Titlebook: New York Ricans from the Hip Hop Zone; Raquel Z. Rivera Book 2003 Raquel Z. Rivera 2003 Africa.African.African American.America.boundary e

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Epilogue“.f they play music, they can play something in rap,” said Madelyn Lugo, National Puerto Rican Day Parade board member, referring to rap artists who seek to participate in the event. “But they should identity [sic] at least with the Puerto Rican culture,” she concluded..

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Whose Hip Hop?op became synonymous with the one art form that had from its inception been most intensely identified with African Americans, namely rap. Subsequent creative developments and mass marketing strategies—which did not operate independently of each other—further intensified this identification.

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Ghettocentricity, Blackness and Pan- he identifies as one of the 1990s’ hottest trends in U.S. popular culture in general and commercial rap music in particular: the mass marketing and glamorizing of the violence and pain of black “ghetto” life. It distresses him that poor people’s real-life tragedies are being packaged and sold throu

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Latin@s Get Hot and Ghetto-Tropicalelegitimation in the public eye of Latinos as core participants of hip hop. This renewed legitimation manifested itself in various ways: the greater media visibility of Latino hip hop artists; the increased use of readily identifiable “Latin music” as well as Spanish words and phrases in rap songs b

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Butta Pecan Mamis “Greek” motifs, common in New York delis and . of steaming cocoa.. Six chocolatedrenched young women are partially immersed in the liquid. On the right-hand side of the cup appear the erroneously accented words “Chocolaté Calienté.”

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Navigating Blackness and , Through Languagef poetic language, verbal delivery techniques, musical sources as well as styles and modes of musical production (live instrumentation, samples, DJing) vary tremendously from artist to artist—as they also vary among African American artists. I mention this wide range of creative output because Puert

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Between Blackness and to balance two identity categories—blackness and .—that are frequently imagined to be mutually exclusive. Their strategies of negotiation have shifted during the course of hip hop’s three-decade history in response to the predominant understandings regarding cultural “entitlement” and “authenticity

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agnitude of electrooptic effects are given and different experimental methods for measuring these effects are discussed. As representative examples of important electrooptical materials LiNbO., tetragonal bronzes, perovskites, KDP, and semiconductors with sphalerite structure are characterized with