This set covers all aspects of international hip hop as expressed through music, art, fashion, dance, and political activity. Hip hop music has gone from being a marginalized genre in the late 1980s to the predominant style of music in America, the UK, Nigeria, South Africa, and other countries around the world. Hip Hop around the World includes more than 450 entries on global hip hop culture as it includes music, art, fashion, dance, social and cultural movements, organizations, and styles of hip hop. Virtually every country is represented in the text. Most of the entries focus on music styles and notable musicians and are unique in that they discuss the sound of various hip hop styles and musical artists' lyrical content, vocal delivery, vocal ranges, and more. Many additional entries deal with dance styles, such as breakdancing or b-boying/b-girling, popping/locking, clowning, and krumping, and cultural movements, such as black nationalism, Nation of Islam, Five Percent Nation, and Universal Zulu Nation. Country entries take into account politics, history, language, authenticity, and personal and community identification. Special care is taken to draw relationships between people and entities such as mentor-apprentice, producer-musician, and more.

In the case of hip-hop, the forces of top-down corporatization and bottom-up globalization are inextricably woven. This volume takes the view that hip-hop should not be viewed with this dichotomous dynamic in mind and that this dynamic does not arise solely outside of the continental US. Close analysis of the facts reveals a much more complex situation in which market pressures, local (musical) traditions, linguistic and semiotic intelligibility, as well as each country's particular historico-political past conspire to yield new hybrid expressive genres. This exciting collection looks at linguistic, cultural and economic aspects of hip-hop in parallel and showcases a global scope. It engages with questions of code-switching, code-mixing, the minority language/regional dialect vs. standard dynamic, the discourse of political resistance, immigrant ideologies, youth and new language varieties and will be essential reading for graduates and researchers in sociolinguistics and discourse analysis.

Asserting that hip hop culture has become another locus of postmodernity, Osumare explores the intricacies of this phenomenon from the beginning of the Twenty-First century, tracing the aesthetic and socio-political path of the currency of hip hop across the globe.

"Hip Hop Africa explores a new generation of Africans who are not only consumers of global musical currents, but also active and creative participants. Eric Charry and an international group of contributors look carefully at youth culture and the explosion of hip hop in Africa, the embrace of other contemporary genres, including reggae, ragga, and gospel music, and the continued vitality of drumming. Covering Senegal, Mali, Cote d'Ivoire, Ghana, Nigeria, Kenya, Tanzania, Malawi, and South Africa, this volume offers unique perspectives on the presence and development of hip hop and other music in Africa and their place in global music culture."--Publisher description.

Christians and Christianity have been central to Hip Hop since its inception. This book explores the intersection of Christians and Hip Hop and the multiple outcomes of this intersection. It lays out the ways in which Christians and Hip Hop overlap and diverge. The intersection of Christians and Hip Hop brings together African diasporic cultures, lives, memories and worldviews. Moving beyond the focus on rappers and so-called "Christian Hip Hop," each chapter explores three major themes of the book: identifying Hip Hop, irreconcilable Christianity, and boundaries.There is a self-identified Christian Hip Hop (CHH) community that has received some scholarly attention. At the same time, scholars have analyzed Christianity and Hip Hop without focusing on the self-identified community. This book brings these various conversations together and show, through these three themes, the complexities of the intersection of Christians and Hip Hop. Hip Hop is more than rap music, it is an African diasporic phenomenon. These three themes elucidate the many characteristics of the intersection between Christians and Hip Hop and our reasoning for going beyond "Christian Hip Hop." This collection is a multi-faceted view of how religious belief plays a role in Hip Hoppas' lives and community. It will, therefore, be of great interest to scholars of Religion and Hip Hop, Hip Hop, African Diasporas, Religion and the Arts, Religion and Race and Black Theology as well as Religious Studies more generally.

This book investigates the discursive and performative strategies employed by Australian Indigenous rappers to make sense of the world and establish a position of authority over their identity and place in society. Focusing on the aesthetics, the language, and the performativity of Hip Hop, this book pays attention to the life stance, the philosophy, and the spiritual beliefs of Australian Indigenous Hip Hop artists as ‘glocal’ producers and consumers. With Hip Hop as its main point of analysis, the author investigates, interrogates, and challenges categories and preconceived ideas about the critical notions of authenticity, ‘Indigenous’ and dominant values, spiritual practices, and political activism. Maintaining the emphasis on the importance of adopting decolonizing research strategies, the author utilises qualitative and ethnographic methods of data collection, such as semi-structured interviews, informal conversations, participant observation, and fieldwork notes. Collaborators and participants shed light on some of the dynamics underlying their musical decisions and their view within discussions on representations of ‘Indigenous identity and politics’. Looking at the Indigenous rappers’ local and global aspirations, this study shows that, by counteracting hegemonic narratives through their unique stories, Indigenous rappers have utilised Hip Hop as an expressive means to empower themselves and their audiences, entertain, and revive their Elders’ culture in ways that are contextual to the society they live in.

Explores the influence of youth culture on transforming mainstream society through innovative cooperative venues and modern "do-it-yourself" values, in a report that reveals what can be learned through the indirect social experiments being performed by today's young artists and entrepreneurs. Reprint.

Pitbull was born to Cuban parents who made him recite the works of poet José Martí. He encountered problems early in his career as a rapper because he was blue-eyed, white and Cuban American. He was also influenced by the Miami bass genre of hip hop music and has cited Celia Cruz and Willy Chirino as sources of inspiration for his music.

Seminar paper from the year 2016 in the subject English Language and Literature Studies - Literature, grade: 1,3, Catholic University Eichstätt-Ingolstadt, course: Seminar: Representation of Ireland in literature and media from 1900-2015, language: English, abstract: This paper is about the phenomenon of Irish rap in general and about the rapper Jun Tzu in particular. His song The Bridge is being analysed in this work. Questions are: In which way is Irish hiphop music representative and what is it representative for? Irish Rap. This term alone might take the reader a while to fully grasp ‒ and hopefully not much longer to acknowledge. Indeed, the worldwide phenomenon of rap, the musical and vocal element of the hip-hop culture, also has inspired artists on the green isle. As Mitchell states: “Hip-hop and rap cannot be viewed simply as an expression of African American culture; it has become a vehicle for global youth affiliations and a tool for reworking local identity all over the world.” (Mitchell, 2001, pp. 1f) Out of a number of Irish artists, a rapper called Jun Tzu has gained popularity over the last years reflecting Northern Irish history in his lyrics. Today, Irish rap music is known by a broader audience than ever before. The reason is the online video platform Youtube. Over the last years, it became appealing to a mainstream audience and changed marketing and presentation habits drastically. With over 100 hours of uploaded video material per minute and more than two billion video views per day, the video portal nowadays gives artists a platform to be heard and seen on, that has never before existed. Understandably, this has changed and – through faster distribution – accelerated cultural development when it comes to rap. Artists can react to other artists’ works faster than 15 years ago and musicians do not need to publish their music by releasing a CD via a company. The probably most important effect of all: as soon as one owns a computer or even smartphone with internet access, he has a potentially limitless audience for his releases. This gives a special chance especially to Irish rappers whose music would otherwise not be distributed by big music companies in Europe, because too few people would buy the music and the marketing would just not be profitable. A major profiteer of this development is the Irish rapper Jun Tzu, who became known to a broader audience via a BBC documentary he was featured in, that had been distributed via the video platform.

Bachelor Thesis from the year 2020 in the subject American Studies - Culture and Applied Geography, grade: 2,3, Christian-Albrechts-University of Kiel (Englisches Seminar), language: English, abstract: This bachelor's thesis from the field of Cultural Studies in North American Studies deals with the emergence of antisemitic texts and attitudes, as well as the counterbalance to them in US-American and Canadian hip-hop and rap. First, the history of antisemitism and that of hip-hop are addressed before specifically antisemitic texts and currents in hip-hop are examined. In this context, the antisemitism promoted by the "Nation of Islam" and the collaboration of members or sympathizers of the latter with musicians of the scene are particularly striking. Public Enemy is a hip-hop group that chose drastic lyrics in order to emancipate itself, but at the same time deliberately used anti-Jewish and anti-Israeli stereotypes. This is followed by examinations of the lyrics of selected songs by Public Enemy, Jay-Z, Ice Cube, and by 21 Savage, as well as Snoop Dogg's relationship to the "Nation of Islam." As a counterweight to these developments in hip-hop culture, Drake, whose father is a person of color and whose mother is Jewish, is the subject. He unites the sides that have been played off against each other for decades, and could break prejudices with his music.