You know, the grittiness, the survival narratives, the joy when I’m on the dance floor. Richardson: In the early days, hip-hop was funky, somewhat Black Power-ish, as it came from Black Power and funk music. Hobson : How would you describe hip-hop during its infancy versus how it is now that it is turning 50? I try to leave a broad definition because it’s just another way of being in the world. Richardson: The ways that people practice and live hip-hop, all the ways that they make meaning and advance their culture. Hobson : How do you define hip-hop literacies? I’m teaching them critical analysis, but they are giving me critical lenses, too, with their preferences and situatedness in the music they listen to and the culture they participate in. That’s how I learned what the younger hip-hop generations are interested in. I love teaching, and I teach a class called Hip-Hop Literacies. Janell Hobson : What is your relationship to hip-hop?Įlaine Richardson: I’m from the first hip-hop generation, probably the generation before that generation… the people who are Gen X, millennials… But I count all generations because we have varying levels of how we see ourselves in hip-hop. (Courtesy)Įlaine Richardson: ‘Our History Is Really American History. contributing editor Janell Hobson to discuss the upcoming 50th anniversary of hip-hop.īlack feminist scholars Elaine Richardson (left) and Kyra Gaunt. She is currently writing a book on the impact of YouTube and music technologies on the sexualization of young Black girls.
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