By Matt Miller
The tale of a particular kind of hip-hop that began in a single American urban and went foreign.
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Extra resources for Bounce: Rap Music and Local Identity in New Orleans
Even after the abandonment of de jure segregation, New Orleans remained a city of stark racial and social divisions, as poor and working-class blacks were increasingly isolated within low-lying areas made up of reclaimed swampland. Expressive culture, including music, was a crucial dimension of African Americans’ psychic survival under these conditions. The city supported a rich array of grassroots musical practices, which included religious and secular forms and reﬂected the diversity of backgrounds, social class, and musical taste of the city’s growing African American population.
54 Direct musical appropriation of lyrics, instrumentation, or rhythmic approaches is the most obvious testament to the Indians’ importance. They also wield a more general and diﬀused inﬂuence as one of the primary local models of spectacular expression, the integration of audience and performer though collective musical practices such as African American Life and Culture in New Orleans 31 call-and-response and the use of expressive culture as an arena for competition between social groups. In addition to carnival societies like the Zulu or Mardi Gras Indians, so-called second line parades and the brass band music that accompanies them form a central axis around which the African American expressive culture of New Orleans turns.
The so-called American side, known as “Uptown,” was located southwest of Canal Street and included neighborhoods such as the Garden District, the rough “Irish Channel” near the river (named for the large numbers of Irish immigrants who arrived in the 1830s), and the Audubon Park area, among others. e. ”21 Built in the 1830s, the Faubourg Tremé (now called simply Tremé) neighborhood was adjacent to Congo Square 24 C H A P T ER ON E and formed a hub of Afro-Creole culture and progressive social organization.