Bounce: Rap Music and Local Identity in New Orleans by Matt Miller

By Matt Miller

The tale of a particular kind of hip-hop that began in a single American urban and went foreign.

Show description

Read Online or Download Bounce: Rap Music and Local Identity in New Orleans PDF

Best popular books

Queen Latifah (Hip-Hop Stars)

Queen Latifah won't were the 1st girl rapper, yet she was once the 1st to develop into a bona fide big name. This biography explores the lifetime of this trailblazer who's not just probably the most famous ladies in hip-hop, but additionally probably the most revered names within the leisure undefined.

German-Jewish Popular Culture before the Holocaust: Kafka's Kitsch (Routledge Jewish Studies Series)

David A. Brenner examines how Jews in primary Europe constructed one of many first "ethnic" or "minority" cultures in modernity. now not completely "German" or "Jewish," the reviews of German-speaking Jewry within the many years sooner than the 3rd Reich and the Holocaust have been additionally negotiated in encounters with pop culture, rather the radical, the drama and mass media.

Grunge: Music and Memory

Grunge has been perceived because the song that outlined 'Generation X'. two decades after the peak of the flow there's nonetheless massive curiosity in its upward thrust and fall, and its major figures similar to Kurt Cobain and Courtney Love. As a sort of 'retro' tune it truly is even experiencing resurgence, and Cobain continues to be an icon to many younger track lovers this day.

Extra resources for Bounce: Rap Music and Local Identity in New Orleans

Example text

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.

Download PDF sample

Rated 4.98 of 5 – based on 8 votes