That's the Joint!: The Hip-Hop Studies Reader

by Murray Forman (Editor), Mark Anthony Neal (Editor), Regina N. Bradley (Editor)

Overview

This newly expanded and revised third edition brings together the most important and up-to-date hip-hop scholarship in one comprehensive volume.

Product Details

ISBN-13:	9781032412566
Publisher:	Taylor & Francis
Publication date:	11/24/2023
Edition description:	3rd ed.
Pages:	780
Product dimensions:	7.00(w) x 10.00(h) x (d)

About the Author

Murray Forman is Professor of Media & Screen Studies at Northeastern University. Along with co-editing the previous editions of That's the Joint!: The Hip-Hop Studies Reader (2004, 2012), he is author of The 'Hood Comes First: Race, Space and Place in Rap and Hip-Hop (2002), and One Night on TV Is Worth Weeks at the Paramount: Popular Music on Early Television (2012). He was an inaugural recipient of the Nasir Jones Hip-Hop Fellowship at the Hutchins Center for African and African American Research, Harvard University (2014-2015).

Mark Anthony Neal is the James B. Duke Distinguished Professor at Duke University. He is the founIding director of the Center for Arts, Digital Culture and Entrepreneurship (CADC) at Duke and co-directs the Duke Council on Race and Ethnicity. He is author of What the Music Said: Black Popular Music and Black Public Culture (1999), Soul Babies: Black Popular Culture and the Post-Soul Aesthetic (2002), Looking for Leroy: Illegible Black Masculinities (2013), and New Black Man, Second Edition (2015). He is host of the video webcast Left of Black.

Regina N. Bradley is Associate Professor of English and African Diaspora Studies at Kennesaw State University. She is the author of Chronicling Stankonia: The Rise of the Hip Hop South (2021), editor of An OutKast Reader: Essays on Race, Gender, and the Postmodern South (2021), and a faculty editor for Southern Cultures journal. She was a recipient of the Nasir Jones Hip-Hop Fellowship at the Hutchins Center for African and African American Research, Harvard University (2016), and can be reached at www.redclayscholar.com.

Table of Contents

	Foreword	xi
	Acknowledgments	xv
	Introduction	1
Part I	Hip-Hop Ya Don't Stop: Hip-Hop History and Historiography	9
1	Breaking	13
2	The Politics of Graffiti	21
3	Breaking: The History	31
4	B-Beats Bombarding Bronx: Mobile DJ Starts Something with Oldie R&B Disks	41
5	Jive Talking N.Y. DJs Rapping Away in Black Discos	43
6	Hip-Hop's Founding Fathers Speak the Truth	45
Part II	No Time for Fake Niggas: Hip-Hop Culture and the Authenticity Debates	57
7	The Culture of Hip-Hop	61
8	Puerto Rocks: Rap, Roots, and Amnesia	69
9	It's a Family Affair	87
10	Hip-Hop Chicano: A Separate but Parallel Story	95
11	On the Question of Nigga Authenticity	105
12	Looking for the "Real" Nigga: Social Scientists Construct the Ghetto	119
13	About a Salary or Reality?--Rap's Recurrent Conflict	137
14	The Rap on Rap: The "Black Music" that Isn't Either	147
Part III	Ain't No Love in the Heart of the City: Hip-Hop, Space, and Place	155
15	Black Empires, White Desires: The Spatial Politics of Identity in the Age of Hip-Hop	159
16	Hip-Hop am Main, Rappin' on the Tyne: Hip-Hop Culture as a Local Construct in Two European Cities	177
17	"Represent": Race, Space, and Place in Rap Music	201
18	Rap and Hip-Hop: The New York Connection	223
19	Uptown Throwdown	233
Part IV	I'll Be Nina Simone Defecating on Your Microphone: Hip-Hop and Gender	247
20	Translating Double-Dutch to Hip-Hop: The Musical Vernacular of Black Girls' Play	251
21	Empowering Self, Making Choices, Creating Spaces: Black Female Identity via Rap Music Performance	265
22	Hip-Hop Feminist	277
23	Seeds and Legacies: Tapping the Potential in Hip-Hop	283
24	Never Trust a Big Butt and a Smile	291
Part V	The Message: Rap, Politics, and Resistance	307
25	Organizing the Hip-Hop Generation	311
26	Check Yo Self Before You Wreck Yo Self: The Death of Politics in Rap Music and Popular Culture	325
27	The Challenge of Rap Music from Cultural Movement to Political Power	341
28	Rap, Race, and Politics	351
29	Postindustrial Soul: Black Popular Music at the Crossroads	363
Part VI	Looking for the Perfect Beat: Hip-Hop Aesthetics and Technologies of Production	389
30	Airshafts, Loudspeakers, and the Hip Hop Sample: Contexts and African American Musical Aesthetics	393
31	Public Enemy Confrontation	407
32	Hip-Hop: From Live Performance to Mediated Narrative	421
33	Sample This	437
34	"This Is a Sampling Sport": Digital Sampling, Rap Music, and the Law in Cultural Production	443
35	Challenging Conventions in the Fine Art of Rap	459
36	Hip-Hop and Black Noise: Raising Hell	481
Part VII	I Used to Love H.E.R.: Hip-Hop in/and the Culture Industries	493
37	Commercialization of the Rap Music Youth Subculture	497
38	Dance in Hip-Hop Culture	505
39	Wendy Day, Advocate for Rappers	517
40	The Business of Rap: Between the Street and the Executive Suite	525
41	Contracting Rap: An Interview with Carmen Ashhurst-Watson	541
42	Black Youth and the Ironies of Capitalism	557
43	Homies in The 'Hood: Rap's Commodification of Insubordination	579
44	An Exploration of Spectacular Consumption: Gangsta Rap as Cultural Commodity	593
	Permissions	611
	Index	615

Editorial Reviews

"Hip-hop, like all living artistic expression, constantly regenerates, turning innovation into convention, ‘datcourse’ into discourse, vernacularisms into commodity or the precious art object. As this second edition of the groundbreaking That’s the Joint! shows, hip-hop scholarship has done the same: moving, grooving, breaking, and sampling the best ideas from an interdisciplinary community theater of writers whose insights chart a vibrant sector of the American musical landscape."

—Guthrie P. Ramsey, Jr., Edmund J. and Louise W. Kahn Term Professor of Music, University of Pennsylvania

"A standard bearer text in Hip Hop Studies. Sweeping in scope and rigorous in analyses."

—T. Denean Sharpley-Whiting, Gertrude Conaway Vanderbilt Distinguished Professor of African American Diaspora Studies and French, Vanderbilt University

"I'm going use this book when I teach US history to high school students from now on. In the past decade there's been a mania for all the music and fashions of the early 1980's, which none of the aficionados are old enough to remember. It would be wonderful for them to learn where it all originated."

—Ben Wolinsky, Blogger on Olive Branch United

From the Publisher