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- W383556475 abstract "“Is it music?” could be the first response when people happen to hear hip hop for the first time. I don’t remember exactly when I heard this first, but I had almost the same kind of reaction to hip hop. Back in 2000 when we planned to hold a symposium about New York as a postmodern Metropolis since the 1980s, I was asked to speak about black music as it reflected the current realities of New York in the 1980s and 1990s. I thought that my topic should definitely be hip hop, of which I knew almost nothing at the time. I tried to read some books about it and listened to many hip hop CDs for the occasion, and I was surprised to find I gradually came to like this kind of music. Still, I wondered how I could explain this type of popular culture. As Prof. Iida has pointed out, many books have been published and many scholars have analyzed this postmodern culture. In this introduction, there is a certain meaning to show some aspects of hip hop before focusing on particular points which respond to Prof. Iida’s presentation. As long as I have considered this phenomenon, there could be various points which should be discussed, such as music genre, race, gender, language, region, commercialism, fashion, religion, censorship, crime (violence, drug, police brutality, prison), ideology, related art forms, popular culture, historical perspectives and so on. Race is a crucial factor in hip hop, as young urban blacks created the genre. But strictly speaking, it was not only urban black people in the USA, but also Caribbean musicians who took an important part in creating hip hop. Later, other people started to rap, such as Puerto Ricans in NY, and Chicanos in LA. As for gender, many gangsta rap lyrics are criticized for abusing females, or showing explicit machismo. And rap lyrics are expressed through Ebonics, a kind of black discourse or African-American vernacular with so many words, compared to former black music. This rhyming with ghetto slang echoed the long tradition of African speech, variously expressed as the dozens, the toasts, boasting, signifying, schoolyard rhymes, and jailhouse rhymes. As region was already mentioned when race was explained, I will move on to hip hop as popular culture, which understandably became a target of commercialism. Of course, many rap musicians enjoyed this kind of situation" @default.
- W383556475 created "2016-06-24" @default.
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- W383556475 date "2009-01-01" @default.
- W383556475 modified "2023-09-27" @default.
- W383556475 title "A Response To Rap Rhymes and Social Justice By Iida Kiyoshi" @default.
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