The Hood Comes First

Examines the significance of the 'hood in rap and hip hop

"This dissertation considers the evolution of Rap music and Hip Hop culture from the perspective of two spatial modalities. It first introduces theoretical concepts of geographic scale and the inscription of socio-spatial values in order to examine Rap and Hip Hop's geo-cultural expansions from their primary enclaves of urban black America. The dynamics between race, social space, and youth are assessed both individually and in tandem as crucial elements in the expression and practices of Hip Hop. The dissertation challenges and extends research in the prevailing Rap "canon" by analysing the processes and structuring logics through which Rap has been integrated into the commercial system of localized music scenes and transnational music and media industries. It identifies the myriad forces that have either facilitated or constrained Rap's expansion at various moments in its history. The dissertation also focuses on the emergence of a pronounced spatial discourse in Rap music and Hip Hop. It isolates the articulation of spatial issues and an increasingly urgent emphasis on sites of significance and the homeplace of "the 'hood" as a significant but characteristic element of the genre. The ancillary Hip Hop media, including radio, music videos, Rap press, and the cinematic "'Hood" genre, are examined as important factors in the reproduction of spatial sensibilities in Hip Hop culture." --

Over the course of the twentieth century, African Americans in New Orleans helped define the genres of jazz, rhythm and blues, soul, and funk. In recent decades, younger generations of New Orleanians have created a rich and dynamic local rap scene, which has revolved around a dance-oriented style called "bounce." Hip-hop has been the latest conduit for a "New Orleans sound" that lies at the heart of many of the city's best-known contributions to earlier popular music genres. Bounce, while globally connected and constantly evolving, reflects an enduring cultural continuity that reaches back and builds on the city's rich musical and cultural traditions. In this book, the popular music scholar and filmmaker Matt Miller explores the ways in which participants in New Orleans's hip-hop scene have collectively established, contested, and revised a distinctive style of rap that exists at the intersection of deeply rooted vernacular music traditions and the modern, globalized economy of commercial popular music. Like other forms of grassroots expressive culture in the city, New Orleans rap is a site of intense aesthetic and economic competition that reflects the creativity and resilience of the city's poor and working-class African Americans.

Did you know that the clitoris has 8000 nerve endings, twice as many as the penis? Here is everything you've wondered about the female orgasm and how to make it happen. A witty, well-researched and revealing guide to giving your lover an orgasm every time. More than just foreplay, Ian Kerner argues that oral sex is the key to a great sex life for both partners. Short sections cover philosophy, technique, step-by-step instructions and detailed anatomical information, essential to both beginners and experienced lovers.'It's time to close the sex gap and create a level playing field in the exchange of pleasure, and cunnilingus is far more than just a means for achieving this noble end; it's the cornerstone of a new sexual paradigm, one that exuberantly extols a shared experience of pleasure, intimacy, respect and contentment. It's also one of the greatest gifts of love a man can bestow upon a woman.' Ian Kerner

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.

Hunted by his former comrades and labeled a traitor after he refuses to murder an innocent Afghan family, Mason Kane works to unravel a conspiracy that reaches all the way up to the highest levels of the government.

A candid, heartfelt love story set in contemporary California that challenges the idea of what it means to be American, liberated, and in love When Huda meets Hadi, the boy she will ultimately marry, she is six years old. Both are the American-born children of Iraqi immigrants, who grew up on opposite ends of California. Hadi considers Huda his childhood sweetheart, the first and only girl he's ever loved, but Huda needs proof that she is more than just the girl Hadi's mother has chosen for her son. She wants what many other American girls have--the entertainment culture's almost singular tale of chance meetings, defying the odds, and falling in love. She wants stolen kisses, romantic dates, and a surprise proposal. As long as she has a grand love story, Huda believes no one will question if her marriage has been arranged. But when Huda and Hadi's conservative Muslim families forbid them to go out alone before their wedding, Huda must navigate her way through the despair of unmet expectations and dashed happily-ever-after ideals. Eventually she comes to understand the toll of straddling two cultures in a marriage and the importance of reconciling what you dreamed of with the life you eventually live. Tender, honest and irresistibly compelling, First Comes Marriage is the first Muslim-American memoir dedicated to the themes of love and sexuality. Huda and Hadi's story brilliantly circles around a series of firsts, chronicling two virgins moving through their first everything: first hand holding, first kiss, and first sexual encounter. First Comes Marriage is an almost unbearably humanizing tale that tucks into our hearts and lingers in our imagination, while also challenging long-standing taboos within the Muslim community and the romantic stereotypes we unknowingly carry within us that sabotage some of our best chances for finding true love.

A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program for monographs. Visit www.luminosoa.org to learn more. In the 1990s, Los Angeles was home to numerous radical social and environmental eruptions. In the face of several major earthquakes and floods, riots and economic insecurity, police brutality and mass incarceration, some young black Angelenos turned to holy hip hop—a movement merging Christianity and hip hop culture—to “save” themselves and the city. Converting street corners to open-air churches and gangsta rap beats into anthems of praise, holy hip hoppers used gospel rap to navigate complicated social and spiritual realities and to transform the Southland’s fractured terrains into musical Zions. Armed with beats, rhymes, and bibles, they journeyed through black Lutheran congregations, prison ministries, African churches, reggae dancehalls, hip hop clubs, Nation of Islam meetings, and Black Lives Matter marches. Zanfagna’s fascinating ethnography provides a contemporary and unique view of black LA, offering a much-needed perspective on how music and religion intertwine in people's everyday experiences.