Pamela Burnard
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199583942
- eISBN:
- 9780191740671
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199583942.003.0006
- Subject:
- Psychology, Music Psychology, Social Psychology
This chapter discusses the number of collective and individual creativities that arise in the practice of DJing. It takes a look at some very successful and creative DJs who are able to create ...
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This chapter discusses the number of collective and individual creativities that arise in the practice of DJing. It takes a look at some very successful and creative DJs who are able to create ‘buzz’, ‘atmosphere’, ‘mood’, and ‘vibe’ in the spatial interaction between them and the crowd. The chapter also shows how musical creativity is not based on any rarefied or fixed object, attribute, quality, or process. Some examples of DJing practices that include various creativities and an overview of each DJ's personage and practice are included.Less
This chapter discusses the number of collective and individual creativities that arise in the practice of DJing. It takes a look at some very successful and creative DJs who are able to create ‘buzz’, ‘atmosphere’, ‘mood’, and ‘vibe’ in the spatial interaction between them and the crowd. The chapter also shows how musical creativity is not based on any rarefied or fixed object, attribute, quality, or process. Some examples of DJing practices that include various creativities and an overview of each DJ's personage and practice are included.
Joseph C. Ewoodzie Jr.
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781469632759
- eISBN:
- 9781469632773
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469632759.003.0002
- Subject:
- Society and Culture, Cultural Studies
Chapter 1 presents an overview of the historical context in which hip hop emerged. The first section describes the social and economic context of the South Bronx during the 1970s, drawing on ...
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Chapter 1 presents an overview of the historical context in which hip hop emerged. The first section describes the social and economic context of the South Bronx during the 1970s, drawing on scholarship from history and sociology, journalistic accounts, and historical documentaries. The second section provides story lines about the most popular social activities engaged in by youth at the time: graffiti-writing, DJing, and dancing. The final section provides an explanation of how, within a chaotic social environment, these somewhat divergent social activities were linked together to begin forming the new entity. It also explores the historical role of Kool DJ Herc. By focusing on Herc, it demonstrates how sociologists can refrain from portraying actors as heroic and self-motivated yet still acknowledge their pivotal role as historical figures.Less
Chapter 1 presents an overview of the historical context in which hip hop emerged. The first section describes the social and economic context of the South Bronx during the 1970s, drawing on scholarship from history and sociology, journalistic accounts, and historical documentaries. The second section provides story lines about the most popular social activities engaged in by youth at the time: graffiti-writing, DJing, and dancing. The final section provides an explanation of how, within a chaotic social environment, these somewhat divergent social activities were linked together to begin forming the new entity. It also explores the historical role of Kool DJ Herc. By focusing on Herc, it demonstrates how sociologists can refrain from portraying actors as heroic and self-motivated yet still acknowledge their pivotal role as historical figures.
Michael P. Jeffries
- Published in print:
- 2011
- Published Online:
- March 2013
- ISBN:
- 9780226395845
- eISBN:
- 9780226395869
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226395869.001.0001
- Subject:
- Music, Popular
Hip-hop has come a long way from its origins in the Bronx in the 1970s, when rapping and DJing were just part of a lively, decidedly local scene that also venerated b-boying and graffiti. Now hip-hop ...
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Hip-hop has come a long way from its origins in the Bronx in the 1970s, when rapping and DJing were just part of a lively, decidedly local scene that also venerated b-boying and graffiti. Now hip-hop is a global phenomenon and, in the United States, a massively successful corporate enterprise predominantly controlled and consumed by whites while the most prominent performers are black. How does this shift in racial dynamics affect our understanding of contemporary hip-hop, especially when the music perpetuates stereotypes of black men? Do black listeners interpret hip-hop differently from white fans? These questions have dogged hip-hop for decades, but unlike most pundits, this book finds answers by interviewing everyday people. Instead of turning to performers or media critics, it focuses on the music's fans—young men, both black and white—and the resulting account avoids romanticism, offering an unbiased examination of how hip-hop works in people's daily lives.Less
Hip-hop has come a long way from its origins in the Bronx in the 1970s, when rapping and DJing were just part of a lively, decidedly local scene that also venerated b-boying and graffiti. Now hip-hop is a global phenomenon and, in the United States, a massively successful corporate enterprise predominantly controlled and consumed by whites while the most prominent performers are black. How does this shift in racial dynamics affect our understanding of contemporary hip-hop, especially when the music perpetuates stereotypes of black men? Do black listeners interpret hip-hop differently from white fans? These questions have dogged hip-hop for decades, but unlike most pundits, this book finds answers by interviewing everyday people. Instead of turning to performers or media critics, it focuses on the music's fans—young men, both black and white—and the resulting account avoids romanticism, offering an unbiased examination of how hip-hop works in people's daily lives.
Antonio T. Tiongson
- Published in print:
- 2013
- Published Online:
- August 2015
- ISBN:
- 9780816679386
- eISBN:
- 9781452948416
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816679386.003.0002
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter provides an account of Raquel Z. Rivera concerning the differential racialization history and trajectory of the four elements that make up hip-hop: MCing, writing, breaking, and DJing. ...
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This chapter provides an account of Raquel Z. Rivera concerning the differential racialization history and trajectory of the four elements that make up hip-hop: MCing, writing, breaking, and DJing. It examines the construction of each constituent element of hip-hop as a particular kind of racialized space with implications for claim of cultural belonging and entitlement. According to Rivera, MCing and DJing is an extension of African American oral practices and traditions. Both elements are ethnic-racially identified with African Americans and closed to perceived outsiders by virtue of their reliance on dexterity in the English language. Similarly, breaking and graffiti writing emergence is rooted in the historical and structural conditions as well, with breaking coming from the Puerto Rican youth and writing out of the confines of New York City. In addition, the chapter examines the documentary Scratch which explores the culture of DJing.Less
This chapter provides an account of Raquel Z. Rivera concerning the differential racialization history and trajectory of the four elements that make up hip-hop: MCing, writing, breaking, and DJing. It examines the construction of each constituent element of hip-hop as a particular kind of racialized space with implications for claim of cultural belonging and entitlement. According to Rivera, MCing and DJing is an extension of African American oral practices and traditions. Both elements are ethnic-racially identified with African Americans and closed to perceived outsiders by virtue of their reliance on dexterity in the English language. Similarly, breaking and graffiti writing emergence is rooted in the historical and structural conditions as well, with breaking coming from the Puerto Rican youth and writing out of the confines of New York City. In addition, the chapter examines the documentary Scratch which explores the culture of DJing.
Antonio T. Tiongson
- Published in print:
- 2013
- Published Online:
- August 2015
- ISBN:
- 9780816679386
- eISBN:
- 9781452948416
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816679386.003.0003
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter presents interviews with Filipino American DJs based in San Francisco, namely Rygar, Rey-Jun, Statistix, Celskiii, Tease, One Tyme, and Soup-a-Crunk, and describes the nature of their ...
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This chapter presents interviews with Filipino American DJs based in San Francisco, namely Rygar, Rey-Jun, Statistix, Celskiii, Tease, One Tyme, and Soup-a-Crunk, and describes the nature of their engagement with DJing. Filipino youth involvement within DJing makes sense in relation to the cultural landscape of the Bay Area and the influx of Filipino immigrants working as professionals and highly skilled workers, such as nurses. The interview centers on a set of themes—what drew them to the culture, how they came up with their DJ names, relationship between Filipino culture and DJ culture, and how does DJing figure in their career plans. It also asks about how their family viewed their involvement in hip-hop as a way to accentuate the gendered dimensions of DJ culture, and looks into their take on the notion of hip-hop being an exclusive African American expressive form.Less
This chapter presents interviews with Filipino American DJs based in San Francisco, namely Rygar, Rey-Jun, Statistix, Celskiii, Tease, One Tyme, and Soup-a-Crunk, and describes the nature of their engagement with DJing. Filipino youth involvement within DJing makes sense in relation to the cultural landscape of the Bay Area and the influx of Filipino immigrants working as professionals and highly skilled workers, such as nurses. The interview centers on a set of themes—what drew them to the culture, how they came up with their DJ names, relationship between Filipino culture and DJ culture, and how does DJing figure in their career plans. It also asks about how their family viewed their involvement in hip-hop as a way to accentuate the gendered dimensions of DJ culture, and looks into their take on the notion of hip-hop being an exclusive African American expressive form.
Antonio T. Tiongson
- Published in print:
- 2013
- Published Online:
- August 2015
- ISBN:
- 9780816679386
- eISBN:
- 9781452948416
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816679386.003.0005
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter examines how Filipino American DJs turn to DJing to reconstitute “Filipinoness”, or what it means to be Filipino. Rather than signifying a “loss of culture” or a “loss of tradition” due ...
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This chapter examines how Filipino American DJs turn to DJing to reconstitute “Filipinoness”, or what it means to be Filipino. Rather than signifying a “loss of culture” or a “loss of tradition” due to the lack of a diasporic identity and consciousness, DJing signifies a reworking of culture and tradition by Filipino Americans in an attempt to redefine for them what it means to be Filipino. The chapter describes how DJing can be understood as indicative of the need to expand the contours of Filipinoness as it is transformed and reconstructed in the diaspora, referencing not only formations from the Philippines, but also formations in a variety of diasporic contexts. In addition, the chapter discusses sexism against Pinay DJs. Perceived as intruding in a masculine space, Pinay DJs are judged as not taking the art and craft of DJing seriously, and incapable of delivering a technically skilled performance.Less
This chapter examines how Filipino American DJs turn to DJing to reconstitute “Filipinoness”, or what it means to be Filipino. Rather than signifying a “loss of culture” or a “loss of tradition” due to the lack of a diasporic identity and consciousness, DJing signifies a reworking of culture and tradition by Filipino Americans in an attempt to redefine for them what it means to be Filipino. The chapter describes how DJing can be understood as indicative of the need to expand the contours of Filipinoness as it is transformed and reconstructed in the diaspora, referencing not only formations from the Philippines, but also formations in a variety of diasporic contexts. In addition, the chapter discusses sexism against Pinay DJs. Perceived as intruding in a masculine space, Pinay DJs are judged as not taking the art and craft of DJing seriously, and incapable of delivering a technically skilled performance.
