Find a copy online
Links to this item
Find a copy in the library
Finding libraries that hold this item...
|Genre/Form:||Criticism, interpretation, etc
|Additional Physical Format:||Print version:
Rabaka, Reiland, 1972-
Hip hop's inheritance.
Lanham, Md. : Lexington Books, ©2011
|Material Type:||Document, Internet resource|
|Document Type:||Internet Resource, Computer File|
|All Authors / Contributors:||
|Description:||1 online resource (xvii, 248 pages)|
|Contents:||Of the black souls who sang neo-sorrow songs at the dawn of the twenty-first century --
"It's bigger than hip hop!": toward a critical theory of hip hop culture and contemporary society --
"Civil rights by copyright" (da remix!): from the Harlem renaissance to the hip hop generation --
"Say it loud! I'm black and I'm proud!": from the black arts movement and blaxploitation films to the conscious and commercial rap of the hip hop generation --
"The personal is political" (da hip hop feminist remix): from the black woman's liberation and feminist art movements to the hip hop feminist movement --
Is hip hop dead? or, At the very least, dying?: on the pitfalls of postmodernism, the riddles of contemporary rap music, and the continuing conundrums of hip hop culture.
Hip Hop's Inheritance arguably offers the first book-length treatment of what hip hop culture has, literally, "inherited" from the Harlem Renaissance, the Black Arts movement, the Feminist Art movement, and 1980s and 1990s postmodern aesthetics. By comparing and contrasting the major motifs of the aforementioned cultural aesthetic traditions with those of hip hop culture, all the while critically exploring the origins and evolution of black popular culture from antebellum America through to "Obama's America," Hip Hop's Inheritance demonstrates that the hip hop generation is not the first generation of young black (and white) folk preoccupied with spirituality and sexuality, race and religion, entertainment and athletics, or ghetto culture and bourgeois culture. Taking interdisciplinarity and intersectionality seriously, Hip Hop's Inheritance employs the epistemologies and methodologies from a wide range of academic and organic intellectual/activist communities in its efforts to advance an intellectual history and critical theory of hip hop culture. Drawing from academic and organic intellectual/activist communities as diverse as African American studies and women's studies, postcolonial studies and sexuality studies, history and philosophy, politics and economics, and sociology and ethnomusicology, Hip Hop's Inheritance calls into question one-dimensional and monodisciplinary interpretations or, rather, misinterpretations, of a multidimensional and multivalent form of popular culture that has increasingly come to include cultural criticism, social commentary, and political analysis.
Rabaka (Univ. of Colorado, Boulder) offers a sweeping historical assessment of cultural ideologies connecting hip-hop to artistic innovations of the Harlem Renaissance and Black Arts movements. He