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Copyright policy and the Nigerian music industry in the era of digitalisation

Wale Adedeji

. ‘Afrobeats’ emerged from the Nigerian variant of hip-hop, Afro hip-hop, which emerged during the late 1990s and early 2000s; what makes it distinct is its appropriation of existing popular music styles like juju and fuji with its performance reliant on

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The Needle Drop

History and Hip-Hop Mobility in the Transpacific (EP)

William B. Noseworthy

Scholarship in the field of hip-hop studies has convincingly argued against a “cultural grey out” and in favor of “local idiosyncrasies” in the mobility of cultural forms. That said, no published study has focused on the movements of the artists themselves in a transpacific context that places scenes in Japan, South Korea, Indonesia, Cambodia, and Vietnam in conversation with one another. Varying histories of colonialism and postcolonial movements are essential aspects of each social context. I argue that the transpacific lens allows scholars to draw out the movements of individuals, influences, and emergent trends in the art form to better understand how artists are, metaphorically, scratching back and forth between representing originality on the one hand and the need for popular appeal on the other. I draw on vinyl itself as a metaphor for this article, which is framed as an EP.

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Spatializing Black Girlhood

Rap Music and Strategies of Refusal

Asilia Franklin-Phipps

gendered and racial in ways that constrain and shorten Black lives ( Gilmore 2007 ). I discuss hip-hop and rap as a site of cultural work that inspires and expands the possibility for Black girls and women in a historical and sociocultural context that

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Rapping French Cities in the 1990s

Blurring Marseille and Brightening Paris in Contested Processes of Boundary Making

Joseph Downing

cities of Paris and Marseille. 12 The breakthrough for rap in France came in the 1990s, which was a turning point in hip-hop history. It was then that rap went global from its origins in New York City and the United States more broadly. 13 Institutions

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Celebrating Black Girlhood

Julianne Guillard

Ruth Nicole Brown. 2009. Black Girlhood Celebration: Toward a Hip-Hop Feminist Pedagogy

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Armstrong, Andrew B. 2019. 24 bars to kill: hip hop, aspirations, and Japan’s social margins. New York: Berghahn Books. 173 pp. Pb.: US$135.00. ISBN: 9781789202670.

Placido Muñoz Moran

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Learning the Ropes from Black Girls

Eluned Jones

Gaunt, Kyra D. 2006. The Games Black Girls Play: Learning the Ropes From Double-Dutch to Hip hop. New York: NY University Press.

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Martins, Rosana and Massimo Canevacci (eds.). 2018. Lusophone hip‐hop: ‘who we are’ and ‘where we are’: identity, urban culture and belonging. Canon Pyon: Sean Kingston Publishing. 316 pp. Hb.: £65.00. ISBN: 9781907774126.

Greta Rauleac

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Raperas of the NeoRevolución

young women, capitalism and Cuban hip hop culture

Ardath Whynacht

This article explores female representation in mainstream hip hop culture in Cuba as a case study for analyzing how the presence of a commercial recording industry affects girls' participation as artists at the community level. The author raises questions about the role of a commercial recording industry, within a neoliberal political culture, in skewing youth culture from its underground roots, and about how young women navigate and resist such challenges in order to participate in hip hop culture.

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Some Assembly Required

Black Barbie and the Fabrication of Nicki Minaj

Jennifer Dawn Whitney

This article explores the public persona of hip hop artist Nicki Minaj, and her appropriation of the iconic Barbie doll. Minaj's image has drawn criticism from pundits and peers alike, but, nonetheless, it has inspired a creative fan following. With reference to feminist theory and recent trends in poststructuralist thought, this article suggests the ways in which Minaj and her fans pluralize how we think about Barbie, race and idealized femininity in the West.