Trim: 6½ x 9¼
978-0-7391-8116-4 • Hardback • April 2013 • $140.00 • (£108.00)
978-0-7391-8243-7 • Paperback • April 2013 • $68.99 • (£53.00)
978-0-7391-8117-1 • eBook • April 2013 • $65.50 • (£50.00)
Reiland Rabaka is associate professor of African, African American, and Caribbean Studies in the department of ethnic studies and the humanities program at the University of Colorado at Boulder, where he is also an affiliate professor in the women and gender studies program and a research fellow at the Center for Studies of Ethnicity and Race in America (CSERA). He is the author of eleven books, including Hip Hop’s Inheritance; Hip Hop’s Amnesia; and The Neo-Soul Movement: From Classic Soul to Hip Hop Soul. He is also the recipient of the Cheikh Anta Diop Distinguished Career Award.
Introduction: Lift Every Voice and Sing and Rap
Part I: The Soundtracks of the Civil Rights Movement, 1945-1965
Remix 1: Rhythm & Blues: From Classic Rhythm & Blues to Rap’s Beats & Rhymes
Remix 2: Rock & Roll: From Classic Rock & Roll to Rock Rap
Part II: The Soundtracks of the Black Power Movement, 1965-1980
Remix 3: Soul: From Classic Soul to Neo-Soul
Remix 4: Funk: From P-Funk to G-Funk
Part III: The Soundtracks & Social Visions of the Hip Hop Movement, 1980-Present
Remix 5: The Hip Hop Movement: From Black Popular Music & Black Popular Culture to a Black Popular Movement
Rabaka (Africana studies, Univ. of Colorado, Boulder) begins not only by arguing the existence of a hip-hop movement, but also by defining its parameters and identifying the hip-hop generation. He also examines hip-hop's links to other music genres (rhythm and blues, rock 'n' roll, soul, and funk), as well as to black political movements. The author provides a rich look at the evolutions of these music genres and then their impacts on hip-hop. Rabaka examines fusions and samplings in which hip-hop artists have, for example, produced rock 'n' roll tracks or infused funk into their sound. The book is somewhat awkward in places in its effort to survey important music genres between 1945 and 1980 and link them to hip-hop. The author only secondarily mentions the influences of African and Caribbean music on hip-hop. Given their importance to hip-hop's development, an explanation for their omission would have sufficed. Overall, the book provides a depth of information, recalling many artists and music from hip-hop's old school and golden age. Rabaka analyzes hip-hop's complexity and various dialogues over the direction and presence of the hip-hop movement. Summing Up: Recommended. All levels/libraries.
— Choice Reviews
Persuasively argued, carefully researched, The Hip Hop Movement places hip hop in the tradition of previous Black political moments. Reiland Rabaka presents a bold challenge to hip hop scholars, Black Studies practitioners, Civil Rights historians and youth politics pundits alike….One of the most important analyses of hip hop and hip hop scholarship to date, Reiland Rabaka’s The Hip Hop Movement is a major contribution to our understanding of post-civil rights era politics and movement building.
— Bakari Kitwana, author of Why White Kids Love Hip-Hop: Wankstas, Wiggers, Wannabes and the New Reality of Race in America