Prophets Of The Hood

At once the most lucrative, popular, and culturally oppositional musical force in the United States, hip hop demands the kind of interpretation Imani Perry provides here: criticism engaged with this vibrant musical form on its own terms. A scholar and a fan, Perry considers the art, politics, and culture of hip hop through an analysis of song lyrics, the words of the prophets of the hood. Recognizing prevailing characterizations of hip hop as a transnational musical form, Perry advances a powerful argument that hip hop is first and foremost black American music. At the same time, she contends that many studies have shortchanged the aesthetic value of rap by attributing its form and content primarily to socioeconomic factors. Her innovative analysis revels in the artistry of hip hop, revealing it as an art of innovation, not deprivation. Perry offers detailed readings of the lyrics of many hip hop artists, including Ice Cube, Public Enemy, De La Soul, krs-One, OutKast, Sean “Puffy” Combs, Tupac Shakur, Lil’ Kim, Biggie Smalls, Nas, Method Man, and Lauryn Hill. She focuses on the cultural foundations of the music and on the form and narrative features of the songs—the call and response, the reliance on the break, the use of metaphor, and the recurring figures of the trickster and the outlaw. Perry also provides complex considerations of hip hop’s association with crime, violence, and misogyny. She shows that while its message may be disconcerting, rap often expresses brilliant insights about existence in a society mired in difficult racial and gender politics. Hip hop, she suggests, airs a much wider, more troubling range of black experience than was projected during the civil rights era. It provides a unique public space where the sacred and the profane impulses within African American culture unite.

DIVFocuses on the socially relevant aspects of Hip Hop music: its treatment of the identity of the black subject in a white society, new definitions of blackness and its commercialization./div

DIVFocuses on the socially relevant aspects of Hip Hop music: its treatment of the identity of the black subject in a white society, new definitions of blackness and its commercialization./div

DIVFocuses on the socially relevant aspects of Hip Hop music: its treatment of the identity of the black subject in a white society, new definitions of blackness and its commercialization./div

John Teter and Alex Gee invite you to explore the world of Lauryn Hill, Tupac Shakur and the "hip-hop prophets"--following their lyrical messages to ultimate fulfillment at the feet of the Prophet-King Jesus.

Spanning 25 years of serious writing on hip-hop by noted scholars and mainstream journalists, this comprehensive anthology includes observations and critiques on groundbreaking hip-hop recordings.

Ever since God Almighty has instituted the system of prophet-hood for the guidance of mankind, the opponents of these holy prophets, peace be on them, have always charged them with falsehood and untruth. They were called sorcerers and madmen and were described as disorderly and rebellious. Every prophet and God’s elect was treated in that manner. The same was the case with the Promised Messiah, Hazrat Mirza Ghulam Ahmad of Qadian, peace be on him. when he put forth his claim of being the Reformer of the age and the Promised Mehdi, not only Muslim divines, but the leaders of other religions also, rose up against him and assailed him with false charges and insupportable objections. Muslim divines proclaimed that his teaching was opposed to Islam and the practice of the Holy Prophet, peace and blessings of Allah be upon him, and showered false charges upon him.