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Hip Hop Desis - Nitasha Tamar Sharma - Bog - Duke University Press - Plusbog.dk

Hip Hop Desis - Nitasha Tamar Sharma - Bog - Duke University Press - Plusbog.dk

Hip Hop Desis explores the aesthetics and politics of South Asian American (desi) hip hop artists. Nitasha Tamar Sharma argues that through their lives and lyrics, young “hip hop desis” express a global race consciousness that reflects both their sense of connection with Blacks as racialized minorities in the United States and their diasporic sensibility as part of a global community of South Asians. She emphasizes the role of appropriation and sampling in the ways that hip hop desis craft their identities, create art, and pursue social activism. Some desi artists produce what she calls “ethnic hip hop,” incorporating South Asian languages, instruments, and immigrant themes. Through ethnic hip hop, artists, including KB, Sammy, and Deejay Bella, express “alternative desiness,” challenging assumptions about their identities as South Asians, children of immigrants, minorities, and Americans. Hip hop desis also contest and seek to bridge perceived divisions between Blacks and South Asian Americans. By taking up themes considered irrelevant to many Asian Americans, desi performers, such as D’Lo, Chee Malabar of Himalayan Project, and Rawj of Feenom Circle, create a multiracial form of Black popular culture to fight racism and enact social change.

DKK 816.00
1

Hip Hop Desis - Nitasha Tamar Sharma - Bog - Duke University Press - Plusbog.dk

Hip Hop Desis - Nitasha Tamar Sharma - Bog - Duke University Press - Plusbog.dk

Hip Hop Desis explores the aesthetics and politics of South Asian American (desi) hip hop artists. Nitasha Tamar Sharma argues that through their lives and lyrics, young “hip hop desis” express a global race consciousness that reflects both their sense of connection with Blacks as racialized minorities in the United States and their diasporic sensibility as part of a global community of South Asians. She emphasizes the role of appropriation and sampling in the ways that hip hop desis craft their identities, create art, and pursue social activism. Some desi artists produce what she calls “ethnic hip hop,” incorporating South Asian languages, instruments, and immigrant themes. Through ethnic hip hop, artists, including KB, Sammy, and Deejay Bella, express “alternative desiness,” challenging assumptions about their identities as South Asians, children of immigrants, minorities, and Americans. Hip hop desis also contest and seek to bridge perceived divisions between Blacks and South Asian Americans. By taking up themes considered irrelevant to many Asian Americans, desi performers, such as D’Lo, Chee Malabar of Himalayan Project, and Rawj of Feenom Circle, create a multiracial form of Black popular culture to fight racism and enact social change.

DKK 240.00
1

The Small Book of Hip Checks - Erica Rand - Bog - Duke University Press - Plusbog.dk

The Small Book of Hip Checks - Erica Rand - Bog - Duke University Press - Plusbog.dk

In The Small Book of Hip Checks Erica Rand uses multiple meanings of hip check-including an athlete using their hip to throw an opponent off-balance and the inspection of racialized gender-to consider the workings of queer gender, race, and writing. Explicitly attending to processes of writing and revising, Rand pursues interruption, rethinking, and redirection to challenge standard methods of argumentation and traditional markers of heft and fluff. She writes about topics including a trans shout-out in a Super Bowl ad, the heyday of lavender dildos, ballet dancer Misty Copeland, the criticism received by figure skater Debi Thomas and tennis great Serena Williams for competing in bodysuits while Black, and the gendering involved in identifying the remains of people who die trying to cross into the United States south of Tucson, Arizona. Along the way, Rand encourages making muscle memory of experimentation and developing an openness to being conceptually knocked sideways. In other words, to be hip-checked.

DKK 831.00
1

The Small Book of Hip Checks - Erica Rand - Bog - Duke University Press - Plusbog.dk

The Small Book of Hip Checks - Erica Rand - Bog - Duke University Press - Plusbog.dk

In The Small Book of Hip Checks Erica Rand uses multiple meanings of hip check-including an athlete using their hip to throw an opponent off-balance and the inspection of racialized gender-to consider the workings of queer gender, race, and writing. Explicitly attending to processes of writing and revising, Rand pursues interruption, rethinking, and redirection to challenge standard methods of argumentation and traditional markers of heft and fluff. She writes about topics including a trans shout-out in a Super Bowl ad, the heyday of lavender dildos, ballet dancer Misty Copeland, the criticism received by figure skater Debi Thomas and tennis great Serena Williams for competing in bodysuits while Black, and the gendering involved in identifying the remains of people who die trying to cross into the United States south of Tucson, Arizona. Along the way, Rand encourages making muscle memory of experimentation and developing an openness to being conceptually knocked sideways. In other words, to be hip-checked.

DKK 214.00
1

Buena Vista in the Club - Geoffrey Baker - Bog - Duke University Press - Plusbog.dk

Buena Vista in the Club - Geoffrey Baker - Bog - Duke University Press - Plusbog.dk

In Buena Vista in the Club , Geoffrey Baker traces the trajectory of the Havana hip hop scene from the late 1980s to the present and analyzes its partial eclipse by reggaetón. While Cuban officials initially rejected rap as “the music of the enemy,” leading figures in the hip hop scene soon convinced certain cultural institutions to accept and then promote rap as part of Cuba’s national culture. Culminating in the creation of the state-run Cuban Rap Agency, this process of “nationalization” drew on the shared ideological roots of hip hop and the Cuban nation and the historical connections between Cubans and African Americans. At the same time, young Havana rappers used hip hop, the music of urban inequality par excellence , to critique the rapid changes occurring in Havana since the early 1990s, when the Soviet Union fell, its subsidy of Cuba ceased, and a tourism-based economy emerged. Baker considers the explosion of reggaetón in the early 2000s as a reflection of the “new materialism” that accompanied the influx of foreign consumer goods and cultural priorities into “sociocapitalist” Havana. Exploring the transnational dimensions of Cuba’s urban music, he examines how foreigners supported and documented Havana’s growing hip hop scene starting in the late 1990s and represented it in print and on film and CD. He argues that the discursive framing of Cuban rap played a crucial part in its success.

DKK 884.00
1

Buena Vista in the Club - Geoffrey Baker - Bog - Duke University Press - Plusbog.dk

Buena Vista in the Club - Geoffrey Baker - Bog - Duke University Press - Plusbog.dk

In Buena Vista in the Club , Geoffrey Baker traces the trajectory of the Havana hip hop scene from the late 1980s to the present and analyzes its partial eclipse by reggaetón. While Cuban officials initially rejected rap as “the music of the enemy,” leading figures in the hip hop scene soon convinced certain cultural institutions to accept and then promote rap as part of Cuba’s national culture. Culminating in the creation of the state-run Cuban Rap Agency, this process of “nationalization” drew on the shared ideological roots of hip hop and the Cuban nation and the historical connections between Cubans and African Americans. At the same time, young Havana rappers used hip hop, the music of urban inequality par excellence , to critique the rapid changes occurring in Havana since the early 1990s, when the Soviet Union fell, its subsidy of Cuba ceased, and a tourism-based economy emerged. Baker considers the explosion of reggaetón in the early 2000s as a reflection of the “new materialism” that accompanied the influx of foreign consumer goods and cultural priorities into “sociocapitalist” Havana. Exploring the transnational dimensions of Cuba’s urban music, he examines how foreigners supported and documented Havana’s growing hip hop scene starting in the late 1990s and represented it in print and on film and CD. He argues that the discursive framing of Cuban rap played a crucial part in its success.

DKK 248.00
1

The Globally Familiar - Ethiraj Gabriel Dattatreyan - Bog - Duke University Press - Plusbog.dk

The Globally Familiar - Ethiraj Gabriel Dattatreyan - Bog - Duke University Press - Plusbog.dk

In The Globally Familiar Ethiraj Gabriel Dattatreyan traces how the rapid development of information and communication technologies in India has created opportunities for young people to creatively explore their gendered, classed, and racialized subjectivities in and through transnational media worlds. His ethnography focuses on a group of diverse young, working-class men in Delhi as they take up the African diasporic aesthetics and creative practices of hip hop. Dattatreyan shows how these aspiring b-boys, MCs, and graffiti writers fashion themselves and their city through their online and offline experimentations with hip hop, thereby accessing new social, economic, and political opportunities while acting as consumers, producers, and influencers in global circuits of capitalism. In so doing, Dattatreyan outlines how the hopeful, creative, and vitally embodied practices of hip hop offer an alternative narrative of urban place-making in "digital" India.

DKK 230.00
1

Deathlife - Anthony B. Pinn - Bog - Duke University Press - Plusbog.dk

Deathlife - Anthony B. Pinn - Bog - Duke University Press - Plusbog.dk

In Deathlife , Anthony B. Pinn analyzes hip hop to explore how Blackness serves as a framework for defining and guiding the relationship between life and death in the United States. Pinn argues that white supremacy and white privilege operate based on the right to distinguish death from life. This distinction is produced and maintained through the construction of Blackness as deathlife . Drawing on Afropessimism and Black moralism, Pinn theorizes deathlife as a technology of whiteness that projects whites’ anxieties about the end of their lives onto the Black other. Examining the music of Jay-Z; Kendrick Lamar; Tyler, the Creator; and others, Pinn shows how hip hop configures the interconnection and dependence between death and life in such a way that death and life become indistinguishable. In so doing, Pinn demonstrates that hip hop presents an alternative to deathlife that challenges the white supremacist definitions of Blackness and anti-Blackness more generally.

DKK 881.00
1

Deathlife - Anthony B. Pinn - Bog - Duke University Press - Plusbog.dk

Deathlife - Anthony B. Pinn - Bog - Duke University Press - Plusbog.dk

In Deathlife, Anthony B. Pinn analyzes hip hop to explore how Blackness serves as a framework for defining and guiding the relationship between life and death in the United States. Pinn argues that white supremacy and white privilege operate based on the right to distinguish death from life. This distinction is produced and maintained through the construction of Blackness as deathlife. Drawing on Afropessimism and Black moralism, Pinn theorizes deathlife as a technology of whiteness that projects whites’ anxieties about the end of their lives onto the Black other. Examining the music of Jay-Z; Kendrick Lamar; Tyler, the Creator; and others, Pinn shows how hip hop configures the interconnection and dependence between death and life in such a way that death and life become indistinguishable. In so doing, Pinn demonstrates that hip hop presents an alternative to deathlife that challenges the white supremacist definitions of Blackness and anti-Blackness more generally.

DKK 238.00
1

Negro Soy Yo - Marc D. Perry - Bog - Duke University Press - Plusbog.dk

Negro Soy Yo - Marc D. Perry - Bog - Duke University Press - Plusbog.dk

In Negro Soy Yo Marc D. Perry explores Cuba’s hip hop movement as a window into the racial complexities of the island’s ongoing transition from revolutionary socialism toward free-market capitalism. Centering on the music and lives of black-identified raperos (rappers), Perry examines the ways these young artists craft notions of black Cuban identity and racial citizenship, along with calls for racial justice, at the fraught confluence of growing Afro-Cuban marginalization and long held perceptions of Cuba as a non-racial nation. Situating hip hop within a long history of Cuban racial politics, Perry discusses the artistic and cultural exchanges between raperos and North American rappers and activists, and their relationships with older Afro-Cuban intellectuals and African American political exiles. He also examines critiques of Cuban patriarchy by female raperos, the competing rise of reggaetón, as well as state efforts to incorporate hip hop into its cultural institutions. At this pivotal moment of Cuban-U.S. relations, Perry''s analysis illuminates the evolving dynamics of race, agency, and neoliberal transformation amid a Cuba in historic flux.

DKK 224.00
1

Negro Soy Yo - Marc D. Perry - Bog - Duke University Press - Plusbog.dk

Negro Soy Yo - Marc D. Perry - Bog - Duke University Press - Plusbog.dk

In Negro Soy Yo Marc D. Perry explores Cuba’s hip hop movement as a window into the racial complexities of the island’s ongoing transition from revolutionary socialism toward free-market capitalism. Centering on the music and lives of black-identified raperos (rappers), Perry examines the ways these young artists craft notions of black Cuban identity and racial citizenship, along with calls for racial justice, at the fraught confluence of growing Afro-Cuban marginalization and long held perceptions of Cuba as a non-racial nation. Situating hip hop within a long history of Cuban racial politics, Perry discusses the artistic and cultural exchanges between raperos and North American rappers and activists, and their relationships with older Afro-Cuban intellectuals and African American political exiles. He also examines critiques of Cuban patriarchy by female raperos, the competing rise of reggaetón, as well as state efforts to incorporate hip hop into its cultural institutions. At this pivotal moment of Cuban-U.S. relations, Perry''s analysis illuminates the evolving dynamics of race, agency, and neoliberal transformation amid a Cuba in historic flux.

DKK 766.00
1

Reggaeton - - Bog - Duke University Press - Plusbog.dk

Reggaeton - - Bog - Duke University Press - Plusbog.dk

A hybrid of reggae and rap, reggaeton is a music with Spanish-language lyrics and Caribbean aesthetics that has taken Latin America, the United States, and the world by storm. Superstars—including Daddy Yankee, Don Omar, and Ivy Queen—garner international attention, while aspiring performers use digital technologies to create and circulate their own tracks. Reggaeton brings together critical assessments of this wildly popular genre. Journalists, scholars, and artists delve into reggaeton’s local roots and its transnational dissemination; they parse the genre’s aesthetics, particularly in relation to those of hip-hop; and they explore the debates about race, nation, gender, and sexuality generated by the music and its associated cultural practices, from dance to fashion. The collection opens with an in-depth exploration of the social and sonic currents that coalesced into reggaeton in Puerto Rico during the 1990s. Contributors consider reggaeton in relation to that island, Panama, Jamaica, and New York; Cuban society, Miami’s hip-hop scene, and Dominican identity; and other genres including reggae en español , underground, and dancehall reggae. The reggaeton artist Tego Calderón provides a powerful indictment of racism in Latin America, while the hip-hop artist Welmo Romero Joseph discusses the development of reggaeton in Puerto Rico and his refusal to embrace the upstart genre. The collection features interviews with the DJ/rapper El General and the reggae performer Renato, as well as a translation of “Chamaco’s Corner,” the poem that served as the introduction to Daddy Yankee’s debut album. Among the volume’s striking images are photographs from Miguel Luciano’s series Pure Plantainum, a meditation on identity politics in the bling-bling era, and photos taken by the reggaeton videographer Kacho López during the making of the documentary Bling’d: Blood, Diamonds, and Hip-Hop . Contributors. Geoff Baker, Tego Calderón, Carolina Caycedo, Jose Davila, Jan Fairley, Juan Flores, Gallego (José Raúl González), Félix Jiménez, Kacho López, Miguel Luciano, Wayne Marshall, Frances Negrón-Muntaner, Alfredo Nieves Moreno, Ifeoma C. K. Nwankwo, Deborah Pacini Hernandez, Raquel Z. Rivera, Welmo Romero Joseph, Christoph Twickel, Alexandra T. Vazquez

DKK 246.00
1

The Cuban Hustle - Sujatha Fernandes - Bog - Duke University Press - Plusbog.dk

The Cuban Hustle - Sujatha Fernandes - Bog - Duke University Press - Plusbog.dk

In The Cuban Hustle, Sujatha Fernandes explores the multitudinous ways artists, activists, and ordinary Cubans have hustled to survive and express themselves in the aftermath of the Soviet Union’s collapse. Whether circulating information on flash drives as a substitute for the internet or building homemade antennas to listen to Miami’s hip hop radio stations, Cubans improvise alternative strategies and workarounds to contend with ongoing isolation. Throughout these essays, Fernandes examines the emergence of dynamic youth cultures and social movements as Cuba grappled with economic collapse, new digital technologies, the normalization of diplomatic ties with the United States during the Obama administration, and the regression of US-Cuban relations in the Trump era. From reflections on feminism, new Cuban cinema, and public art to urban slums, the Afro-Cuban movement, and rumba and hip hop, Fernandes reveals Cuba to be a world of vibrant cultures grounded in an ethos of invention and everyday hustle.

DKK 214.00
1

Black Performance Theory - - Bog - Duke University Press - Plusbog.dk

Black Performance Theory - - Bog - Duke University Press - Plusbog.dk

Black performance theory is a rich interdisciplinary area of study and critical method. This collection of new essays by some of its pioneering thinkers—many of whom are performers—demonstrates the breadth, depth, innovation, and critical value of black performance theory. Considering how blackness is imagined in and through performance, the contributors address topics including flight as a persistent theme in African American aesthetics, the circulation of minstrel tropes in Liverpool and in Afro-Mexican settlements in Oaxaca, and the reach of hip-hop politics as people around the world embrace the music and dance. They examine the work of contemporary choreographers Ronald K. Brown and Reggie Wilson, the ways that African American playwrights translated the theatricality of lynching to the stage, the ecstatic music of Little Richard, and Michael Jackson''s performance in the documentary This Is It . The collection includes several essays that exemplify the performative capacity of writing, as well as discussion of a project that re-creates seminal hip-hop album covers through tableaux vivants. Whether deliberating on the tragic mulatta, the trickster figure Anansi, or the sonic futurism of Nina Simone and Adrienne Kennedy, the essays in this collection signal the vast untapped critical and creative resources of black performance theory. Contributors. Melissa Blanco Borelli, Daphne A. Brooks, Soyica Diggs Colbert, Thomas F. DeFrantz, Nadine George-Graves, Anita Gonzalez, Rickerby Hinds, Jason King, D. Soyini Madison, Koritha Mitchell, Tavia Nyong''o, Carl Paris, Anna B. Scott, Wendy S. Walters, Hershini Bhana Young

DKK 230.00
1

Old Town Road - Chris Molanphy - Bog - Duke University Press - Plusbog.dk

Old Town Road - Chris Molanphy - Bog - Duke University Press - Plusbog.dk

In Old Town Road, Chris Molanphy considers Lil Nas X’s debut single as pop artifact, chart phenomenon, and cultural watershed. “Old Town Road” was more than a massive hit, with the most weeks at No. 1 in Billboard Hot 100 history. It is also a prism through which to track the evolution of popular music consumption and the ways race influences how the music industry categorizes songs and artists. By both lionizing and satirizing genre tropes-it’s a country song built from an alternative rock sample, a hip-hop song in which nobody raps, a comical song that transcends novelty, and a queer anthem-Lil Nas X troubles the very idea of genre. Ultimately, Molanphy shows how “Old Town Road” channeled decades of Americana to point the way toward our cultural future.

DKK 732.00
1

Old Town Road - Chris Molanphy - Bog - Duke University Press - Plusbog.dk

Old Town Road - Chris Molanphy - Bog - Duke University Press - Plusbog.dk

In Old Town Road, Chris Molanphy considers Lil Nas X’s debut single as pop artifact, chart phenomenon, and cultural watershed. “Old Town Road” was more than a massive hit, with the most weeks at No. 1 in Billboard Hot 100 history. It is also a prism through which to track the evolution of popular music consumption and the ways race influences how the music industry categorizes songs and artists. By both lionizing and satirizing genre tropes-it’s a country song built from an alternative rock sample, a hip-hop song in which nobody raps, a comical song that transcends novelty, and a queer anthem-Lil Nas X troubles the very idea of genre. Ultimately, Molanphy shows how “Old Town Road” channeled decades of Americana to point the way toward our cultural future.

DKK 189.00
1