The Journal of Hip Hop Studies
The Journal for Hip Hop Studies began as an idea by Daniel White Hodge in 2012 to provide (free of charge) scholarly work in the area of hip hop studies. After developing a partnership with Save the Kids, a grassroots organization devoted to eliminating the school-to-prison pipeline, Dr. White Hodge and the JHHS editorial team began accepting submissions. JHHS is co-sponsored by Center for Youth Ministry Studies at North Park University. Please enjoy the first issue:
Volume 1, Issue 1
Read Volume 1, Issue 1 (2014)
The Hip in Hip Hop: Toward a Discipline of Hip Hop Studies
Monica Miller, Daniel White Hodge, Jeffery Coleman, and Cassandra D. Chaney
For nearly four decades now, Hip Hop culture, something that was expected to only last a few years as a “fad,” has developed into a trans-global phenomenon in almost every industrialized nation in the Western world. By securing its position through the five cultural modes of rap music (oral), turntablism or "DJing" (aural), breaking (physical), graffiti art (visual) and knowledge (mental), Hip Hop has become an astute public teacher to those who cared to listen to its weighty messages and learn from its many lessons. That is, Hip Hop necessitates anything but ‘easy’ listening and passive consumption. Moreover, its messages of resistance, social awareness, personal consciousness, activism, pleasure and power, and community engagement have transcended its early days of locality in the Bronx and West Coast cities against the turmoil of post-industrialism. In 2013, Hip Hop remains a sustained voice for many and a space and place to express oneself in a manner that is both contextualized and legitimate. Furthermore, Hip Hop culture has seemingly transcended its initial “fad” trope and developed into more than just a musical genre; it is a voice; it is an identity; it is a movement; it is a force; it is a community of people seeking justice and higher learning; it is an environment for those seeking spiritual solace and cathartic release; it is performance art; it is, as KRS-One has argued, a place where both marginal and mainstream voices can be heard and flourish. Click here to read more.