By Matt Miller
The tale of a particular type of hip-hop that all started in a single American urban and went overseas.
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Additional info for Bounce: Rap Music and Local Identity in New Orleans
If these elements added some sense of stability, or at least inevitability, to the processes at work in the local rap music scene, other factors—including technologically enabled suburbanization, the concentration of black poverty in the city, and a declining industrial base—had the opposite effect. While the local economy, civic institutions, and spatial organization of the city’s population had undergone radical shifts in the second half of the twentieth century, one thing had not changed: black New Orleanians were at the bottom of the heap, even as the cultural forms that originated in poor and working-class black neighborhoods were increasingly celebrated and globally disseminated.
24 Sectional tensions and the ever-present fear of slave rebellion contributed to a worsening racial situation in the city as the Civil War loomed on the horizon. 25 Rebel naval forces failed to adequately defend New Orleans, however, and in the ﬁrst year of the war the city surrendered peacefully to the federal ﬂeet under the command of Admiral David Farragut, remaining occupied by federal forces under Major General Benjamin Butler until 1865. After the war, whites used every means at their disposal to resist changes in the racial order.
Bounce is one of the channels through which community is forged “on the ground” in New Orleans, a site for the imagination of collective identity that is more real and complex than (and yet in dialogue with) mass-marketed music and the forms of identiﬁcation that comes with it. An awareness of the potential role that rap music and culture can play in the reconstruction of damaged communities in New Orleans requires an understanding of the ways in which these forces operated in the city pre-Katrina and their intersection with other vernacular cultural forms.
Bounce: Rap Music and Local Identity in New Orleans by Matt Miller