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A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more.How Hip Hop Became Hit Pop examines the programming practices at commercial radio stations in the 1980s and early 1990s to uncover how the radio industry facilitated hip hop's introduction into the musical mainstream. Constructed primarily by the Top 40 radio format, the musical mainstream featured mostly white artists for mostly white audiences. With the introduction of hip hop to these programs, the radio industry was fundamentally altered, as stations struggled to incorporate the genre's diverse audience. At the same time, as artists negotiated expanding audiences and industry pressure to make songs fit within the confines of radio formats, the sound of hip hop changed. Drawing from archival research, Amy Coddington shows how the racial organization of the radio industry influenced the way hip hop was sold to the American public, and how the genre's growing popularity transformed ideas about who constitutes the "mainstream."
Music and race --- Popular music --- Radio and music --- Rap (Music) --- MUSIC / Genres & Styles / Rap & Hip Hop. --- History --- History and criticism.
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"In the 1990s, Los Angeles was home to numerous radical social and environmental eruptions. In the face of several major earthquakes and floods, riots and economic insecurity, police brutality and mass incarceration, some young black Angelenos turned to holy hip hop--a movement merging Christianity and hip hop culture--to 'save' themselves and the city. Converting street corners to airborne churches and gangsta rap beats into anthems of praise, holy hip hoppers used gospel rap to navigate complicated social and spiritual realities and to transform the Southland's fractured terrains into musical Zions. Armed with beats, rhymes, and Bibles, they journeyed through black Lutheran congregations, prison ministries, African churches, reggae dancehalls, hip hop clubs, Nation of Islam meetings, and Black Lives Matter marches. Zanfagna's fascinating ethnography provides a contemporary and unique view of black LA, offering a much-needed perspective on how music and religion intertwine in people's everyday experiences."--Provided by publisher.
Rap (Music) --- Christian rap (Music) --- Music --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Christian hip-hop --- Gospel hip-hop --- Contemporary Christian music --- Hip-hop music --- Rap songs --- Rappin' (Music) --- Rapping (Music) --- African Americans --- Monologues with music --- Popular music --- Trip hop (Music) --- Religious aspects --- Christianity. --- History and criticism. --- 1990s. --- african american culture. --- anthems of praise. --- beats. --- bibles. --- black lives matter. --- black los angeles. --- christianity. --- churches. --- earthquakes. --- economic insecurity. --- environmental eruption. --- ethnomusicology. --- floods. --- gangsta rap. --- gospel rap. --- hip hop culture. --- hip hop. --- los angeles. --- lutheran. --- music. --- musical philosophy and social aspects. --- rap music. --- rhymes. --- riots. --- southland. --- spiritual realities.
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According to relational sociology, power imbalances are at the root of human conflicts and consequently shape the physical and symbolic struggles between interdependent groups or individuals. This volume highlights the role of power relations in the African American experience by applying key concepts of Pierre Bourdieu and Norbert Elias to black literature and culture. The authors offer new readings of power asymmetries as represented in works of canonical and contemporary black writers (Richard Wright, Ralph Ellison, Gwendolyn Brooks, Toni Morrison, Percival Everett, Colson Whitehead), rap music (e.g., Jay Z), images of black homelessness, and figurations of political activism (civil rights activist Bayard Rustin Besprochen in: Begegnungszentrum für aktive Gewaltlosigkeit, Rundbrief, 1 (2018)
American literature --- African American authors. --- African American literature (English) --- Black literature (American) --- Negro literature --- Afro-American authors --- Negro authors --- African American Literature. --- America. --- American Studies. --- Black Culture. --- Capital. --- Cultural Sociology. --- Cultural Studies. --- Established-Outsider Relationships. --- Field. --- Habitus. --- Literary Studies. --- Norbert Elias. --- Pierre Bourdieu. --- Political Activism. --- Power Asymmetries. --- Power Imbalances. --- Power Relations. --- Racism. --- Rap Music. --- Social Relations. --- Sociological Theory. --- Sociology of Literature. --- Symbolic Violence. --- Relational Sociology; Pierre Bourdieu; Norbert Elias; Sociology of Literature; Cultural Sociology; Power Relations; Racism; African American Literature; Black Culture; Rap Music; Political Activism; Habitus; Field; Capital; Symbolic Violence; Established-Outsider Relationships; Power Asymmetries; Power Imbalances; America; Social Relations; American Studies; Sociological Theory; Cultural Studies; Literary Studies --- Racism in literature. --- African Americans --- Politics and government. --- History and criticism --- Bourdieu, Pierre, --- Elias, Norbert, --- Elías, N. --- Burdʹe, Pʹer, --- Burdʹe, P. --- Bourdieu, P. --- Pūrtiyu, Piyar,
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Notions of hip hop authenticity, as expressed both within hip hop communities and in the larger American culture, rely on the construction of the rapper as a Black, masculine, heterosexual, cisgender man who enacts a narrative of struggle and success. In Queer Voices in Hip Hop, Lauron Kehrer turns our attention to openly queer and trans rappers and positions them within a longer Black queer musical lineage. Combining musical, textual, and visual analysis with reception history, this book reclaims queer involvement in hip hop by tracing the genre's beginnings within Black and Latinx queer music-making practices and spaces, demonstrating that queer and trans rappers draw on Ballroom and other cultural expressions particular to queer and trans communities of color in their work in order to articulate their subject positions. By centering the performances of openly queer and trans artists of color, Queer Voices in Hip Hop reclaims their work as essential to the development and persistence of hip hop in the United States as it tells the story of the queer roots of hip hop.
Queer musicology. --- Gender-nonconforming people --- African American transgender people. --- African American bisexuals. --- African American lesbians. --- African American gays. --- Transgender musicians --- Lesbian musicians --- Gay musicians --- Rap (Music) --- History and criticism. --- Musicians --- Afro-American gays --- Afro-American homosexuals --- Gays, African American --- Gays --- Afro-American lesbians --- Lesbians, African American --- Lesbians --- Bisexuals, African American --- Bisexuals --- Transgender people, African American --- Transgender people --- Gender-creative people --- Gender-independent people --- Gender-non-normative people --- Gender-variant people --- Genderqueer people --- Non-binary people --- Persons --- Musicology --- LGBTQ+ musicians --- Gay & Lesbian studies / LGBTQ studies --- United States. --- ABŞ --- ABSh --- Ameerika Ühendriigid --- America (Republic) --- Amerika Birlăshmish Shtatlary --- Amerika Birlăşmi Ştatları --- Amerika Birlăşmiş Ştatları --- Amerika ka Kelenyalen Jamanaw --- Amerika Qūrama Shtattary --- Amerika Qŭshma Shtatlari --- Amerika Qushma Shtattary --- Amerika (Republic) --- Amerikai Egyesült Államok --- Amerikanʹ Veĭtʹsėndi͡avks Shtattnė --- Amerikări Pĕrleshu̇llĕ Shtatsem --- Amerikas Forenede Stater --- Amerikayi Miatsʻyal Nahangner --- Ameriketako Estatu Batuak --- Amirika Carékat --- AQSh --- Ar. ha-B. --- Arhab --- Artsot ha-Berit --- Artzois Ha'bris --- Bí-kok --- Ē.P.A. --- É.-U. --- EE.UU. --- Egyesült Államok --- ĒPA --- Estados Unidos --- Estados Unidos da América do Norte --- Estados Unidos de América --- Estaos Xuníos --- Estaos Xuníos d'América --- Estatos Unitos --- Estatos Unitos d'America --- Estats Units d'Amèrica --- Ètats-Unis d'Amèrica --- États-Unis d'Amérique --- ÉU --- Fareyniḳṭe Shṭaṭn --- Feriene Steaten --- Feriene Steaten fan Amearika --- Forente stater --- FS --- Hēnomenai Politeiai Amerikēs --- Hēnōmenes Politeies tēs Amerikēs --- Hiwsisayin Amerikayi Miatsʻeal Tērutʻiwnkʻ --- Istadus Unidus --- Jungtinės Amerikos valstybės --- Mei guo --- Mei-kuo --- Meiguo --- Mî-koet --- Miatsʻyal Nahangner --- Miguk --- Na Stàitean Aonaichte --- NSA --- S.U.A. --- SAD --- Saharat ʻAmērikā --- SASht --- Severo-Amerikanskie Shtaty --- Severo-Amerikanskie Soedinennye Shtaty --- Si͡evero-Amerikanskīe Soedinennye Shtaty --- Sjedinjene Američke Države --- Soedinennye Shtaty Ameriki --- Soedinennye Shtaty Severnoĭ Ameriki --- Soedinennye Shtaty Si͡evernoĭ Ameriki --- Spojené obce severoamerické --- Spojené staty americké --- SShA --- Stadoù-Unanet Amerika --- Stáit Aontaithe Mheiriceá --- Stany Zjednoczone --- Stati Uniti --- Stati Uniti d'America --- Stâts Unîts --- Stâts Unîts di Americhe --- Steatyn Unnaneysit --- Steatyn Unnaneysit America --- SUA --- Sŭedineni amerikanski shtati --- Sŭedinenite shtati --- Tetã peteĩ reko Amérikagua --- U.S. --- U.S.A. --- United States of America --- Unol Daleithiau --- Unol Daleithiau America --- Unuiĝintaj Ŝtatoj de Ameriko --- US --- USA --- Usono --- Vaeinigte Staatn --- Vaeinigte Staatn vo Amerika --- Vereinigte Staaten --- Vereinigte Staaten von Amerika --- Verenigde State van Amerika --- Verenigde Staten --- VS --- VSA --- Wááshindoon Bikéyah Ałhidadiidzooígíí --- Wilāyāt al-Muttaḥidah --- Wilāyāt al-Muttaḥidah al-Amirīkīyah --- Wilāyāt al-Muttaḥidah al-Amrīkīyah --- Yhdysvallat --- Yunaeted Stet --- Yunaeted Stet blong Amerika --- ZDA --- Združene države Amerike --- Zʹi͡ednani Derz͡havy Ameryky --- Zjadnośone staty Ameriki --- Zluchanyi͡a Shtaty Ameryki --- Zlucheni Derz͡havy --- ZSA --- African American gay people. --- African American bisexual people.
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