Island Paradise, Revolutionary Utopia or Hustler's Haven? Consumerism and Socialism in Contemporary Cuban Rap

Fernandes, Sujatha

doi:10.1080/13569320310001629513

Cited by 16 publications

(8 citation statements)

References 1 publication

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“…Concurrently, we should stress that not all Cubanos are enthralled by consumerism and materialism. For example, subsets of influential rap music groups voice open hostility to consumerism and market-based ideologies [61]. While people may want to purchase more consumer items and have more discretionary income to spend on entertainment, most do not want to unravel the country's intricate social foundation system.…”

Section: Containing Discontentmentioning

confidence: 99%

International tourism in Cuba: Can capitalism be used to save socialism?

Taylor¹,

McGlynn²

2009

Futures

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Section: Containing Discontentmentioning

confidence: 99%

International tourism in Cuba: Can capitalism be used to save socialism?

Taylor¹,

McGlynn²

2009

Futures

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“…A translocal perspective demonstrates that hip-hop spreads through different points of entry. It helps us come to terms with the facts that Cuban rappers pursue their careers in France (Fernandes, 2003) and that Turkish rap "started not in Turkey, but in Germany, practised by members of the Turkish 'guestworker' [Gastarbeiter] community especially in, but not limited to, the cities of Berlin and Frankfurt" (Solomon, 2005, p. 3). It encourages us to see how the processes of cultural production that Condry (2006) describes in the context of the Japanese genba-the actual place of cultural production-may be more similar to those taking place in the French banlieue than in the American ghetto (and vice versa).…”

Section: Rap As An (African) American Genrementioning

confidence: 99%

Imagining the Global Transnational Media and Popular Culture Beyond East and West

2014

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This book explores these questions through an examination of the transnational forces at work in the relationship between three sites (listed in alphabetical order throughout the book): France, Japan, and the United States. These sites were chosen in response to global media scholars Marwan Kraidy and Patrick Murphy's call for a "multisited, translocal approach" to global communication studies "working comparatively between and within various locals" (2008, pp. 346, 351, emphasis in orginal; see also Shohat, 2002, p. 78). A number of other scholars have pointed to the need to move beyond the recognition that "globalization means radically different things to different people in different places" (Sorge, 2005, p. 8) to explore what we can learn from these differences. A translocal approach focuses on the concrete conditions under which various local/national environments relate to each other in a globalized world.While working comparatively, a translocal perspective moves beyond a traditional comparative approach by putting the emphasis on the multifaceted relations, connections, and dynamics between the sites rather than on each site individually. It focuses, as media scholar Terhi Rantanen puts it, "on places rather than place" (2005, p. 12, emphasis in original). It draws from the works of scholars, particularly within the British Cultural Studies tradition, who have proposed to trace the trajectories of modern cultural practice through a

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“…The Cuban hip-hop community's simultaneous involvement with state institutions, progressive U.S. hip-hop organizations, global media representatives, and transnational record labels, all of whose agendas are quite different, produced noteworthy results (Fernandes 2003). For instance, consider the following song, "They Call Her Whore," produced by the state-sponsored group Obsesión.…”

Section: Hip-hop As a Mirror Of The Local Environmentmentioning

confidence: 99%

Aquí en el Ghetto: Hip-hop in Colombia, Cuba, and Mexico

Tickner¹

2008

Lat. Am. polit. soc.

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Hip-hop music has become an important tool worldwide for poor, marginalized youth to reflect on their lived experiences. This article traces the genre's production from its spontaneous origins in the urban ghettos of New York to its commoditization for global consumption and its evolution in three different Latin American settings: Colombia, Cuba, and Mexico. The article explores how hiphop has been appropriated in each country and has been used to express the performers' reflections on social, political, and economic problems. It also looks at the interplay between the homogenizing tendencies of global hip-hop and its local reception.

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Island Paradise, Revolutionary Utopia or Hustler's Haven? Consumerism and Socialism in Contemporary Cuban Rap

Cited by 16 publications

References 1 publication

International tourism in Cuba: Can capitalism be used to save socialism?

International tourism in Cuba: Can capitalism be used to save socialism?

Imagining the Global Transnational Media and Popular Culture Beyond East and West

Aquí en el Ghetto: Hip-hop in Colombia, Cuba, and Mexico

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