Reiland Rabaka

"Du Bois's Dialectics is doubly distinguished from other books on W.E.B. Du Bois because it is the first extended exploration of Du Bois's contributions to new critical theory and the first book-length treatment of his contributions to contemporary black radical politics and the developing discipline of Africana studies. With chapters that undertake ideological critiques of education, religion, the politics of reparations, and the problematics of black radical politics in contemporary culture and society, Du Bois's Dialectic employs Du Bois as its critical theoretical point of departure and demonstrates his (and Africana studies') contributions to, as well as contemporary critical theory's connections to, critical pedagogy, sociology of religion, and reparations theory. Reiland Rabaka offers the first critical theoretical treatment of the W.B.B. Du Bois-Booker T. Washington debate, which lucidly highlights Du Bois's transition from a bourgeois black liberal to a black radical and revolutionary democratic socialist. This book is primarily directed at scholars and advanced undergraduate and graduate students working in and associated with Africana studies, American studies, ethnic studies, and cultural studies."--Jacket.

While there have been a number of studies that have explored African American "movement culture" and African American "movement politics," rarely has the mixture of black music and black politics or, rather, black music an as expression of black movement politics, been explored across several genres of African American "movement music," and certainly not with a central focus on the major soundtracks of the Civil Rights Movement: gospel, freedom songs, rhythm & blues, and rock & roll. Here the mixture of music and politics emerging out of the Civil Rights Movement is critically examined as an incredibly important site and source of spiritual rejuvenation, social organization, political education, and cultural transformation, not simply for the non-violent civil rights soldiers of the 1950s and 1960s, but for organic intellectual-artist-activists deeply committed to continuing the core ideals and ethos of the Civil Rights Movement in the twenty-first century. Civil Rights Music: The Soundtracks of the Civil Rights Movement is primarily preoccupied with that liminal, in-between, and often inexplicable place where black popular music and black popular movements meet and merge. Black popular movements are more than merely social and political affairs. Beyond social organization and political activism, black popular movements provide much-needed spaces for cultural development and artistic experimentation, including the mixing of musical and other aesthetic traditions. "Movement music" experimentation has historically led to musical innovation, and musical innovation in turn has led to new music that has myriad meanings and messages--some social, some political, some cultural, some spiritual and, indeed, some sexual. Just as black popular movements have a multiplicity of meanings, this book argues that the music that emerges out of black popular movements has a multiplicity of meanings as well [Publisher description] Contains primary source material.

The Hip Hop Movement offers a critical theory and alternative history of rap music and hip hop culture by examining their roots in the popular musics and popular cultures of the Civil Rights Movement and Black Power Movement. Connecting classic rhythm & blues and rock & roll to the Civil Rights Movement, and classic soul and funk to the Black Power Movement, The Hip Hop Movement explores what each of these musics and movements contributed to rap, neo-soul, hip hop culture, and the broader Hip Hop Movement. Ultimately, this book's remixes (as opposed to chapters) reveal that black popular music and black popular culture have always been more than merely "popular music" and "popular culture" in the conventional sense and reflect a broader social, political, and cultural movement. With this in mind, sociologist and musicologist Reiland Rabaka critically reinterprets rap and neo-soul as popular expressions of the politics, social visions, and cultural values of a contemporary multi-issue movement: the Hip Hop Movement. Rabaka argues that rap music, hip hop culture, and the Hip Hop Movement are as deserving of critical scholarly inquiry as previous black popular musics, such as the spirituals, blues, ragtime, jazz, rhythm & blues, rock & roll, soul, and funk, and previous black popular movements, such as the Black Women's Club Movement, New Negro Movement, Harlem Renaissance, Civil Rights Movement, Black Power Movement, Black Arts Movement, and Black Women's Liberation Movement. This volume, equal parts alternative history of hip hop and critical theory of hip hop, challenges those scholars, critics, and fans of hip hop who lopsidedly over-focus on commercial rap, pop rap, and gangsta rap while failing to acknowledge that there are more than three dozen genres of rap music and many other socially and politically progressive forms of hip hop culture beyond DJing, MCing, rapping, beat-making, break-dancing, and graffiti-writing [Publisher description]

From the publisher. What did rap music and hip hop culture inherit from the spirituals, classic blues, ragtime, classic jazz, and bebop? What did rap music and hip hop culture inherit from the Black women's club movement, New Negro movement, Harlem Renaissance, Hipster movement, and Black Muslim movement? How did black popular music and black popular culture between 1900 and the 1950s influence white youth culture, especially the Lost Generation and the Beat Generation, in ways that mirror rap music and hip hop culture's influence on contemporary white youth music, culture, and politics? In Hip Hop's Amnesia award-winning author, spoken-word artist, and multi-instrumentalist Reiland Rabaka answers these questions by rescuing and reclaiming the often-overlooked early twentieth century origins and evolution of rap music and hip hop culture.^ Hip Hop{u2019}s Amnesia is a study about aesthetics and politics, music and social movements, as well as the ways in which African Americans' unique history and culture has consistently led them to create musics that have served as the soundtracks for their socio-political aspirations and frustrations, their socio-political organizations and nationally-networked movements. The musics of the major African American social and political movements of the 1950s, 1960s, and 1970s were based and ultimately built on earlier forms of "African American movement music." Therefore, in order to really and truly understand rap music and hip hop culture we must critically examine both classical African American musics and the classical African American movements that these musics served as soundtracks for.^ This book is primarily preoccupied with the ways in which post-enslavement black popular music and black popular culture frequently served as a soundtrack for and reflected the grassroots politics of post-enslavement African American social and political movements. Where many Hip Hop Studies scholars have made clever allusions to the ways that rap music and hip hop culture are connected to and seem to innovatively evolve earlier forms of black popular music and black popular culture, Hip Hop's Amnesia moves beyond anecdotes and witty allusions and earnestly endeavors a full-fledged critical examination and archive-informed re-evaluation of "hip hop's inheritance" from the major African American musics and movements of the first half of the twentieth century: classic blues, ragtime, classic jazz, swing, bebop, the Black women's club movement, the New Negro movement, the Harlem Renaissance, the Bebop movement, the Hipster movement, and the Black Muslim movement.

Housed in one volume for the first time are several of the seminal essays on Du Bois's contributions to sociology and critical social theory: from DuBois as inventor of the sociology of race to Du Bois as the first sociologist of American religion; from Du Bois as a pioneer of urban and rural sociology to Du Bois as innovator of the sociology of gender and culture; and finally from Du Bois as groundbreaking sociologist of education and cultural criminologist to Du Bois as critic of the disciplinary decadence of the discipline of sociology. Unlike any other anthology or critical reader on Du Bois, this new volume offers an excellent overview of the critical commentary on arguably one of the most imaginative and innovative, perceptive and prolific founders of the discipline of sociology.