The Push and Pull of Hip-Hop

@article{Trapp2005ThePA,
  title={The Push and Pull of Hip-Hop},
  author={Erin Trapp},
  journal={American Behavioral Scientist},
  year={2005},
  volume={48},
  pages={1482 - 1495}
}
  • E. Trapp
  • Published 1 July 2005
  • Art
  • American Behavioral Scientist
This article explores how hip-hop music—with its grim portrayals of urban reality and youth manifestos—can be both the mirror and engine of a social movement, based on two divergent theories, new social movement theory and political opportunity theory, as well as the work of W. E. B. Du Bois. Contrasting the work of two prominent artists, the author examines the portrayal of women in rap and finds that these artists attempt to “represent” and influence reality and that they comfortably carry… 
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The past decade and a half has witnessed the emergence of the most recent "seed" in the continuum of Afrikan-American culture,(1) rap music. Hip-hop music and culture have caused volumes of
Slouching Toward Bork
The appeal of hip-hop and rap music in the United States grew considerably in the early 1990s. A dynamic culture that had its beginnings among working class African Americans and Puerto Ricans in New
"Fear of a Black Planet": Rap Music and Black Cultural Politics in the 1990s.
Popular wisdom regarding rap's (or Hip Hop's) political development sustains that rap music was not always political. It began as an apolitical "party music" with limited social relevance. For many
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To take part in the African revolution it is not enough to write a revolutionary song; you must fashion the revolution with the people. And if you fashion it with the people, the songs will come by
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In a work with far-reaching implications, Chela Sandoval does no less than revise the genealogy of theory over the past thirty years, inserting what she terms "U.S. Third World feminism" into the
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In this classic work of sociology, Doug McAdam presents a political-process model that explains the rise and decline of the black protest movement in the United States. Moving from theoretical
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CRADLE 2 THE GRAVE 李连杰的酷
K 看完《致命摇篮》,心里感到冰冰的,像是搁进了一块生铁。脑子里徒留下一堆喧嚣和嘈杂。 一开始,激情奔纵、如火如荼的Hip-Hop音乐热火得将人融化。但这股热浪瞬间就被一张张木无表情、冰冷似铁的脸,被一场场冷酷无情、拳拳到肉的撕杀格斗,雨打风吹去。热情似火的黑人音乐也成了令人心烦意乱的噪音。 影片中唯一没抢过、偷过的“好人”李
Evil that men do [Recorded by Queen Latifah]. On All hail the queen
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