Buena Vista in the Club: Rap, Reggaetón, and Revolution in Havana
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...
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| Main Author: | |
|---|---|
| Other Authors: | , |
| Format: | Electronic eBook |
| Language: | English |
| Published: |
Durham
Duke University Press
[2011]
|
| Series: | Refiguring American Music
|
| Subjects: | |
| Online Access: | DE-1043 DE-1046 DE-859 DE-860 DE-473 DE-703 DE-739 DE-858 Volltext |
| Summary: | 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 |
| Item Description: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 28. Okt 2020) |
| Physical Description: | 1 online resource (424 pages) 25 photographs |
| ISBN: | 9780822393931 |
| DOI: | 10.1515/9780822393931 |
Staff View
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Record in the Search Index
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| id | DE-604.BV047049171 |
| illustrated | Illustrated |
| index_date | 2024-07-03T16:07:31Z |
| indexdate | 2025-02-19T17:29:41Z |
| institution | BVB |
| isbn | 9780822393931 |
| language | English |
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| series2 | Refiguring American Music |
| spelling | Baker, Geoffrey Verfasser aut Buena Vista in the Club Rap, Reggaetón, and Revolution in Havana Geoffrey Baker; Josh Kun, Ronald Radano Durham Duke University Press [2011] © 2011 1 online resource (424 pages) 25 photographs txt rdacontent c rdamedia cr rdacarrier Refiguring American Music Description based on online resource; title from PDF title page (publisher's Web site, viewed 28. Okt 2020) 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 In English MUSIC / Genres & Styles / Latin bisacsh Music Political aspects Cuba Rap (Music) Cuba Havana Reggaetón Cuba Havana Kun, Josh edt Radano, Ronald edt https://doi.org/10.1515/9780822393931 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Baker, Geoffrey Buena Vista in the Club Rap, Reggaetón, and Revolution in Havana MUSIC / Genres & Styles / Latin bisacsh Music Political aspects Cuba Rap (Music) Cuba Havana Reggaetón Cuba Havana |
| title | Buena Vista in the Club Rap, Reggaetón, and Revolution in Havana |
| title_auth | Buena Vista in the Club Rap, Reggaetón, and Revolution in Havana |
| title_exact_search | Buena Vista in the Club Rap, Reggaetón, and Revolution in Havana |
| title_exact_search_txtP | Buena Vista in the Club Rap, Reggaetón, and Revolution in Havana |
| title_full | Buena Vista in the Club Rap, Reggaetón, and Revolution in Havana Geoffrey Baker; Josh Kun, Ronald Radano |
| title_fullStr | Buena Vista in the Club Rap, Reggaetón, and Revolution in Havana Geoffrey Baker; Josh Kun, Ronald Radano |
| title_full_unstemmed | Buena Vista in the Club Rap, Reggaetón, and Revolution in Havana Geoffrey Baker; Josh Kun, Ronald Radano |
| title_short | Buena Vista in the Club |
| title_sort | buena vista in the club rap reggaeton and revolution in havana |
| title_sub | Rap, Reggaetón, and Revolution in Havana |
| topic | MUSIC / Genres & Styles / Latin bisacsh Music Political aspects Cuba Rap (Music) Cuba Havana Reggaetón Cuba Havana |
| topic_facet | MUSIC / Genres & Styles / Latin Music Political aspects Cuba Rap (Music) Cuba Havana Reggaetón Cuba Havana |
| url | https://doi.org/10.1515/9780822393931 |
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