This blog examines how music evokes emotion and is entertaining mostly through its visual, verbal and sonic elements by drawing links from theorists.
It explores how 90’s hip-hop and rap music in New York creates feeling within society to create meaning, and how this feeling and emotion changes from person to person. Within the context, the blog explores the meaning the music creates for race gender and clothing at the time as well.

It also explains how many aspects of a culture create meaning for a certain time and place in society. Some examples of how music does this is through music videos, fashion and the actual sonic musical sound and lyrics that derive from the hip-hop and rap culture of 90’s New York. Through visual verbal and sonic elements, there are meanings created in regards to race, gender, sound and many other aspects and this blog will describe how these elements are giving meaning as a communication and a community.


Academic references used throughout the blog:

Álvarez-Mosquera, P. 2015, ‘Underlining authenticity through the recreolization process in rap music: A case of an in-group answer to an identity threat’ Sociolinguistic Studies, vol. 9, no. 1, pp. 51-70.

Feld, S. 2010, “Anxiety and Celebration: Mapping the discourses of ‘world music’”, Changing Sounds: New Directions and Configurations in Popular Music, pp. 9-14.

Hall, S. 1996, ‘Introduction: Who Needs ‘Identity”, Questions of Cultural Identity, pp. 1-17.

Hesmondhalgh, D. 2013, ‘Feeling and Flourishing’, Why Music Matters,  pp.11-14.

Jenkins, C.M. 2013, ‘Introduction: “Reading” Hip-Hop Discourse in the Twenty-First Century’, African American Review, vol. 46, no. 1, pp. 1-8.

Keyes, C. 2000, ‘Empowering Self, Making Choices, Creating Spaces: Black Female Identity via Rap Music Performance’, Journal of American Folklore, vol. 113, no. 449, pp. 255-269.

Morgado, M.A. 2007, ‘The Semiotics of Extraordinary Dress A Structural Analysis and Interpretation of Hip-Hop Style’, Clothing & Textiles Research Journal, vol. 25, no. 2, pp. 131-155.

Osumare, H. 2001, ‘Beat Streets in the Global Hood: Connective Marginalities of the Hip Hop Globe’, Journal of American and Comparative Cultures, vol. 24, no. 1, pp. 171-181.

Peoples, W.A. 2008, ‘”Under Construction” Identifying Foundations of Hip-Hop Feminism and Exploring Bridges between Black Second-Wave and Hip-Hop Feminism’ Meridians: feminism, race, transnationalism, vol. 8, no. 1, pp. 19-52.

Pough, G.D. 2007, ‘What It Do Shorty?: Women, Hip-Hop, and a Feminish Agenda’, Black Women, Gender + Families, vol. 1, no. 2, pp. 78-99.

Sharpley-Whiting, T. Denean. Pimps Up, Ho’s Down: Hip Hop Hold on Young Black Women. New York City: New York University Press, 2007.

Strawn, B.A. 2013, ‘Sanctified and Commercially Successful Curses: On Gangsta Rap and the Canonization of the Imprecatory Psalms’, Theology Today, vol. 69, no. 4, pp. 403-417.

(All photos are from google images)