Via memory, material objects, music, people and place, Hip Hop In The Sticks picks up where Scratching the Surface left off. Through the eyes of an adolescent rural hip hop head, questions of identity, heritage and one’s own location in the world emerge through rich lived experience. Often idiosyncratic, humorously dry, and underpinned by comprehensive and informative endnotes, Hip Hop In The Sticks presents a deep non-fiction contextual narrative, intersecting family secrets, a different sense of community and kinship, embryonic hip hop and graffiti practice. Hip Hop In The Sticks makes visible a different account of life in late 1980s rural Britain and an alternative version of hip hop history.

Anthropology seeks to understand the roots of our common humanity, the diversity of cultures and world-views, and the organisation of social relations and practices. As a method of inquiry it embraces an enormous range of topics, and as a discipline it covers a multitude of fields and themes, as shown in this selection of original writings. As an accessible entry point, for upper-level students and first year undergraduates new to the study of anthropology, this reader also offers guidance for teachers in exploring the subject’s riches with their students. That anthropology is an immensely expansive inquiry of study is demonstrated by the diversity of its topics – from nature conservation campaigns to witchcraft beliefs, from human evolution to fashion and style, and from the repatriation of indigenous human remains to research on literacy. There is no single ‘story of anthropology’. Taken together, these fundamental readings are evidence of a contemporary, vibrant subject that has much to tell us about all the worlds in which we live.

Presents an interdisciplinary counter-narrative to that of hip hop as a strictly urban phenomenon; providing an insight into the relocation of hip hop culture from its inception in New York ghettos to its practices in provincial and rural Britain.

Music Outside the Lines is an informative and practical resource for all who are invested in making music composition an integral part of curriculum. Author Maud Hickey offers both a well-grounded justification for teaching music composition and also a compendium of useful instructional ideas and classroom activities. Hickey begins with a rationale for teachers to begin composition activities in their own classrooms, with a thoughtful argument that demonstrates that all music teachers possess the skills and training needed to take children along the path toward composing satisfying musical compositions even if they themselves have never taken formal composition lessons. She also addresses some of the stickier issues that affect teaching music composition in schools such as assessment, notation, and technology. Most importantly, she introduces a curricular model for teaching composition, a model which provides an array of composition activities to try in both the music classrooms and studio. These activities encourage musical and creative growth through music composition; while they are organized in logical units corresponding to well-known teaching modules, they also offer jumping off points for music teachers to exercise their own creative thinking and create music composition activities that are customized to their classes and needs. As a whole, Music Outside the Lines both successfully reasons that music composition should be at the core of school music curriculum and also provides inservice and preservice educators with an essential resource and compendium of practical tips and plans for fulfilling this goal.

Spanning 25 years of serious writing on hip-hop by noted scholars and mainstream journalists, this comprehensive anthology includes observations and critiques on groundbreaking hip-hop recordings.

In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.

"Richard Schur offers a provocative view of contemporary African American cultural politics and the relationship between African American cultural production and intellectual property law." ---Mark Anthony Neal, Duke University "Whites used to own blacks. Now, they accomplish much the same thing by insisting that they 'own' ownership. Blacks shouldn't let them. A culture that makes all artists play by its rules will end up controlling new ideas and stifling change. Richard Schur's fine book explains why." ---Richard Delgado, Seattle University What is the relationship between hip-hop and African American culture in the post--Civil Rights era? Does hip-hop share a criticism of American culture or stand as an isolated and unique phenomenon? How have African American texts responded to the increasing role intellectual property law plays in regulating images, sounds, words, and logos? Parodies of Ownership examines how contemporary African American writers, artists, and musicians have developed an artistic form that Schur terms "hip-hop aesthetics." This book offers an in-depth examination of a wide range of contemporary African American painters and writers, including Anna Deavere Smith, Toni Morrison, Adrian Piper, Colson Whitehead, Michael Ray Charles, Alice Randall, and Fred Wilson. Their absence from conversations about African American culture has caused a misunderstanding about the nature of contemporary cultural issues and resulted in neglect of their innovative responses to the post--Civil Rights era. By considering their work as a cross-disciplinary and specifically African American cultural movement, Schur shows how a new paradigm for artistic creation has developed. Parodies of Ownership offers a broad analysis of post--Civil Rights era culture and provides the necessary context for understanding contemporary debates within American studies, African American studies, intellectual property law, African American literature, art history, and hip-hop studies. Weaving together law, literature, art, and music, Schur deftly clarifies the conceptual issues that unify contemporary African American culture, empowering this generation of artists, writers, and musicians to criticize how racism continues to affect our country. Richard L. Schur is Director, Interdisciplinary Studies Center, and Associate Professor of Interdisciplinary Studies at Drury University. Visit the author's website: http://www2.drury.edu/rschur/index.htm. Cover illustration: Atlas, by Fred Wilson. © Fred Wilson, courtesy Pace Wildenstein, New York.