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Journal articles on the topic 'Hip-hop Rap (Music)'
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Knobloch-Westerwick, Silvia, Paige Musto, and Katherine Shaw. "Rebellion in the Top Music Charts." Journal of Media Psychology 20, no. 1 (January 2008): 15–23. http://dx.doi.org/10.1027/1864-1105.20.1.15.
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Abstract. In spite of great public concern about offensive messages in hip-hop/rap and rock, actual quantitative prevalence is rarely examined. This investigation analyzed 260 rap/hip-hop and rock songs from the top-charts of 1993 and 2003 for rebellious messages about impulsive and hostile behaviors. Results show that the majority of top songs contain rebellious messages. Songs with messages about impulsiveness are more common than those about hostility in the rap/hip-hop genre and have increased.
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Grewal, Sara Hakeem. "Hip Hop and the University." Journal of Popular Music Studies 32, no. 3 (August 27, 2020): 73–97. http://dx.doi.org/10.1525/jpms.2020.32.3.73.
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While hip hop and the university appear to operate within radically different social (and socioeconomic) spheres, we nevertheless see increasing overlap between the two that demonstrates a mutual interest and perhaps desire between the two. With the rise of hip hop studies on the one hand and a remarkable array of hip hop songs and films that address the university space and/or university education on the other, these two discursive spheres produce knowledges that are both complementary and contradictory. By analyzing several texts—major academic works of hip hop scholarship; films on hip hop and the university, especially Method Man and Redman’s 2001 How High; and the rap oeuvres of Kanye West and J. Cole—this article examines the ways in which the epistemologies of hip hop and the university interact and conflict. By examining these texts, I show that academic epistemologies, or what I term “book knowledge,” inadvertently impose a hierarchical and colonizing frame on rap and hip hop, such as the practice of “close reading” rap as poetry. Instead, I argue that we can learn how to ethically inhabit and transform the university space by drawing from hip hop’s commitment to producing the radical, decolonial, and embodied practices of “street knowledge.”
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Grewal, Sara Hakeem. "Hip Hop and the University." Journal of Popular Music Studies 32, no. 3 (August 26, 2020): 73–97. http://dx.doi.org/10.1525/jpms.2020.323007.
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While hip hop and the university appear to operate within radically different social (and socioeconomic) spheres, we nevertheless see increasing overlap between the two that demonstrates a mutual interest and perhaps desire between the two. With the rise of hip hop studies on the one hand and a remarkable array of hip hop songs and films that address the university space and/or university education on the other, these two discursive spheres produce knowledges that are both complementary and contradictory. By analyzing several texts—major academic works of hip hop scholarship; films on hip hop and the university, especially Method Man and Redman’s 2001 How High; and the rap oeuvres of Kanye West and J. Cole—this article examines the ways in which the epistemologies of hip hop and the university interact and conflict. By examining these texts, I show that academic epistemologies, or what I term “book knowledge,” inadvertently impose a hierarchical and colonizing frame on rap and hip hop, such as the practice of “close reading” rap as poetry. Instead, I argue that we can learn how to ethically inhabit and transform the university space by drawing from hip hop’s commitment to producing the radical, decolonial, and embodied practices of “street knowledge.”
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Pennycook, Alastair. "Global Noise and Global Englishes." Cultural Studies Review 9, no. 2 (September 13, 2013): 192–200. http://dx.doi.org/10.5130/csr.v9i2.3572.
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Global Noise: Rap and Hip-Hop Outside the USA, alluding to Tricia Rose’s US rap-music book, Black Noise, aims to do much more than merely extend the reach of the study of rap and hip-hop beyond the USA, as its subtitle might suggest. While acknowledging the importance of the work of both Rose and Potter, this collection’s editor, Tony Mitchell, contests their respective views that rap and hip-hop are essentially expressions of African-American culture, and that all forms of rap and hip-hop derive from these origins. He argues that these forms have become ‘a vehicle for global youth affiliations and a tool for reworking local iden- tity all over the world’.
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SOLOMON, THOMAS. "‘Living underground is tough’: authenticity and locality in the hip-hop community in Istanbul, Turkey." Popular Music 24, no. 1 (January 2005): 1–20. http://dx.doi.org/10.1017/s0261143004000273.
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Hip-hoppers in Istanbul, Turkey, spend much discursive energy talking and rapping about how the Turkish hip-hop movement is underground, putting a particularly local spin on their uses of a global cultural form. This spatial metaphor has thus become central to local constructions of hip-hop in Istanbul. This paper explores the different meanings the underground concept has for Turkish hip-hoppers through a combination of ethnographic research and readings of locally produced hip-hop texts. Through discourses on and around the underground metaphor, Turkish hip-hoppers use the globally circulating music genre of rap and the associated arts of hip-hop to construct a specifically local identity, re-emplacing rap and hip-hop within the landscape of Istanbul. The paper uses this case study to explore how people can use mediated music in constructing new imaginaries and identities and more specifically how people can use mediated music as a vehicle for the imagining of place.
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Templeton, Inez H. "Where in the world is the hip hop nation?" Popular Music 22, no. 2 (May 2003): 241–45. http://dx.doi.org/10.1017/s0261143003003155.
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The ‘Hood Comes First: Race, Space and Place in Rap and Hip-Hop. By Murray Forman. Middletown: Wesleyan University Press, 2002. 400 pp.Global Noise: Rap and Hip-Hop Outside the USA. Edited by Tony Mitchell. Middletown: Wesleyan University Press, 2001. 352 pp.
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Fikentscher, Kai, David Toop, and Jon Michael Spencer. "Rap Attack 2: African Rap to Global Hip Hop." Ethnomusicology 38, no. 2 (1994): 349. http://dx.doi.org/10.2307/851745.
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Harrison, Anthony Kwame. "Racial Authenticity in Rap Music and Hip Hop." Sociology Compass 2, no. 6 (November 2008): 1783–800. http://dx.doi.org/10.1111/j.1751-9020.2008.00171.x.
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Nzinga, Kalonji L. K., and Douglas L. Medin. "The Moral Priorities of Rap Listeners." Journal of Cognition and Culture 18, no. 3-4 (August 13, 2018): 312–42. http://dx.doi.org/10.1163/15685373-12340033.
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AbstractA cross-cultural approach to moral psychology starts from researchers withholding judgments about universal right and wrong and instead exploring what the members of a community subjectively perceive to be moral or immoral in their local context. This study seeks to identify the moral concerns that are most relevant to listeners of hip-hop music. We use validated psychological surveys including the Moral Foundations Questionnaire (Graham, Haidt, & Nosek 2009) to assess which moral concerns are most central to hip-hop listeners. Results show that hip-hop listeners prioritize concerns of justice and authenticity more than non-listeners and deprioritize concerns of respecting authority. These results suggest that the concept of the “good person” within hip-hop culture is fundamentally a person that is oriented towards social justice, rebellion against the status quo, and a deep devotion to keeping it real. Results are followed by a discussion of the role of youth subcultures in moral socialization.
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Bennett, Andy. "Hip hop am Main: the localization of rap music and hip hop culture." Media, Culture & Society 21, no. 1 (January 1999): 77–91. http://dx.doi.org/10.1177/016344399021001004.
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Gilbers, Steven, Nienke Hoeksema, Kees de Bot, and Wander Lowie. "Regional Variation in West and East Coast African-American English Prosody and Rap Flows." Language and Speech 63, no. 4 (November 4, 2019): 713–45. http://dx.doi.org/10.1177/0023830919881479.
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Regional variation in African-American English (AAE) is especially salient to its speakers involved with hip-hop culture, as hip-hop assigns great importance to regional identity and regional accents are a key means of expressing regional identity. However, little is known about AAE regional variation regarding prosodic rhythm and melody. In hip-hop music, regional variation can also be observed, with different regions’ rap performances being characterized by distinct “flows” (i.e., rhythmic and melodic delivery), an observation which has not been quantitatively investigated yet. This study concerns regional variation in AAE speech and rap, specifically regarding the United States’ East and West Coasts. It investigates how East Coast and West Coast AAE prosody are distinct, how East Coast and West Coast rap flows differ, and whether the two domains follow a similar pattern: more rhythmic and melodic variation on the West Coast compared to the East Coast for both speech and rap. To this end, free speech and rap recordings of 16 prominent African-American members of the East Coast and West Coast hip-hop communities were phonetically analyzed regarding rhythm (e.g., syllable isochrony and musical timing) and melody (i.e., pitch fluctuation) using a combination of existing and novel methodological approaches. The results mostly confirm the hypotheses that East Coast AAE speech and rap are less rhythmically diverse and more monotone than West Coast AAE speech and rap, respectively. They also show that regional variation in AAE prosody and rap flows pattern in similar ways, suggesting a connection between rhythm and melody in language and music.
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Yanchenko, Ya M. "HIP-HOP AS A DISCURSIVE SPACE OF THE SUBCULTURE." Bulletin of Udmurt University. Series History and Philology 30, no. 3 (July 15, 2020): 403–7. http://dx.doi.org/10.35634/2412-9534-2020-30-3-403-407.
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The goal of the article is detection and description of the main linguistic peculiarities of the discourse of hip-hop subculture. The lack of research devoted to hip-hop language and high popularity of rap music give grounds to consider this problem relevant to solve. The article examines the factors of the formation of the subculture and their impact on the linguistic representation of the mental world of the hip-hop culture representatives. It is concluded that there is a direct connection between conditions and lifestyle (economic instability, high crime rates, racial decimations) of hip-hop representatives and the use of language. The article confirms the importance of the category of participants in the discourse, which leads to a high level of axiology and subjectivity of hip-hop discourse. The presence of intertextuality, which is manifested both in the structure of the text of rap songs and in their content, is explained. The article describes the specific character of creolization of songs of this genre, which assumes its materialization at two levels: visual (video clips) and melodic (tempo, rhythm of music).
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Berkson, Sam. "Hip Hop World News: reporting back." Race & Class 59, no. 2 (October 2017): 102–14. http://dx.doi.org/10.1177/0306396817716053.
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Responding to the BBC 4 documentary, The Hip Hop World News, the author examines a number of debates that the programme, narrated by Rodney P, a pioneer of British rap music, and a believer in the revolutionary potential of hip hop culture, throws up. For hip hop also has many reactionary elements and has become big business for the corporations and rap ‘stars’ involved in its production. Beyond just pointing to individual rappers who have been ‘conscious’ political voices, such as Public Enemy’s Chuck D, we are shown structures embedded in the origins and ‘elements’ of hip hop that continue to make it a ‘voice of the voiceless’. Some people, like Lord Jamar, who is interviewed on the documentary, have argued that hip hop as a black art form can only be performed by black artists, yet, as Rodney P points out, hip hop has been adopted everywhere to express and transmit the situations and struggles of marginalised and oppressed groups all over the globe.
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Williams, Justin A. "The Construction of Jazz Rap as High Art in Hip-Hop Music." Journal of Musicology 27, no. 4 (2010): 435–59. http://dx.doi.org/10.1525/jm.2010.27.4.435.
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Multiple factors contributed to the elevation of jazz as "high art" in mainstream media reception by the 1980s. The stage was thus set for hip-hop groups in the late-1980s and early 90s (such as Gang Starr, A Tribe Called Quest, and Digable Planets) to engage in a relationship with jazz as art and heritage. "Jazz codes" in the music, said to signify sophistication, helped create a rap-music subgenre commonly branded "jazz rap." Connections may be identified between the status of jazz, as linked to a high art ideology in the 1980s, and the media reception of jazz rap as an elite rap subgenre (in opposition to "gangsta" rap and other subgenres). Contemplation of this development leads to larger questions about the creation of hierarchies, value judgments, and the phenomenon of elite status within music genres.
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KAMIŃSKA, MARTA. "Chrześcijański hip-hop w służbie nowej ewangelizacji." Annales Missiologici Posnanienses, no. 17 (December 15, 2010): 121–36. http://dx.doi.org/10.14746/amp.2010.17.09.
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This article presents an attempt to show the “Christian” version of hip-hop or rap music. Even though at the beginning this kind of music was anti-Christian and this might be still in the mainstream, there are however some attempts of creating such a kind of music with an attitude of searching for deeper meaning in life and finding it sometimes in Christian life. Very important in this process was an audience, which John Paul II gave to the artists of this kind of music, somehow confirming that such music also might be used for evangelization.
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Hodgman, Matthew R. "Class, Race, Credibility, and Authenticity within the Hip-Hop Music Genre." Journal of Sociological Research 4, no. 2 (November 16, 2013): 402. http://dx.doi.org/10.5296/jsr.v4i2.4503.
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<p>After its advent in the 1970s, the rap music genre was represented almost exclusively by male black artists who honestly and realistically embodied a poor urban image. Images of black urban poverty in music videos and rap lyrics were consistently used by black artists to emphasize and authenticate who they were and where they came from. With the upsurge of white rap acts starting in the early 90s and continuing through the early 21<sup>st</sup> century, the means by which rap authenticity is measured have been permanently renegotiated. Before the emergence of white rappers, race was the primary signifier of rapper authenticity. After the success of white rappers such as Eminem new parameters of what constitute credibility and authenticity in the rap genre have been forged. This article discusses the significance of the continued presence of white rappers in hip-hop in terms of class and race in relation to artistic credibility within the rap genre. On a larger scale, this article considers questions related to cultural interloping upon a racially concentrated art form. It is concluded that class has generally emerged as the premier indicator or variable of authenticity throughout rap. </p>
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Lawson, Carl J. "Mortality in American Hip-Hop and Rap Recording Artists, 1987–2014." Medical Problems of Performing Artists 30, no. 4 (December 1, 2015): 211–16. http://dx.doi.org/10.21091/mppa.2015.4039.
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BACKGROUND: The deaths of American hip-hop and rap recording artists often receive considerable media attention. However, these artists’ deaths have not been examined as a distinct group like the deaths of rock, classical, jazz, and pop music artists. This is a seminal epidemiological analysis on the deaths of an understudied group, American hip-hop and rap music recording artists. METHODS: Media reports were analyzed of the deaths of American hip-hop and rap music recording artists that occurred from January 1, 1987 to December 31, 2014. The decedents’ age, sex, race, cause of death, stage names, and city and state of death were recorded for analysis. RESULTS: The most commonly reported cause of death was homicide. The 280 deaths were categorized as homicide (55%), unintentional injury (13%), cardiovascular (7%), undetermined/undisclosed (7%), cancer (6%), other (5%), suicide (4%), and infectious disease (3%). The mean reported age at death was 30 yrs (range 15–75) and the median was 29 yrs; 97% were male and 92% were black. All but one of the homicides were committed with firearms. CONCLUSIONS: Homicide was the most commonly reported cause of death. Public health focus and guidance for hip-hop and rap recording artists should mirror that for African-American men and adolescent males ages 15–54 yrs, for whom the leading causes of death are homicide, unintentional injury, and heart disease. Given the preponderance of homicide deaths in this analysis, premature mortality reduction efforts should focus on violence prevention and conflict mitigation.
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Regmi, Aarati. "Redefining the Society in Hip-Hop Music: A Nepali Perspective." SCHOLARS: Journal of Arts & Humanities 3, no. 1 (March 1, 2021): 18–25. http://dx.doi.org/10.3126/sjah.v3i1.35355.
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Nepali Rapper Utsaha Joshi, aka Uniq poet's title song “Mero Desh Birami” and Chirag Khadka's album 5:55 title song “Samadhi and Aaago ko Jhilko” display intimate relationships between the socio-political and cultural context and the youngsters' powerful voice through music. This paper analyzes rap music as a medium and power to convey socio-cultural values, truth of conspiracy, and interests among youngsters. Both singers have portrayed the mainstream culture, faith, and patriotism, which have shaped people’s minds and behaviours. Rap songs have become so popular among young people who have always been informed by specific phenomenal interests. It has touched the consciousness that shapes the relationship between humans and culture. The road to these rap songs speaks the voice of cultural roots via its elements. To add, rap singers display popular means of conveying cultural intimacy through their music and of introducing a phenomenal symbol of society. However, Nepali Hip-hop redefines a relative degree of social conspiracy rather, it promotes positivity among the youngsters as it motivates and generates energy. Yet, hip-hop generates and navigates a voice of fear, woes, dissatisfaction, disagreement, anxiety, and other sensitive anti-socio-political crimes like rape, homicide, power augmentation game, etc.
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Tyson, Edgar H., Tiffany L. Brown, and Antoine Lovell. "The Intersection of Race, Gender, and Rap Music Perceptions: A Content Validation Study of the Rap-Music Attitude and Perception Scale." Urban Social Work 3, no. 1 (May 1, 2019): 25–50. http://dx.doi.org/10.1891/2474-8684.3.1.25.
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ObjectivesThis study examines the content validity of a newly developed measure, the Rap-Music Attitude and Perception (RAP) scale.MethodsUtilizing data from a racially diverse sample of undergraduate college students (N= 871), this investigation highlights an underutilized mixed method, qualitative–quantitative scale development approach, while investigating relationships between race, gender, and rap music views.FindingsResults indicate overlap between themes identified in participants' qualitative responses and RAP scale items. Furthermore, there were several within and between (race and gender) group differences in the endorsement of RAP scale items.ConclusionsImplications of these results support the utility of the RAP for examining perceptions of rap music and provide insight into how the intersection of race and gender relates to hip-hop music themes.
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Bramwell, Richard, and James Butterworth. "Beyond the street: the institutional life of rap." Popular Music 39, no. 2 (May 2020): 169–86. http://dx.doi.org/10.1017/s0261143020000355.
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AbstractThis article draws on ethnographic fieldwork conducted over the course of one year in London and Bristol to examine the performance of rap in English youth centres. Youth centres play a significant role in supporting and shaping rap culture. However, historically dominant narratives within hip-hop studies and hip-hop culture depict rap as a vernacular cultural form that emerges from ‘the street’, and which derives its authenticity through its relation to ‘the street’. We seek to move beyond such discourses and towards a recognition of the institutional processes, structures and networks that shape and sustain rap culture. Our focus on the institutional life of rap leads to an analysis of the various possibilities, limitations and tensions that arise in the coming together of public funding, and social policy priorities, local organisations and black vernacular culture.
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Forman, Murray. "‘Represent’: race, space and place in rap music." Popular Music 19, no. 1 (January 2000): 65–90. http://dx.doi.org/10.1017/s0261143000000015.
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Say somethin' positive, well positive ain't where I liveI live around the corner from West HellTwo blocks from South Shit and once in a jail cellThe sun never shined on my side of the street, see?(Naughty By Nature, ‘Ghetto Bastard (Everything's Gonna Be Alright)’, 1991, Isba/Tommy Boy Records)If you're from Compton you know it's the 'hood where it's good(Compton's Most Wanted, ‘Raised in Compton’, 1991, Epic/Sony)IntroductionHip hop's capacity to circumvent the constraints and limiting social conditions of young Afro-American and Latino youths has been examined and celebrated by cultural critics and scholars in various contexts since its inception in the mid-1970s. For instance, the 8 February 1999 issue of US magazine Time featured a cover photo of ex-Fugees and five-time Grammy award winner Lauryn Hill with the accompanying headline ‘Hip-Hop Nation: After 20 Years – how it's changed America’. Over the years, however, there has been little attention granted to the implications of hip hop's spatial logics. Time's coverage is relatively standard in perceiving the hip hop nation as a historical construct rather than a geo-cultural amalgamation of personages and practices that are spatially dispersed.
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Souza, Angela Maria de, and Deise Lucy Oliveira Montardo. "Music and musicalities in the hip hop movement: gospel rap." Vibrant: Virtual Brazilian Anthropology 8, no. 1 (June 2011): 7–38. http://dx.doi.org/10.1590/s1809-43412011000100001.
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This article reflects on issues first raised in the doctoral thesis in Social Anthropology entitled “The Road is Long and the Ground is Slippery!: the hip hop movement in Florianópolis and Lisbon” (Souza 2009) and which provides ethnographic support for the reflections raised here about this vibrant v.8 n.1 angela m. de souza, deise l. montardo musical production. Rap is music that was born in ghettos and peripheries. It has become a strong reference for youth and is inserted in a variety of social, cultural and religious contexts. Reflecting on this musical production is a complex task, mainly in an attempt to create distinctions, boundaries and limits that insist on not being maintained in defined spaces. To the contrary, shifting, movement and circulation are elements of these musicalities, one of which is gospel rap. In a dialog with ethnomusicology, this article approaches this musical style, principally through discussions about “performance” and “event,” essential factors that guide the contours of what we call aesthetic-musical styles within the hip hop movement in which gospel rap is inserted.
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Sorett, Josef. "“It’s Not the Beat, but It’s the Word that Sets the People Free”: Race, Technology, and Theology in the Emergence of Christian Rap Music." Pneuma 33, no. 2 (2011): 200–217. http://dx.doi.org/10.1163/027209611x575014.
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AbstractIn an effort to address lacunae in the literature on hip hop, as well as to explore the role of new music and media in Pentecostal traditions, this essay examines rap music within the narratives of American religious history. Specifically, through an engagement with the life, ministry, and music of Stephen Wiley — who recorded the first commercially-released Christian rap song in 1985 — this essay offers an account of hip hop as a window into the intersections of religion, race, and media near the end of the twentieth century. It shows that the cultural and theological traditions of Pentecostalism were central to Wiley’s understanding of the significance of racial ideology and technology in his rap ministry. Additionally, Wiley’s story helps to identify a theological, cultural, and technological terrain that is shared, if contested, by mainline Protestant, neo-Pentecostal, and Word of Faith Christians during a historical moment that has been described as post-denominational.
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Becker, Sarah, and Castel Sweet. "“What Would I Look Like?”: How Exposure to Concentrated Disadvantage Shapes Hip-Hop Artists’ Connections to Community." Sociology of Race and Ethnicity 6, no. 1 (July 20, 2018): 61–75. http://dx.doi.org/10.1177/2332649218784964.
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Hip-hop has deep historical ties to disadvantaged communities. Resounding success in mainstream and global music markets potentially disrupts those connections. The authors use in-depth interviews with 25 self-defined rap/hip-hop artists to explore the significance of place in modern hip-hop. Bringing together historical studies of hip-hop and sociological neighborhood studies, the authors examine hip-hop artists’ community connections. Findings reveal that exposure to concentrated racial and economic disadvantage shapes how artists interpret community, artistic impact, and social responsibility. This supports the “black placemaking” framework, which highlights how black urban neighborhood residents creatively build community amid structural disadvantage. The analysis also elucidates the role specific types of physical places play in black placemaking processes.
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de Boise, Sam. "Music and misogyny: a content analysis of misogynistic, antifeminist forums." Popular Music 39, no. 3-4 (December 2020): 459–81. http://dx.doi.org/10.1017/s0261143020000410.
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AbstractResearch exploring the relationship between misogyny and music has been divided between those who argue that certain music causes, confirms or is a manifestation of misogyny. Yet this often takes for granted the link between certain genres (predominantly hip hop, rap and metal) and misogynistic 'messages'. Instead of asking what types of music might be misogynistic, this article instead asks how music is discussed amongst those who actively espouse misogynistic views. Through content analysis of 1173 posts, from 6 ‘misogynistic antifeminist movement’ (MAM) forums, it shows that whilst hip hop, rap and metal genres and artists are the most commonly mentioned, there is significant variation in terms of musical preferences and justifications. Whilst masculinist lyrics were the main reasons for music preferences, this study shows how MAM communities’ musical judgments are a confluence of sonic and extra-musical discourses which are shaped and amplified within these online communities.
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Golpushnezhad, Elham. "Untold Stories of DIY/Underground Iranian Rap Culture: The Legitimization of Iranian Hip-Hop and the Loss of Radical Potential." Cultural Sociology 12, no. 2 (June 2018): 260–75. http://dx.doi.org/10.1177/1749975518769001.
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In this article, I aim to explore how legitimization and de-radicalization of the underground hip-hop subculture have restrained the DIY creation of social norms and cultural behaviours that mobilized Iranian hip-hop in the early 2000s. The article offers a critical discussion of the literature around legitimization of DIY/underground subcultures, specifically youth musical subcultures such as punk and hip-hop, before turning to an analysis of Iranian hip-hop culture in three phases: (1) hip-hop and the creation of a community, 2000–2003; (2) the golden age of Iranian hip-hop, 2003–2009; (3) contemporary Iranian hip-hop, 2009–2016. The article suggests that these three phases have finally led to the entry of hip-hop into the mainstream system and cultural industry, as recent trends bringing it in line with the values and standards of Islamic Iran result in turning underground DIY culture into a mainstream popular form of music supported and funded (indirectly) by the Islamic state.
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Reilly, Thomas James. "Hip-hop and psychiatry: A fair rap? – psychiatry in music." British Journal of Psychiatry 203, no. 6 (December 2013): 408. http://dx.doi.org/10.1192/bjp.bp.113.127027.
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Ovshieva, Ilyana. "Stomping for Tunisia: Liberation, Identity and Dignity in Tunisian Rap Music." Middle East Journal of Culture and Communication 6, no. 1 (2013): 36–54. http://dx.doi.org/10.1163/18739865-00503003.
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This analysis ventures into an examination of the role of hip hop as a medium for youthful resistance, mobilization and empowerment during the Tunisian revolution. As a subculture of resistance that never speaks down to people, hip hop serves as the ultimate tool for young revolutionary artists to reassert their dignity, hidden talent and self-understanding. The lyrics of El Général, Armada Bizerta, Ferid El Extranjero and Mos Anif epitomize the feelings of hopelessness and neglect that were endemic in Tunisian society and that propelled a nationwide rebellion. Bereft of voice in their political life and suffering from social neglect, these youths turned to underground culture to make their voices heard. Beneath the mobilizational and empowering capacities of hip hop, Tunisian rap also provides a terrain for young artists to engage in the debate about national identity, their place in the capitalist-dominated world and how they as youth oracles can mold what they perceive as the ‘true Tunisia’. Post-revolutionary Tunisian rap, rife with patriotic pathos and the potential for mobilization, developed against the backdrop of the rising sway of Islamist movements and the profound national introspection that followed the revolution. This paper sheds light on the rise of religious discourse in Tunisian rap and the evolving ideas of individual and collective dignity as well as on the emergence of counter-discourses and the ways in which they pertain to rappers’ endeavors to define Tunisia.
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Stofken, Ingo, and Tony Mitchell. "Global noise - Rap and Hip-Hop outside the USA." Lied und populäre Kultur / Song and Popular Culture 48 (2003): 309. http://dx.doi.org/10.2307/4147844.
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Reitsamer, Rosa, and Rainer Prokop. "Keepin’ it Real in Central Europe: The DIY Rap Music Careers of Male Hip Hop Artists in Austria." Cultural Sociology 12, no. 2 (May 2, 2017): 193–207. http://dx.doi.org/10.1177/1749975517694299.
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This article sets out to broaden our understanding of the significance of authenticity, locality and language for the development of a do-it-yourself (DIY) rap music career by taking male rap artists in Austria as an example. Drawing on interviews carried out in 2014–2015 with two groups of rap artists from different social and cultural backgrounds who embarked on their rap music careers in the early 1990s and the early 2000s, we analyse their rap lyrics and the social and economic contexts in which these individuals became rappers. We examine how the artists articulate claims to authenticity by appropriating African-American rap styles, meanings and idioms and blending them with local languages and references to local cultures and national politics. We also examine the rappers’ relationship to the music industry and the use of informal channels for the production, performance and consumption of rap and hip hop in general. The article suggests that the DIY careers of these rap artists depend on both the rappers’ use of music to articulate claims to authenticity and their ability to form (trans-)local networks for sharing skills, knowledge and other resources, as well as on Austria’s cultural policy and the changes in the music industry that have taken place in recent years.
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de Paor-Evans, Adam. "The Intertextuality and Translations of Fine Art and Class in Hip-Hop Culture." Arts 7, no. 4 (November 16, 2018): 80. http://dx.doi.org/10.3390/arts7040080.
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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.
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Washington, Ahmad R. "Addressing Social Injustice with Urban African American Young Men Through Hip-hop: Suggestions for School Counselors." Journal for Social Action in Counseling & Psychology 7, no. 1 (June 1, 2015): 101–21. http://dx.doi.org/10.33043/jsacp.7.1.101-121.
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In this manuscript, the author discusses how hip-hop and rap music can be used to as a tool for social justice advocacy to stimulate urban African American young men’s sociopolitical empowerment to combat educational barriers. The manuscript includes a historical examination of the environment in which hip-hop culture was conceived. The focus then shifts to how particular hip-hop artists’ lyrical content is germane to the social justice advocacy orientation mandate of 21st century professional school counselors working in urban settings. Finally, practical suggestions are be provided for how social justice oriented professional school counselors can apply this content when working directly with urban African American young men.
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Inkster, Becky, and Akeem Sule. "Drug term trends in American hip-hop lyrics." Journal of Public Mental Health 14, no. 3 (September 21, 2015): 169–73. http://dx.doi.org/10.1108/jpmh-05-2015-0019.
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Purpose – Many young people around the world embrace hip-hop music and culture. Since the genre’s conception in the 1970s, hip-hop music and lyrics have made regular references to drugs. Understanding the relevance of these documented trends is important, especially as adolescence is a period of high risk for substance misuse. The purpose of this paper is to explore how and possibly why different lyrical trends in hip-hop music have emerged, risen and fallen out of popularity by examining word usage frequency of drug terminology in hip-hop lyrics spanning several decades of this genre. Design/methodology/approach – Electronic searches were completed using an open source database known as Rap Genius Rap Stats, which contains verified annotations and text. Word frequency was plotted against time using data available from 1988 to 2015. Word frequency was defined as a percentage of the number of hip-hop songs containing a specific drug-term (per year) based on the number of hip-hop songs recorded/produced (that year). Standardized “medical/pharmaceutical” terminologies and common “street” terminologies were plotted independently for time series visualization. Drug terms were represented using the highest frequency search term. Generic “street” terms with multiple meanings were excluded. Findings – As might be predicted, the usage of “street” terms in hip-hop lyrics was more frequently observed than the usage of “medical/pharmaceutical” terms. An exception was the term “crack”, which was included in both plots as this word could be referenced as a “street” term and as a “medical/pharmaceutical” term. The authors observed larger fluctuations in “street” term usage across time relative to only slight fluctuations of “medical/pharmaceutical” term usage across time. Originality/value – In this study, the authors illustrate several drug terminology trends in hip-hop lyrics. The authors discuss some of the socio-political, socio-demographic and geographical implications that may have influenced these trends, such as the rise of the “street” term molly that emerged when references to molly made by hip-hop artists became increasingly popular and a more suburban demographic transpired. This preliminary work may help to enhance two-way youth-oriented communication between health care professionals and service users, possibly improving the translation of drug-related medical messages. The preliminary work may also inform future research to consider whether such lyrical trends precede or follow changes in population substance use.
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Hook, Dave. "‘Scottish people can't rap’: the local and global in Scottish hip-hop." Popular Music 40, no. 1 (February 2021): 75–90. http://dx.doi.org/10.1017/s0261143021000040.
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AbstractHip-hop is a global culture, where local representation is a core tenet of its ideology. It therefore provides opportunities to observe how a global cultural structure is interpreted, realigned and expressed in local cultural forms. This article combines autoethnography and rap lyric analysis to consider the complex relationship between the local and global in relation to cultural articulation and authenticity. Through a study of the poetics of Scottish hip-hop, a series of patterns and connections appear relating to interpretation, negotiation and hybridisation of local and global culture, presenting a demonstration of how the local, global and individual intersect to ‘devise unique ways of communicating thoughts, emotions and everyday realities’ (Alim 2003, Journal of English Linguistics, March, 31/1, pp. 60–84, p. 62). Furthermore, this article presents a framework for autoethnographic study of hip-hop, signposting bridging points between scholarship and practice.
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Onita, Adriana. "Translating Chicana Rap: Snow Tha Product." TranscUlturAl: A Journal of Translation and Cultural Studies 9, no. 1 (June 22, 2017): 132. http://dx.doi.org/10.21992/t9zd03.
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This project examines rap lyrics, interviews, and music videos by Chicana artist Snow Tha Product to show how rap has been culturally translated, performed, and appropriated by females in order to “flip the script,” or subvert the dichotomous model of female sexuality that has been imposed upon them. Weaving insights from three academic fields (cultural translation, Chican@ studies, and hip-hop feminism), this paper also aims to creatively expand the definition of translation by positioning rap music as a performative language in its own right, capable of encoding and translating complex cultural issues related to race, gender, and sexuality.
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de Paor-Evans, Adam. "The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap." Open Cultural Studies 2, no. 1 (July 1, 2018): 122–35. http://dx.doi.org/10.1515/culture-2018-0012.
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Abstract In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and sociopolitical presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society
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Waugh, Michael. "‘Every time I dress myself, it go motherfuckin’ viral’: Post-verbal flows and memetic hype in Young Thug's mumble rap." Popular Music 39, no. 2 (May 2020): 208–32. http://dx.doi.org/10.1017/s026114302000015x.
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AbstractHip-hop studies have historically centred on issues of the ‘street’ or virtuosic lyricism and flow, foregrounded as evidence of the ‘seriousness’ of the genre. While these have undoubtedly been valuable theoretical approaches, the prominence of social networking in the 2010s (with its vast implications for communication and identity politics) has sculpted a generation of rappers whose vocal style and self-representation disintegrate prior assumptions about hip-hop identity. These artists, who have flourished in tandem with the rise of streaming services, have been disparagingly dubbed ‘mumble rap’ by traditionalists owing to the apparent indecipherability of their vocals and a lack of emphasis on observational or poetic lyricism. In this article I argue that this myopic label undervalues the groundbreakingly post-verbal nature of the music being created by these rappers, and highlights the innovations of mumble rap, exploring the centrality of social media, memes and streaming to its existence while critically examining its protagonists’ unconventionally stylised vocals. After analysing the impact of streaming, information overload and audience participation (through social media hype and memes) on contemporary hip-hop, I survey the growth of melodic Auto-Tuned vocals and repetitive lyricism in the work of pioneering mumble rappers such as Future, before turning to an extended examination of Atlanta's Young Thug, whose controversially malleable vocal style, which prioritises experimentation with vocal textures while confounding the rules of hip-hop flow, is mirrored by his impulsive exploitation of social media and androgynous fashion sense, establishing him as the most revolutionary archetype of so-called mumble rap.
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Westrol, Michael S., Susmith Koneru, Norah McIntyre, Andrew T. Caruso, Faizan H. Arshad, and Mark A. Merlin. "Music Genre as a Predictor of Resource Utilization at Outdoor Music Concerts." Prehospital and Disaster Medicine 32, no. 3 (February 20, 2017): 289–96. http://dx.doi.org/10.1017/s1049023x17000085.
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AbstractObjectivesThe aim of this study was to examine the various modern music genres and their effect on the utilization of medical resources with analysis and adjustment for potential confounders.MethodsA retrospective review of patient logs from an open-air, contemporary amphitheater over a period of 10 years was performed. Variables recorded by the medical personnel for each concert included the attendance, description of the weather, and a patient log in which nature and outcome were recorded. The primary outcomes were associations of genres with the medical usage rate (MUR). Secondary outcomes investigated were the association of confounders and the influences on the level of care provided, the transport rate, and the nature of medical complaint.ResultsA total of 2,399,864 concert attendees, of which 4,546 patients presented to venue Emergency Medical Services (EMS) during 403 concerts with an average of 11.4 patients (annual range 7.1-17.4) each concert. Of potential confounders, only the heat index ≥90°F (32.2°C) and whether the event was a festival were significant (P=.027 and .001, respectively). After adjustment, the genres with significantly increased MUR in decreasing order were: alternative rock, hip-hop/rap, modern rock, heavy metal/hard rock, and country music (P<.05). Medical complaints were significantly increased with alternative rock or when the heat index was ≥90°F (32.2°C; P<.001). Traumatic injuries were most significantly increased with alternative rock (P<.001). Alcohol or drug intoxication was significantly more common in hip-hop/rap (P<.001). Transport rates were highest with alcohol/drug intoxicated patients (P<.001), lowest with traumatic injuries (P=.004), and negatively affected by heat index ≥90°F (32.2°C; P=.008), alternative rock (P=.017), and country music (P=.033).ConclusionAlternative rock, hip-hop/rap, modern rock, heavy metal/hard rock, and country music concerts had higher levels of medical resource utilization. High heat indices and music festivals also increase the MUR. This information can assist event planners with preparation and resource utilization. Future research should focus on prospective validation of the regression equation.Westrol MS, KoneruS, McIntyreN, Caruso AT, ArshadFH, MerlinMA. Music genre as a predictor of resource utilization at outdoor music concerts. Prehosp Disaster Med. 2017;32(3):289–296.
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Solomon, Thomas. "Berlin–Frankfurt–Istanbul." European Journal of Cultural Studies 12, no. 3 (July 16, 2009): 305–27. http://dx.doi.org/10.1177/1367549409105366.
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This article explores how a focus on the movement of people, especially between countries, might provide new perspectives on music scenes. After a brief case study of a rap song and summary of the origins of Turkish hip-hop, the article presents a series of vignettes from ethnographic fieldwork with Turkish hip-hoppers and their contacts in Istanbul and Stockholm, in which the theme of movement, and the enduring transnational connections it creates, are highlighted. The article then turns to a discussion of recent theorizing on music scenes, addressing the ways in which the local, translocal and virtual levels of the Turkish hip-hop scene complexly interact with each other. Finally, it suggests that Turkish hip-hop may be best understood as a transnational community of affect in which not only attachment to specific places, but also movement itself between them, are crucial to a sense of belonging for those who are able to participate in these movements.
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Ammirante, Paolo, and Fran Copelli. "Vowel Formant Structure Predicts Metric Position in Hip-hop Lyrics." Music Perception 36, no. 5 (June 1, 2019): 480–87. http://dx.doi.org/10.1525/mp.2019.36.5.480.
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In order to be heard over the low-frequency energy of a loud orchestra, opera singers adjust their vocal tracts to increase high-frequency energy around 3,000 Hz (known as a “singer's formant”). In rap music, rhymes often coincide with the beat and thus may be masked by loud, low-frequency percussion events. How do emcees (i.e., rappers) avoid masking of on-beat rhymes? If emcees exploit formant structure, this may be reflected in the distribution of on- and off-beat vowels. To test this prediction, we used a sample of words from the MCFlow rap lyric corpus (Condit-Schultz, 2016). Frequency of occurrence of on- and off-beat words was compared. Each word contained one of eight vowel nuclei; population estimates of each vowel's first and second formant (F1 and F2) frequencies were obtained from an existing source. A bias was observed: vowels with higher F2, which are less likely to be masked by percussion, were favored for on-beat words. Words with lower F2 vowels, which may be masked, were more likely to deviate from the beat. Bias was most evident among rhyming words but persisted for nonrhyming words. These findings imply that emcees use formant structure to implicitly or explicitly target the intelligibility of salient lyric events.
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Reyna, Christine, Mark Brandt, and G. Tendayi Viki. "Blame It on Hip-Hop: Anti-Rap Attitudes as a Proxy for Prejudice." Group Processes & Intergroup Relations 12, no. 3 (April 17, 2009): 361–80. http://dx.doi.org/10.1177/1368430209102848.
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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.
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Brzobohaty, Avery. "Agency, Authenticity, and Parody in Palestinian Hip Hop." Journal of Popular Music Studies 32, no. 1 (March 1, 2020): 44–56. http://dx.doi.org/10.1525/jpms.2020.32.1.44.
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Throughout the discourse surrounding the Israel-Palestine conflict many methods have emerged to examine the ways in which artists engage with the issues through popular culture. As hip hop spread globally, its universal themes and ability to constitute community led to the use of rap as a vehicle for political commentary. This paper explores how the Palestinian hip hop group DAM provides a commentary on the experiences of Palestinian-Israelis through carnivalesque methods to create shocking juxtapositions. Using an inter-textual method, we can see that humor allows DAM to freely speak “their truth,” defusing tensions and providing a new perspective on the conflict, opening dialogue, and regaining control over a painful history. This case study raises questions of authenticity, agency, and parody in hip hop. The genre blurs the threshold of true and false and allows artists to present a conventional hip hop persona, giving them the freedom to safely comment on social issues. Humor allows for further political commentary under the façade of a joke. By parodying painful racial, gender, and class stereotypes, artists reclaim their identity and further subvert prejudices against them. This case study challenges the notion of what protest music looks like, and how it functions to promote change.
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Brown, Huntly P. "Black Masculinity and Hip-Hop Music: Black Gay Men Who Rap." Journal of Black Sexuality and Relationships 6, no. 4 (2019): 115–19. http://dx.doi.org/10.1353/bsr.2019.0029.
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Koreman, Rian. "Legitimating Local Music: Volksmuziek, Hip-Hop/Rap and Dance Music in Dutch Elite Newspapers." Cultural Sociology 8, no. 4 (September 22, 2014): 501–19. http://dx.doi.org/10.1177/1749975514546364.
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This study examines the legitimation of local music. Critics from peripheral countries such as the Netherlands tend to focus on foreign music products. However, the rising popularity among ‘omnivorous’ audiences and increased production of Dutch music, together with the competition in the Dutch media landscape for readers, might lead Dutch elite newspapers to increase their coverage of local music. These media are cultural intermediaries who signal the legitimation of music. Local genres thus might succeed in establishing themselves, but little is known about this process. This research therefore studies – through a quantitative and qualitative content analysis – the legitimation of three, traditionally illegitimate, genres: volksmuziek, dance and hip-hop/rap music. The findings suggest that the latter two genres indeed gain legitimacy. Genres are classified by the criteria of authenticity and originality. When products fail to meet these criteria, the media attention is legitimized by their popularity, instead of their artistic value.
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Gage, Nathan, Bronwen Low, and Francisco Luis Reyes. "Listen to the tastemakers: Building an urban arts high school music curriculum." Research Studies in Music Education 42, no. 1 (June 29, 2019): 19–36. http://dx.doi.org/10.1177/1321103x19837758.
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In partnership with academics from McGill University and community arts partners, a high school in Montreal faced with significant challenges became an “urban arts school,” offering music and visual art programs centered in youth culture, as well as integrating arts into several academic subjects. The initiative was inspired by the school’s popular extra-curricular activities, which included a Hip Hop literacy club that ran beat making and rap writing workshops. Considering the popularity of these activities, the school decided to offer a music education program focused on musical skills through real-life music making activities that resemble those employed by popular musicians. This article chronicles the development of this music education program from the perspective of the music teacher, including the experience of continual adaptation to the needs and interests of students. The program is one of the first to combine Musical Futures, an approach to music education that promotes the combination of non-formal music teaching, informal music learning, and students’ interest in a formal school setting, with Hip Hop Based Music Education, predominantly located in community settings. This case study showed that students benefited from having an open-minded and committed educator with experience in popular musics. The co-teaching by professional Hip Hop artists also supported student progress and engagement by adding authenticity to the music making process. Furthermore, the alignment of the music program with the general school ethos contributed to its success. The paper also highlights the need to balance the development of musical skills with student engagement, and the informal music learning philosophy of Musical Futures with direct instruction associated with formal school settings.
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Blum, Joseph, and David Toop. "The Rap Attack: African Jive to New York Hip Hop." Ethnomusicology 30, no. 2 (1986): 340. http://dx.doi.org/10.2307/852015.
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SWINEHART, KARL. "The Ch'ixi Blackness of Nación Rap's Aymara Hip-Hop." Journal of the Society for American Music 13, no. 4 (November 2019): 461–81. http://dx.doi.org/10.1017/s1752196319000373.
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AbstractThis essay examines the music of Nación Rap, Aymara rappers of El Alto, Bolivia, as an expression of what Aymara sociologist Silvia Rivera Cusicanqui terms a ch'ixi cultural form, one that juxtaposes seeming opposites into a changed third. I look to earlier moments of Aymara and Quechua cultural production, specifically colonial New World Baroque art, to consider Aymara hip hop as another instance of ch'ixi cosmopolitanism. In examining the lyrical, musical, and visual elements of Nación Rap's performance, I argue that their music intervenes in local ideologies of race and Indigeneity. By reformulating what is understood as Aymara, by situating the Aymara language as poetically equivalent to the colonial lingua franca of Spanish, English, and French, and by wearing Aymara clothing and hairstyles in the performance of an urban musical genre with proximity to Blackness, these artists challenge dominant racial logics of their society.
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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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Kumar, Tracey. "“Something You Can Look Back On”: Teacher Candidates, Rap Music, and P-12 Social Studies." Urban Education 55, no. 8-9 (October 24, 2016): 1224–50. http://dx.doi.org/10.1177/0042085916674058.
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Although several studies highlight the integration of hip-hop-based education (HHBE) into teacher education workshops and coursework, little is known about the use of HHBE by the teachers and teacher candidates who take part in these learning experiences. Toward such a contribution, this study examines how teacher candidates proposed to integrate rap into lesson plans designed for middle and high school social studies classes in an urban intensive setting. The findings indicate that the teacher candidates’ proposed uses of rap not only privilege their own preferences and experiences but also position rap as subordinate to traditional classroom-based texts.
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COHEN, JUDAH. "Hip-hop Judaica: the politics of representin’ Heebster heritage." Popular Music 28, no. 1 (January 2009): 1–18. http://dx.doi.org/10.1017/s0261143008001591.
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AbstractIn this essay, I explore the use of rap and hip-hop conventions as they have developed within the self-consciously contemporary American Jewish ‘hipster’ scene between c. 1986 and 2006, framed particularly around the way these genres have addressed the discourses of masculinity within Jewish culture. By exploring the works and actions of such artists as Matisyahu and the Hip Hop Hoodíos within the context of both American Jewish masculinity discussions and the historical relationship of Jews with commercial hip-hop performance, I attempt to explore how a population’s attempts at musical ‘change’ act as a crucial part of the religious and ethnic transmission and preservation process. Although outwardly seen as based on mimesis and even novelty, ‘Jewish’ hip hop, I suggest, instils a deep sense of identity into a population often characterised as iconoclastic, dynamic, politically inclusive and culturally mutable. Masculinity therefore serves largely as a vessel for young Jews to fashion a sense of self into a conversation from which they had previously been largely absent: one of several strategies used both to unmoor and to redefine what it means to be a ‘new’ Jew.