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Hip hop has long been a vehicle for protest in the United States,
used by its primarily African American creators to address issues
of prejudice, repression, and exclusion. But the music is now a
worldwide phenomenon, and outside the United States it has been
taken up by those facing similar struggles. Flip the Script offers
a close look at the role of hip hop in Europe, where it has become
a politically powerful and commercially successful form of
expression for the children and grandchildren of immigrants from
former colonies. Through analysis of recorded music and other
media, as well as interviews and fieldwork with hip hop
communities, J. Griffith Rollefson shows how this music created by
black Americans is deployed by Senegalese Parisians, Turkish
Berliners, and South Asian Londoners to both differentiate
themselves from and relate themselves to the dominant culture. By
listening closely to the ways these postcolonial citizens in Europe
express their solidarity with African Americans through music,
Rollefson shows, we can literally hear the hybrid realities of a
global double consciousness.
Hip hop has long been a vehicle for protest in the United States,
used by its primarily African American creators to address issues
of prejudice, repression, and exclusion. But the music is now a
worldwide phenomenon, and outside the United States it has been
taken up by those facing similar struggles. Flip the Script offers
a close look at the role of hip hop in Europe, where it has become
a politically powerful and commercially successful form of
expression for the children and grandchildren of immigrants from
former colonies. Through analysis of recorded music and other
media, as well as interviews and fieldwork with hip hop
communities, J. Griffith Rollefson shows how this music created by
black Americans is deployed by Senegalese Parisians, Turkish
Berliners, and South Asian Londoners to both differentiate
themselves from and relate themselves to the dominant culture. By
listening closely to the ways these postcolonial citizens in Europe
express their solidarity with African Americans through music,
Rollefson shows, we can literally hear the hybrid realities of a
global double consciousness.
Jay-Z and Kanye West's 2011 Watch the Throne is a self-avowed
"luxury rap" album centered on Eurocentric conceptions of nobility,
artistry, and haute couture. Critical Excess performs a close
reading of the sonic and social commentary on this album, examining
how the album alternately imagines and critiques the mutually
reinforcing ideas of Europe, nobility, old money, art, and their
standard bearer, whiteness. Reading the album alongside Black
critical theory and work on the prophetic nature of music,
Rollefson argues that through their performance of black
excellence, opulence, and decadence, Jay-Z and Kanye West poured
gas on the white resentment of the Obama presidency-a resentment
that would ultimately spill over into public life, make audible the
dog whistling of the Far Right, and embolden white supremacists to
come out from under their rocks. Ultimately, Rollefson argues,
Jay-Z and Kanye West's performance of what Rollefson calls
"critical excess" on this album exceeds the limits of conspicuous
consumption and heralds the final stage of late capitalism-"the New
Gilded Age."
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