A provocative analysis of the new contours of black nationalism and feminism in America.
A provocative analysis of the new contours of black nationalism and feminism in America.
Despite legislation designed to eliminate unfair racial practices, the United States continues to struggle with a race problem. Some thinkers label this a "new" racism and call for new political responses to it. Using the experiences of African American women and men as a touchstone for analysis, Patricia Hill Collins examines new forms of racism as well as political responses to it.In this incisive and stimulating book, renowned social theorist Patricia Hill Collins investigates how nationalism has operated and re-emerged in the wake of contemporary globalization and offers an interpretation of how black nationalism works today in the wake of changing black youth identity. Hers is the first study to analyze the interplay of racism, nationalism, and feminism in the context of twenty-first century black America.From Black Power to Hip Hop covers a wide range of topics including the significance of race and ethnicity to the American national identity; how ideas about motherhood affect population policies; African American use of black nationalism ideologies as anti-racist practice; and the relationship between black nationalism, feminism and women in the hip-hop generation.
Author Denise Sullivan explores the bond between music and social change and traces the evolution of protest music over the past five decades. The marriage of music and social change didn't originate with the civil rights and black power movements of the 1950s and 1960s, but never before had the relationship between the two been so dynamic. Black music altered the road to liberation for minorities, sparking creativity and resulting in a genre-encompassing poetry, jazz, folk, and rock along with a new brand of prideful and political soul and funk. Through extensive research and exclusive interviews with musician-activists such as Yoko Ono, Richie Havens, Janis Ian, and Buffy Sainte-Marie, this chronicle details the struggle that went into the creation of liberation music. A bittersweet narrative covering more than 50 years of fighting oppression through song, "Keep On Pushing" defines the soundtrack to revolution and the price paid to create it.
The Hip Hop Movement offers a critical theory and alternative history of rap music and hip hop culture by examining their roots in the popular musics and popular cultures of the Civil Rights Movement and Black Power Movement. Connecting classic rhythm & blues and rock & roll to the Civil Rights Movement, and classic soul and funk to the Black Power Movement, The Hip Hop Movement explores what each of these musics and movements contributed to rap, neo-soul, hip hop culture, and the broader Hip Hop Movement. Ultimately, this book’s remixes (as opposed to chapters) reveal that black popular music and black popular culture have always been more than merely “popular music” and “popular culture” in the conventional sense and reflect a broader social, political, and cultural movement. With this in mind, sociologist and musicologist Reiland Rabaka critically reinterprets rap and neo-soul as popular expressions of the politics, social visions, and cultural values of a contemporary multi-issue movement: the Hip Hop Movement. Rabaka argues that rap music, hip hop culture, and the Hip Hop Movement are as deserving of critical scholarly inquiry as previous black popular musics, such as the spirituals, blues, ragtime, jazz, rhythm & blues, rock & roll, soul, and funk, and previous black popular movements, such as the Black Women’s Club Movement, New Negro Movement, Harlem Renaissance, Civil Rights Movement, Black Power Movement, Black Arts Movement, and Black Women’s Liberation Movement. This volume, equal parts alternative history of hip hop and critical theory of hip hop, challenges those scholars, critics, and fans of hip hop who lopsidedly over-focus on commercial rap, pop rap, and gangsta rap while failing to acknowledge that there are more than three dozen genres of rap music and many other socially and politically progressive forms of hip hop culture beyond DJing, MCing, rapping, beat-making, break-dancing, and graffiti-writing.
2007 Popular Culture Association/American Culture Association Emily Toth Award Pimps Up, Ho’s Down pulls at the threads of the intricately knotted issues surrounding young black women and hip hop culture. What unravels for Tracy D. Sharpley-Whiting is a new, and problematic, politics of gender. In this fascinating and forceful book, Sharpley-Whiting, a feminist writer who is a member of the hip hop generation, interrogates the complexities of young black women's engagement with a culture that is masculinist, misogynistic, and frequently mystifying. Beyond their portrayal in rap lyrics, the display of black women in music videos, television, film, fashion, and on the Internet is indispensable to the mass media engineered appeal of hip hop culture, the author argues. And the commercial trafficking in the images and behaviors associated with hip hop has made them appear normal, acceptable, and entertaining - both in the U.S. and around the world. Sharpley-Whiting questions the impacts of hip hop's increasing alliance with the sex industry, the rise of groupie culture in the hip hop world, the impact of hip hop's compulsory heterosexual culture on young black women, and the permeation of the hip hop ethos into young black women's conceptions of love and romance. The author knows her subject from the inside. Coming of age in the midst of hip hop's evolution in the late 1980s, she mixed her graduate studies with work as a runway and print model in the 1990s. Her book features interviews with exotic dancers, black hip hop groupies, and hip hop generation members Jacklyn “Diva” Bush, rapper Trina, and filmmaker Aishah Simmons, along with the voices of many “everyday” young women. Pimps Up, Ho’s Down turns down the volume and amplifies the substance of discussions about hip hop culture and to provide a space for young black women to be heard.
A sweeping treatment of black music in American and the subcultures that attend each new wave covers everything from Sunday morning Gospel to jazz to rap music, focusing on the cultural movements spawned by each. (Performing Arts)
From youth violence, to the impact of high stakes educational testing, to editorial hand wringing over the moral failures of hip-hop culture, young people of color are often portrayed as gang affiliated, “troubled,” and ultimately, dangerous. The Hip-Hop Generation Fights Back examines how youth activism has emerged to address the persistent inequalities that affect urban youth of color. Andreana Clay provides a detailed account of the strategies that youth activists use to frame their social justice agendas and organize in their local communities. Based on two years of fieldwork with youth affiliated with two non-profit organizations in Oakland, California, The Hip-Hop Generation Fights Back shows how youth integrate the history of social movement activism of the 1960s, popular culture strategies like hip-hop and spoken word, as well as their experiences in the contemporary urban landscape, to mobilize their peers. Ultimately, Clay’s comparison of the two youth organizations and their participants expands our understandings of youth culture, social movements, popular culture, and race and ethnic relations.
The Hip Hop Generation is an eloquent testament for black youth culture at the turn of the century. The only in-depth study of the first generation to grow up in post-segregation America, it combines culture and politics into a pivotal work in American studies. Bakari Kitwana, one of black America's sharpest young critics, offers a sobering look at this generation's disproportionate social and political troubles, and celebrates the activism and politics that may herald the beginning of a new phase of African-American empowerment.
A portrait of today's African-American male evaluates both archetypes and stereotypes, exploring black masculinity as it is represented by a range of personalities, from professionals and hip-hop figures to family men and criminals. Original.
This groundbreaking study of race, religion and popular culture in the 21st century United States focuses on a new concept, “Muslim Cool.” Muslim Cool is a way of being an American Muslim—displayed in ideas, dress, social activism in the ’hood, and in complex relationships to state power. Constructed through hip hop and the performance of Blackness, Muslim Cool is a way of engaging with the Black American experience by both Black and non-Black young Muslims that challenges racist norms in the U.S. as well as dominant ethnic and religious structures within American Muslim communities. Drawing on over two years of ethnographic research, Su'ad Abdul Khabeer illuminates the ways in which young and multiethnic U.S. Muslims draw on Blackness to construct their identities as Muslims. This is a form of critical Muslim self-making that builds on interconnections and intersections, rather than divisions between “Black” and “Muslim.” Thus, by countering the notion that Blackness and the Muslim experience are fundamentally different, Muslim Cool poses a critical challenge to dominant ideas that Muslims are “foreign” to the United States and puts Blackness at the center of the study of American Islam. Yet Muslim Cool also demonstrates that connections to Blackness made through hip hop are critical and contested—critical because they push back against the pervasive phenomenon of anti-Blackness and contested because questions of race, class, gender, and nationality continue to complicate self-making in the United States.
Transcending geographic and cultural lines, From Toussaint to Tupac is an ambitious collection of essays exploring black internationalism and its implications for a black consciousness. At its core, black internationalism is a struggle against oppression, whether manifested in slavery, colonialism, or racism. The ten essays in this volume offer a comprehensive overview of the global movements that define black internationalism, from its origins in the colonial period to the present. From Toussaint to Tupac focuses on three moments in global black history: the American and Haitian revolutions, the Garvey movement and the Communist International following World War I, and the Black Power movement of the late twentieth century. Contributors demonstrate how black internationalism emerged and influenced events in particular localities, how participants in the various struggles communicated across natural and man-made boundaries, and how the black international aided resistance on the local level, creating a collective consciousness. In sharp contrast to studies that confine Black Power to particular national locales, this volume demonstrates the global reach and resonance of the movement. The volume concludes with a discussion of hip hop, including its cultural and ideological antecedents in Black Power. Contributors: Hakim Adi, Middlesex University, London Sylvia R. Frey, Tulane University William G. Martin, Binghamton University Brian Meeks, University of the West Indies, Mona, Jamaica Marc D. Perry, University of Illinois, Urbana-Champaign Lara Putnam, University of Pittsburgh Vijay Prashad, Trinity College Robyn Spencer, Lehman College Robert T. Vinson, College of William and Mary Michael O. West, Binghamton University Fanon Che Wilkins, Doshisha University, Kyoto, Japan
Heaven Was Detroit: From Jazz to Hip Hop and Beyond is the first of its kind to capture the full spectrum of Detroit popular music from the early 1900s to the twenty-first century. Readers will find in this unique and stimulating anthology new essays, and a few classics, by widely known and respected music writers, critics, and recording artists who weigh in on their careers and experiences in the Detroit music scene, from rock to jazz and everything in between. With a foreword by the acclaimed rock writer Dave Marsh and iconic photos by Leni Sinclair, the book features such well-known writers as Greil Marcus, Jaan Uhelszki, Al Young, Susan Whitall, Gary Graff, John Sinclair, and many others. Divided into nine sections, the book moves chronologically through the early days of jazz in Detroit, to the rock ’n’ roll of the 1960s, and up to today’s electronica scene, with so many groundbreaking moments in between. This collection of cohesive essays includes Motown’s connection to the Civil Rights Movement and the Black Power Movement through its side label, Black Forum Records; Lester Bangs’s exemplary piece on Alice Cooper; the story behind the emergence of rap legend Eminem; and Craig Maki’s enlightening history on “hillbilly rock” — just to name a few. With a rich musical tradition to rival Nashville, Detroit serves as the inspiration, backdrop, and playground for some of the most influential music artists of the past century. Heaven Was Detroit captures the essence of the Detroit music scene: the grit, the spark, the desire to tell a story set to the rhythm of the city. Fans of any music genre will find something that speaks to them in the pages of this collection.
This lively study unpacks the intersecting racial, sexual, and gender politics underlying the representations of racialized bodies, masculinities, and femininities in early 1970s black action films, with particular focus on the representation of black femininity. Stephane Dunn explores the typical, sexualized, subordinate positioning of women in low-budget blaxploitation action narratives as well as more seriously radical films like Sweet Sweetback's Baadasssss Song and The Spook Who Sat by the Door, in which black women are typically portrayed as trifling "bitches" compared to the supermacho black male heroes. The terms "baad bitches" and "sassy supermamas" signal the reversal of this positioning with the emergence of supermama heroines in the few black action films in the early 1970s that featured self-assured, empowered, and tough (or "baad") black women as protagonists: Cleopatra Jones, Coffy, and Foxy Brown. Dunn offers close examination of a distinct moment in the history of African American representation in popular cinema, tracing its emergence out of a radical political era, influenced especially by the Black Power movement and feminism. "Baad Bitches" and Sassy Supermamas also engages blaxploitation's impact and lingering aura in contemporary hip-hop culture as suggested by its disturbing gender politics and the "baad bitch daughters" of Foxy Brown and Cleopatra Jones, rappers Lil' Kim and Foxy Brown.
The author explores the evolution of hip hop and the backlash against it, from Detroit Mayer Kwame Killpatrick, the nation's first hip hop mayor, to the reception of the music on college campuses, where debates over its misogyny thrive.
Party Music explores the culture and politics of the Black Power era of the late 1960s, when the rise of a black militant movement also gave rise to a “Black Awakening” in the arts--and especially in music. Here Rickey Vincent, the award-winning author of Funk, explores the relationship of soul music to the Black Power movement from the vantage point of the musicians and black revolutionaries themselves. Party Music introduces readers to the Black Panther's own band, the Lumpen, a group comprised of rank-and-file members of the Oakland, California-based Party. During their year-long tenure, the Lumpen produced hard-driving rhythm-and-blues that asserted the revolutionary ideology of the Black Panthers. Through his rediscovery of the Lumpen, and based on new interviews with Party and band members, Vincent provides an insider's account of black power politics and soul music aesthetics in an original narrative that reveals more detail about the Black Revolution than ever before. Rickey Vincent is the author of Funk: The Music, The People, and the Rhythm of the One, and has written for the Washington Post, American Legacy, and the Los Angeles Review of Books. He teaches at the University of California, Berkeley.