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Provincial Headz
Presents an interdisciplinary counter-narrative to that of hip hop as a strictly urban phenomenon; providing an insight into the relocation of hip hop culture from its inception in New York ghettos to its practices in provincial and rural Britain.
Scratching the Surface
Scratching the Surface: Hip Hop, Remoteness, and Everyday Life presents the encounters of a young, rural teenager growing up in Devon, in the south-west corner of the UK as he engages with the evolution of hip hop, told through 28 particular and detailed memories drawn from the experience of the author. The book is divided into four parts, and situated between 1983 and 1986, explores the emotional growth, contextual questioning, and at times, naïve journey of the protagonist as he reflects on such minutiae as the price tags on record sleeves, the LED display on cassette players, and the zips on tracksuit tops. The author of Provincial Headz: British Hip Hop and Critical Regionalism returns ...
HEADZ-zINe: Vol. 1, ‘REGIONS-UK’, Issue 2
HEADZ-zINe is a periodical output of the HEADZ Project. Taking the approach of a fanzine with a critical edge, it challenges the convention of academic knowledge production and dissemination. HEADZ-zINe seeks to capture the personal, local, and communal histories of hip hop. HEADZ-zINe is foremost interested in the stories of its co-authors and through a series of in-depth discussions and complimentary analysis of the artefacts and archives of hip hop, HEADZ-zINe reveals a set of previously untold stories. When we talk about hip hop culture and hip hop history, we rarely talk about 50-year-olds from the far-flung corners of the UK – predominantly corners constructed of white majority space...
Hip Hop in The Sticks: A Deepening Con/Text
Via memory, material objects, music, people and place, Hip Hop In The Sticks picks up where Scratching the Surface left off. Through the eyes of an adolescent rural hip hop head, questions of identity, heritage and one’s own location in the world emerge through rich lived experience. Often idiosyncratic, humorously dry, and underpinned by comprehensive and informative endnotes, Hip Hop In The Sticks presents a deep non-fiction contextual narrative, intersecting family secrets, a different sense of community and kinship, embryonic hip hop and graffiti practice. Hip Hop In The Sticks makes visible a different account of life in late 1980s rural Britain and an alternative version of hip hop history.
Hip-Hop, Art, and Visual Culture
Visual art has been tied to hip-hop culture since its emergence in the 1970s. Commentary on these initial connections often emphasizes the importance of graffiti and fashion during hip-hop’s earliest days. Forty years later, hip-hop music has grown into a billion-dollar global industry, and its influence on visual art and society has also expanded. This book-length printed edition of Arts collects essays by scholars who explore this evolving influence through their work in art education, cultural theory, and visual culture studies. The topics covered by these authors include discussions on identity and cultural appropriation, equity and access as represented in select works of art, creativity and copyright in digital media, and the use of fine art tropes within the sociocultural history of hip-hop. As a collected volume, these essays make potentially important contributions to broadening the narrative on art education and hip-hop beyond the topics of graffiti, fashion, and the use of cyphers in educational contexts.
HEADZ-zINe: Vol. 1, ‘REGIONS-UK’, BRISTOL SPECIAL EDITION, Issue 3
HEADZ-zINe is a periodical output of the HEADZ Project. Taking the form of the fanzine with a critical edge, it challenges the convention of academic knowledge production and dissemination. HEADZ-zINe seeks to capture the personal, local, and communal histories of hip hop. HEADZ-zINe is foremost interested in the stories of its participants, and through a series of in-depth interviews and complimentary analysis of the artefacts and archives of hip hop, reveals a set of previously untold stories. HEADZ-zINe is created with much the same immediacy as a zine. It is produced within a period of weeks, is self-published and designed using standard domestic hardware and software. Although the topic...
HEADZ-zINe: Vol. 1, 'REGIONS-UK', Issue 1
HEADZ-zINe is a periodical output of the HEADZ Project. Taking the form of the fanzine with a critical edge, it challenges the convention of academic knowledge production and dissemination. HEADZ-zINe seeks to capture the personal, local, and communal histories of hip hop. HEADZ-zINe is foremost interested in the stories of its participants, and through a series of in-depth interviews and complimentary analysis of the artefacts and archives of hip hop, reveals a set of previously untold stories. HEADZ-zINe is created with much the same immediacy as a zine. It is produced within a period of weeks, is self-published and designed using standard domestic hardware and software. Although the topic...
Critical Excess
Jay-Z and Kanye West's death dance for capitalism
Brithop
With ongoing debates on Scottish independence, immigration, Britain's place in the EU, multiculturalism, national identity and the specter of a past Empire complicating ethnically-defined notions of "Britishness," the Kingdom seems far from United. As a cultural force that is often discussed as giving voice to the voiceless and empowering marginalized communities, hip-hop has become a space in which to explore and debate these issues-defining global community while celebrating locality. In Brithop, author Justin A. Williams finds new hope in an often-neglected figure: the British rapper. Through themes of nationalism, history, subculture, politics, humor and identity, Brithop explores multip...
Level Up: Live Performance and Creative Process in Grime Music
Grime music has been central to British youth culture since the beginning of the 21st century. Performed by MCs and DJs, it is an Afrodiasporic form that developed on street corners, on pirate radio and at raves. Level Up: Live Performance and Creative Process in Grime Music offers the first long-form ethnographic study of grime practice; it questions how and why artists do what they do; and it asks what this can tell us about creative process and improvisation more widely. Based on research conducted in London’s grime scene—facilitated by the author’s long-standing role as a DJ and broadcaster—this book explores the form’s emergence before taking a magnifying glass to the contemporary scene and its performance protocol, exploring the practice of key artists and their crews living and working in the city. The resultant model of creative interaction provides a comprehensive mapping of collective social learning in London’s informal cityscape, offering new ways to conceptualise improvisatory practice within ensembles.
