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College campuses have become rich sites of hip-hop culture and knowledge production. Despite the attention that campus personnel and researchers have paid to student life, the field of higher education has often misunderstood the ways that hip-hop culture exists in college students’ lives. Based upon in-depth interviews, observations of underground hip-hop spaces, and the author’s own active roles in hop-hop communities, this book provides a rich portrait of how college students who create hip-hop—both male and female, and of multiple ethnicities—embody its principles and aesthetics on campuses across the United States. The book looks beyond rap music, school curricula, and urban adolescents to make the empirical argument that hip-hop has a deep cultural logic, habits of mind, and worldview components that students apply to teaching, learning, and living on campus. Hip-Hop Culture in College Students’ Lives provides critical insights for researchers and campus personnel working with college students, while pushing cultural observers to rethink the basic ways that people live hip-hop.
"To investigate the perception of African American parents' views on rap and hip-hop music and the degree to which lyrics have an impact on adolescent behavior."--Abstract.
The Hip Hop Generation is an eloquent testament for black youth culture at the turn of the century. The only in-depth study of the first generation to grow up in post-segregation America, it combines culture and politics into a pivotal work in American studies. Bakari Kitwana, one of black America's sharpest young critics, offers a sobering look at this generation's disproportionate social and political troubles, and celebrates the activism and politics that may herald the beginning of a new phase of African-American empowerment.
Critics of Rap music proclaim that Rap music has the ability to influence belief systems, while advocates of Rap music argue that Rap music does not influence belief systems. The present study assessed whether listening to Rap music influences African American (AA) adult males' perceptions of females. It was hypothesized that participants who prefer Hard-core rap music (music consisting of sex, crime, and drugs; Haskins, 2000) as opposed to Playa Rap music (music discussing designer clothes, shoes, and million dollar homes and vehicles; Haskins) would more likely have negative perceptions of women. African American adult males (aged 18-34) who preferred Rap music were chosen using the snowballing effect. The participants were given a demographic survey, two scales from the Sexual Attitudes Survey (Burt, 1980), and one informational letter. The results suggested that African American males who prefer Hard-core rap music tend to score higher on the Sexual Attitudes Survey than those who prefer Playa rap music.
Our national conversation about race is ludicrously out-of-date. Hip-hop is the key to understanding how things are changing. In a provocative book that will appeal to hip-hoppers both black and white and their parents, Bakari Kitwana deftly teases apart the culture of hip-hop to illuminate how race is being lived by young Americans. This topic is ripe, but untried, and Kitwana poses and answers a plethora of questions: Does hip-hop belong to black kids? What in hip-hop appeals to white youth? Is hip-hop different from what rhythm, blues, jazz, and even rock 'n' roll meant to previous generations? How have mass media and consumer culture made hip-hop a unique phenomenon? What does class have to do with it? Are white kids really hip-hop's primary listening audience? How do young Americans think about race, and how has hip-hop influenced their perspective? Are young Americans achieving Martin Luther King, Jr.'s dream through hip-hop? Kitwana addresses uncomfortable truths about America's level of comfort with black people, challenging preconceived notions of race. With this brave tour de force, Bakari Kitwana takes his place alongside the greatest African American intellectuals of the past decades.