![]() ![]() You can't talk about Megan Thee Stallion, Nicki Minaj and Cardi B. They showed the rebellious nature of the blues and also how Black women carved out a unique space for themselves within blues culture that challenged many of the gendered norms of the early 20th century. ![]() She and other blues artists were oftentimes very sexually explicit in talking about their experiences and desires. Smith was a product of the Jim Crow South and a queer Black woman. You focus on a number of female musicians, starting with blues singer Bessie Smith in the 1920s and ’30s. We were raised on hip-hop and with it, a healthy skepticism of the American democratic experiment, but also with a sense of possibility, as well. The coalition that he pulled together was really the hip-hop coalition of that generation. His campaign was very skillful at marshaling hip-hop and marketing Obama as a hip-hop icon. I also argue that you don't have a Barack Obama without hip-hop. She made a tongue-in-cheek remark about Black people killing white people that Clinton decried as racist, going so far as to liken her to Ku Klux Klan leader David Duke.īasically, he used hip-hop as a foil to demonstrate his centrist approach to governing and how he was a “New Democrat” unafraid to criticize Black people. I like to point to the 1992 election with Bill Clinton's "Sister Souljah moment," where Clinton singles out Sister Souljah for her comments in the aftermath of the Los Angeles uprising. You also study how politicians respond to and even exploit hip-hop. Hip-hop is the culmination of a number of different cultural influences, many being African American, but also from the West Indies, Puerto Rico and the Dominican Republic. We also look at other musical traditions, like Negro spirituals, the blues, jazz and R&B. Hip-hop is the product of a long history dating back to West Africa and the trans-Atlantic slave trade. In your class, you trace the roots of hip-hop back to the African diaspora hundreds of years ago. And as such, it permeates all different aspects of society and people within societies. One of the main points that I emphasize from Day One in my class is that hip-hop is indeed a culture. I don't think there's any aspect of American society and, arguably, even global society, that hip-hop has not touched in some way, shape or form.Īnd when I say that, it's beyond just the music. Hip-hop is arguably the most dominant form of not just musical culture today, but popular culture more broadly. Hip-hop has come a long way since DJ Kool Herc’s rec room party on Augat 1520 Sedgwick Avenue in the Bronx, NY. How would you assess the importance of hip-hop today? This month marks the 50th anniversary of hip-hop. Williams spoke with Brandeis Stories about hip-hop’s significance over the past half-century, and what students can expect to encounter in his course. Even with a half-century of history behind it, hip-hop is an ever-evolving art form that continues to respond to current events in the world and the myriad of experiences and viewpoints of the artists who perform it. and Augusta Spector Chair in History and African and African American Studies, will again offer his Hip-hop History and Culture course. In the upcoming fall semester Chad Williams, the Samuel J. Which makes this the perfect time to look back at how hip-hop changed the world. This year, the musical, cultural, political and economic phenomenon that is hip-hop officially turned 50, with hip-hop’s origin traced back to a back-to-school party in the Bronx on August 11, 1973. ![]()
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