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As a platform for communicating the issues of marginalized peoples, hip-hop remains a universal, relevant art form. Moreover, hip-hop culture’s affirmation of liberation pedagogy has great potential not only to address many current issues in educational contexts, but also to create more egalitarian ambitions in western public schools.
"Mr. Baker perceives the harlem Renaissance as a crucial moment in a movement, predating the 1920's, when Afro-Americans embraced the task of self-determination and in so doing gave forth a distinctive form of expression that still echoes in a broad spectrum of 20th-century Afro-American arts. . . . Modernism and the Harlem Renaissance may well become Afro-America's 'studying manual.'"—Tonya Bolden, New York Times Book Review
Independent producers and DJs have been busy creating world class music in bedrooms, kitchens and garages for years. Meanwhile, photographer Raph Rashid has traveled the globe, gaining access to these inner sanctums, one by one. The tremendous variety of set-ups and layouts used by in-home producers is artfully documented in the pages of Back to the Lab. Intimate photos of the creators amongst their instruments, gear, record collections and ephemera offer unprecedented access. Notes about the producers, their environment and "essential" releases round out this love-letter to the undergound. Rashid has been checking his list since the publication of his bestselling Behind the Beat, making sure to document the old-school producers he'd missed, meanwhile keeping an eye out for fresh new talent. Featured artists and producers include: Alchemist, Ant, Babu, EL-P, Georgia Anne Muldrow, Jazzy Jeff, Kenny Dope, Lord Finesse, Oh No and many more]]
Hip-Hop and Dismantling the School-to-Prison Pipeline was created for K-12 students in hopes that they find tangible strategies for creating affirming communities where students, parents, advocates and community members collaborate to compose liberating and just frameworks that effectively define the school-to-prison pipeline and identify the nefarious ways it adversely affects their lives. This book is for educators, activists, community organizers, teachers, scholars, politicians, and administrators who we hope will join us in challenging the predominant preconceived notion held by many educators that Hip-Hop has no redeemable value. Lastly, the authors/editors argue against the understanding of Hip-Hop studies as primarily an academic endeavor situated solely in the academy. They understand the fact that people on streets, blocks, avenues, have been living and theorizing about Hip-Hop since its inception. This important critical book is an honest, thorough, powerful, and robust examination of the ingenious and inventive ways people who have an allegiance to Hip-Hop work tirelessly, in various capacities, to dismantle the school-to-prison pipeline.
Viewing the plurality of creativity in music as being of paramount importance to the field of music education, The Routledge Companion to Creativities in Music Education provides a wide-ranging survey of practice and research perspectives. Bringing together philosophical and applied foundations, this volume draws together an array of international contributors, including leading and emerging scholars, to illuminate the multiple forms creativity can take in the music classroom, and how new insights from research can inform pedagogical approaches. In over 50 chapters, it addresses theory, practice, research, change initiatives, community, and broadening perspectives. A vital resource for music education researchers, practitioners, and students, this volume helps advance the discourse on creativities in music education.
Spencer unwaveringly exposes the harmful effects of hip hop as a regulated industry, music, and culture. Her careful analysis allows the reader to examine the relationship between the presentation of hip hop and the prevalence of murder, misogyny, and mayhem in the urban community.
Over the last quarter-century hip-hop has grown from an esoteric form of African-American expression to become the dominant form of American popular culture. Today, Snoop Dogg shills for Chrysler and white kids wear Fubu, the black-owned label whose name stands for "For Us, By Us." This is not the first time that black music has been appreciated, adopted, and adapted by white audiences-think jazz, blues, and rock-but Jason Tanz, a white boy who grew up in the suburban Northwest, says that hip-hop's journey through white America provides a unique window to examine the racial dissonance that has become a fact of our national life. In such culture-sharing Tanz sees white Americans struggling with their identity, and wrestling (often unsuccessfully) with the legacy of race. To support his anecdotally driven history of hip-hop's cross-over to white America, Tanz conducts dozens of interviews with fans, artists, producers, and promoters, including some of hip-hop's most legendary figures-such as Public Enemy's Chuck D; white rapper MC Serch; and former Yo! MTV Raps host Fab 5 Freddy. He travels across the country, visiting "nerdcore" rappers in Seattle, who rhyme about Star Wars conventions; a group of would-be gangstas in a suburb so insulated it's called "the bubble"; a break-dancing class at the upper-crusty New Canaan Tap Academy; and many more. Drawing on the author's personal experience as a white fan as well as his in-depth knowledge of hip-hop's history, Other People's Property provides a hard-edged, thought-provoking, and humorous snapshot of the particularly American intersection of race, commerce, culture, and identity.
Popular music is a growing presence in education, formal and otherwise, from primary school to postgraduate study. Programmes, courses and modules in popular music studies, popular music performance, songwriting and areas of music technology are becoming commonplace across higher education. Additionally, specialist pop/rock/jazz graded exam syllabi, such as RockSchool and Trinity Rock and Pop, have emerged in recent years, meaning that it is now possible for school leavers in some countries to meet university entry requirements having studied only popular music. In the context of teacher education, classroom teachers and music-specialists alike are becoming increasingly empowered to introduce popular music into their classrooms. At present, research in Popular Music Education lies at the fringes of the fields of music education, ethnomusicology, community music, cultural studies and popular music studies. The Ashgate Research Companion to Popular Music Education is the first book-length publication that brings together a diverse range of scholarship in this emerging field. Perspectives include the historical, sociological, pedagogical, musicological, axiological, reflexive, critical, philosophical and ideological.
The revealing photographs found within the pages of Behind the Beat expose the creative spaces of top DJ's and music producers from the UK and US. This book is an open invitation to step into the private world of the hip hop home studio and discover its inner workings. Featured are the studios and equipment of some of the most influential music creators working today including: DJ Premier Dj Spinna, Skitz, Nextmen, Taskforce, Dj Swamp, Dj Cheapshot, E-Swift, Beyond There, Kut masta kurt, Fat jack, Herbaliser, Runaways, Jehst, Beatminerz, Dj Shadow, dj design, Dan the Automator, Chief Xcel, Braintax, Young Einstein, Numark, Cut chemist, Thes one, J zone and Mario Caldato Jnr. Includes an Audio CD with tracks from featured DJs and labels.
Hip-Hop en Français charts the emergence and development of hip-hop culture in France, French Caribbean, Québec, and Senegal from its origins until today. With essays by renowned hip-hop scholars and a foreword by Marcyliena Morgan, executive director of the Harvard University Hiphop Archive and Research Institute, this edited volume addresses topics such as the history of rap music; hip-hop dance; the art of graffiti; hip-hop artists and their interactions with media arts, social media, literature, race, political and ideological landscapes; and hip-hop based education (HHBE). The contributors approach topics from a variety of different disciplines including African and African-American studies, anthropology, Caribbean studies, cultural studies, dance studies, education, ethnology, French and Francophone studies, history, linguistics, media studies, music and ethnomusicology, and sociology. As one of the most comprehensive books dedicated to hip-hop culture in France and the Francophone World written in the English language, this book is an essential resource for scholars and students of African, Caribbean, French, and French-Canadian popular culture as well as anthropology and ethnomusicology.
