Anthropology of Hip-Hop in a Global Perspective required readings:
Chang, Jeff. 2005. Can’t Stop Won’t Stop: A History of the Hip-Hop Generation. St. Martin’s Press: New York.
Article Packet containing the following:
Austin, Joe. 2001. “Writing Graffiti in the Public Sphere: The Construction of Writing as an Urban Problem.” Taking the Train: Youth, Urban Crisis, Graffiti. New York: Columbia University Press.
Austin, Joe. 2001. “The State of the Subways: The Transit Crises, the Aesthetics of Fear and the second ‘War on Graffiti.’” Taking the Train: Youth, Urban Crisis, Graffiti. New York: Columbia University Press.
Austin, Joe. 2001.”Walls and the World: Writing Culture 1982 – 1990.” Taking the Train: Youth, Urban Crisis, Graffiti. New York: Columbia University Press.
Bartlett, Andrew. 2004 “Airshafts, Loudspeakers, and the Hip-Hop Sample: Context and African American Musical Aesthetics” In That’s the Joint: The Hip-Hop Studies Reader. Forman, Murray and Neal, Mark Anthony [ed.]. Routledge: New York.
Clark, Anne L. “As Nasty As They Wanna Be: Popular Music on Trial.” New York University Law Review. November 1990; 65 N.Y.U. L. Rev. 1481
Davidson, Bill (The Estate Of) V. Time Warner, Inc., Tupac Amaru Shakur. 1992. Interscope Records, East West Records America, A Division Of Atlantic Recording Corporation Civil Action No. V-94-006
Flores, Juan. 2000 “Puerto Rock” In From Bomba to Hip-Hop: Puerto Rican Culture and Latino Identity. New York: Columbia University Press..
Glassner, Barry. 2003. “Rap Music and the Culture of Fear.” Entertainment and Sports Lawyer. Spring issue. Vol. 21, n. 1.
Hazzard-Donald, Katrina. 2004. “Dance in Hip-Hop Culture” In That’s the Joint: The Hip-Hop Studies Reader. Forman, Murray and Neal, Mark Anthony [ed.]. Routledge: New York
Kahan, Jeffrey, B. “Bach, Beethoven and The (Home) Boys: Censoring Violent Rap Music in America.” In Southern California Law Review, University of Southern California, Sept. 1993.
Luke Records v. Navarro, No. 90-5508 , United States Court of Appeals For the Eleventh Circuit, 960 F.2d 134; 1992 U.S. App. Lexis 9592; 20 Media L. Rep. 1114; 6 Fla. L. Weekly Fed. C 532, May 7, 1992
Rose, Tricia. 1999. “Voices from the Margins: Rap Music and Contemporary Black Cultural Production” and “All Aboard the Night Train: Flow, Layering, and Rupture in Postindustrial New York.” Black Noise: Rap Music and Black Culture in Contemporary America. Connecticut: Wesleyan University.
Rose, Tricia. 1999. “Prophets of Rage: Rap Music and the Politics of Black Cultural Expression.” In Black Noise: Rap Music and Black Culture in Contemporary America. Connecticut: Wesleyan University.
Rose, Tricia. 1999. “Soul Sonic” In Black Noise: Rap Music and Black Culture in Contemporary America. Connecticut: Wesleyan University.
Rivera, Raquel. 2003. “Its Just Begun” and “Whose Hip-Hop?: The Late 1980′s and Early 1990′s”New York Ricans from the Hip-Hop Zone. Palgrave Macmillan: New York.
Rivera, Raquel. 2003 “Ghettocentricity, Blackness and Pan-Latinidad: The Mid to Late 1990′s.” New York Ricans from the Hip-Hop Zone. Palgrave Macmillan: New York.
Rivera, Raquel. 2003 “Butta Pecan Mamis.” In New York Ricans from the Hip-Hop Zone. Palgrave Macmillan: New York.
Kitwana, Bakari. 2005. “The Cotton Club: Black-conscious hip-hop deals with an overwhelmingly white live audience. The Village voice, New York, June 24th,
Kelly, Raegan. 2004. “Hip-Hop Chicano: A Separate but Parallel Story.” In That’s the Joint: The Hip-Hop Studies Reader. Forman, Murray and Neal, Mark Anthony [ed.]. Routledge: New York.
Marshall, Wayne. 2009. “From Musica Negra to Reggaeton Latino” In Reggaeton.Rivera, Marshall, and Hernandez-Pacini [ed.]. Durham: Duke University Press.
McGuigan, Athleen and Uehling, Mark d., et. al. “Breaking Out: America Goes Dancing” In Newsweek. July 2, 1984
Neal, Mark Anthony. 2004. “Post-Industrial Soul: Black Music at the Crossroads.” In That’s the Joint: The Hip-Hop Studies Reader. Forman, Murray and Neal, Mark Anthony [ed.]. Routledge: New York
Negus, Keith. “The Business of Rap: Between the street and the Executive Suite.” In That’s the Joint: The Hip-Hop Studies Reader. Forman, Murray and Neal, Mark Anthony [ed.]. Routledge: New York.
Samuels, David. “The Rap on Rap: The ‘Black Music’ that Isn’t Either.” In That’s the Joint: The Hip-Hop Studies Reader. Forman, Murray and Neal, Mark Anthony [ed.]. Routledge: New York.
Schumacher, Thomas, G. 2004 “This is a Sampling Sport: Digital Sampling, Rap Music, and the Law in Cultural Production” In That’s the Joint: The Hip-Hop Studies Reader. Forman, Murray and Neal, Mark Anthony [ed.]. Routledge: New York.
Watts, Eric K. 2004. “An Exploration of Spectacular Consumption: Gangsta Rap as Cultural Commodity.” In That’s the Joint: The Hip-Hop Studies Reader. Forman, Murray and Neal, Mark Anthony [ed.]. Routledge: New York
Anthropology of Hip-Hop in a Global Perspective suggested supplemental readings:
Ahearn, Charlie and Fricke, Jim. 2002. Yes Yes Y’all: Oral History of Hip-Hop’s First Decade. New York: The Experience Music Project.
Castleman, Craig. 1982. Getting Up: Subway Graffiti in New York. Massachusetts: MIT Press.
Chalfant, Henry and Prigoff, James..1987. Spraycan Art. New York: Thames and Hudson Inc.
Cepeda, Raquel. 2004. And It Don’t Stop!: The Best American hip-Hop Journalism of the Last 25 Years. Faber and Faber:New York.
Cooper, Martha and Chalfant, Henry. 1984. Subway Art. New York: Henry Holtand Company Inc.
Flores, Juan. 2000. From Bomba to Hip-Hop: Puerto Rican Culture and Latino Identity. New York: Columbia University Press..
Goerge, Nelson. 1999. Hip-Hop America. Penguin Group (USA)……
Haeger, Steven.1984. The Illustrated History of Break Dancing, Rap Music and Graffiti. New York: St. Martin’s Press.
Marshall, Wayne, Rivera, Raquel, and Hernandez-Pacini. 2009. Reggaeton. Durham. Duke University Press.
Miller, Ivor Lynn. 1993. Aerosol Kingdom: The Indigenous Culture of the New York Subway. Connecticut: Yale University Thesis. UMI #1349354
Perkins, William Eric (ed.). 1996. Droppin’ Science: Critical Essays on Rap Music and Hip-Hop Culture. Philadelphia: Temple University Press.
Powers, Stephen. 1999. The Art of Getting Over: Graffiti at the Millenium. New York: St. Martin’s Press.
Rivière, Melisa. 2005. “The Dynamics of A Canvass: Graffiti and Aerosol Art.” In Public Art Review, Forecast, St. Paul. MN Fall/winter 05 v. 16, issue 34, n 3
Smidlapp and Phase 2.1996. Style: Writing From the Underground, (R)evolutions of Aerosol Linguistics. Italy: Stampa Alternativa in Association with IGTimes.
Stewart, Jack.1989. Subway Graffiti: An Aesthetic Study of Graffiti on the Subway System of New York City 1970-1978. New York: New York University. Dissertation. UMI #9004328.
Wimsatt, William Upski.. 1994. Bomb the Suburbs. Chicago: The Subway and Elevated Press Co.
Anthropology of Hip-Hop 