The Hip Hop Movement contains five remixes (as opposed to chapters)
that offer a critical theory and alternative history of rap music
and hip hop culture by examining their roots in the popular musics
and popular cultures of the Civil Rights Movement and Black Power
Movement. Connecting classic rhythm & blues and rock & roll
to the Civil Rights Movement, and classic soul and funk to the
Black Power Movement, The Hip Hop Movement critically explores what
each of these musics and movements' contributed to rap, neo-soul,
hip hop culture, and the broader Hip Hop Movement. Ultimately, The
Hip Hop Movement's remixes reveal that black popular music and
black popular culture have always been more than merely popular
music and popular culture in the conventional sense and most often
reflect a broader social, political, and cultural movement. With
this in mind, The Hip Hop Movement critically reinterprets rap and
neo-soul as popular expressions of the politics, social visions,
and cultural values of a contemporary multi-issue movement: the Hip
Hop Movement.It is hip hop's supporters and detractors belief in
its ability to inspire both self transformation and social
transformation that speaks volumes about the ways in which what has
been generally called the Hip Hop Generation or the Hip Hop Nation
has evolved into a distinct movement that embodies the musical,
spiritual, intellectual, cultural, social, and political, among
other, views and values of the post-Civil Rights Movement and
post-Black Power Movement generation. Throughout The Hip Hop
Movement sociologist and musicologist Reiland Rabaka argues that
rap music, hip hop culture, and the Hip Hop Movement are as
deserving of critical scholarly inquiry as previous black popular
musics, such as the spirituals, blues, ragtime, jazz, rhythm &
blues, rock & roll, soul, and funk, and previous black popular
movements, such as the Black Women's Club Movement, New Negro
Movement, Harlem Renaissance, Civil Rights Movement, Black Power
Movement, Black Arts Movement, and Black Women's Liberation
Movement.In equal parts an alternative history of hip hop and a
critical theory of hip hop, this volume challenges those scholars,
critics, and fans of hip hop who lopsidedly over-focus on
commercial rap, pop rap, and gangsta rap while failing to
acknowledge, as the remixes here reveal, that there are more than
three dozen genres of rap music and many other socially and
politically progressive forms of hip hop culture beyond DJing,
MCing, rapping, beat-making, break-dancing, and graffiti-writing.
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