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The Cambridge Companion to Hip-Hop
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    GORZELANY-MOSTAK, DANA 2017. Keepin’ It Real (Respectable) in 2008: Barack Obama's Music Strategy and the Formation of Presidential Identity. Journal of the Society for American Music, Vol. 10, Issue. 02, p. 113.

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    The Cambridge Companion to Hip-Hop
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Book description

It has been more than thirty-five years since the first commercial recordings of hip-hop music were made. This Companion, written by renowned scholars and industry professionals reflects the passion and scholarly activity occurring in the new generation of hip-hop studies. It covers a diverse range of case studies from Nerdcore hip-hop to instrumental hip-hop to the role of rappers in the Obama campaign and from countries including Senegal, Japan, Germany, Cuba, and the UK. Chapters provide an overview of the 'four elements' of hip-hop - MCing, DJing, break dancing (or breakin'), and graffiti - in addition to key topics such as religion, theatre, film, gender, and politics. Intended for students, scholars, and the most serious of 'hip-hop heads', this collection incorporates methods in studying hip-hop flow, as well as the music analysis of hip-hop and methods from linguistics, political science, gender and film studies to provide exciting new perspectives on this rapidly developing field.


‘… The Cambridge Companion to Hip-Hop provides a powerful account of what it presents, persuasively, as the most revolutionary music since rock’n’roll.’

Andrew Warnes Source: The Times Literary Supplement

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This list contains references from the content that can be linked to their source. For a full set of references and notes please see the PDF or HTML where available.

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James E. Smethurst and Howard Ramsby , “Reform and Revolution, 1965–1976: The Black Aesthetic at Work,” in The Cambridge History of African American Literature (Cambridge University Press, 2011), p. 405

Marcyliena Morgan , “Introduction: I Am Hip-Hop,” in her The Real Hiphop: Battling for Knowledge, Power, and Respect in the LA Underground (Durham, NC: Duke University Press, 2009), p. 3

Imani Kai Johnson , “From Blues Women to B-Girls: Performing Marginalized Femininities,” Women & Performance: A Journal of Feminist Theory, special issue All Hail the Queenz: A Queer Feminist Recalibration of Hip-hop Scholarship24/1 (2014)

Lester K. Spence , Stare in the Darkness: The Limits of Hip-Hop and Black Politics (Minneapolis: University of Minnesota Press, 2011).

Imani Perry , Prophets of the Hood: Politics and Poetics in Hip Hop (Durham, NC: Duke University Press, 2004).

Sohail Daulatzai , Black Star, Crescent Moon: The Muslim Internation and Black Freedom beyond America (Minneapolis: University of Minnesota Press, 2012), p. 91

Oliver Kautny , “Ridin’ the Beat. Annäherungen an das Phänomen Flow,” in Fernand Hörner and Oliver Kautny (eds.), Die Stimme im HipHop. Untersuchungen eines intermedialen Phänomens (Bielefeld: Transcript, 2009), pp. 141–169.

James Hepokoski and Warren Darcy , Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (Oxford University Press, 2006), pp. 232 and 242

Phil Ford , Dig (New York: Oxford University Press, 2013)

Marcyliena Morgan , The Real Hiphop: Battling for Knowledge, Power, and Respect in the LA Underground (Durham, NC: Duke University Press, 2009).

Peter McLaren , “Field Relations and the Discourse of the Other: Collaboration in Our Own Ruin,” in William Shaffir and Robert A. Stebbins (eds.), Experiencing Fieldwork: An Insider View of Qualitative Research (Thousand Oaks, CA: Sage Publications, 1991), pp. 153–157

Etienne Wenger , Communities of Practice: Learning, Meaning, and Identity (Cambridge University Press, 1998)

Ayhan Kaya , “Sicher in Kreuzberg.” Constructing Diasporas: Turkish Hip-hop Youth in Berlin (Bielefeld: Transcript, 2001)

Rana Emerson , “‘Where My Girls at’: Negotiating Black Womanhood in Music Videos,” Gender & Society 16 (2002): 115–135

Margaret Hunter , “Shake it, Baby, Shake it: Consumption and the New Gender Relation Hip-hop,” Sociological Perspectives 54 (2001): 15–36

Robin Roberts , “‘Ladies First’: Queen Latifah’s Afrocentric Feminist Music Video,” African American Review 28 (1994): 245–257

Dionne Stephens , and Layi Phillips , “Freaks, Gold Diggers, Divas, and Dykes: The Sociohistorical Development of Adolescent African American Women’s Sexual Scripts,” Sexuality & Culture 7 (2003): 3–49

Greg Dimitriadis , “Hip-hop to Rap: Some Implications of an Historically Situated Approach to Performance,” Text and Performance Quarterly 19 (1999): 355–369

Philip Gossett , “Carl Dahlhaus and the ‘Ideal Type,’19th-Century Music 13 (1989): 49–56

Mireille Miller-Young , “Hip Hop Honeys and da Hustlaz: Black Sexualities in the New Hip Hop Pornography,” Meridians: Feminism, Race, Transnationalism 8 (2008): 261–292

Sara LaBoskey , “Getting off: Portrayals of Masculinity in Hip-hop Dance in Film,” Dance Research Journal 33 (2001): 113–114

Geoff Harkness , “The Spirit of Rapitalism: Artistic Labor Practices in Chicago’s Hip Hop Underground,” Journal of Workplace Rights 16 (2012): 251–270

Richard Iton , In Search of the Black Fantastic: Politics and Popular Culture in the Post-Civil Rights Era (Oxford University Press, 2008), p. 6

Sujatha Fernandes , Cuba Represent! Cuban Arts, State Power, and the Making of New Revolutionary Cultures (Durham, NC: Duke University Press, 2006)

Serge Lacasse , “Intertextuality and Hypertextuality in Recorded Popular Music,” in Michael Talbot (ed.), The Musical Work: Reality or Invention? (University of Liverpool Press, 2000), p. 36

Gary Tomlinson , “Cultural Dialogics and Jazz: A White Historian Signifies,” Black Music Research Journal 22 (2002): 71–102

David Brackett , Interpreting Popular Music (Berkeley, CA: University of California Press, 2000)

E. Taylor Atkins , Blue Nippon: Authenticating Jazz in Japan (Durham, NC: Duke University Press, 2001)

Emiko Ohnuki-Tierney , Kamikaze, Cherry Blossoms, and Nationalisms: The Militarization of Aesthetics in Japanese History (University of Chicago Press, 2002)

Linton Kwesi Johnson , “Jamaican Rebel Music,” Race & Class 17 (1976): 397–412

Iain Chambers , Urban Rhythms: Pop Music and Popular Culture (London: Macmillan, 1985)

Sujatha Fernandes , “Made in Havana City: Rap Music, Space, and Racial Politics,” in Anke Birkenmaier and Esther Whitfield (eds.), Havana Beyond the Ruins: Cultural Mappings after 1989 (Durham, NC: Duke University Press, 2011), pp. 173–186.

Tanya Saunders , “Black Thoughts, Black Activism: Cuban Underground Hip-hop and Afro-Latino Countercultures of Modernity,” Latin American Perspectives 39 (2012): 42–60.

Ian Condry , Hip-Hop Japan: Rap and the Paths of Cultural Globalization (Durham, NC: Duke University Press, 2006)

Nitasha Tamar Sharma , Hip-Hop Desis: South Asian Americans, Blackness, and a Global Race Consciousness (Durham, NC: Duke University Press, 2010)

Michael Hoyler and Christoph Mager , “‘HipHop ist im Haus’: Cultural Policy, Community Centres, and the Making of Hip-hop Music in Germany,” Built Environment 31 (2005): 237–254.

Werner Kallmeyer and Inken Keim , “Linguistic variation and the construction of social identity in a German-Turkish setting,” in Jannis Androutsopoulos and Alexandra Georgakopoulou (eds.), Discourse Constructions of Youth Identities (Amsterdam/Philadelphia: Benjamins, 2003), pp. 29–46.

Tony Mitchell , “Doin’ Damage in My Native Language: The Use of ‘Resistance Vernaculars’ in Hip Hop in France, Italy, and Aotearoa/New Zealand,” Popular Music and Society 24 (2000): 41–54.

İnci Dirim and Peter Auer , Türkisch sprechen nicht nur die Türken (Berlin: Walter de Gruyter, 2004), p. 1

Dietmar Elflein , “From Krauts with Attitudes to Turks with Attitudes: Some Aspects of Hip-hop history in Germany,” Popular Music 17 (1998): 255–265

Caroline Diessel , “Bridging East and West on the ‘Orient Express’: Oriental Hip-Hop in the Turkish Diaspora of Berlin,” Journal of Popular Music Studies 13 (2001): 165–187

Ayse S. Caglar , “Popular Culture, Marginality and Institutional Incorporation: German-Turkish Rap and Turkish Pop in Berlin,” Cultural Dynamics 10 (1998): 243–261

Kembrew McLeod and Peter DiCola , Creative License: The Law and Culture of Digital Sampling (Durham, NC: Duke University Press, 2011), pp. 19–35

Daniel Banks , Say Word! Voices from Hip Hop Theater (Ann Arbor: University of Michigan Press, 2011).

Norman K. Denzin , Interpretive Ethnography: Ethnographic Practice for the 21st Century (Thousand Oaks, CA: Sage, 1997).

Michael Hanchard , Party Politics: Horizons in Black Political Thought (New York: Oxford University Press, 2006).

Geoff Harkness , “True School: Situational Authenticity in Chicago’s Hip Hop Underground,” Cultural Sociology 6 (2012): 283–298.

Oliver Kautny , “‘…when I’m not put on this list…’ Kanonisierungsprozesse im HipHop am Beispiel Eminem,” in Dietrich Helms and Thomas Phelps (eds.), No Time for Losers. Charts, Listen und andere Kanonisierungen in der populären Musik (Bielefeld: Transcript, 2008), pp. 145–160.

Cheryl L. Keyes , “Empowering Self, Making Choices, Creating Spaces: Black Female Identity via Rap Music Performance,” The Journal of American Folklore 113 (2000): 255–269.

Roopali Mukherjee , “The Ghetto Fabulous Aesthetic in Contemporary Black CultureCultural Studies 20 (2006): 599–629.

Ali Colleen Neff , Let the World Listen Right: The Mississippi Delta Hip-hop Story (Jackson, MS: University Press of Mississippi, 2009).

Keith Negus , “The Music Business and Rap: Between the Street and the Executive Suite,” Cultural Studies 13 (1999): 488–508.

Erik Nielson , “‘Here Come the Cops’: Policing the Resistance in Rap Music,” International Journal of Cultural Studies 15 (2012): 349–363.

Halifu Osumare , The Africanist Aesthetic in Global Hip-Hop: Power Moves (New York: Palgrave Macmillan, 2007).

Martin Pfleiderer , Rhythmus. Psychologische, theoretische und stilanalytische Aspekte populärer Musik (Bielefeld: Transcript, 2006).

Raquel Z. Rivera , New York Ricans from the Hip Hop Zone (New York: Palgrave Macmillan, 2003).

Joseph G. Schloss , Foundation: B-Boys, B-Girls, and Hip-Hop Culture in New York (New York: Oxford University Press, 2009).

Dionne Stephens , and April Few , “Hip Hop Honey or Video Ho: African American Preadolescents’ Understanding of Female Sexual Scripts in Hip Hop culture,” Sexuality & Culture 11 (2007): 48–69.

L. Monique Ward , Edwina Hansbrough , and Eboni Walker , “Contributions of Music Video Exposure to Black Adolescents’ Gender and Sexual Schemas,” Journal of Adolescent Research 20 (2005): 143–166.

Ronald Weitzer and Charis Kubrin , “Misogyny in Rap Music: A Content Analysis of Prevalence and Meanings,” Men and Masculinities 12 (2009): 3–29.

Justin A. Williams , Rhymin’ and Stealin’: Musical Borrowing in Hip-Hop (Ann Arbor: University of Michigan Press, 2013).


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