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Black Noise: Rap Music and Black Culture in Contemporary America (Music/Culture) By Tricia Rose
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- Amazon Sales Rank: #3750051 in Books
- Published on: 1994-04-29
- Original language: English
- Number of items: 1
- Dimensions: 9.50" h x 6.50" w x 1.00" l,
- Binding: Hardcover
- 257 pages
From Publishers Weekly Rap music often blasts African American rage into mainstream American culture and with its call-and-response choruses and violent, no-holds-barred lyrics, questions societal tradition and authority. These assertions aren't hard to prove. The problem lies in explaining all this without forgetting that most of this music's impact depends on having a good beat and being danceable. Rose, an assistant professor of history and Africana studies at New York University, is generally successful in putting rap in the context of the urban noise, technology and socioeconomics that nurtures it and of the "slave dances, blues lyrics, Mardi Gras parades, Jamaican patois, toasts and signifying" that preceded it. Rose addresses sexism, both in the plight of women rappers and in rap lyrics, partially excusing the latter by saying, "Rap's sexist lyrics are also part of a rampant and viciously normalized sexism that dominates the corporate culture of the music business." Supporting her thesis are direct interviews with rappers, personal remembrances and anecdotes, as well as deconstruction of lyrics and videos. Although her analyses are often fascinating, in sentences like "Rappers are constantly taking dominant discursive fragments and throwing them into relief destabilizing hegemonic discourses and attempting to legitimate counter/hegemonic interpretations," Rose becomes unnecessarily obscurantist, forgetting to let the music speak for itself. Photos. Copyright 1994 Reed Business Information, Inc.
From Library Journal This ethnographic study is the first detailed exploration of rap music within its social, cultural, and artistic contexts. Rose (history/Africana studies, NYU) carefully analyzes each defining element of the genre. For example, her study of the cultural and technological implications of sampling-a pillar of rap-is both impressive and unprecedented. Further, Rose's hermeneutics extend beyond the music itself to such corollary expressions of hiphop style as rap music videos and breakdancing. Rose constructs a solid bridge between hiphop and academe: she explains the former in the language of the latter and does so splendidly. However, even the most powerful words cannot recreate music. Since academicians may be unfamiliar with the works discussed, an accompanying CD or cassette would have been helpful. While Brian Cross's less-rigorous It's Not About a Salary (LJ 2/15/94) remains a better choice for public libraries, Black Noise belongs on the shelves of almost every academic collection.Bill Piekarski, Southwestern Coll. Lib., Chula Vista, Cal.Copyright 1994 Reed Business Information, Inc.
From Booklist Rap recordings are discussed almost everywhere today, from schoolyards and subways to the U.S. Senate and Supreme Court. Rose thoroughly analyzes several facets of the musical genre and provides an effective antidote to the severely flawed hip-hop coverage in mainstream media. She accurately traces rap's sonic history (proving thereby that music does not require conventional melody or harmony) and gives substantial information about the innovative rhythmic manipulations made possible by the techniques of sampling. She also makes clear the connections between rap's beginnings and the political turmoils that afflicted black and Latino urban neighborhoods throughout the 1970s and 1980s. In discussing what is probably rap's most controversial aspect--lyrics supposedly advocating "cop killing"--Rose vividly delineates the social conditions that bring about such fierce responses to real-life police brutality. Finally, she examines the often neglected role of women in rap in rewarding depth. Fans, scholars, and detractors alike stand to learn a great deal by studying Rose's commendable treatise. Aaron Cohen
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