AbstractThis article excavates the ethos surrounding hip hop, starting from the proposition that hip hop represents a distinct yet pervasive expression of contemporary black subjectivity, which crystalized in 1970s New York City and has since proliferated into a potent ethos of the subaltern embraced within socially marginalized youth communities throughout the world. The article begins by outlining the black diasporic traditions of expressive performance that hip hop issues from, as discussed through the work of Zora Neale Hurston and Amiri Baraka. In the remainder of the article, a blueprint of hip hop’s ethos is presented based on five fundamental tenets: (1) properties of flow, layering, and rupture; (2) a principle of productive consumption; (3) the production of excessive publicity or promotion—what hip-hop affiliates refer to as “hype”; (4) embracing individual and communal entrepreneurship; and (5) a committed politics of action and loyalty. While acknowledging hip hop’s malleability and refusal to be neatly characterized, the article maintains that its characteristic spirit embodies these core doctrines. View Full-Text
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Harrison, A.K.; Arthur, C.E. Hip-Hop Ethos. Humanities 2019, 8, 39.
Harrison AK, Arthur CE. Hip-Hop Ethos. Humanities. 2019; 8(1):39.Chicago/Turabian Style
Harrison, Anthony K.; Arthur, Craig E. 2019. "Hip-Hop Ethos." Humanities 8, no. 1: 39.
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