Routes, Rap, Reggae: Hearing the Histories of Hip-hop and Reggae Together |
Contents
Its a Mad Mad Story Dub Version | 12 |
Situating the Self in Recent Music Scholarship | 21 |
Why Jamaica? Hearing Hiphop in Foreign and Familiar Contexts | 30 |
Copyright | |
29 other sections not shown
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accent African-American album American audiences bass bassline BDP's beat bling-bling Bob Marley Bounty Killer Bronx Brooklyn Buju Banton calypso Caribbean chorus connections contemporary context creole Criminal Minded cultural politics dance dancehall dancehall DJs dancehall's Deborah Thomas despite diaspora distinctive early 90s embrace employs engagement especially example familiar foreign forms genres global hardcore hear hip-hop and reggae increasingly influence interplay Jamaican music Jamaican popular music jazz Johnny Dollar Junjo's Katz Kingston KRS-One melody mento Michigan & Smiley migration Modern Blackness narrative performances play popular music practice produced rappers Rastafari Rastafarian re-lick recordings reggae and hip-hop reggae style reggae's reggaeton Remix resonance rhythm rhythmic riddim rocksteady samples Shinehead Slick Rick snare social Solid Foundation song sonic sound soundscape soundsystem Story of Jamaican Studio stylistic track traditional transnational tune University Press Various Artists vocal vocalists voice well-worn Yellowman's York Zunguzung