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This paper delves into the prevalent gender disparities and misogyny entrenched within Hip-Hop music. Through a meticulous analysis of lyrical content, visual representations, and societal contexts, the study illuminates the pervasive objectification of women in Hip-Hop, elucidating how it perpetuates harmful gender norms and inequalities. Leveraging insights from seminal studies such as Edward Armstrong's comprehensive analysis of rap lyrics, which uncovers the disturbing prevalence of misogynistic themes, the paper underscores the pressing imperative for heightened awareness of gender-based discrimination permeating the Hip-Hop industry. Furthermore, the paper not only explores emergent trends challenging conventional gender depictions in Hip-Hop, but also offers insights into avenues for fostering gender equality and nurturing a more inclusive ethos within the Hip-Hop community. Ultimately, this research contributes to a nuanced comprehension of the intricate interplay of gender inequality and misogyny in Hip-Hop music, which can be used to advocate for concerted endeavors to confront and rectify these pervasive issues.

East African music aligns itself with nationalistic desires while attempting to create a transnational and regional agenda that goes beyond individual nation-states. Hip-hop music appears at pains to define itself as different from the western art-forms with which it is hastily associated by instantiating localized forms and creating a different locution. This paper surveys East African hip-hop to demonstrate that the music is a productive site upon which the local, the national, and the global contest and negotiate. We demonstrate that central to the music's identity politics is the notion of masculinity, in which the construction of community is interpreted as a masculine enterprise. The audiences also invest the music with political and nationalist meanings that are fraught with sexualized readings. On the whole, the music rejects hostile nationalism but male artists tend to represent women negatively in their grand national, regional, and pan-African projects. Indirectly indicating the depth of the hegemonic masculinism they operate under, women artistes express a desire to deconstruct male constructs. At the same time they suggest that, in spite of themselves, their critique has to be cautious and subtle.

This paper explores how Nigerian hip hop music, lyrics, and histories illuminate connections and relationalities, intimacies, and articulations, among and across African and African diasporic communities. Drawing on the works of Lisa Lowe, Stuart Hall, Paul Gilroy, Katherine McKittrick, and others, I demonstrate how these intimacies and articulations allow us to reimagine hip hop, focusing not on origins or beginnings (or African American authenticities) but instead as an expressive transnational mode of cultural production. In this way, I discuss the significance of Black politics in popular music and foreground how intimacies and articulation produce new ways of theorizing race.

In recent years, scholarship on Black womanhood has become more closely connected to postmodern discourses on identity and resistance, following in the footsteps of Audre Lorde's claim that identity and sexuality have emancipatory potential. However, in the post-hip-hop era, feminists and media critics have once again brought up the idea of who controls the image. The purpose of this study is to describe possible sites of self-definition by Black women in music videos while accounting for the cultural industries that reproduce and exploit Black women's sexuality. Using textual analysis and the perspective of a noted music video performer, Melyssa Ford, this study articulates the expanse of ambiguity that lies between the images of Black womanhood that bombard consumers of BET and MTV and the selfconceptualization of the women who play those roles.

UID/HIS/04666/2013 ; Hip-hop culture emerged in the 1970s in New York's black neighborhoods, particularly in the Bronx. With roots in Kingston, Jamaica, it found a rich space for its development in the block parties where a DJ played samples and entertained the community. Being at first an aesthetic manifestation, it soon became a social and political tool for the new generation who found a different way to express itself through deejaying, emceeing, breakdancing, and graffiti art. These forms of political action laid the groundwork for what became a much wider, deeply conscious, and globally dispersed cultural movement. Portugal's first contact with hip-hop culture dates from the decade of 1980 and it happened through breakdance. It is precisely in the decade of the 1980s that the migratory traffic of people coming from the PALOPs towards Lisbon gets more intense. The African immigrants had to undergo a hurried integration that left aside all the cultural differences. Thus, they continued to suffer of a clandestine state of being and to hold on to the hope of going back home. Although at that time hip-hop had little space in the Portuguese media, through radio and television the residents of Lisbon's peripheral areas were able to access the works of the North American rappers. They became aware of their similar conditions and experiences and this lead to the birth of rap. Hip-hop also aims at negotiating between the experiences of marginalization, oppression, and ethnic prejudice, through the constant exercise of meta-language that allows it to translate the feeling of injustice lived by the young afro-descendants and at the margins of society. In this perspective, we intent to observe how the perception and the memory of Africa and of the African diaspora is rebuilt by Valete, a Lisbon-based rapper, son of Santomean parents. ; publishersversion ; published

Rivalry and enmity are phenomena that seem to have permeated the Nigerian music industry, especially the hip hop genre. In this regard, Nigerian hip hop artistes employ language to demonstrate their superiority over one another. A strategy employed by Nigerian hip hop artistes to assert their differences and superiority is the pragmatic use of pronouns. Here, pronouns are said to do more than achieve coherence.The paper investigates how Nigerian hiphop artistes use pronouns to achieve pragmatic meanings. Nigerian hip hop artistes employ pronouns to project their individuality and personality; identify and solidarise with their fans, and map boundary and polarity with their rivals. The paper submits that, while using pronouns, the Nigerian hip hop artistes express a sense of rivalry and enmity, individuality and personality; identity and solidarity.Key Words: Rivalry, Nigerian Hip hop artistes, pronouns, pragmatic meanings

Recent years have seen an explosion in the production and consumption of hip hop music in Nigeria. From the MTV Africa Music Awards to the BET Awards, Nigerian hip hop heads have continued to push the boundaries of their music on the international front, linking it, in the process, to a sort of global Hip Wide Web. Yet, despite these breakthroughs, the general perception of the discursive landscape of this music is not altogether positive in Nigeria itself. In particular, the message(s) of the music's lyrics has been severally described as a venture that has no meaning beyond its noisy character. This is especially the case when the music is being evaluated by older generations of Nigerian critics who do not share in, and are almost averse to, the hip hop culture that has newly ascended as the dominant youth culture. Problematizing these evaluations under five paradigms—crossing, multilingualism, and styling, repetition, inversion of order, meaninglessness, and pornography—this essay contends that what appears as meaninglessness in Nigerian hip hop music inscribes a masked matrix of meanings in the postmodern age. It argues that the elements of the lyrical gamut that are often perceived as meaningless are in fact meaningful and valuable resources that the artists, and by extension their audience members, harness to perform their generational ingroupness and multiplex postmodern identities.

Digitalised music production and the rise of music streaming platforms shape music markets worldwide. Whereas in Western Europe and North America, the age of streaming has also been criticised for a casualisation of musical labour, in peripheral music economies like Kyrgyzstan it participates in structuring a market for music makers. At the same time, digitalisation also tends to reproduce global inequalities. Based on the case of hip-hop music production in Bishkek, Kyrgyzstan, the present working paper examines how the 'age of streaming' affects the musical production and the dreams and ambitions of music workers.

While fun is the ostensible object of hip hop music, the politically conscious aspect of hip hop culture was part of Austrian hip hop from the very beginning. Against a dominant view that Austrian hip hop was an apolitical genre carried by White Austrian middle-class artists only, this article explores the political messages in the early stages of German-speaking Austrian hip hop music. Although only few hip hop artists—especially marginalized youth and people of color—explicitly connected issues of racism in Austria with the African American experience, many Austrian rappers conveyed a political message that related to their immediate environment. U.S.-American hip hop introduced rappers to a more global perspective on politics and was thus an educational cultural project. At the same time, most hip hop groups targeted the political far-right. And racism in a unique Austrian context had even supported political movements.