Hip Hop Heresies


Book Description

Winner of the 2022-2023 New York City Book Awards! SPECIAL MENTION, 2023 IASPM Book Prize, given by the International Association for the Study of Popular Music SHORTLISTED, 2023 Ralph J. Gleason Book Award, given by the Rock N Roll Hall of Fame/Clive Davis Institute Unearths the queer aesthetic origins of NYC hip hop Hip Hop Heresies centers New York City as a space where vibrant queer, Black, and hip hop worlds collide and bond in dance clubs, schools, roller rinks, basketball courts, subways, and movie houses. Using this cultural nexus as the stage, Shanté Paradigm Smalls attends to the ways that hip hop cultural production in New York City from the 1970s through the early twenty-first century produced film, visual art, and music that offer queer articulations of race, gender, and sexuality. To illustrate New York City as a place of experimental aesthetic collaboration, Smalls brings four cultural moments to the forefront: the life and work of the gay Chinese American visual and graffiti artist Martin Wong, who brokered the relationship between New York City graffiti artists and gallery and museum spaces; the Brooklyn-based rapper-singer-writer-producer Jean Grae, one of the most prolific and underrated emcees of the last two decades; the iconic 1980s film The Last Dragon, which exemplifies the experimental and queer Black masculinity possible in early formal hip hop culture; and finally queer- and trans-identified hip hop artists and groups like BQE, Deepdickollective, and Hanifah Walidah, and the documentary Pick Up the Mic. Hip Hop Heresies transforms the landscape of hip hop scholarship, Black studies, and queer studies by bringing together these fields through the hermeneutic of aesthetics. Providing a guidepost for future scholarship on queer, trans, and feminist hip hop studies, Hip Hop Heresies takes seriously the work that New York City hip hop cultural production has done and will do, and advocates a form of hip hop that eschews authenticity in favor of performativity, bricolage, and pastiche.




Hip Hop Heresies


Book Description

"This is the first book-length project to examine the relationship between blackness, queerness, and hip hop. Using aesthetics as its organizing lens, Hip Hop Heresies attends to the ways that hip hop cultural production in New York City from the 1970s through the first fifteen years of the 21st century produced hip hop cultural products (film, visual art, and music) that offer "queer articulations" of race, gender, and sexuality that are contrary to hegemonic ideas and representations of those categories in hip hop production, as well as in writing about hip hop culture"--




The Oxford Handbook of Music and Queerness


Book Description

Music and queerness interact in many different ways. The Oxford Handbook of Music and Queerness brings together many topics and scholarly disciplines, reflecting the diversity of current research and methodology. Each of the book's six sections exemplifies a particular rhetoric of queer music studies. The section "Kinds of Music" explores queer interactions with specific musics such as EDM, hip hop, and country. "Versions" explores queer meanings that emerge in the creation of a version of a pre-existing text, for instance in musical settings of Biblical texts or practices of karaoke. "Voices and Sounds" turns in various ways to the materiality of music and sound. "Lives" focuses on interactions of people's lives with music and queerness. "Histories" addresses moments in the past, beginning with times when present conceptualizations of sexuality had not yet developed and moving to cases studies of more recent history, including the creation of pop songs in response to HIV/AIDS and the Eurovision song contest. The final section, "Cross-cultural Queerness," asks how to understand gender and sexuality in locations where recent Euro-American concepts may not be appropriate.




Digital Flows


Book Description

Hip hop has become a major cultural force in the internet age, with people constantly creating, sharing, and discussing hip hop online, from Drake memes through viral TikTok dances to AI-generated rap. Author Steven Gamble explores this latest chapter in the life of hip hop, combining a range of research methods and existing literature with diverse case studies that will appeal to die-hard fans and digital enthusiasts alike.




Global Popular Music


Book Description

Global Popular Music: A Research and Information Guide offers an essential annotated bibliography of scholarship on popular music around the world in a two-volume set. Featuring a broad range of subjects, people, cultures, and geographic areas, and spanning musical genres such as traditional, folk, jazz, rock, reggae, samba, rai, punk, hip-hop, and many more, this guide highlights different approaches and discussions within global popular music research. This research guide is comprehensive in scope, providing a vital resource for scholars and students approaching the vast amount of publications on popular music studies and popular music traditions around the world. Thorough cross-referencing and robust indexes of genres, places, names, and subjects make the guide easy to use. Volume 2, Transnational Discourses of Global Popular Music Studies, covers the geographical areas of North America: United States and Canada; Central America, Caribbean, and South America/Latin America; Europe; Africa and Middle East; Asia; and areas of Oceania: Aotearoa/New Zealand, Australia, and Pacific Islands. It provides over twenty-four hundred annotated bibliographic entries covering discourses of extensive research that extend beyond the borders of the United States and includes annotated entries to books, book series, book chapters, edited volumes, special documentaries and programming, scholarly journal essays, and other resources that focus on the creative and artistic flows of global popular music.




The Hip Hop Wars


Book Description

A pioneering expert in the study of hip-hop explains why the music matters--and why the battles surrounding it are so very fierce.




Sonic Sovereignty


Book Description

What does sovereignty sound like? Sonic Sovereignty explores how contemporary Indigenous musicians champion self-determination through musical expression in Canada and the United States. The framework of “sonic sovereignty” connects self-definition, collective determination, and Indigenous land rematriation to the immediate and long-lasting effects of expressive culture. Przybylski covers online and offline media spaces, following musicians and producers as they, and their music, circulate across broadcast and online networks. Przybylski documents and reflects on shifts in both the music industry and political landscape in the last fifteen years: just as the ways in which people listen to, consume, and interact with popular music have radically changed, large public conversations have flourished around contemporary Indigenous culture, settler responsibility, Indigenous leadership, and decolonial futures. Sonic Sovereignty encourages us to experiment with the temporal possibilities of listening by detailing moments when a sample, lyric, or musical reference moves a listener out of time. Przybylski maintains that hip hop and many North American Indigenous practices, all drawn from storytelling, welcome nonlinear listening. The musical readings presented in this book thus explore how musicians use tools to help listeners embrace rupture, and how out-of-time listening creates decolonial possibilities.




Blacksound


Book Description

A new concept for understanding the history of the American popular music industry. Blacksound explores the sonic history of blackface minstrelsy and the racial foundations of American musical culture from the early 1800s through the turn of the twentieth century. With this namesake book, Matthew D. Morrison develops the concept of "Blacksound" to uncover how the popular music industry and popular entertainment in general in the United States arose out of slavery and blackface. Blacksound as an idea is not the music or sounds produced by Black Americans but instead the material and fleeting remnants of their sounds and performances that have been co-opted and amalgamated into popular music. Morrison unpacks the relationship between performance, racial identity, and intellectual property to reveal how blackface minstrelsy scripts became absorbed into commercial entertainment through an unequal system of intellectual property and copyright laws. By introducing this foundational new concept in musicology, Blacksound highlights what is politically at stake—for creators and audiences alike—in revisiting the long history of American popular music.




Digging the Africanist Presence in American Performance


Book Description

This ground-breaking work brings dance into current discussions of the African presence in American culture. Dixon Gottschild argues that the Africanist aesthetic has been invisibilized by the pervasive force of racism. This book provides evidence to correct and balance the record, investigating the Africanist presence as a conditioning factor in shaping American performance, onstage and in everyday life. She examines the Africanist presence in American dance forms particularly in George Balanchine's Americanized style of ballet, (post)modern dance, and blackface minstrelsy. Hip hop culture and rap are related to contemporary performance, showing how a disenfranchised culture affects the culture in power.