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‘Hip Hop is Dead! Long Live Hip Hop!’

From the front lines of hip hop culture and music in the USA, Britain, France, Japan, Germany, Hawaii, Tanzania, Cuba, Samoa and South Africa, academics, poets, practitioners, journalists, and political commentators explore hip hop -- both as a culture and as a commodity.

From the political economy of the South African music industry to the cultural resistance forged by Afro-Asian hip hop, this potent mix of contributors provides a unique critical insight into the implications of hip hop globally and locally.

Indispensable for fans of hip hop culture and music, this book will also appeal to anyone interested in cultural production, cultural politics and the implications of the huge variety of forms hip hop encompasses.
Foreword by Robin D.G. Kelley

Introduction by Dipannita Basu and Sidney Lemelle

SIDE ONE: RAP AND HIP HOP IN THE US

1. ‘For the People,’ ‘TRIBUTE,’ and ‘REDBONE.’ by Umar Bin Hassan

2. A Rap Thing,’ ‘On Rapping Rap.’ and ‘For Mario: Homeland and Hip Hop,’ by Mumia Abu-Jamal

3. Hip Hop: As a Culture and Generation by Dipannita Basu

4. Nobody Knows My Name and an interview with the Director Rachel Raimist: A Female Hip Hop Film Maker by Dipannita Basu and Laura Harris

5. From Azeem to Zion-I: The Evolution of Global Consciousness in Bay Area Hip Hop by Eric K. Arnold

6. Head Rush: Hip Hop and a Hawaiian Nation ‘On the Rise.’ by Adria L. Imada

7. War At 33 1/3: Culture and Politics Across the Afro-Asian Atlantic. by Sohail Daulatzai

SIDE TWO: RAP AND HIP HOP GOES GLOBAL

8. Deathening Silence: The Terms of (Non) Political Commentary Rap by John Hutnyk

9. 'Keeping it Real’ in a Different ‘Hood: African-Americanization and Hip Hop in Germany by Tim Brown

10. Africa on Their Mind: Rap, Blackness and Citizenship in France by Veronique Helenon

11. Cuban Hip Hop: Underground Revolution by Annelise Wunderlich

12. Between Our Islands We Dance: Hip Hop and the Samoan Diaspora by April K. Henderson

13. Negotiating Ethnicity and Authenticity in Tokyo’s Club Harlem by Rhiannon Fink

14. Globalization and Gangster Rap: Hip Hop in the Post Apartheid City by Zine Magubane

15. 'Ni Wapi Tunakwenda’: Hip Hop Culture and The Children of Arusha by Sidney J.Lemelle

Notes

About the Contributors

Index

Sujets

Hip Hop

Styles

Genres

Popular music

Music

Rap

Informations

Publié par	Pluto Press
Date de parution	20 avril 2006
Nombre de lectures	0
EAN13	9781783719532
Langue	English

Informations légales : prix de location à la page 0,1650€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

The Vinyl Ain’t Final

THE VINYL AIN’T FINAL
Hip Hop and the Globalization of Black Popular Culture
Edited by
Dipannita Basu and Sidney J. Lemelle

First published 2006 by Pluto Press
345 Archway Road, London N6 5AA
and 839 Greene Street, Ann Arbor, MI 48106
www.plutobooks.com
Copyright © Dipannita Basu and Sidney J. Lemelle 2006
The editors have made every effort to secure permission from copyright holders for the song lyric quotations contained in this book. The publishers apologize if inadvertently any source remains unacknowledged.
In Chapter 2 , by Mumia Abu-Jamal, ‘A Rap Thing’ first appeared in All Things Censored by Mumia Abu-Jamal, edited by Noelle Hanrahan (Seven Stories Press, 2000); ‘On Rapping Rap’ first appeared at < www.iacenter.org >; and ‘Hip Hop or Homeland Security’ first appeared at < www.prisonradio.org >. Reproduction here by kind permission of Frances Goldin Literary Agency, Inc.
The right of the individual contributors to be identified as the authors of this work has been asserted by them in accordance with the Copyright, Designs and Patents Act 1988.
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
ISBN 0 7453 1941 6 hardback ISBN 0 7453 1940 8 paperback ISBN 978 1 7837 1953 2 ePub ISBN 978 1 7837 1954 9 Kindle
Library of Congress Cataloging in Publication Data applied for

10 9 8 7 6 5 4 3 2 1
Designed and produced for Pluto Press by
Chase Publishing Services Ltd, Sidmouth, EX 10 9QG, England
Typeset from disk by Stanford DTP Services, Northampton, England
Printed and bound in the United States of America by
Maple-Vail Book Manufacturing Group

Contents
Acknowledgements
Foreword
Robin D.G. Kelley
Introduction
Dipannita Basu and Sidney J. Lemelle
SIDE ONE: GROOVING TO THE VINYL STATESIDE—RAP AND HIP HOP IN THE U.S .
1 .
‘For the People,’ ‘TRIBUTE,’ and ‘REDBONE’
Umar Bin Hassan
2 .
‘A Rap Thing,’ ‘On Rapping Rap,’ and ‘Hip Hop or Homeland Security’
Mumia Abu-Jamal
3 .
Hip Hop: Cultural Clout, Corporate Control, and the ‘Carceral Cast’
Dipannita Basu
4 .
‘ Nobody Knows My Name ’ and an Interview with the Director Rachel Raimist
Dipannita Basu and Laura Harris
5 .
From Azeem to Zion-I: The Evolution of Global Consciousness in Bay Area Hip Hop
Eric K. Arnold
6 .
Head Rush: Hip Hop and a Hawaiian Nation ‘On the Rise’
Adria L. Imada
7 .
War at 33⅓: Hip Hop, the Language of the Unheard, and the Afro-Asian Atlantic
Sohail Daulatzai
SIDE TWO: RAP AND HIP HOP GROOVE GLOBALLY
8 .
The Nation Question: Fun^da^mental and the Deathening Silence
John Hutnyk
9 .
‘Keeping it Real’ in a Different ’Hood: (African-)Americanization and Hip Hop in Germany
Timothy S. Brown
10 .
Africa on their Mind: Rap, Blackness, and Citizenship in France
Veronique Helenon
11 .
Cuban Hip Hop: Making Space for New Voices of Dissent
Annelise Wunderlich
12 .
Dancing Between Islands: Hip Hop and the Samoan Diaspora
April K. Henderson
13 .
Negotiating Ethnicity and Authenticity in Tokyo’s Club Harlem
Rhiannon L. Fink
14 .
Globalization and Gangster Rap: Hip Hop in the Post-Apartheid City
Zine Magubane
15 .
‘Ni Wapi Tunakwenda’: Hip Hop Culture and the Children of Arusha
Sidney J. Lemelle
Notes on the Contributors
Index

The book is dedicated to our families and loved ones and to free and unfree hip hop lovers the world over

Acknowledgements
The editors would like to thank all the contributors for their work on this book. As with all edited volumes, so too with this work, many people have contributed to its eventual completion. The book was inspired by a conference in 2001 organized by Basu entitled ‘Hip Hop and Rap: Redefining the Black Public Sphere,’ and kindly funded by the Intercollegiate Department of Black Studies (IDBS) at the Claremont Colleges, California. Of particular note were the panel participants which included hip hop heavy weight and practitioners: Craig Watkins, Mark Anthony Neal, Tricia Rose, Billy Jam, Brian Cross (B Plus), Ben Caldwell, Mark Maxwell, Todd Boyd, and Michael Eric Dyson.
Special thanks to Anne Beech, Judy Nash, Robert Webb, Melanie Patrick and Debjani Roy at Pluto Press for their support for our project and to Tom Mertes for his editorial assistance. We are also thankful to Noelle Hanrahan of Prison Radio and Frances Goldin Agency for facilitating the clearance of Mumia Abu-Jamal’s speeches, Lesenyego Masitenyane at Ghetto Ruff Publishing and Licensing for clearance of lyrics for Prophets of Da City.
In addition, a number of students helped with both the conference and manuscript: Kimberley Smith, Lety Taylor, Jacqueline Dubose, Lindsey Hill, Caley Haaken-Heymann, Courtney Moffett, Coren Cooper, Salim Lemelle, Megan Daniels, and Sounun Tek.
Several institutions and foundations provided important funding assistance including Pitzer College Research and Awards Committee, the Dean’s Office, Pomona College research committee and Hawley Fund at Pomona College.
Finally, we would like to express our deepest gratitude and appreciation to our families. Basu would like to thank Surinder, Sekhar, Sanjoy, and Minnie Basu, whose love and support thousands of miles away in Coventry, UK, was felt close to her heart in Claremont California. Closer to home she would like to thank Tim Perello for his constant source of inspiration, patience, and support. For Sid Lemelle, a special ‘shout out’ to Salima Lemelle and their children (Sean, Sabra, Immy, and Salim) who helped him appreciate the importance of hip hop culture over the years.

Foreword
Robin D.G. Kelley
Contrary to recent media claims, hip hop hasn’t ‘gone global.’ It has been global, or international at least, since its birth in the very local neighborhoods of the South Bronx, Washington Heights, and Harlem. While the music, breakdancing, and graffiti writing that make up the components of hip hop culture are often associated with African-American urban youth, hip hop’s inventors also included the sons and daughters of immigrants who had been displaced by the movement of global capital. The DJ who is said to have started it all by dropping break beats at dances and parties in the South Bronx was a Jamaican immigrant named Clive Campbell, better known to his fans as DJ Kool Herc. The first graffiti writer of note was a Greek kid from Washington Heights whose distinctive tag was Taki 183. And Puerto Ricans and other Latinos have been central to hip hop from its inception. DJ Charlie Chase (aka Carlos Mandes) started as a bass player in salsa and Latin rock bands before joining the legendary Cold Crush Brothers back in the late 1970s. Rappers Robski and June Bug released their Spanish rap single ‘Disco Dreams’ as part of the group Mean Machine as early as 1981. Speaking of disco, we must remember that the modern MC and DJ can trace part of their roots to disco music and culture. Disco, after all, was a marriage of Black dance music and new electronic technology that reveled in street slang, emphasized funk, and often made references to the world beyond the U.S., from Africa to outer space. In the last years of lingering Black nationalism, when Africa was still hip and Black was beautiful and chic, the big hits of the early to mid 1970s included African Music Machine’s ‘Black Water Gold (Pearl),’ East Harlem Bus Stop’s ‘Get on Down,’ Kool and the Gang’s ‘Mango Meat’ and ‘Jungle Boogie,’ and Babatunde Olatunji’s ‘O-Wa.’
But the global and transnational character of hip hop’s origins is not simply a matter of style. It was born global because it erupted in the midst of a new stage of globalization. While the economy has been global for a very long time—at least since the days of the transatlantic slave trade—we have witnessed a marked difference in scale and degree of concentration since the 1970s. Multinational corporations control 70 percent of world trade, and about one-third of this trade consists of transfers within the 350 largest global corporations. New developments in communications technology enabled corporations to move manufacturing operations virtually anywhere in the world in order to take advantage of cheaper labor, relatively lower taxes, and a deregulated environment hostile to trade unions. Good paying jobs in America’s cities, made possible by decades of unionizing, began to disappear just as the Black urban population reached its apex. By 1979, the same year the SugarHill Gang released what would officially be the first commercially viable rap record, 94 percent of the profits of the Ford Motor Company and 63 percent of the profits from Coca Cola came from overseas operations. Between 1973 and 1980, at least 4 million jobs were lost to firms moving outside the U.S., and during the decade of the 1970s, at least 32 million jobs were lost as a result of shutdowns, relocations, and scaling back operations. The decline of manufacturing jobs in steel, rubber, auto, and other heavy industries had a devastating impact on Black workers. Although Black joblessness had been about twice that of Whites since the end of World War II, Black unemployment rates increased even more rapidly, especially after 1971. While the number of unemployed White workers declined by 562,000 between 1975 and 1980, the number of Black unemployed increased by 200,000 during this period. The loss of manufacturing positions was accompanied by an expansion of low-wage service jobs. The more common service jobs included retail clerks, janitors, maids, computer programmers and data processors, security guards, waitresses, and cooks—jobs with little or no union representation and very little in the way of health or retirement benefits. In 1978, 30.6 percent of Black families earned income below the official poverty line compared with 8.7 percent of White families. 1
The jobs created by the transfer of production p