Made available in DSpace on 2014-06-12T23:17:18Z (GMT). No. of bitstreams: 2 arquivo9404_1.pdf: 593379 bytes, checksum: 67868f30c4a5096eba489ef4eba258a4 (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2004 / O hip-hop, aqui chegando pelo mercado que comercializou o rap e popularizou o break, achou terreno fértil entre os jovens da periferia recifense para render fruto que, se por um lado afirma sua origem atrelada a um conjunto de significados hoje partilhados internacionalmente, por outro demonstra claramente tonalidades locais. Exemplar da dinâmica cultural contemporânea, o hip-hop é vetor de identificação que combina referenciais múltiplos. Na região metropolitana do Recife, apresenta uma rede como padrão de relações, conectando jovens em momentos de competição e cooperação. Diante da segregação econômica, que estigmatiza esses jovens, e do mito da democracia racial, que permeia o imaginário nacional, o discurso do hip-hop, seja pela fúria gritada no rap, seja através da demarcação de territórios pelo grafite, ou com a dança quebrada e compassada, o break, subverte a lógica dominante no campo das representações. Faz da periferia o endereço de orgulho, da cor a valorização de sua origem e da cidade um lugar a ser apropriado. E assim promete seguir, conquistando novos espaços de expressão e visibilidade

This dissertation is an ethnographic study of Taiwan's hip-hop scene and an examination of rap music's emergence as a trenchant form of musical narrative discourse in the post-martial law era (1987 to the present). Its central argument is that performers have invoked rap as a storytelling practice to make sound and sense of the dramatic social and political transformations that transpired in the wake of Taiwan's democratization at the dusk of the twentieth century, and in the years thereafter. My discussion draws on a vibrant archive of materials collected over eighteen months of fieldwork and proceeds from two primary assumptions: first, that Taiwan rap is a narrative genre, with antecedents in an array of Afro-diasporic oral narrative traditions as well as local narrative traditions that employ speech-song techniques; and second, that storytelling can be understood as a process of collaborative social and political engagement that empowers artists and audiences to a sense of agency in the world they see around them. The document is divided into three main parts, the first of which approaches the history of rap in Taiwan as itself a narrative construction, subject to revision and reinterpretation at the hands of multiple authors. In this spirit, it unfolds not one but three distinct histories, each anchored by a different term used locally to designate "rap." The second part of the dissertation examines the people and places that collectively comprise the Taiwan rap community, with a dual focus on demographic representation vis-a-vis the interlocking categories of ethnicity, gender, and socioeconomic status, and the emplaced qualities of the music vis-a-vis its emergence from specific localities, places of learning, and places of production. The third and final part foregrounds rap’s specificity as a narrative genre to examine more closely the music’s poetics and politics. It considers the stories rappers tell and the means by which they tell them, in the process exploring works that reflect or construct larger narratives about Taiwan as a nation, as well as those that engage smaller, more specifically contextual narratives about relationships, family, school, and work. / Music

abstract: Alongside New York City, Los Angeles, and Atlanta, Minneapolis, Minnesota has become a cradle of hip-hop, breeding a distinct style that has grown swiftly from the 1980s to the present day. While Minneapolis is more commonly associated with the upbeat funk rhythms and prominent synthesizers of its favorite son, Prince (1958 – 2016), Minnesota hip-hop provides a strikingly contrasting listening experience characterized by dark, self-deprecating, and introspective traits. Minnesota and other regional hip-hop scenes have been overshadowed by academic studies that focus principally on New York City or Los Angeles. In this thesis, I advocate for a shift away from the Billboard charts and the East and West Coast, into the world of underground hip-hop of the Upper Midwest. This thesis explores and documents the development of hip-hop in Minnesota, specifically the Twin Cities and independent label Rhymesayers Entertainment, who have established Minneapolis as one of the largest hip-hop hubs in the country. A location that thrives on the “Minneapolis sound” of artists such as Prince and Morris Day (b. 1956), Minnesota hip-hop offered an alternative and more calloused genre for artistic expression. Following the arrival of hip-hop in Minnesota in the early 1980s, a group of like-minded youths gathered together to practice the art of hip-hop, which led to the creation of the Headshots Crew. Despite not having much of a local scene, the Headshots Crew created opportunities and performance spaces to showcase their talents, which eventually led to the creation of their own label, Rhymesayers Entertainment. Unlike many other independent labels Rhymesayers has found a way to sustain their success for over 25 years while maintaining their independence. Their most famous artist act is rap duo Atmosphere. By incorporating primarily biographical and historical methodologies this study means to create a cohesive understanding and foundation of Minnesota hip-hop. / Dissertation/Thesis / Masters Thesis Music 2020

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In the late 1970s the culture of hip hop emerged from the streets of New York. It was an outlet for identity, expression and boasting among communities of young people who were raised in disadvantaged circumstances. Hip hop allowed for creative innovators to form a niche within the entertainment industry that has generated billions of dollars. The purpose of our study is to investigate how hip hop artists utilize entrepreneurial methods in their ventures. Specifically, we explore how these entrepreneurs build empires from storytelling and narrative creation. Entrepreneurial research has found storytelling as an increasingly validated method towards success. Much has been written about how entrepreneurs frame their ideas, how they have to be raconteurial in the early stages of their ventures in order to access resources, and how a “great” pitch is invaluable in capital raising. Hip hop artists rely on stories and storytelling, and the listeners response to the pitch dictates its value.  The primary methods used in our study were theoretical and text analysis. We relied on content analysis, discourse analysis and critical discourse studies to analyze our data. We compared literature from various research disciplines including cultural studies, business studies, entrepreneurial research, post structuralism and philosophy.  Our results indicate that hip hop artists negotiate experiences and create narratives that are then commodified.  Our conclusions indicate that narratives that provide consumers a glimpse into communities of “others” while keeping listeners at a safe distance, sell. Furthermore, we find that rappers who exploit vulgarity and glamorize violence, misogyny and aggression are time and again rewarded with fame and fiscal success.

I 1920-talets Sverige gjorde jazzen sitt officiella intåg. Genren och framförallt livsstilen lockade till sig många ungdomliga anhängare samtidigt som deras föräldrar och media stod på sidan om och förfasades över deras sätt att bete sig och hur de klädde sig. Jazzen höll sig kvar och utvecklades till Swing och Sverige fick sin första tonårsidol i form av 16-åriga Alice Babs. Nästa våg av ungdomskultur kom på 1950-talet i form av rocken som i likhet med sin släkting jazz också härstammade från afro-amerikansk kultur. Den traditionella rocken utvecklades sedan på 1960-talet till någonting som lät hårdare och råare, nämligen hårdrock. År 1976 hade den amerikanska hårdrocksgruppen Kiss sin första spelning i Sverige på nöjesfältet Gröna Lund i Stockholm. Tonåringar över hela landet flockades för att se den nya supergruppen. Kiss blev däremot inte lika välkomnande i media som menade att gruppen uppmuntrade sina fans att leka våldslekar på rasterna. I mitten av 1980-talet och början av 1990-talet introducerades närmast följandeungdomskultur, hip-hoppen som likt rocken och jazzen härstammande från afro-amerikansk kultur. 1994 debuterade en av de första kända hip-hopp grupperna i Sverige, Latin Kings med albumet Välkommen till förorten. Albumet väckte stor uppmärksamhet i media och journalister reste ut till främst Stockholms förorter för att intervjua gruppens fans om den nyahippa ungdomskulturen och huruvida texterna innehöll någon sanning eller inte. Uppsatsen som genomförts är en kvalitativ massmedieretorisk analys vars syfte är att svara på frågeställningen hur ungdomsfenomen har gestaltats i fyra svenska tidningar utifrån tre historiska ungdomsfenomen. Tidningarna som analysen har utgått ifrån är Aftonbladet, Expressen, Dagens Nyheter samt Svenska Dagbladet. Resultatet av analysen visar att gestaltningen av ungdomskultur oftast har präglats av det finns en pågående konflikt som tidningarna själva ofta omedvetet eller medvetet medverkar till.

This qualitative, multi-case study examined the process of lyric creation and nontraditional modes of communication (using themes from hip-hop and battle rap) as a mechanism for developing a teaching and learning strategy in STEM education. This manuscript style dissertation, examines the experiences of 24 postsecondary students and five battle rappers who created science-themed lyrics, used them as a learning strategy, and delivered content in a college and community setting. Insights into teaching and learning were revealed through the study of these lyrics from a constructivist and intellectual warrior theoretical framework. This research showed that as a result of utilizing battle rap, learning spaces were improved. Students’ interviews, lyrics, and reflections uncovered that they appreciated the opportunity to be more creative in class were more engaged, communicated and networked more than they did in their traditional science classroom. The battle rappers discussed and displayed the characteristics that allow them to engage audiences in hopes that teachers can learn how to incorporate engaging techniques within their own classrooms. Through interviews and a performance, battle rappers’ attempt to keep students engaged revealed their transparency; ability to freestyle; get hyped; and demonstrate charisma, presence, character, and energy. This information helped to explain, describe, and understand the experiences of both students and battle rappers and their potential relationships to science and the community. This work supports arguments for the use of culture (art/music/experiences) through music in the science classroom.

Indiana University-Purdue University Indianapolis (IUPUI) / Critical race counterstories give people the space to share their racialized stories with the world. These stories work to expose different forms of racism like color-blind racism. Critical race counterstories originated from the work done in critical race theory (CRT). In this thesis, Brooklyn Raines makes the case for how hip hop functions as a method of critical race counterstory. Because of hip hop’s ability to reflect the social, political, and economic conditions in the world with an emphasis on the role race plays, Raines promotes the use of counterstories in their pedagogy with hip hop as a particular instance for incorporating counterstory in first-year writing courses to equip students with liberating tools. These tools include skills like critical thinking, rhetorical knowledge, and text interpretation. In this thesis there’s a literature review of how hip hop has been incorporated in classrooms as well as two chapters dedicated to units for educators that want to bring hip hop as a form of critical race counterstories into their classrooms. The first unit is based around Kendrick Lamar’s rhetorical exchange with Fox News commentator Geraldo Rivera. The second unit is created around the backlash Cardi B and Megan Thee Stallion received from their empowering record WAP. The hope for this project is educators can equip students with tools like media literacy skills, the ability to interrogate notions of White supremacy, and the ability to form their own opinions with the assistance of responsible research. Educators deserve to know there is exciting curriculum outside of the cannon of what is expected to be taught that is oftentimes rooted in White supremacy.

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Hip-Hop Culture emerged in the early 1970s from Black and Latinx youth living in the South Bronx. At the time, the Bronx was stereotyped as the nation’s iconic “ghetto”. However, as in many of the nation’s cities, the built environment that defined the Bronx was a product of ghettoization that marginalized African Americans through confinement and overcrowding of urban centers; exclusions from mortgage loans and home ownership; and the redistribution of resources. Hip-Hop Culture allowed marginalized communities to reclaim the built environment through repurpose of space and found materials; it creates opportunities for self-sufficiency; and establishes a community around the ethos of peace, love and having fun that mitigated street violence. As the research makes palpable the impact the built environment has had on Black and Latinx communities, my intent is to turn the table and illustrate how the defining elements of Hip-Hop Culture can influence a design rooted in equity and social justice through the proposal of a Hip-Hop Youth Center in Springfield, Massachusetts; a facility that supports underserved youth in their creative endeavors and entrepreneurship.