Series: Music/Culture
Paperback: 257 pages
Publisher: Wesleyan; 1st edition (May 15, 1994)
Language: English
ISBN-10: 0819562750
ISBN-13: 978-0819562753
Product Dimensions: 6.2 x 0.8 x 9.1 inches
Shipping Weight: 1.2 pounds (View shipping rates and policies)
Average Customer Review: 4.4 out of 5 stars See all reviews (16 customer reviews)
Best Sellers Rank: #346,833 in Books (See Top 100 in Books) #108 in Books > Arts & Photography > Music > Musical Genres > Ethnic & International > Ethnomusicology #157 in Books > Arts & Photography > Music > Musical Genres > Rap #937 in Books > Humor & Entertainment > Sheet Music & Scores > Forms & Genres > Popular
Rap music is the subject of much criticism and debate. Controversial lyrics, loud dance sounds, and misinterpreted music videos have led rap and subsequently the hip hop movement to fall under intense scrutiny. In Black Noise, Tricia Rose enters this scene of intense arguments surrounding Hip Hop, and offers a unique view of Hip Hop: the view of a historian, scholar, professor. Rose takes on debates regarding Hip Hop and grounds them in academic research and history, unravelling the complexities of the genre.Black Noise begins by explaining the importance of graffiti and b-boying in Hip-Hop/Rap. For this reason, Tricia Rose successfully communicated the relationship between graffiti, b-boying, and rap as black noise--black expression. Unfortunately, because the historical content of this text is limited to the relationship between Graffiti and b-boying within the black community--as it should--the text consequently loses insight on the contributions from non-black ethnic groups to these Hip-Hop elements. While Tricia Rose sought to make the black community the focal point of her writing, it seems confining to discussing the emergence of graffiti and B-boying without acknowledging its influence from/on different cultures (i.e Greek, Latino, and Asian)Rose provides the reader a historical background explaining the emergence of these distinct forms of expression within the Hip Hop domain and greater black culture. She draws a picture of postindustrial New York, influenced by the growth of multinational telecommunications networks, technological revolution, global economic competition, new migration patterns from Third World countries, and changing divisions of labor.
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