Academic literature on the topic 'Hip-hop – Influence – United states'
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Journal articles on the topic "Hip-hop – Influence – United states"
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Boyer, Holly. "The Alert Collector: Hip Hop in the United States." Reference & User Services Quarterly 55, no. 3 (March 24, 2016): 215. http://dx.doi.org/10.5860/rusq.55n3.215.
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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.
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Abielah, Mayza Nisrin. "THE INFLUENCE AND THE ADVANTAGE OF AMERICAN HIP HOP TO THE RISING ASIAN." Rubikon : Journal of Transnational American Studies 7, no. 1 (December 23, 2020): 1. http://dx.doi.org/10.22146/rubikon.v7i1.62506.
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Cultural imperialism aims at how dominant culture affects other cultures to gain control of certain cultures and create the view that their dominant culture is the center for all countries in the world, which will create uniformity around the world. Therefore, this study will discuss how Asian rappers are influenced by American hip hop culture and how they benefitted from their careers’ success. The theory used in this study is cultural imperialism by John Tomlinson to see the influence of cultural imperialism in American hip hop culture to Asian rappers. The method used in this study is qualitative research by Creswell. The result shows that America’s cultural imperialism influences Asian Rappers by adopting its culture, language, and style of American hip hop. However, its influence is not harmful since the Asian rappers use this to gain more recognition from people, especially in Western, and to be accepted in representing Asian immigrants in the United States.
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Abielah, Mayza Nisrin. "THE INFLUENCE AND THE ADVANTAGE OF AMERICAN HIP HOP TO THE RISING ASIAN RAPPERS." Rubikon : Journal of Transnational American Studies 7, no. 1 (December 25, 2020): 1. http://dx.doi.org/10.22146/rubikon.v7i1.62563.
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Cultural imperialism aims at how dominant culture affects other cultures to gain control of certain cultures and create the view that their dominant culture is the center for all countries in the world, which will create uniformity around the world. Therefore, this study will discuss how Asian rappers are influenced by American hip hop culture and how they benefitted from their careers’ success. The theory used in this study is cultural imperialism by John Tomlinson to see the influence of cultural imperialism in American hip hop culture to Asian rappers. The method used in this study is qualitative research by Creswell. The result shows that America’s cultural imperialism influences Asian Rappers by adopting its culture, language, and style of American hip hop. However, its influence is not harmful since the Asian rappers use this to gain more recognition from people, especially in Western, and to be accepted in representing Asian immigrants in the United States.
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Vito, Christopher. "Shop talk: The influence of hip hop on Filipino‐American barbers in San Diego." Global Hip Hop Studies 1, no. 1 (June 1, 2020): 13–23. http://dx.doi.org/10.1386/ghhs_00002_1.
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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.
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Kruse, Adam J. "‘Take a back seat’: White music teachers engaging Hip-Hop in the classroom." Research Studies in Music Education 42, no. 2 (April 28, 2020): 143–59. http://dx.doi.org/10.1177/1321103x19899174.
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With the purpose of exploring how engaging with Hip-Hop might contribute toward decentering Whiteness in US music education, this research aims to understand the perceptions of three White music educators in the United States teaching Hip-Hop in their classrooms comprising majority students of color. The study explores participants’ past experiences with Hip-Hop, their current teaching practices, and the influence that teaching Hip-Hop has had on their role in the classroom. I also engage in critical self-reflection in order to name and disrupt my own White fragility that emerged during the process of conducting the study and writing this article. Analysis reveals that engaging with Hip-Hop does not inherently contribute to decentering Whiteness, and considerations suggest more intentional and explicit work toward these ends.
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Tettey, Naa-Solo, Khizar Siddiqui, Hasmin Llamoca, Steven Nagamine, and Soomin Ahn. "Purple Drank, Sizurp, and Lean: Hip-Hop Music and Codeine Use, A Call to Action for Public Health Educators." International Journal of Psychological Studies 12, no. 1 (February 26, 2020): 42. http://dx.doi.org/10.5539/ijps.v12n1p42.
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The opioid epidemic continues to create various public health challenges in the United States. Non-medical use of opioids is increasing at alarming rates and has been glamorized through popular media including television, movies, and music. One particular area of concern is the promotion in hip-hop music of the use of codeine mixed with promethazine, also known as “lean.” In recent years, this drug combination has proven to be lethal with many hip-hop artists dying from overdoses involving lean while others have suffered from adverse health consequences such as seizures. Because the hip-hop music audience is primarily comprised of youth who often represent vulnerable and social disadvantaged populations, it is imperative to develop interventions that counteract the negative influence of such songs. The purpose of this study is to review the lyrics of popular hip-hop songs that mention lean and determine common themes within these songs that can be used to guide future interventions. To identify these themes, the lyrics of 40 hip-hop songs were evaluated by four independent coders. 8 themes emerged and the frequency in which these themes appeared in the song lyrics was calculated. These themes are the use of lean with another drug (37.5%), the general mention of lean without a connection to a behavior, activity, emotion, or another substance (27.5%), the use of lean during sexual activity (15%), the use of lean with soda (12.5%), the use of lean to help with sleep (5%), the use of lean as an alternative to alcohol (5%), the use of lean while driving (5%), and the use of lean for mental distress (5%). These results demonstrate that there are various aspects of lean use that require further investigation. Furthermore, these results serve as a call to action for public health practitioners to create culturally tailored interventions to address this issue.
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Rutto, Laban K., Yixiang Xu, Shuxin Ren, Holly Scoggins, and Jeanine Davis. "Results from Hop Cultivar Trials in Mid-Atlantic United States." HortTechnology 31, no. 4 (August 2021): 542–51. http://dx.doi.org/10.21273/horttech04727-20.
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‘Hop’ (Humulus lupulus) cultivar trials were conducted at sites in three Virginia counties (Northampton, Chesterfield, and Madison) in response to demand by the craft beer industry for local ingredients. In 2016, a replicated study involving five cultivars (Cascade, Chinook, Newport, Nugget, and Zeus) was established on an 18-ft-tall trellis system at each site. Weather data influencing infectivity of downy mildew (Pseudoperonospora humuli) and powdery mildew (Podosphaera macularis), two economically important hop diseases, was collected, and to the extent possible, similar cultural practices were applied at each site. Climatic conditions favorable to P. humuli and P. macularis were present throughout the experimental period, and P. humuli infection was widespread at all sites starting from 2017. Among common pests, Japanese beetle (Popillia japonica) was the only one observed to cause significant damage. Unseasonably high rainfall in 2018 led to crop failure at all but the Northampton site, and harvesting was done at all sites only in 2017 and 2019. Yields (kilograms per hectare by weight) in 2017 were found to be ≥45% lower than second-year estimates for yards in the north and northwestern United States. Quality attributes (α and β acids; essential oil) for cones harvested from the Chesterfield site were comparable to published ranges for ‘Cascade’ in 2019, but lower for the other cultivars. More work is needed to identify or develop cultivars better suited to conditions in the southeastern United States. The influence of terroir on quality of commercial cultivars produced in the region should also be examined.
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Pégram, Scooter. "Rhymin’ to (Re)Discover One’s Africanité." Ethnic Studies Review 44, no. 1 (2021): 75–95. http://dx.doi.org/10.1525/esr.2021.44.1.75.
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This paper analyzes the presence and influence of Africa in French hip-hop music over time, giving particular emphasis to recent years where the continent has motivated deeper connections and more meaningful manifestations of one’s heritage culture in songs and video presentations by popular artists. Contemporary rappers in France have been linguistically and stylistically shifting their sounds away from trends present in the United States as they increasingly focus their attention toward the African continent as a way to celebrate the duality of their bicultural identity. This international and transnational musical alteration of their sound toward Africa provides them and their fans much needed comfort against the marginalization that they face at home in France. Thus, these contemporary thematic types of transnational musical shout-outs to the African continent provide rappers and their consumers hailing from ethnocultural communities a means in which to confront the racism and exclusion they face in a country where youths of color are frequently viewed with suspicion and where issues relating their unique diverse social constructs are routinely ignored or dismissed by the French State.
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Kwon, Lois, Daniela Medina, Fady Ghattas, and Lilia Reyes. "Trends in Positive, Negative, and Neutral Themes of Popular Music From 1998 to 2018: Observational Study." JMIR Pediatrics and Parenting 4, no. 2 (June 24, 2021): e26475. http://dx.doi.org/10.2196/26475.
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Background Across the United States, the incidence of adolescent depression and suicide cases has risen in the past 10 years. Despite the risk factors and causes being multifactorial, the influence of popular culture on society and adolescents in this media-driven generation cannot be mitigated. Although the impact of social media and its effect on shaping self-identity in adolescents have been observed, the impact of music and its potential for subliminal negative messages to adolescents remains unclear. Objective This study analyzes the lyrics and music videos of the most popular music of multiple genres to quantify the frequencies of varying music theme trends. Methods The frequencies of themes of 1052 total American and Latin songs were collected from the Nielsen Music and Billboard’s top 100 chart performance from 1998 to 2018 for hip hop/rhythm and blues (R&B), pop, Latin, country, and rock/metal genres. Themes from songs were identified, quantified, and categorized with a rubric into negative, neutral, and positive themes by 3 different reviewers. Analysis was performed using 2-tailed t tests and a generalized linear model. Results Popular songs were reviewed for positive, negative, and neutral themes in the following 3-year intervals for ease of analysis purposes: 1998 to 2000 (n=148), 2001 to 2003 (n=150), 2004 to 2006 (n=148), 2007 to 2009 (n=156), 2010 to 2012 (n= 150), 2013 to 2015 (n=150), and 2016 to 2018 (n=150). There was a significant 180% increase in the percentage of songs with negative themes between all the interval years and across all genres (P<.001), while there was no significant difference in the frequency of songs with positive (P=.54) or neutral (P=.26) themes by year. There were significant differences in the number of negative themes found across genres (P<.001), with hip hop/R&B having the highest frequency of 130 out of 208 (62.5%) of the negative themes when compared to each of the individual genres (P<.001). Conclusions This study shows there is an increase in the frequency of negative themes over the span of 20 years across all genres, with hip hop/R&B having the highest frequency among the genres. These findings point to the potential impact that music may have in popular culture and on society. Furthermore, these results can help shape discussions between caregivers and their adolescent dependents and between primary care providers and their adolescent patients.
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CODDINGTON, AMY. "A “Fresh New Music Mix” for the 1980s: Broadcasting Multiculturalism on Crossover Radio." Journal of the Society for American Music 15, no. 1 (February 2021): 30–59. http://dx.doi.org/10.1017/s1752196320000462.
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AbstractThis article examines the racial politics of radio programming in the United States by focusing on the development of a new radio format in the late 1980s. This new format, which the radio industry referred to as Crossover, attracted a coalition audience of Black, white, and Latinx listeners by playing up-tempo dance, R&B, and pop music. In so doing, this format challenged the segregated structure of the radio industry, acknowledging the presence and tastes of Latinx audiences and commodifying young multicultural audiences. The success of this format influenced programming on Top 40 radio stations, bringing the sounds of multicultural publics into the US popular music mainstream. Among these sounds was hip hop, which Crossover programmers embraced for its ability to appeal across diverse audiences; these stations helped facilitate the growth of this burgeoning genre. But like many forms of liberal multiculturalism in the 1980s and 1990s, the racial politics of these stations were complex, as they decentered individual minority groups’ interests in the name of colorblindness and inclusion.
Dissertations / Theses on the topic "Hip-hop – Influence – United states"
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Stirling, Scott. "The neo-diaspora : examining the subcultural codes of hip-hop and contemporary urban trends in the work of Kudzanai Chiurai and Robin Rhode." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002219.
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This thesis is structured around an exploration of the global phenomenon hip-hop. It considers how its far-reaching effects, as a cultural export from the United States,have influenced cultural production in South Africa. The investigation focuses specifically on the work of two visual artists: Zimbabwean born, Johannesburg-based Kudzanai Chiurai, and Cape Town born, Berlin-based Robin Rhode. The introduction familiarises the reader with the two artists and briefly outlines their histories and methods, as well as giving a short history of the development of hip-hop as a subculture from its beginnings in 1970s New York. The first chapter follows this brief introduction to outline some of the parallels, especially concerning race relations, between 1970s America and post-apartheid contemporary South Africa. This comparison aims to highlight similarities that gave rise to the hip-hop phenomenon and which also place South Africa in a prime position to welcome such influences. The second half of the chapter explores how migration theory and issues of diaspora have not only influenced the development of hip-hop, but have also become points of focus for both artists, who are in fact disporans themselves. The second chapter explores ‘ground level’ concerns of everyday life in the city. Issues of crime,gangsterism, politics and activism are characterised as focal elements of Chiurai’s and Rhode’s artwork and also of hip-hop musical content. Inner city contexts in different parts of the globe are compared through a discussion of the art and music that come out of them. This comparison of the philosophical and conceptual content of the art and music is extended, in Chapter three, into a comparison of methods of production, considering how these influence various readings of the artistic output, whether musical or visual. Ideas of authenticity are discussed and finally the focus shifts to explore how both the conceptual and practical concerns of musicians and artists are being shaped by an increasingly ‘globalized’ world. The conclusion explores the challenges that globalization poses to cultural practitioners and seeks to highlight some of the artists’ methods as examples with which to facilitate the growth of a more inclusive global aesthetic.
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Harrison, Anthony Kwame Pellow Deborah. "'Every emcee's a fan, every fan's an emcee': authenticity, identity, and power within Bay area underground hip-hop." Related Electronic Resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2003. http://wwwlib.umi.com/cr/syr/main.
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Forman, Murray W. ""The ‘hood comes first" : race, space and place in Rap music and Hip Hop, 1978-1996." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ50163.pdf.
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Brown, La Tasha Amelia. "Yard-hip hopping -- Reggae and hip hop music : commercialized constructions of blackness and gender identity in Jamaica and the United States, 1980-2004." FIU Digital Commons, 1999. http://digitalcommons.fiu.edu/etd/1876.
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This thesis examined how skin-tone, gender, and sexuality, within the entertainment industry, help shape the micro-level process by which racial identity is constructed in American culture. The thesis analyzed and critiqued existing ideologies of race across the Americas, with specific reference to Jamaica and the United States. Issues and questions of re-representation within American popular culture are central concerns: in particular, the ways that Black women's roles are defined and redefined through the positionality of female performance artists within the male-dominated music culture. The thesis argued then that skin-tone is fundamental to the understanding of blackness, as American society continues to view race through the lens of the popular entertainment industry. The study examined the positionality of the light-skinned/or biracial Black woman's identity is fixed sexually within the racialized context of American society. The thesis concluded that the glorification of the light-skinned/or biracial Black female recreates a socio-historical and cultural-political context that simultaneously devalues the darker-skinned Black woman.
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Morris, De'Sean B. "Finding A Lost Style: Study 01_Questioning Relationships Between Black Architecture, Black Film, and Black Communities in the United States." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1627661571907818.
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Watkins, Trinae. "Panther Power: A Look Inside the Political Hip Hop Music of Tupac Amaru Shakur." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2018. http://digitalcommons.auctr.edu/cauetds/165.
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In this study, seven rap songs by hip hop icon Tupac Shakur were examined to determine if the ideology of the Black Panther Party exists within the song lyrics of his politically oriented music. The study used content analysis as its methodology. Key among the Ten Point Program tenets reflected in Tupac’s song lyrics were for self-determination, full employment, ending exploitation of Blacks by Whites (or Capitalists), decent housing, police brutality, education, liberation of Black prisoners, and the demand for land, bread, housing, education, clothing, justice, peace, and a United Nations plebiscite.
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Franklin, Serena. "Ill beats : black women rap artists and the representations of women in hip hop culture." Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/336.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Anthropology
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Swanson, Joshua. "Talk This Way: A Look at the Historical Conversation Between Hip-Hop and Christianity." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3810.
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Christianity and Hip-Hop culture are often said to be at odds with one another. One is said to promote a lifestyle of righteousness and love, while the other is said to promote drugs, violence, and pride. As a result, the public has portrayed these two institutions as conflicting with no willingness to resolve their perceived differences. This paper will argue that there has always been a healthy conversation between Hip-Hop and Christianity since Hip-Hop’s inception. Using sources like Hip-Hop lyrics, theologians, historians, autobiographies, sermons, and articles that range from Ma$e to Tipper Gore, this paper will look at the conversation between Hip-Hop and Christianity that has been ongoing for decades. This thesis will show why that conversation is essential for the church and necessary for Hip-Hop artists to express themselves fully. This paper will show rap and Hip-Hop culture to be a complex institution with its own theology, history, and prophets – that uses its own voice to express how urban youth view not only their lives but also how God and the church are present in their lives.
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Hart, Walter Edward. "The culture industry, hip hop music and the white perspective How one-dimensional representation of hip hop music has influenced white racial attitutdes /." 2009. http://hdl.handle.net/10106/2060.
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D'Souza, Ryan Arron. "Arab hip-hop and politics of identity : intellectuals, identity and inquilab." Thesis, 2014. http://hdl.handle.net/1805/5849.
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Indiana University-Purdue University Indianapolis (IUPUI)Opposing the culture of différance created through American cultural media, this thesis argues, Arab hip-hop artists revive the politically conscious sub-genre of hip-hop with the purpose of normalising their Arab existence. Appropriating hip-hop for a cultural protest, Arab artists create for themselves a sub-genre of conscious hip-hop – Arab-conscious hip-hop and function as Gramsci’s organic intellectuals, involved in better representation of Arabs in the mainstream. Critiquing power dynamics, Arab hip-hop artists are counter-hegemonic in challenging popular identity constructions of Arabs and revealing to audiences biases in media production and opportunities for progress towards social justice. Their identity (re)constructions maintain difference while avoiding Otherness. The intersection of Arab-consciousness through hip-hop and politics of identity necessitates a needed cultural protest, which in the case of Arabs has been severely limited. This thesis progresses by reviewing literature on politics of identity, Arabs in American cultural media, Gramsci’s organic intellectuals and conscious hip-hop. Employing criticism, this thesis presents an argument for Arab hip-hop group, The Arab Summit, as organic intellectuals involved in mainstream representation of the Arab community.
Books on the topic "Hip-hop – Influence – United states"
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Hill, Marc Lamont. Beats, rhymes, and classroom life: Hip-hop, pedagogy, and the politics of identity. New York, NY: Teachers College, Columbia University, 2009.
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Hip hop Desis: South Asian Americans, Blackness, and a global race consciousness. Durham, NC: Duke University Press, 2010.
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Shabazz, Julian L. D. The United States of America vs. hip-hop. Hampton, Va: United Bros. Pub. Co., 1992.
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Raising Cain: Blackface performance from Jim Crow to Hip Hop. Cambridge, Mass: Harvard University Press, 1998.
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Jake, Austen, ed. Darkest America: Black minstrelsy from slavery to hip-hop. New York: W. W. Norton, 2012.
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Lazerine, Cameron. The ultimate guide to hip-hop and R&B. New York: Grand Central Pub., 2007.
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Kearse, Randy. Street talk: Da official guide to hip-hop & urban slanguage. Fort Lee, NJ: Barricade Books, 2006.
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Kearse, Randy. Street talk: Da official guide to hip-hop & urban slanguage. Fort Lee, NJ: Barricade Books, 2006.
Find full textBook chapters on the topic "Hip-hop – Influence – United states"
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Flowers, Courtney, and Jafus Kenyatta Cavil. "Sports and Hip-Hop, the “Winning at All Costs” Mentality: The Intersection of Academic Fraud and Snitching on Black College Athletes." In Critical Race Theory: Black Athletic Sporting Experiences in the United States, 123–51. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-60038-7_5.
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Appert, Catherine M. "Producing Diaspora." In In Hip Hop Time, 160–84. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190913489.003.0006.
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This chapter shows how palimpsestic practices of hip hop genre produce diasporic connections. It describes how hip hop practices of layering and sampling delink indigenous musical elements from traditional communicative norms to rework them in hip hop, where they signify rootedness and locality in ways consistent with hip hop practice in the United States. It demonstrates that this process relies on applications of hip hop time (musical meter) as being fundamentally different from indigenous music, whose local appeal is contrasted with hip hop’s global intelligibility. It outlines how hip hop concepts of flow free verbal performance from lyrical referentiality to render it a musical element. It argues that these practices of hip hop genre, in their delinking of sound and speech, reshape understandings of the relationship between commercialism and referentiality, and suggests that voice therefore should be understood to encompass artists’ agency in pursuing material gain in the face of socioeconomic struggle.
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Katz, Mark. "Introduction." In Build, 1–24. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190056117.003.0001.
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The introduction explains why the partnership between hip hop diplomacy is unlikely and risky but also potentially productive. Hip hop is a powerful platform for US cultural diplomacy because it is globally popular, widely accessible, readily combined with a variety of artistic styles and practices, and immediately and positively associated with the United States. Hip hop diplomacy can serve US foreign policy objectives by enhancing the image of the United States and promoting US interests abroad. The introduction concludes with a reflection on the author’s identity as a white man and considers its implications for working in hip hop, a genre and culture that arose out of African American communities.
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Katz, Mark. "Operating in a Zone of Ambiguity: Tensions and Risks." In Build, 81–108. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190056117.003.0004.
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This chapter explores the central tensions that animate hip hop diplomacy. One tension is between art and diplomacy, particularly in their distinctive approaches to process and views on outcomes. A second tensions arises because of the asymmetry of power between the United States and the countries that hip hop diplomacy programs visit. This chapter posits that hip hop diplomacy (and cultural diplomacy in general) operates in a zone of ambiguity, a state in which palpable, inescapable tensions and uncertainties hang over one’s every action. Specific examples come from hip hop diplomacy initiatives in El Salvador, India, Morocco, Senegal, and Zimbabwe. The chapter ends by offering guidelines for respectful, collaborative interactions in cultural diplomacy and cultural exchange programs.
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Katz, Mark. "Conclusion." In Build, 169–84. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190056117.003.0007.
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The conclusion considers the value of the partnership between hip hop and diplomacy. Hip hop diplomacy has value in convening groups unlikely to collaborate otherwise; it can be a source of validation for hip hop artists and their communities; and it can generate a favorable view of the United States and good will towards its citizens. Such positive outcomes, however, are not automatic and require that programs be conducted with respect, humility, self-awareness and a willingness to collaborate with local partners. Although the State Department faced severe funding cuts in the first years of the Trump administration, hip hop diplomacy has remained well-funded, although its future is uncertain. Specific anecdotes and case studies come from Next Level programs in Bangladesh, El Salvador, and Morocco.
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Foster, Susan Leigh. "The Social Life of Dances." In Valuing Dance, 89–140. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190933975.003.0006.
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Chapter 3 pursues the thesis that commodity and gift forms of exchange are interconnected and inseparable. It does this through an examination of three case studies: hip-hop, private dance studio instruction, and powwow. The recent histories of these three examples is examined alongside some of their antecedents at the beginning of the twentieth century. Hip-hop is located along a continuum with the early twentieth-century African American social dances that fueled a dance craze taking place in the urban United States. Private studio instruction is traced back to the social and modern dance instruction offered by entrepreneurial teachers who codified and sold those dances. Powwows are connected to the Wild West shows and other exhibitions of Native dances that brought Native peoples into greater contact with one another and with white audiences. Analyzing the development of these dance practices over time enables a more focused inquiry into the values and belief systems that infuse dance in a given historical moment and the ways that these connect to larger systems of shared values. Each example also calls attention to the way that commodification yields values that collude with forms of social and political domination including racialization and racist ideologies, Orientalism and exoticism, and colonial settler logics.
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Williams, Justin A. "Politics, Identity, and Belonging." In Brithop, 147–78. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190656805.003.0007.
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This chapter focuses on Iraqi-British rapper Lowkey, the Palestinian-British “First Lady of Arabic Hip-hop” Shadia Mansour, and Iranian-British rapper Shay D. It discusses the ways in which their multi-layered and heterogeneous identities provide a context for wider political critiques, with lyrics frequently discussing war, terrorism, and post-Imperial power relations in the Middle East. Given Britain’s role in creating “mandatory Palestine,” Iran, Iraq, and other MENA nation-states after the fall of the Ottoman Empire, Arab-British and other rappers of Middle Eastern heritage also engage forcefully with the United Kingdom’s colonial and neocolonial politics, intersecting with and co-creating Multicultural London Youth cultures in striking ways.
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Perillo, J. Lorenzo. "Heroes and Filipino Migrations." In Choreographing in Color, 53–77. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190054274.003.0003.
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This chapter highlights the stories of 1990s and 2000s street dancers in order to explore the impact of Filipino familial and labor migration since the early 1970s. Although scholars have usually depicted global hip-hop as an outward flow from the United States, this chapter points to an alternative trajectory—when Filipino talent is part of the 10 percent of the Filipino population to have worked outside the Philippines. This chapter analyzes two figurations—overseas Filipino workers (OFWs) and Petisyonados—that simultaneously recode state-brokered gendered migration, economic motivation, and personal rationale. The processes of migrant identity formation reveal a crucial narrative by which racial and sexual formation factor into the rooting and uprooting of Filipino people and culture. Demythologizing talent and the migrant hero trope, these Filipinos exemplify how the global mobility of people and individual motility of bodies prove to be more closely related than previously thought.
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Tucker, Terrence T. "Direct from a Never Scared Bicentennial Nigger." In Furiously Funny. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813054360.003.0007.
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This chapter examines the work of Richard Pryor and his comic successors, who build on his work while taking it in dynamic and unprecedented directions. In particular, this chapter focuses its attention on comedy albums that combine the live stand-up of the comics with recorded bits that reinforce critiques in other forms. So, Pryor’s Bicentennial Nigger uses skits to help reject the romanticized narrative of the United States at the bicentennial. One of the most immediate successors to Pryor was Whoopi Goldberg, whose Direct from Broadway pulls from the template that Moms Mabley constructed by directly confronting the oppression that sits at the intersection of race and gender. However, Goldberg expands on Pryor’s work not through the inclusion of a female voice but by transforming the exploration of black life into a female-centric critique of white, Western, supremacist, patriarchal hegemony. This chapter argues that Chris Rock most effectively realizes Pryor’s legacy of comic rage. Rock’s work, from Bring the Pain (1996) to Never Scared (2004), engages directly with the historical moment of post–civil rights America and is most clearly represented in Rock’s infusion of hip-hop into the structure and style of mainstream stand-up comedy.
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Chapman, Nathaniel G., and David L. Brunsma. "#WeAreCraftBeer: Contemporary Movements to Change the Whiteness of Craft Beer." In Beer and Racism, 155–80. Policy Press, 2020. http://dx.doi.org/10.1332/policypress/9781529201758.003.0007.
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This chapter explains that although the central story of race and beer in the United States is one that centers on the production and reproduction of whiteness, there is reason to believe that the racialized social structure of beer might be cracking. It looks at several developments that may indicate critical change in the phenomenon of craft beer. There is no doubt that there are several contemporary currents that are pressing against the whiteness of craft beer, and there is also no doubt that it is all happening right now. The chapter highlights several of these taking place across the country, in minority-owned breweries and in the digital space of social media, in order to get a bird's eye view of their challenges and resilience in the face of such a structure. It also considers the few black/Latino/Asian and immigrant enclaves of beer in the country where beer is celebrated to its fullest. This leads into discussions of cutting-edge festivals like Fresh Fest and High Gravity Hip-Hop, as well as clever collaborations that are challenging the centuries-long relationship between whiteness and beer.
Conference papers on the topic "Hip-hop – Influence – United states"
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Khandaker, Morshed, Onur Can Kalay, Fatih Karpat, Amgad Haleem, Wendy Williams, Kari E. Boyce, Erik Clary, and Kshitijkumar Agrawal. "The Effect of Micro Grooving on Goat Total Knee Replacement: A Finite Element Study." In ASME 2020 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/imece2020-24136.
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Abstract A method to improve the mechanical fixation of a total knee replacement (TKR) implant is clinically important and is the purpose of this study. More than one million joint replacement procedures are performed in people each year in the United States, and experts predict the number to increase six-fold by the year 2030. Whether cemented or uncemented, joint prostheses may destabilize over time and necessitate revision. Approximately 40,000 hip arthroplasty surgeries have to be revised each year and the rate is expected to increase by approximately 140% (and by 600% for total knee replacement) over the next 25 years. In veterinary surgery, joint replacement has a long history and the phenomenon of surgical revision is also well recognized. For the betterment of both people and animals, improving the longevity of arthroplasty devices is of the utmost clinical importance, and towards that end, several strategies are under investigation. One approach that we explore in the present research is to improve the biomechanical performance of cemented implant systems by altering the implant surface architecture in a way that facilitates its cement bonding capacity. Beginning with the Charnley system, early femoral stems were polished smooth, but a number of subsequent designs have featured a roughened surface — created with bead or grit blasting — to improve cement bonding. Failure at the implant-cement interface remains an issue with these newer designs, leading us to explore in this present research an alternate, novel approach to surface alteration — specifically, laser microgrooving. This study used various microgrooves architectures that is feasible using a laser micromachining process on a tibia tray (TT) for the goat TKR. Developing the laser microgrooving (LM) procedure, we hypothesized feasibility in producing parallel microgrooves of precise dimensions and spacing on both flat and round metallic surfaces. We further hypothesized that laser microgrooving would increase surface area and roughness of the cement interface of test metallic implants and that such would translate into an improved acute mechanical performance as assessed in vitro under both static and cyclic loads. The objective was to develop a computational model to determine the effect of LIM on the tibial tray to the mechanical stimuli distributions from implant to bone using the finite element method. This study designed goat TT 3D solid model from a computer topography (CT) images, out of which three different laser microgrooves were engraved on TT sample by varying depth, height and space between two adjacent grooves. The simulation test results concluded that microgrooves acchitecures positively influence microstrain behavior around the implant/bone interfaces. There is a higher amount of strain observed for microgroove implant/bone samples compared to non-groove implant/bone samples. Thus, the laser-induced microgrooves have the potential to be used clinically in TKR components.