Define hip-hop culture in terms of all three works and critically evaluate several examples of cultural forms attributed to the movement. You should feel free to comment on practices you think one author fails to adequately discuss or forms attributed to hip-hop which you think might not belong. You also might critique the conceptions of hip-hop’s values. Such a discussion should lead you to your own definition of hip-hop.Tricia Rose. “Black Noise: Rap Music and Black Culture in Contemporary American.”
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Juan Flores. “From Bomba to Hip-Hop.”
Bakari Kitwana. “Why White Kids Love Hip Hop: Wangstas, Wiggers, Wannabes, and the New Reality of Race in America.”
Joan Morgan. “When Chickenheads Come Home to Roost: My Life as a Hip-hop Feminist.”
Natalie Moore and Natalie Hopkinson. “Deconstructing Tyrone: A New Look at Black Masculinity in the Hip-Hop Generation.”
Paul Wall, Wu Tang Clan’s Raekwon, and reggaeton king Tego Calderon made a four-day visit to Sierra Leone from 10-14 July 2006, for the filming of “Bling: A Planet Rock”, a hard-hitting look at Sierra Leone’s diamond trade and how “blinging” in the fishy world of commercial hip-hop played a role in the country’s civil war.
The Hip-hop and Raggae Dancehall music have been as having an enormous impact on combating HIV/AIDS among the youth which are the main audience and targeted as well as more infected with the pandemic. Addressing at the youth Pavilion discussion panel they have organized, the performers from the School of Mayhem Entertainment Dance Group Malanda Ward, Wesley Crichlow, Nikki Rehman, Lisa Skeete and Rose-Ann Bailey have recommended the community to use the music as a big tool in reaching the message to the community on HIV/AIDS awareness since most of the people have access to music, and can the message easily through especial for the youth who are really interested.
Richard Majors and Janet Mancini Billson. “Cool Pose: The Dilemmas of Black Manhood in America.”
3. What are Hip Hop America, Last Night a DJ Saved My Life and Wild Style saying about race in the United States? Specifically, what does George claim white audiences bring to hip hop? Examine the treatment of race in both the production and reception of hip hop. What is said about white participation in the industry? In the art forms? In the media? Does George’s assessment of white audiences differ from white ownership and management on the business end of production? How does he treat Chicano and Latino artists and audiences? Is there a case to be made about Asian participation? Feel free to look at the racial controversies he covers and to evaluate his examination of incendiary statements in lyrics.
1. How do these three texts define hip-hop? For instance, consider the following questions about Hip Hop America: What is George’s definition of hip-hop? Is it too specific, or conversely, do you find it too inclusive? What cultural forms does he attribute to the genre and how do they fit into his definition? What values does he attribute to hip-hop? (viii, 155). Do you find his conception of hip-hop workable? Tenable?
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Aaron McGruder. “A Right to be Hostile: The Boondocks Treasury.”
Thank you for your interest in volunteering! We look forward to working with you. We rely year round on support from our strong crew of volunteers who work alongside staff and interns to bring the rock camp mission to our students and campers. Please read the following information to see if volunteering at Rock Camp will work for you. This experience is meant to be mutually beneficial, rewarding, fun, and fulfilling. This is a great opportunity to serve the girls and young women in our community by sharing your skills and time.
Raquel Rivera. “New York Ricans from the Hip Hop Zone.”
Others who made presentations from to the team were Nikki Redman who addressed the issues as a DJ in the Gay and Lesbian community I Toronto, Mark Bialworkski an production Co-coordinator who worked with various puppral musician like Been Man addressed his experienced on music industry and how it can be used as a perfectly too in reaching the message to the youth on HIV/AIDS. Lisa Skeete who addressed on the issue of dance hall music in Toronto as a local radio host and an educator, Wesley Crichlow an talked on psychological issues relating to homophobic lyrics in both music genre.
Mark Forman and Mark Anthony Neal. “That’s the Joint: The Hip-Hop Studies Reader.”
6. Discuss the theme of cultural innovation as described by Brewster and Broughton. What factors led to the birth of hip-hop? How does their account of early hip-hop differ from George’s? Does any part of Wild Style support either description more than the other? In your analysis examine innovation and how it is explained. Explore and try to account for any tensions between various interpretations. Be sure to work with all the texts in a comparative manner.
The moderating the session Farley Felix who is a Canadian music promoter and manager of hip –hop arts opened the session by encouraging the youth to use the hip-hop message in effectively way since most of the songs touched the daily lives of the young people, and HIV/AIDS is among of the issues young people are talking and are so concerned and needs more awareness through the music to reach easily.
Jeff Chang. “Can’t Stop Won’t Stop: A History of the Hip Hop Generation.”
Also Rose-Ann Bailey addressed the topic of using hip-hop and dance hall music as an sexual health tool for the youth being the change and be aware on HIV/AIDS so that they can realize their dream.” Our music have an impact, reaching many young people and the rest of the society through the media and live shows, Media have impact in disseminating the information and we think will be great to be used as an educational sexual health kit and it can help giving the really message needed reducing the spread of HIV/AIDS”.
The GenderYOUTH Spring 2007 campaign Hip-Hop: Beyond Beats and Rhymes focuses on issues of masculinity, sexism, consumerism, and homophobia in hip-hop culture and the larger American society. It is designed to help GenderYOUTH ask broader questions about gender and race while building new partnerships and coalitions around the issues. The campaign challenges record labels and music television networks’ current perpetuation of racist gender stereotypes by petitioning them to allow for a diverse range of gender expression of people of color in the hip-hop industry. By hosting a screening you are working to bring more people into the discussion and stand up against narrow codes of masculinity and femininity.
5. What are Ahearn and George saying about hip-hop as (an) African American personal and cultural style? Why did Ahearn stage the basketball battle scene? Examine George’s look at the ABA, the Philadelphia 76ers, fashion industry and how he relates sports and dress to music. What do you think he is ultimately arguing about African American identity? About hip-hop culture? What influences does George attribute to hip-hop style--music, dance, art, and fashion? Do you think he leaves out any influences which inform hip-hop style? On the other side of this equation, you might also examine what George is saying about hip-hop, in turn, affecting sports, high fashion, and even marketing. What does he argue about the influence of hip-hop style on American culture at large? Do you see evidence in his account of hip-hop helping to shape American identity?
4. What do you make of George’s coverage and treatment of women in hip-hop? What claims does he make about female participation as artists, executives and fans? Specifically, consider the following statement: “In the twenty-plus years of hip hop history on record…there are no women who have contributed profoundly to rap’s artistic growth” (184). Review George’s evidence for this assertion as well as his explanation. Do you agree? In your essay examine George’s claim that no women have left an indelible mark on rap’s artistic growth. Furthermore, you might explore his references to women and his possible omissions. Does he write about women rappers and DJs differently than men? How does Wild Style corroborate or challenge George? Does Brewster and Broughton’s inclusion or omission of women influence your argument at all?
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2. Examine Nelson George’s various looks at gangsta rap. How does he define the sub-genre? What assertions does he make about it? Compare his discussions in chapters three and ten--what examples does he build his argument about gangsta rap on? What parts do you agree with? Differ from? Does his discussion do justice to the influence and controversy around this part of hip-hop? You might evaluate his discussion of regionalism within gangsta rap as well as his contention that gangsta rap made hip-hop a national phenomenon (137). What do Brewster and Broughton say about gangsta rap and does it corroborate or refute George’s point?
What do Brewster and Broughton say about race and participation in hip-hop? Does Wild Style challenge George or Brewster and Broughton in any ways?
By Leonard Boniface
Gwendolyn D. Pough. “Check It While I Wreck It: Black Womanhood, Hip-Hop Culture, and the Public Sphere.”
7. Assess George’s treatment of the business of hip-hop. What is he saying about the impact of hip-hop on the record industry? Other aspects of commerce? What is he saying about the commercialization of hip-hop? Do you see a tension between the business side of hip-hop (the record industry, videos, MTV, BET, the Box, fashion, films, journalism, marketing) and what he describes as old school naivete--“true” hip-hop (the “original” art forms of graffiti, breakdancing, DJing and MCing)? (20). At what point do you think artists and cultural producers become so involved with commodification that they lose touch with the “authentic” culture? (The other texts provide excellent examples to closely interpret.) Or, conversely, do you feel such distinctions cannot be drawn? Argue accordingly considering the aspects of hip-hop marketing George covers. You might want to examine his coverage of New Jack Swing and R&B and how he relates these genres to hip-hop, or his use of Mike Tyson and Russell Simmons as icons of hip-hop. Further, do Brewster and Broughton comment on commercialization and the business of hip-hop? What representations and narrative plot lines does Ahearn employ to comment on this aspect of the culture?
Many human rights and development organizations believe that diamonds can play a positive role in economic development. That’s why UNDP’s Diamonds for Development programme focuses on the human dimension of the diamond industry. It complements the Kimberley Process Certification Scheme, launched in 2003 to ensure that diamonds are conflict free; the Diamond Development Initiative; Peace Diamonds Alliance and Extractive Industry Transparency Initiative.
“The Hip-hop and reggae dance music have a great impact to the young people and have shown a wide range of the awareness on the war against AIDS since it talking about youth, reached widely with youth and in their languages, and even celebrities have been used effectively in various AIDS occasions like Alicia Keys,P Diddy and others since is easily for them when they say about something many people will follow and create an impact,” Farley said.
Most of West Africa’s diamonds come from alluvial mining. Individual miners exploit gravel beds lying on or near the surface. They often have no alternative employment opportunities, use low cost, simple tools, and work in sub-standard conditions. According to International Alert, diggers working in these pits produce more than 90 percent of West Africa’s diamond output. This is worth between US $240 million and $300 million per year.
Sierra Leone was their only stop in Africa. In Freetown and Kono, these hip-hop celebrities met local musicians, mining communities, government officials and children affected by war. They heard first-hand accounts of the trauma of war and how Sierra Leoneans are rebuilding their country and their lives. By chronicling their visit, the producers - Article 19 Films in association with VH1 and the UNDP - showed how hip-hop culture has penetrated every crevice of the globe, binding youth despite language, religion or race. The film is expected to premiere on VH1 in early 2007.
