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
Dipa Basu is Associate Professor of Sociology and Black Studies at
Pitzer College, Claremont, California. She is the editor of The
Vinyl Ain't Final: Hip Hop and the Globalization of Black Popular
Culture (Pluto, 2006) and author of The Politics of Social Science
Research: Race, Ethnicity and Social Change (Palgrave Press,
2001).
Sidney Lemelle is an Associate Professor of Black Studies at Pomona
College, Claremont, California. He is co-editor of The Vinyl Ain't
Final: Hip Hop and the Globalization of Black Popular Culture
(Pluto, 2006).
'Shows how at street level a combination of low economic status,
poor education and a racist criminal justice system keeps young
talented MCs excluded from the music business'
*Miriam Zadik Gold, Socialist Review*
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