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  • 1
    UID:
    gbv_63665432X
    Format: XII, 410 S , Ill., ports , 24 cm
    ISBN: 9780822349402 , 9780822349594
    Series Statement: Refiguring American music
    Note: Includes bibliographical references ( p. [383]-399) and index
    Additional Edition: Erscheint auch als Online-Ausgabe Baker, Geoffrey, 1970 - Buena Vista in the club Durham : Duke University Press, 2011 ISBN 9780822393931
    Additional Edition: ISBN 082239393X
    Language: English
    Subjects: Musicology
    RVK:
    RVK:
    Keywords: Kuba ; Hip-Hop ; Rap
    URL: Cover
    Library Location Call Number Volume/Issue/Year Availability
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  • 2
    UID:
    gbv_1655478338
    Format: 1 online resource (xii, 410 p.)
    ISBN: 9780822393931 , 082239393X
    Series Statement: Refiguring American music
    Content: Hip hop, revolución! : nationalizing rap in Cuba -- The revolution of the body : reggaetón and the politics of dancing -- The Havana you don't know : urban music and the late socialist city -- Cuban hip hop all stars: transnationalism and the politics of representation -- Conclusion: the rise and fall of Havana hip hop.
    Note: Description based on print version record. - Includes bibliographical references and index
    Additional Edition: ISBN 9780822349402
    Additional Edition: Erscheint auch als Druck-Ausgabe Baker, Geoffrey, 1970 - Buena Vista in the club Durham, 2011 ISBN 9780822349402
    Additional Edition: ISBN 9780822349594
    Language: English
    Subjects: Musicology
    RVK:
    RVK:
    Keywords: Kuba ; Hip-Hop ; Rap ; Electronic books
    Library Location Call Number Volume/Issue/Year Availability
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  • 3
    UID:
    almafu_9959673943002883
    Format: 1 online resource (424 p.) : , 25 photographs
    ISBN: 9780822393931
    Series Statement: Refiguring American Music
    Content: In Buena Vista in the Club, Geoffrey Baker traces the trajectory of the Havana hip hop scene from the late 1980s to the present and analyzes its partial eclipse by reggaetón. While Cuban officials initially rejected rap as “the music of the enemy,” leading figures in the hip hop scene soon convinced certain cultural institutions to accept and then promote rap as part of Cuba’s national culture. Culminating in the creation of the state-run Cuban Rap Agency, this process of “nationalization” drew on the shared ideological roots of hip hop and the Cuban nation and the historical connections between Cubans and African Americans. At the same time, young Havana rappers used hip hop, the music of urban inequality par excellence, to critique the rapid changes occurring in Havana since the early 1990s, when the Soviet Union fell, its subsidy of Cuba ceased, and a tourism-based economy emerged. Baker considers the explosion of reggaetón in the early 2000s as a reflection of the “new materialism” that accompanied the influx of foreign consumer goods and cultural priorities into “sociocapitalist” Havana. Exploring the transnational dimensions of Cuba’s urban music, he examines how foreigners supported and documented Havana’s growing hip hop scene starting in the late 1990s and represented it in print and on film and CD. He argues that the discursive framing of Cuban rap played a crucial part in its success.
    Note: Frontmatter -- , CONTENTS -- , ACKNOWLEDGMENTS -- , INTRODUCTION -- , 1 ¡Hip Hop, Revolución! Nationalizing Rap in Cuba -- , 2 The Revolution of the Body Reggaetón and the Politics of Dancing -- , 3 The Havana You Don’t Know Urban Music and the Late Socialist City -- , 4 Cuban Hip Hop All Stars Transnationalism and the Politics of Representation -- , Conclusion The Rise and Fall of Havana Hip Hop -- , Notes -- , Bibliography -- , Index , In English.
    Language: English
    Library Location Call Number Volume/Issue/Year Availability
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