In voicing youthful outrage over inequality and violence, Bangladeshi rappers are creating a powerful form of protest music — just as American MCs have done for 40 years.
Disiplin ilmiah, gaya jurnalistik
Artikel-artikel mengenai Rap music
Menampilkan 61 - 80 dari 85 artikel
Hip-hop heads around the world are rejoicing over Kendrick Lamar’s win. But it’s been a tumultuous ride for a genre once derided as ‘pornographic filth.’
Whether it is art or pop, high or low, terms such as creativity, authenticity, innovation and uniqueness can help us judge a work of music. And Kendrick Lamar’s DAMN. brims with these qualities.
The current global dominance of Canadian music on today’s Billboard charts obscures the difficulties many early rap artists faced in garnering local support for this country’s hip hop music.
Following the explosion of screen-based personal devices, the risk of users slipping into hyper reality has multiplied enormously since the television age.
Hip-hop may benefit from a return to the crew and collective mentality, where the DJ once again is valued and plays a central creative role.
What if the current cultural context is informing the production of mumble rap? In the contemporary western world, daily life is fuelled by widespread consumption of both products and images.
Australian rapper Joelistics and producer James Mangohig bring their family histories to the stage through a breathtaking display of beats, raps and storytelling.
Rap has become instrumental in constructing identity and radically reshaping relations to politics in Gabon and other African states.
The Beastie Boys’ Ill Communication closed out hip-hop’s Golden Age with a kaleidoscope of jazz-infused beats, bratty punk interludes and a deeper appreciation for storytelling.
Hip hop often gets a bad rap but for therapists and teachers it can be a transformative tool.
The story of African-American music is a story of eclipsing expectations and subverting norms.
Tupac’s sensitivity, intelligence and creativity confronted the hostile forces that antagonized black youth across the country in the 1970s and 1980s.
Skepta’s Mercury Prize win has put grime – and youth culture – in the spotlight.
Many have long forgotten the simple fact that Kanye West is one of the greatest producers of hip-hop in its history. A decade-long six-album streak of critically acclaimed albums rivals the greatest icons of pop.
It might seem crazy to believe the world is flat. But for some people it reinforces a narrative that gives their lives meaning.
Californian rap and jazz poetry may sound like an odd mix – but both are rooted in historic inequalities
Taking a lyrical swing at another rapper is part and parcel of the genre. So why the profound backlash when Meek Mill accused Drake of not writing his own lyrics?
Why is this film being released now? Is it in response to the Black Lives Matter movement spreading across the US via social media, in turn a response to racist police violence in Miami Gardens, Ferguson, Baltimore?
Some pain might have been avoided (and probably less money made) if a simple basic fact had been acknowledged from the beginning: Fuck tha Police is meant to be funny.
Kontributor teratas
-
Associate Professor of Hip-Hop, University of Virginia
-
Research Lead at Rhythm Obscura / Lecturer in the School of Art, Design and Architecture, University of Plymouth
-
Assistant Professor of Practice, Mills College
-
Associate Professor of Africana Philosophies of Religions and American Religious Diversity, San Diego State University
-
Teaching Assistant Professor of Musicology, West Virginia University
-
Associate Professor of American Culture, University of Michigan
-
Piano Performance Fellow, The University of Queensland
-
Assistant Professor of European Studies, University of Florida
-
Professor of Music, Wesleyan University
-
Associate Professor in Clinical Psychology, The University of Queensland
-
Honorary Research Fellow, University of Technology Sydney
-
Assistant Professor, Hong Kong Baptist University
-
Professor of History and Founding Director, Center for the Study of Popular Music, University of Connecticut
-
Professor of Social Work, Texas State University
-
Associate Professor of Ethnomusicology and Musicology, University of Oregon
