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Journal articles on the topic 'Subculture Subculture Hip-hop Hip-hop'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Kuzovenkova, Yu A. "SUBCULTURES OF PROVINCE: A TRIBUTE TO THE CAPITAL'S FASHION OR A REQUEST FROM THE YOUTH SPHERE? (ON MATERIALS OF THE HIP-HOP SUBCULTURE)." Aspirantskiy Vestnik Povolzhiya 19, no. 3-4 (2019): 74–79. http://dx.doi.org/10.17816/2072-2354.2019.19.2.74-79.

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The article discusses the causes that led to the spread of hip-hop subculture in regional cities of Russia. We decompose the time period covering the end of the 1990s - the beginning of 2000s. Material for the study are semistructured interviews taken from representatives of this subculture during this period. Fashion for this subculture from Moscow is not the only reason for the spread of hip-hop in Samara. The study showed that the spread of hip-hop in Samara was strongly influenced by the social situation in which young people lived in the first decades after the collapse of the Soviet Unio

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Bieńkowska, Monika. "Rola kultury hip-hop w kształtowaniu się tożsamości młodzieży – wybrane konteksty." Studia Edukacyjne, no. 51 (December 15, 2018): 457–67. http://dx.doi.org/10.14746/se.2018.51.27.

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This article was developed on the basis of my master’s thesis on hip-hop culture as a factor shaping young people’s identity. In today’s world, young people are increasingly looking for ways to express themselves and their values, which may be associated with belonging to different types of subcultures. Growing individuals manifest their independence by disagreeing with the surrounding reality and defying the prevailing social principles. It seems appropriate to belong to a chosen youth subculture. I will devote my attention to the subculture originating among the black Americans, namely the h

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Bieńkowska, Monika. "Rola kultury hip-hop w kształtowaniu się tożsamości młodzieży – wybrane konteksty." Studia Edukacyjne, no. 51 (December 15, 2018): 457–67. http://dx.doi.org/10.14746/se.2018.51.27.

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This article was developed on the basis of my master’s thesis on hip-hop culture as a factor shaping young people’s identity. In today’s world, young people are increasingly looking for ways to express themselves and their values, which may be associated with belonging to different types of subcultures. Growing individuals manifest their independence by disagreeing with the surrounding reality and defying the prevailing social principles. It seems appropriate to belong to a chosen youth subculture. I will devote my attention to the subculture originating among the black Americans, namely the h

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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 (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) c

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Wojnowska, Anna. "Hip-hop subculture and the resocialization of the juvenile." Pedagogika 27, no. 1 (2018): 303–9. http://dx.doi.org/10.16926/p.2018.27.24.

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Mitchell, Tony. "The Diy Habitus of Australian Hip Hop." Media International Australia 123, no. 1 (2007): 109–22. http://dx.doi.org/10.1177/1329878x0712300111.

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Since its origins in the late 1980s, Australian hip hop continues to be fundamentally a do-it-yourself (DIY) subcultural field which has little or no music industry input or support. This paper profiles some of the small labels and producers in Australian hip hop (Obese, Elefant Traks, Nuff Said, Crookneck, Invada, etc.) and examines how they have formed from the ground up, using community radio stations such as 2SER, PBS and 3ZZZ, and websites such as Ozhiphop.com , to promote their music, as well as organising their own gigs and tours. It also examines Aboriginal practitioners of hip hop, wh

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Thorgersen, Ketil. "Whoa.Nu: (Re)Constructing and Learning Swedish Hip-Hop Online." Education Sciences 10, no. 12 (2020): 381. http://dx.doi.org/10.3390/educsci10120381.

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Whoa.nu started in 2000 as a community where members discussed all aspects of hip-hop in Sweden. The community became the most important place not only for discussions among members but also for releasing free albums and songs to the public and for arranging events. Moreover, the site was an educational hub for members to learn about hip-hop. The core of Whoa.nu was the community, wherein the communicating environment of members developed as artists, audience, and critics. Whoa.nu was not only a place for individuals’ learning processes and development but a place where Swedish hip-hop evolved

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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 (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-ho

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Tosin Gbogi, Michael. "Language, identity, and urban youth subculture." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 26, no. 2 (2016): 171–95. http://dx.doi.org/10.1075/prag.26.2.01tos.

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Towards the turn of the 20th century, a new wave of hip hop music emerged in Nigeria whose sense of popularity activated, and was activated by, the employment of complex linguistic strategies. Indirection, ambiguity, circumlocution, language mixing, pun, double meaning, and inclusive pronominals, among others, are not only used by artists in performing the glocal orientations of their music but also become for them valuable resources in the fashioning of multiple identities. In this paper, I interrogate some of these linguistic markers, using four broad paradigms: “Signifying,” “slangifying,”

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Podoshen, Jeffrey S., Susan A. Andrzejewski, and James M. Hunt. "Materialism, Conspicuous Consumption, and American Hip-Hop Subculture." Journal of International Consumer Marketing 26, no. 4 (2014): 271–83. http://dx.doi.org/10.1080/08961530.2014.900469.

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Harkness, Geoff. "True School: Situational Authenticity in Chicago’s Hip-Hop Underground." Cultural Sociology 6, no. 3 (2011): 283–98. http://dx.doi.org/10.1177/1749975511401276.

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How do outsiders negotiate participation within a subculture when they are deemed inauthentic by that subculture’s insiders? To explore this question, I examine the underground hip-hop scene in Chicago. The insiders are black and Latino, male rappers from the city’s urban core. The outsiders are white, female, and/or suburban rappers, who want to participate in hip-hop culture, but are deemed inauthentic by insiders. I demonstrate how, through cultural practices and a rhetoric of authenticity, the conditions that govern ‘realness’ and ‘fakeness’ are continually reshaped, on the basis of contex

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Lee, Hanno, and Dohyoup Lee. "A Study on the Subculture of Korean Hip Hop." Korean Society of Culture and Convergence 42, no. 1 (2020): 11–41. http://dx.doi.org/10.33645/cnc.2020.01.42.1.11.

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Green, Daryl D., Braden Dwyer, Sinai G. Farias, Cade Lauck, and JoziRose Mayfield. "Hip-Hop Culture: A Case Study of Beats by Dre for Entrepreneurship." Management and Economics Research Journal 5 (2019): 1. http://dx.doi.org/10.18639/merj.2019.868325.

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This case study examines Beats by Dr. Dre on how to infuse the entrepreneurial spirit in today’s college students, given the backdrop of hip-hop culture. In more than 10 years, the legendary music record producer Jimmy Iovine and hip-hop icon Dr. Dre has turned a small subculture success into a multibillion-dollar business. With that growth of Beats by Dre, there are opportunities for universities to learn from this company. Through the lens of hip-hop, readers can observe the characteristics of effective entrepreneurship, which is essential for success in the business world. The result of thi

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Setyobudi, Imam. "POLITIK IDENTITAS ANIMAL POP DANCE: Subbudaya dan Gaya Hidup Hibrid." Jurnal Sosiologi Reflektif 12, no. 1 (2017): 55. http://dx.doi.org/10.14421/jsr.v12i1.1286.

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Post-colonial theories bear two perspectives. First, Said argues that the ideological and concrete framework of ideology and colonial knowledge stands firmly, neatly, and perfectly without any crack that remains entrenched. Bhabha argues that the building of ideology and colonial knowledge full of cracks necessitates the creative opportunity of creating hybrid traditions and cultures that are not merely extensions of the colonial army, but also not the real bumiputera: ambiguity and ambivalence.This article, tracking the identity politics that construct a subculture with a particular lifestyle

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Kovačević, Predrag. "Between the First and the Second Serbia: On the political and class dimension of hip-hop subculture in Serbia." Socioloski pregled 52, no. 3 (2018): 699–720. http://dx.doi.org/10.5937/socpreg52-16767.

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Setyobudi, Imam. "POLITIK IDENTITAS ANIMAL POP DANCE: SUBBUDAYA DAN GAYA HIDUP HIBRID." Jurnal Sosiologi Reflektif 12, no. 1 (2017): 55. http://dx.doi.org/10.14421/jsr.v11i2.1286.

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Post-colonial theories bear two perspectives. First, Said argues that the ideological and concrete framework of ideology and colonial knowledge stands firmly, neatly, and perfectly without any crack that remains entrenched. Bhabha argues that the building of ideology and colonial knowledge full of cracks necessitates the creative opportunity of creating hybrid traditions and cultures that are not merely extensions of the colonial army, but also not the real bumiputera: ambiguity and ambivalence.This article, tracking the identity politics that construct a subculture with a particular lifestyle

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Muhammad, Kareem R. "Don’t call it a comeback: a full return to hip-hop subculture in Chicago." Continuum 29, no. 6 (2015): 874–85. http://dx.doi.org/10.1080/10304312.2015.1073681.

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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 politic

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Saphan, LinDa. "From Modern Rock to Postmodern Hard Rock: Cambodian Alternative Music Voices." Ethnic Studies Review 35, no. 1 (2012): 23–39. http://dx.doi.org/10.1525/esr.2012.35.1.23.

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Cambodian modernity was driven by the political agenda of the Sihanouk government beginning in the 1950s, and Cambodian rock and roll emerged in the 1960s in step with Sihanouk's ambitious national modernization project. Urban rockers were primarily upper-class male youths. In. the postcolonial era rock and roll was appropriated from abroad and given a unique Cambodian sound, while today's emerging hard rock music borrows foreign sociocultural references along with the music. Postmodern Cambodia and its diaspora have seen the evolution of a more diverse music subculture of alternative voices o

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Baxter, Vern Kenneth, and Peter Marina. "Cultural meaning and hip-hop fashion in the African-American male youth subculture of New Orleans." Journal of Youth Studies 11, no. 2 (2008): 93–113. http://dx.doi.org/10.1080/13676260701800761.

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Nowak-Kluczyński, Konrad. "Od znaku „Polski Walczącej” po hasło „FaceBóg” – rola polskiego graffiti w latach 1942–2011." Biuletyn Historii Wychowania, no. 27 (January 1, 2019): 127–40. http://dx.doi.org/10.14746/bhw.2011.27.9.

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Against the general opinion the history of graffiti goes back to the beginnings of civilization. There are numerous examples of graffiti, for instance the inscriptions hollowed with a chisel found on the ancient household artifacts or on the walls. The inscriptions had an informative function but they were also magical. The phenomenon of spray art was widespread in the 1960s and the beginning of the Polish taggers subculture was in the 1980s, although one can find street art during the Second World War. But it is usually neglected or disregarded in the Polish literature. The Anchor – the sign

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Grajales Santisteban, Nicolás. "El graffiti como identidad gráfica de los hoppers en la localidad de Fontibón, Bogotá." Designio 1, no. 1 (2019): 21–32. http://dx.doi.org/10.52948/ds.v1i1.53.

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La presente investigación busca describir e identificar la composición del graffiti en la localidad de Fontibón. A través de este objetivo, se analizan los estilos y expresiones artísticas que caracterizan el graffiti. También busca identificar cómo estas subculturas se están apropiando de los espacios urbanos, cómo se implementan a través de sus expresiones artísticas y cómo demostrar la validez del concepto de su subcultura y las características en el presente. Durante décadas, constantemente surgen grupos neo con estructuras muy diferentes dentro de la misma comunidad. Inicialmente se reali

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HARRISON, ANTHONY KWAME. "‘Cheaper than a CD, plus we really mean it’: Bay Area underground hip hop tapes as subcultural artefacts." Popular Music 25, no. 2 (2006): 283–301. http://dx.doi.org/10.1017/s0261143006000833.

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This article looks at audiocassette tapes that are produced and circulated within the Bay Area underground hip hop scene as subcultural artefacts through which an understanding of the key activities, ideologies and sensibilities that mark subcultural identity can be grasped. Using du Gay's circuit of culture (1997) as a template for organising ethnographic data, the article demonstrates the ways in which subcultural meanings are encoded into the activities surrounding the commodification of underground hip hop cassettes. Ultimately, it argues for a reading of audiocassette tapes as unique tech

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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 (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 concern

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Lee, Jamie Shinhee. "Globalization of African American Vernacular English in popular culture." English World-Wide 32, no. 1 (2011): 1–23. http://dx.doi.org/10.1075/eww.32.1.01lee.

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This study examines crossing (Bucholtz 1999; Cutler 1999; Rampton 1995) in Korean hip hop Blinglish as a case study of globalization of African American Vernacular English (AAVE) in popular culture. Blinglish in Korean hip hop can be understood as a prime example of “English from below” (Preisler 1999) to informally express subcultural identity and style. The findings of the study suggest that AAVE features appear at different linguistic levels including lexis, phonology, and morpho-syntax in Korean hip hop Blinglish but do not demonstrate the same degree of AAVE penetration, with a frequency-

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Prickett, Stacey. "Hip-Hop Dance Theatre in London: Legitimising an Art Form." Dance Research 31, no. 2 (2013): 174–90. http://dx.doi.org/10.3366/drs.2013.0075.

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Programming schedules in the West End and other prominent London venues are increasingly featuring hip-hop dance productions, marking innovative forays into the mainstream performance field by a former subcultural style. Choreography by Rennie Harris in the USA and Jonzi D, Kate Prince, Sandy ‘H20’ Kendrick and composer Michael ‘Mikey J’ Asante in London offers material through which to consider developments in the theatricalisation of hip hop culture. Discussion also centres on mass media dissemination through television talent shows, films and cultural festivals such as the Olympic Games cer

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Northcutt, Kellen Jamil, Kayla Henderson, and Kaylee Chicoski. "Jay-Z and O.J.: Sport and the Performance of Race in Hip-Hop Music." Sociology of Sport Journal 37, no. 3 (2020): 192–206. http://dx.doi.org/10.1123/ssj.2020-0053.

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The purpose of this study was to understand the symbolic messaging in hip-hop music as it relates to the lived experiences and realities of Black Americans in the United States. The study examined the song and music video titled “The Story of O.J.,” by hip-hop artist Jay-Z to gain a better understanding of how Jay-Z interpreted the impact of Black Americans’ lived experiences in the United States on their identity and ability to progress economically and socially, regardless of social standing, within subcultures such as sport. Employing a content analysis method, data were collected and analy

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Halliday, Rebecca. "Conflicts of Interest, Culture Jamming and Subversive (S)ignifications: The High Fashion Logo as Locational Hip hop Artic." TranscUlturAl: A Journal of Translation and Cultural Studies 6, no. 1 (2014): 70. http://dx.doi.org/10.21992/t9ww56.

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In 2012, a fashion line called “Conflict of Interest NYC” (C.O.I.) released a collection of three unisex t-shirts: each one took the brand name and/or logo of a storied fashion house and imposed a set of urban and hip hop references to subvert the brand’s refined, Eurocentric connotations. This article describes the t-shirts’ function as parodies using media studies accounts of culture jamming as political practice; Linda Hutcheon’s formulation of parody as literary method; and Henry Louis Gates’s outline of Signifyin(g) in the black oral vernacular tradition. It further contextualizes the t-s

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Dedman, Todd. "Agency in UK hip-hop and grime youth subcultures – peripherals and purists." Journal of Youth Studies 14, no. 5 (2011): 507–22. http://dx.doi.org/10.1080/13676261.2010.549820.

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Lynes, Adam, Craig Kelly, and Emma Kelly. "THUG LIFE: Drill music as a periscope into urban violence in the consumer age." British Journal of Criminology 60, no. 5 (2020): 1201–19. http://dx.doi.org/10.1093/bjc/azaa011.

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Abstract This paper seeks to develop an understanding of interpersonal violence within an urban landscape. An increase in violent crime has garnered intense media attention with drill—an emerging subgenre of hip hop—being sighted by media outlets as a causal factor for the rise in gang-related violence. Within this perspective, the Metropolitan Police took action, which affirmed this narrative. This paper seeks to refute such simplistic discussions of interpersonal violence whilst recognizing the opportunity such notions pose for academics to utilize knowledge of subcultures to explore possibl

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Dynarowicz, Ewa. "Stereotypes as source of subcultural capital: Poland and the Polish in the auto-representation project of the Dutch rapper, Mr. Polska." Popular Music 37, no. 3 (2018): 466–86. http://dx.doi.org/10.1017/s0261143018000417.

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AbstractOver the past few years Mr. Polska, a Dutch rapper of Polish origin, has been enjoying a growing popularity in the Netherlands. Mr. Polska uses his Polish roots to position himself on the Dutch music scene and creates a persona that leans heavily on essentialised and exoticised stereotypes about Poland and the Polish. This article tries to answer two questions: what kind of image of Poland and the Poles is being created here? What purpose does it serve? It argues that negative stereotypes used in a multicultural environment acquire a new, positive meaning and play an important role in

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Uribe Restrepo, Natalia. "Identidad, estilo y Subcultura en Pereira: La moda/vestido en el metal, punk y hip hop." Arte & Diseño 11, no. 2 (2015): 32. http://dx.doi.org/10.15665/ad.v11i2.375.

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Mattar, Yasser. "Virtual communities and hip‐hop music consumers in Singapore: interplaying global, local and subcultural identities." Leisure Studies 22, no. 4 (2003): 283–300. http://dx.doi.org/10.1080/02614360310001594168.

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Pawson, Mark, and Brian C. Kelly. "Consumption and Community: The Subcultural Contexts of Disparate Marijuana Practices in Jam Band and Hip-Hop Scenes." Deviant Behavior 35, no. 5 (2014): 347–63. http://dx.doi.org/10.1080/01639625.2013.848127.

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Ceará, Alex de Toledo, and Paulo Dalgalarrondo. "Jovens pichadores: perfil psicossocial, identidade e motivação." Psicologia USP 19, no. 3 (2008): 277–93. http://dx.doi.org/10.1590/s0103-65642008000300002.

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Este estudo investigou o perfil psicossocial dos adolescentes envolvidos com a prática da pichação urbana. Trata-se de uma subcultura vinculada ao movimento hip hop, presente nas médias e grandes cidades brasileiras. Teve como objetivo descrever os processos identitários e motivacionais desses adolescentes. Dessa forma, 32 sujeitos responderam a um inventário que abordou aspectos psicológicos e socioculturais da pichação. Os jovens pichadores eram todos do gênero masculino, de idade média 17,2 ± 2,6 anos e moradores da periferia de grandes cidades. As entrevistas revelaram que a pichação relac

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Johns, Samuel. "‘Fixies’: Hip of Handig?" AGORA Magazine 26, no. 4 (2010): 31–33. http://dx.doi.org/10.21825/agora.v26i4.2432.

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Stedelijke fietsplannen als Vélib’ in Parijs en Boris Bikes in Londen zijn een teken dat de tweewieler voet aan de grond krijgt in het stedelijke vervoer. Sommige subculturen blijven echter in duister gehuld en dat geldt met name voor de ‘fixie’-cultuur waarin baanfietsen centraal staan.

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Silva Barbosa, Marcio Ricardo, and Jorge Luiz Cunha Cardoso Filho. "As mediações das performances: aproximações entre Adidas e Run DMC a partir do estudo de videoclipes." Comunicação Mídia e Consumo 13, no. 36 (2016): 50. http://dx.doi.org/10.18568/1983-7070.133650-72.

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<p class="p1"><span class="s1">A reputação da marca de produtos esportivos Adidas permitiu sua incorporação ao universo simbólico de diversas subculturas urbanas ao redor do mundo. A cultura hip-hop e seus adeptos, também, se inseriram nesse contexto e vincularam, de forma bastante peculiar, a Adidas ao seu repertório de símbolos identitários. Com isto, </span><span class="s2">o principal objetivo deste artigo </span><span class="s1">é analisar as performances do grupo de rap norte-americano Run DMC e da Adidas, bem como as suas estratégias comunicacionais n

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Williams, Kathleen. "The Wonder Years." Alphaville: Journal of Film and Screen Media, no. 12 (February 10, 2017): 59–77. http://dx.doi.org/10.33178/alpha.12.04.

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This article explores the various manifestations of analogue video in digital culture. Introducing the framing concept of an aesthetics of remanence, it argues that the “society of the spectacle” (Debord) has entered an age of retrospectacle, a dominant signifier of which is the remediation and/or simulation of analogue videography. The concept of remanence connects the material conditions of magnetic tape with analogue video’s aesthetic expressions, and the cultural situation in which analogue video finds itself today. By looking at three different cases related to retro gaming, contemporary

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Rozenkrantz, Jonathan. "Analogue video in the age of retrospectacle." Alphaville: Journal of Film and Screen Media, no. 12 (February 10, 2017): 39–58. http://dx.doi.org/10.33178/alpha.12.03.

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This article explores the various manifestations of analogue video in digital culture. Introducing the framing concept of an aesthetics of remanence, it argues that the â€œsociety of the spectacleâ€ (Debord) has entered an age of retrospectacle, a dominant signifier of which is the remediation and/or simulation of analogue videography. The concept of remanence connects the material conditions of magnetic tape with analogue videoâ€™s aesthetic expressions, and the cultural situation in which analogue video finds itself today. By looking at three different cases related to retro gaming, contemp

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Janelidze, Nikoloz. "Radical Islam as a Means of Self-Realization for the North Caucasian Youth: From the Terrorist-Criminal Groups to the Beginnings of the Creation of a New, Less Controlled Subculture." Historia i Polityka, no. 14 (21) (November 24, 2015): 109. http://dx.doi.org/10.12775/hip.2015.025.

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Jordan, Jeffrey W., Carolyn A. Stalgaitis, John Charles, Patrick A. Madden, Anjana G. Radhakrishnan, and Daniel Saggese. "Peer Crowd Identification and Adolescent Health Behaviors: Results From a Statewide Representative Study." Health Education & Behavior 46, no. 1 (2018): 40–52. http://dx.doi.org/10.1177/1090198118759148.

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Purpose. Peer crowds are macro-level subcultures that share similarities across geographic areas. Over the past decade, dozens of studies have explored the association between adolescent peer crowds and risk behaviors, and how they can inform public health efforts. However, despite the interest, researchers have not yet reported on crowd size and risk levels from a representative sample, making it difficult for practitioners to apply peer crowd science to interventions. The current study reports findings from the first statewide representative sample of adolescent peer crowd identification and

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Peredo, Elena L., M. Ángeles Revilla, and Rosa Arroyo-García. "Assessment of genetic and epigenetic variation in hop plants regenerated from sequential subcultures of organogenic calli." Journal of Plant Physiology 163, no. 10 (2006): 1071–79. http://dx.doi.org/10.1016/j.jplph.2005.09.010.

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Hankins. "So Contagious: Hybridity and Subcultural Exchange in Hip-Hop's Use of Indian Samples." Black Music Research Journal 31, no. 2 (2011): 193. http://dx.doi.org/10.5406/blacmusiresej.31.2.0193.

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Qvotrup Jensen, Sune, Jeppe Fuglsang Larsen, and Sveinung Sandberg. "Rap, Islam and Jihadi Cool: The attractions of the Western jihadi subculture." Crime, Media, Culture: An International Journal, June 23, 2021, 174165902110255. http://dx.doi.org/10.1177/17416590211025573.

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Recent scholarship has explored the potential of subcultural theory for understanding the convergence of Western street and jihadi subcultures. The role of jihadi rap in this radical hybrid culture, however, is yet uncharted. We argue that subcultural analysis allows an understanding of the aesthetic fascination of jihadism, sometimes referred to as jihadi cool, and that jihadi rap should be seen as an integrated part of this cultural amalgam. To better understand the role of hip-hop in the hybrid street-jihadi culture, this paper offers a historical analysis of the relationship between hip-ho

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Gaspard, Chadwick Auriol. "Intersections." UF Journal of Undergraduate Research 22 (November 3, 2020). http://dx.doi.org/10.32473/ufjur.v22i0.121832.

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Hip Hop is a cultural phenomenon that is constantly evolving and has made a worldwide impact in a short time. While it continues to change Hip Hop at its core remains the same. Victor Quijada artistic director of the Rubberband Dance company posed the question of “What more could Hip Hop be”. With those words in mind the focus of my research is to examine the movement and concepts/ideologies of the breakdancing subculture of Hip Hop; to create a fusion with contemporary dance. As such a brand-new system of movement with its own concepts and life could be created. The dance world is continuousl

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Ailane, Sofiane. "Hip-hop." Anthropen, 2016. http://dx.doi.org/10.17184/eac.anthropen.014.

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Le hip-hop englobe quatre expressions artistiques qui sont constitutives de la culture hip-hop : le dj’ing, le rap, le breakdance et le graffiti. Le rap est une forme de « parler-chanter » exécuté sur des rythmes de bases produits par le Disc Jockey (DJ). Le breakdance est l’expression corporelle du hip-hop, c’est une danse à dimension athlétique, dont l’esthétique se base sur la rupture du flux dans des mouvements amples et fluides. Le graffiti correspond à l’art graphique du hip-hop, ces peintures se donnent à voir généralement sur le mobilier urbain au travers de fresques colorées, mais bie

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Kuppens, An H., and Frank van der Pol. "“True” black metal: The construction of authenticity by Dutch black metal fans." Communications 39, no. 2 (2014). http://dx.doi.org/10.1515/commun-2014-0010.

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AbstractIn the black metal subculture, authenticity is a central concept. While there are ample academic studies devoted to authenticity in hip hop, rock, country, punk, and other music genres, black metal authenticity remains relatively under-researched. This manuscript discusses how black metal fans construct authenticity. In-depth interviews with Dutch black metal fans reveal that they define authenticity along four highly interrelated dimensions: sincerity, commerciality, country of origin, and extremeness. While these dimensions are highly similar to those found in other music genres, our

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"THE INFLUENCE OF SUBCULTURE HIP-HOP ON THE ORGANIZATION AND CONDUCT OF EVENTS." INTERNATIONAL ACADEMY JOURNAL Web of Scholar, July 12, 2018. http://dx.doi.org/10.31435/rsglobal_wos/12072018/5989.

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Williams, Patrick, and Erik Hannerz. "Articulating the "Counter" in Subculture Studies." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.912.

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Introduction As street protests and clashes between citizens and authorities in places as different as Ferguson, Missouri and Hong Kong in autumn 2014 demonstrate, everyday life in many parts of the world is characterised by conflicting and competing sets of cultural norms, values, and practices. The idea that groups create cultures that stand in contrast to “mainstream” or “dominant culture” is nothing new—sociology’s earliest scholars sought cultural explanations for social “dysfunctions” such as anomie and deviance. Yet our interest in this article is not about the problems that marginalise

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Haupt, Adam. "Queering Hip-Hop, Queering the City: Dope Saint Jude’s Transformative Politics." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1125.

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This paper argues that artist Dope Saint Jude is transforming South African hip-hop by queering a genre that has predominantly been male and heteronormative. Specifically, I analyse the opening skit of her music video “Keep in Touch” in order to unpack the ways which she revives Gayle, a gay language that adopted double-coded forms of speech during the apartheid era—a context in which homosexuals were criminalised. The use of Gayle and spaces close to the city centre of Cape Town (such as Salt River and Woodstock) speaks to the city as it was before it was transformed by the decline of industr

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