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List Price: $79.95 | | Publisher: Africa World Press
Salesrank: 5810958
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| Our Price: $79.95 |
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| Media: Hardcover |
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Editorial Review:
This book examines the political philosophy of Hip Hop culture, which the author asserts, has its roots in the religious and political worldviews of Black Theology and African -American variants of Islam. This political philosophy is considered as clearly visible within Hip Hop. However, its historical source, influence on the music and artists, and contemporary impact are rarely examined. Hence, a concurrent focus of the author is to examine the void between content and exposure. The void is a symptom of the historical argument debating the functional utility of art. In its contemporary form, this historical argument is clearly reflected in the data gathered on Black radio’s negative impact and its inability to spread Hip Hop’s formidable political ideology.
This book demonstrates that Black media, specifically radio, often presents elements of Hip Hop deemed nihilistic and materialistic and void of a progressive worldview. Subsequently, Hip Hop culture’s political philosophy is scarcely and infrequently broadcast to a wide audience. A specific case study of Atlanta’s radio stations concurrent with a general study of Black radio nationally supports these findings. The data reveals that Black radio in Atlanta as well as the nation is subversive to the politicized ideals of Hip Hop Culture. This is especially true of commercial Black Radio. Competition for market shares, control formats, ambivalence toward politicized music and artists, and the blatant commodification of opprobrious aspects of HC, incapacitates and distorts HC’s political value.
In addition, this book explores a subculture commonly termed "the underground" to determine whether it is a source of Hip Hop culture’s political philosophy. A survey of college students at four of the nations Black colleges was conducted. These include Spelman College, Morehouse College, Morris Brown College, and Clark Atlanta University. The data determined the political ideas of participants and whether they adhered to, or disregarded its political philosophy. Lastly, the model of a political system was applied to Hip Hop to access the nature of the interactions between both.
In summary, this book is an empirical examination of Hip Hop’s political philosophy, the artists who produced such materials, the institutions who control access and exposure to such materials, and participants’ ability to distinguish between political and non-political material. It is an answer to all the untested claims that Hip Hop culture is a political institution equipped with a political philosophy.
A Rhyme Is a Terrible Thing to Waste: Hip Hop Culture and the Creation of a Political Culture Reviews:
A Deeper View of Hip-Hop 
2009-07-07 - This book not only provided the historical background of hip-hop, but it also discusses its impact on black society. It showed how hip-hop turned into a powerful vehicle that no one ever thought would last. Kudos to Dr. Usher.
Excellent Evaluation 
2009-07-06 - Dr. Usher has filled a void in contemporary critiques of the radicality of youth cultural production. It is quite obvious that particular streams of Hip-Hop engage in gratuitous violence and sexual exploitation of "Black" women. But Dr. Usher has re-focused our attention to the luminous and salient features of the deep political and religious groundings of lyrical activism by urban black youths. To be sure, we may now have grist for our critical reflections thanks in no small part to Dr. Usher's insights.
Waste Not
2009-05-26 - Growing up in NYC during the emergence of Hip Hop Culture, Dr. Usher shares his firsthand knowledge of the Hip Hop movement from the history of its inception, through exploring the ideologies and philosophies of Hip Hop, to its evolution as an economical force to be reckoned with.
This is a must read for all Hip Hop enthusiasts to educate themselves on the political and theological philosophies that have molded and shaped Hip Hop Culture as we know it today. This book will definitely ignite discussion and is brilliant and thought-provoking at best.
Excellent reading for an array of scholars
2007-05-12 - As an instructor of undergradaute Religion courses, I found Professor Usher's work insightful. His research and findings have proven useful in promoting dialogue in the classroom. The Introduction of his book sets up the framework for an intelligent discussion and it poses the question: Is Hip Hop a viable political instrument that can be used to influence the political behavior of its adherents in some desired direction. We may all have an answer; but few of us have a disciplined approach to analyze the question.
The author's approach takes him into a discussion on the elements of the theology of Black Nationalism (e.g., Nation of Islam and its several offshoots), which have informed the Hip Hop Culture. His discussion is compelling. The same can be said for his discussions on what he calls "didactic nihilism." Beside their compelling nature, these discussions are also informative for those too young to have seen the birth and development of Hip Hop Culture.
Usher also boldly delves into the tensions between Christian values and Hip Hop Culture on the one hand, and Christian Hip Hop on the other hand; Christian Hip Hop, of course, is a vehicle to attract youth back to church. He even questions whether Christian Hip Hop is more commercial than it is an effort to invite such youth and he re-invigorates Essence's concern with the misogynistic themes that bleed into (at least allusively) in Christian Hip Hop. Of course, these discussions about this relationship between Black Theology and Hip Hop Culture only further his compelling argument separating the relationship between politics, and he breaks down analysis of the mechanisms for dissemination of politicized Hip Hop. This analysis provides thought provoking ideas for the political consultant who wants to employ it to spread his message. This said, Usher presents strong empirical data supporting his conclusion that while many young Black recognize Hip Hop has a political message, they do not listen for it and seem unaware of the political messages in Hip Hop.
In the end, I think the book is a bold starting point for the question of whether Hip Hop and its relationship with Black Theology is a viable political instrument that can be used to influence political behavior of its adherents in some desired direction. It is recommended reading for many, including instructors of modern religions and political advisors for candidates and political leaders with large populations of Hip Hop adherents.
