Hip Hop, a Resouce Guide

Hip Hop's Inheritance arguably offers the first book-length treatment of what hip hop culture has, literally, "inherited" from the Harlem Renaissance, the Black Arts movement, the Feminist Art movement, and 1980s and 1990s postmodern aesthetics. By comparing and contrasting the major motifs of the aforementioned cultural aesthetic traditions with those of hip hop culture, all the while critically exploring the origins and evolution of black popular culture from antebellum America through to "Obama's America," Hip Hop's Inheritance demonstrates that the hip hop generation is not the first generation of young black (and white) folk preoccupied with spirituality and sexuality, race and religion, entertainment and athletics, or ghetto culture and bourgeois culture. Taking interdisciplinarity and intersectionality seriously, Hip Hop's Inheritance employs the epistemologies and methodologies from a wide range of academic and organic intellectual/activist communities in its efforts to advance an intellectual history and critical theory of hip hop culture. Drawing from academic and organic intellectual/activist communities as diverse as African American studies and women's studies, postcolonial studies and sexuality studies, history and philosophy, politics and economics, and sociology and ethnomusicology, Hip Hop's Inheritance calls into question one-dimensional and monodisciplinary interpretations or, rather, misinterpretations, of a multidimensional and multivalent form of popular culture that has increasingly come to include cultural criticism, social commentary, and political analysis.

How hip hop shapes our conversations about race -- and how race influences our consideration of hip hop Hip hop is a distinctive form of black art in America-from Tupac to the Pulitzer Prize-winning Kendrick Lamar, hip hop has long given voice to the African American experience. As scholar and cultural critic Tricia Rose argues, hip hop, in fact, has become one of the primary ways we talk about race in the United States. But hip hop is in crisis. For years, the most commercially successful hip hop has become increasingly saturated with caricatures of black gangstas, thugs, pimps, and hos. This both represents and feeds a problem in black American culture. Or does it? In The Hip-Hop Wars, Rose explores the most crucial issues underlying the polarized claims on each side of the debate: Does hip hop cause violence, or merely reflect a violent ghetto culture? Is hip hop sexist, or are its detractors simply anti-sex? Does the portrayal of black culture in hip hop undermine black advancement? A potent exploration of a divisive and important subject, The Hip Hop Wars concludes with a call for the regalvanization of the progressive and creative heart of hip hop. What Rose calls for is not a sanitized vision of the form, but one that more accurately reflects a much richer space of culture, politics, anger, and yes, sex, than the current ubiquitous images in sound and video currently provide.

Many educators already know that hip-hop can be a powerful tool for engaging students. But can hip-hop save our schools? In Hip Hop Genius, Sam Seidel introduces an iteration of hip-hop education that goes far beyond the usual approach of studying rap music as classroom content and looks instead at deeply honoring the knowledge of urban students. Seidel lays out a vision for how hip-hop's genius--the resourceful creativity and swagger that took it from a local phenomenon to a global force--can lead to a fundamental remix of the way we think of teaching, school design, and leadership. Through stories about the professional rapper who founded the first hip-hop high school and the aspiring artists currently enrolled there, Hip Hop Genius invites readers to think outside the (boom)box about what hip-hop education can mean and to consider the implications that a broader definition of hip-hop education could have on their teaching and learning experiences. This book is for all of the educators in need of new solutions and all the hip-hop heads who know hip-hop is far more than music. It is for everyone who refuses to watch brilliant young people slip through the cracks and is down to take action. View Sam's YouTube trailer for the book here

What did rap music and hip hop culture inherit from the spirituals, classic blues, ragtime, classic jazz, and bebop? What did rap music and hip hop culture inherit from the Black Women's Club Movement, New Negro Movement, Harlem Renaissance, Hipster Movement, and Black Muslim Movement? How did black popular music and black popular culture between 1900 and the 1950s influence white youth culture, especially the Lost Generation and the Beat Generation, in ways that mirror rap music and hip hop culture's influence on contemporary white youth music, culture, and politics? In Hip Hop's Amnesia award-winning author, spoken-word artist, and multi-instrumentalist Reiland Rabaka answers these questions by rescuing and reclaiming the often-overlooked early twentieth century origins and evolution of rap music and hip hop culture. Hip Hop's Amnesia is a study about aesthetics and politics, music and social movements, as well as the ways in which African Americans' unique history and culture has consistently led them to create musics that have served as the soundtracks for their socio-political aspirations and frustrations, their socio-political organizations and nationally-networked movements. The musics of the major African American social and political movements of the 1950s, 1960s, and 1970s were based and ultimately built on earlier forms of "African American movement music." Therefore, in order to really and truly understand rap music and hip hop culture we must critically examine both classical African American musics and the classical African American movements that these musics served as soundtracks for. This book is primarily preoccupied with the ways in which post-enslavement black popular music and black popular culture frequently served as a soundtrack for and reflected the grassroots politics of post-enslavement African American social and political movements. Where many Hip Hop Studies scholars have made clever allusions to the ways that rap music and hip hop culture are connected to and seem to innovatively evolve earlier forms of black popular music and black popular culture, Hip Hop's Amnesia moves beyond anecdotes and witty allusions and earnestly endeavors a full-fledged critical examination and archive-informed re-evaluation of "hip hop's inheritance" from the major African American musics and movements of the first half of the twentieth century: classic blues, ragtime, classic jazz, swing, bebop, the Black Women's Club Movement, the New Negro Movement, the Harlem Renaissance, the Bebop Movement, the Hipster Movement, and the Black Muslim Movement.

Drawing on the culture's history before and after the birth of rap music, this book argues that the values attributed to Hip Hop by 'postmodern' scholars stand in stark contrast with those that not only implicitly guided its aesthetic elements, but are explicitly voiced by Hip Hop's pioneers and rap music's most consequential artists. It argues that the structural evacuation of the voices of its founders and organic intellectuals in the postmodern theorization of Hip Hop has foreclosed the culture's ethical values and political goals from scholarly view, undermining its unity and progress. Through a historically informed critique of the hegemonic theoretical framework in Hip Hop Studies, and a re-centering of the culture's fundamental proscription against 'biting,' this book articulates and defends the aesthetic and ethical values of Hip Hop against their concealment and subversion by an academic discourse that merely 'samples' the culture for its own reactionary ends.   

On a hot summer night in August of 1973 DJ Kool Herc and his sister, Cindy, put on a 'back to school jam' in the recreation room of their apartment block at 1520 Sedgwick Avenue in the West Bronx. The rest is history. The birth of hip hop rippled out across the globe, influencing music and fashion for generations. Early hip hop style focused on customisation - from spray-painted jean jackets and sweatshirts to creased jeans and fat laced sneakers. Before Louis Vuitton had apparel, Dapper Dan designed his own luxury sport wear in addition to one-of-a-kind looks with the logos of MCM, Gucci, and Fendi. Hip hop's eclectic style eventually evolved into its own apparel brands, from Cross Colours to FUBU to Sean John, Roc-A-Wear, Baby Phat, Billionaire Boys Club, and BAPE. Sections on individual designers run alongside thematic chapters on stylists, record labels, pink, hairstyles, nameplates, hoops, nails, and sneakers. Each chapter on hip hop style is illustrated with photographs of performers, entrepreneurs, and iconic pieces. New research from journalists who witnessed the developments firsthand and oral histories from celebrities and designers make Fresh Fly Fabulous the definitive source for hip hop style.

"What is Hip-Hop?" In order to answer this question, author Andrew J. Rausch interviewed 24 individuals whose creative expressions are intimately associated with the world of hip-hop music and culture. Those interviewed include emcees, DJs, producers, graffiti artists, poets, and journalists. Topics of these conversations cover the careers of each of these people and their contributions/affiliations with hip-hop, as well as their views on different trends within the music. Intended as a celebration of hip-hop music and culture, this collection of interviews ranges from the up-and-coming (Akrobatik, Rob Kelly) to the legendary (Chuck D, Big Daddy Kane). Also interviewed are Eric B., Black Sheep Dres, Chip Fu, Michael Cirelli, Daddy-O, DJ JS-1, dream hampton, Kokane, Kool Keith, Kool Rock Ski, Keith Murray, 9th Wonder, Paradime, R.A. the Rugged Man, Sadat X, Shock G, Special Ed, Spinderella, Sticky Fingaz, and Young MC. Because many of these artists worked and performed in the so-called "golden age" of hip-hop, they offer insights on the merits and problems of what hip-hop has grown into today. From their candid observations, the reader will understand how each of these men and women have contributed to the culture and how each, in his or her own way, can rightly answer "I AM hip-hop."

2024 Society of Professors of Education Outstanding Book Award 2023 NAME Philip C. Chinn Multicultural Book Award The year 2023 marks the 50th anniversary of the birth of hip-hop culture which, as a global industry and phenomenon, has accomplished a lot. But as a culture, what has hip-hop taught us? How has it inspired us? In what ways has it freed us? This book presents The Hip-Hop Mindset Framework--a perspective that gives us the permission to show up in life as our full authentic selves and to shine in our own culturally unique ways. Centered primarily in the field of education, this book introduces the hip-hop mindset as a professional practice that holds relevance for students, educators, and ambitious leaders in any profession. It is for those who seek to innovate, trailblaze, and create a rich source of professional magic. The author offers a fresh contribution to the literature by focusing on what hip-hop culture has to offer in terms of success strategies--what it can teach us about leadership, work ethic, commitment, and resilience. Expanding the important conversations about the power of hip-hop in the lives of youth, Jenkins explores hip-hop culture in the lives of adult professionals, including P-20 educators, community leaders, and organizational administrators. Book Features: Moves beyond pedagogy and teaching strategies to explore how hip-hop mindsets can contribute to professional success. Examines hip-hop as a cultural mindset that has nothing to do with the ability to rhyme, breakdance, or spin records. Argues that everyone can benefit from a hip-hop mindset, regardless of the field you are in, by welcoming new ways of knowing, being, and doing. Pushes us to consider culture as a professional practice and to embrace the nuggets of wisdom and insight from hip-hop culture to inform how we lead and work professionally.