Showing results for "Hip, Hop" in Black & African American

From Nelson George, supervising producer and writer of the hit Netflix series The Get Down, Hip Hop America is the definitive account of the society-altering collision between Black youth culture and the mass media.

Joan Morgan offers a provocative and powerful look into the life of the modern Black woman: a complex world in which feminists often have not-so-clandestine affairs with the most sexist of men, where women who treasure their independence frequently prefer men who pick up the tab, and where the deluge of babymothers and babyfathers reminds Black women who long for marriage that traditional nuclear families are a reality for less than 40 percent of the population.

This cultural brilliance of sound presented a voice and unique mind through the rough streets of America's largest conurbations going as far back as the 1920s. Sprung from the spirits of poverty, this inner city culture quickly uncovered an amazing bunch of young fresh black American forces of nature eager to express their unique self-street accounts and contributed to a spirited new style of soul of black Americana across major cities in the USA. Nowadays, hip hop has reached the doorsteps of regions as distinct as Africa, Japan, Korea, Myanmar, Jamaica, and just about everywhere.

Is hip-hop a dance, a music style, a dressing code, a whole cultural phenomenon - or all of these combined? What does "hip-hop” mean, and where does it come from? Answer these and any other questions you may have about this genuine notion that has inspired an incredible number of people, from directors and poets to songwriters and performers - and find out what lies beneath these two small albeit worldwide famous words!

At once the most lucrative, popular, and culturally oppositional musical force in the United States, hip-hop demands the kind of interpretation Imani Perry provides here: criticism engaged with this vibrant musical form on its own terms. A scholar and a fan, Perry considers the art, politics, and culture of hip-hop through an analysis of song lyrics, the words of the prophets of the hood.

Bloomsbury presents… The Birth of Breaking by Serouj "Midus" Aprahamian read by Greg Lockett The untold story of how breaking – one of the most widely practiced dance forms in the world today – began as a distinctly African American expression in the Bronx, New York, during the 1970s...

What if God has been speaking through voices the religious world was too quick to ignore? In a world filled with noise, many people have lost the ability to recognize the voice of God when it comes through unexpected places. Let My People Flow makes a bold but careful claim: God has always made sure His people could hear His voice—even when religious leaders failed. Drawing from Isaiah 28, Scripture, history, Black music, and hip hop culture, Cellus Hamilton explores how God often speaks through what the religious establishment considers strange, foreign, or unworthy.

Before hip-hop became a global industry, it was an act of survival. Born in abandoned neighborhoods and powered by borrowed electricity, hip-hop transformed forgotten records into living history. DJs did not create new sounds from silence—they excavated them from the past. Funk breaks, jazz fragments, soul shouts, and outlawed rhythms were cut, looped, and reborn as something entirely new.

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.

Chronicling Stankonia reflects the ways that culture, race, and southernness intersect in the late twentieth and early twenty-first centuries. Although part of southern hip-hop culture remains attached to the past, Bradley demonstrates how younger southerners use the music to embrace the possibility of multiple Souths, multiple narratives, and multiple points of entry to contemporary southern black identity.

On the street, every ballplayer has a story. Onaje X. O. Woodbine, a former streetball player who became an all-star Ivy Leaguer, brings the sights and sounds, hopes and dreams of street basketball to life. He shows that big games have a trickster figure and a master of Black talk whose commentary interprets the game for audiences. The beats of hip-hop and reggae make up the soundtrack, and the ballplayers are half men, half heroes, defying the ghetto's limitations with their flights to the basket.

If you want to understand the Black experience in the US, you must understand hip-hop, and Psalms of My People is your guide. Treating hip-hop like sacred scripture, lenny duncan traces its history—the artists, their lyrics, and the cultural context—to reveal its role as a conduit to tell the modern story of Black liberation in this country, following the bloody trail from the end of the Civil Rights Era through the day George Floyd was sacrificed on the streets of america.