the holistic element of knowledge. Hip-hop emerged as a cultural counter position to the socio-politics of the urban condition in 1970s New York City, fuelled by destitution, contextual displacement, and the cultural values of non-white diaspora. Graffiti—as the primary form of hip-hop expression—began as a political act before morphing into an artform which visually supported the music and dance elements of hip-hop. The emerging synergies graffiti shared with the practices of DJing, rap, and B-boying (breakdancing) forged a new form of art which challenged the cultural capital of music and visual and sonic arts. This article explores moments of intertextuality between visual and sonic metaphors in hip-hop culture and the canon of fine art. The tropes of Michelangelo, Warhol, Monet, and O’Keefe are interrogated through the lyrics of Melle Mel, LL Cool J, Rakim, Felt, Action Bronson, Homeboy Sandman and Aesop Rock to reveal hip-hop’s multifarious intertextuality. In conclusion, the article contests the fallacy of hip-hop as mainstream and lowbrow culture and affirms that the use of fine art tropes in hip-hop narratives builds a critical relationship between the previously disparate cultural values of hip-hop and fine art, and challenges conventions of the class system.

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

Abstract T P390: Baseline Stroke Knowledge of 4th-6th Grade Children in New York City Public Schools Has No Appreciable Trend from 2005-2014

Stroke ◽  
2015 ◽  
Vol 46 (suppl_1) ◽  
Author(s):  
James M Noble ◽  
Cailey Simmons ◽  
Mindy F Hecht ◽  
Olajide Williams
Keyword(s):  
New York ◽  
New York City ◽  
Public Schools ◽  
Real World ◽  
York City ◽  
Hip Hop ◽  
Expected Value ◽  
Stroke Symptom ◽  
Stroke Diagnosis ◽  
Stroke Knowledge

Background and Purpose: To examine whether the baseline stroke knowledge of children in schools participating in our Hip Hop Stroke program has changed since its inception in late 2005. Methods: We gathered baseline stroke knowledge surveys from 2,839 students enrolled in the Hip Hop Stroke program from November 2005 through April 2014 with median annual enrollment of 344 (range 55 to 582). All students were enrolled in New York City public schools, in 4th through 6th grade. Students who left ≥3 questions blank were discarded; other blank answers were treated as missing. Data were analyzed using binomial, Chi-Square and regression analysis (SPSS v22.0). Results: Overall there was no consistent trend in baseline stroke knowledge by academic year. Overall, 28.4% of students recognized stroke occurred in the brain (expected value 25% [p<0.001], range from 13.8-61.2% for any given year). With stroke diagnosis provided, 85.5% of 1436 students knew to call 911, whereas only 59.6% of 1243 students knew to call 911 when given a hypothetical real-world stroke symptom scenario without stroke diagnosis included, p<0.001. For a composite assessment of knowledge including 4 stroke symptoms (blurred vision, facial droop, sudden headache, slurred speech), 1 distractor (chest pain), and urgent action plan (call 911), asked consistently since 2006, overall students scored a mean 2.86 (95% CI: 2.80-2.92; possible range 0-6, expected value 2.75), with annual scores ranging from 2.54-3.56. Conclusion: Stroke knowledge among elementary school students remains low and has not appreciably changed during the last 9 years. The use of hypothetical real-world stroke symptom scenarios may more accurately reflect intent to call 911 for stroke than the use of questions in which stroke diagnosis is given.

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.

Introduction

2017 ◽  
Author(s):  
Thomas H. Greenland
Keyword(s):  
New York ◽  
New York City ◽  
African American ◽  
Cultural Values ◽  
York City ◽  
The Other ◽  
Main Argument ◽  
Collaborative Interactions ◽  
Ideological Debate ◽  
Realistic Representation

This book challenges the convenient distinction between jazz musicians and audiences by calling attention to the collaborative interactions of performers with the other “nonperforming” participants. It provides a realistic representation of jazz in New York City by taking a somewhat paradoxical and ironic approach: it examines small, specialized jazz scenes to suggest broad-based patterns of jazz participation while also deemphasizing what is happening on stage in favor of the offstage listeners—in other words, the unseen scene. This introduction provides an overview of research on the themes addressed in the book; the symbiosis and synergism that characterize New York City's jazz scene, particularly the avant-jazz scene; and the ideological debate between essentialist and universalist positions—the former emphasizing African American cultural values and the latter emphasizing multiculturalism, individual merit, and colorblindness. The book's main argument is that jazz's deeper meanings and expressions are conveyed when both artists and audiences participate in collective improvisation.

“Shine Your Light on the World”

2014 ◽  
Author(s):  
Rosemary Candelario
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Hip Hop ◽  
Gender Ideology ◽  
Dance Studies ◽  
The World ◽  
Utopian Community

In 2004, comedian Dave Chappelle brought residents of Yellow Springs, Ohio, and New York City together in Bedford-Stuyvesant, Brooklyn, for a hip-hop block party featuring a roster of socially engaged rap and neo-soul artists. This chapter argues that the 2006 film of the concert,Dave Chappelle’s Block Party, directed by Michel Gondry, endeavors to construct a utopian community centered on the birthplace of hip-hop. Employing dance studies methodologies to examine a non-dance event, this article attends to the choreography of the block, the party attendees and performers, and their spontaneous solo and group gestures and movements at the block party. Such an approach emphasizes the corporeality of the concert performers and attendees and allows an examination of their bodily signification in terms of race, gender, ideology, power, and ultimately the nation.

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.

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.

Crews and Outside Influences

2017 ◽  
Author(s):  
Joseph C. Ewoodzie
Keyword(s):  
New York ◽  
New York City ◽  
Social Organization ◽  
Empirical Evidence ◽  
York City ◽  
Hip Hop ◽  
External Factors ◽  
Internal Logic ◽  
The Impact ◽  
Important Form

Chapter 4 adds more empirical evidence about how new actors became part of the scene. More particularly, it explains how actors came together to form DJing and MCing crews, an important form of social organization in the nascent hip hop world. It shows that the number of members in each crew, the required skills and responsibilities of each member of the crew, the styles of their performance, the venues of shows, and attire all came to hold great significance for the internal logic of the emerging entity. Additionally, it examines external factors that shaped conventions. It investigates the significance of performance routines and fashion and the impact of the New York City blackout of 1977. Further, it discuss how the term “hip hop” itself became adopted as the name for the scene, something that, surprisingly, previous historians of hip hop have ignored.

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