677
Views
3
CrossRef citations to date
0
Altmetric
Articles

Defining Authenticity in the Mid-2000s Australian Hip-Hop Scene: Constructing and Maintaining ‘Underground’ Status at a Time of Increasing Popularity

References

  • Appert, C. M. 2016. “Locating Hip Hop Origins: Popular Music and Tradition in Senegal.” Africa 86 (2): 237–262. doi: 10.1017/S0001972016000036
  • Arthur, D. 2006. “Authenticity and Consumption in the Australian Hip Hop Culture.” Qualitative Market Research: An International Journal 9 (2): 140–156. doi: 10.1108/13522750610658784
  • Arthur, D. 2010. “The Symbolic Consumption of Subcultures: An Ethnographic Study of the Australian Hip Hop Culture.” PhD diss., The University of Adelaide.
  • Baker, G. 2012. “Mala bizta sochal klu: Underground, Alternative and Commercial in Havana Hip Hop.” Popular Music 31 (1): 1–24. doi: 10.1017/S0261143011000432
  • Baker, S. 2013. “Teenybop and the Extraordinary Particularities of Mainstream Practice.” In Redefining Mainstream Popular Music, edited by S. Baker, A. Bennett, and J. Taylor, 14–24. New York: Routledge.
  • Basu, D. 1998. “What is Real About ‘Keeping It Real'?” Postcolonial Studies 1 (3): 371–387. doi: 10.1080/13688799890039
  • Becut, A. G. 2019. “Between Popular and Underground Culture: An Analysis of Bucharest Urban Culture.” In DIY Cultures and Underground Music Scenes, edited by Andy Bennett, and Paula Guerra, 40–51. New York: Routledge.
  • Bell, E. R. 2017. “‘This Isn't Underground; This is Highlands’: Mayan-Language Hip Hop, Cultural Resilience, and Youth Education in Guatemala.” Journal of Folklore Research 54 (3): 167–197. doi: 10.2979/jfolkrese.54.3.02
  • Bennett, A. 2000. Popular Music and Youth Culture: Music, Identity and Place. London: Macmillan Press.
  • Bennett, A., and P. Guerra. 2019. DIY Cultures and Underground Music Scenes. New York: Routledge.
  • Bennett, A., and R. A. Peterson. 2004. Music Scenes: Local, Translocal, and Virtual. Nashville: Vanderbilt University Press.
  • Bourdieu, P. 1984. Distinction: A Social Critique of the Judgement of Taste. Translated by Richard Nice. Cambridge: Routledge and Kegan Paul.
  • Colman, Timothy. 2005. “The Great Hip Hopes.” Sydney Morning Herald. April 8. https://www.smh.com.au/entertainment/music/the-great-hip-hopes-20050408-gdl33w.html.
  • Condry, I. 2006. Hip-Hop Japan: Rap and the Paths of Cultural Globalization. London: Duke University Press.
  • Cox, J. 2016. “‘It’s Like DNA You Know?’: Analysing Genealogies of Listening in Australian Hip Hop”. PhD diss., Macquarie University.
  • d’Souza, M., and K. Iveson. 1999. “Homies and Homebrewz: Hip Hop in Sydney.” In Australian Youth Subcultures: On the Margins and in the Mainstream, edited by R. White, 55–64. Hobart: Australian Clearinghouse for Youth Studies.
  • Downing, D. 2006. “The Concise History of Hip Hop in Adelaide: Part Two: The Nineties.” Twenty4Seven 41: 10–11.
  • Duck, Steve. 2005. Editorial. Out4Fame, Edition 33.
  • Elafros, A. 2013. “Greek Hip Hop: Local and Translocal Authentication in the Restricted Field of Production.” Poetics 41 (1): 75–95. doi: 10.1016/j.poetic.2012.11.002
  • Fernandes, S. 2003. “Fear of a Black Nation: Local Rappers Transnational Crossings and State Power in Contemporary Cuba.” Anthropological Quarterly 76 (4): 575–608. doi: 10.1353/anq.2003.0054
  • Forman, M. 2013. “Kill the Static: Temporality and Change in the Hip-Hop Mainstream (and Its ‘Other’).” In Redefining Mainstream Popular Music, edited by S. Baker, A. Bennett, and J. Taylor, 61–74. New York: Routledge.
  • Graham, S. 2016. Sounds of the Underground: A Cultural, Political, and Aesthetic Mapping of Underground and Fringe Music. Ann Arbour: University of Michigan Press.
  • Harrison, A. K. 2008. “Racial Authenticity in Rap Music and Hip Hop.” Sociology Compass 2 (6): 1783–1800. doi: 10.1111/j.1751-9020.2008.00171.x
  • Harrison, A. K. 2009. Hip Hop Underground: The Integrity and Ethics of Racial Identification. Philadelphia: Temple University Press.
  • Harrison, A. K., and C. E. Arthur. 2019. “Hip-Hop Ethos.” Humanities 8 (10): 1–14.
  • Hesmondhalgh, D. 1999. “Indie: The Institutional Politics and Aesthetics of a Popular Music Genre.” Cultural Studies 13 (1): 34–61. doi: 10.1080/095023899335365
  • Hess, M. 2005. “Metal Faces, Rap Masks: Identity and Resistance in Hip Hop's Persona Artist.” Popular Music and Society 28 (3): 297–311. doi: 10.1080/03007760500105149
  • Hibbett, R. 2005. “What is Indie Rock?” Popular Music and Society 28 (1): 55–77. doi: 10.1080/0300776042000300972
  • Hodkinson, P. 2002. Goth: Identity, Style and Subculture. Oxford: Berg.
  • Huber, A. 2013. “Mainstream as Metaphor: Imagining Dominant Culture.” In Redefining Mainstream Popular Music, edited by S. Baker, A. Bennett, and J. Taylor, 3–13. New York: Routledge.
  • Iveson, K. 1997. “Partying, Politics and Getting Paid: Hip Hop and National Identity in Australia.” Overland 147: 39–44.
  • Kahn-Harris, K. 2004. “Unspectacular Subculture? Transgression and Mundanity in the Global Extreme Metal Scene.” In After Subculture: Critical Studies in Contemporary Youth Culture, edited by A. Bennett, and K. Kahn-Harris, 107–118. New York: Palgrave Macmillan.
  • Kaitajärvi-Tiekso, J. 2019. “Proud Amateurs: Deterritorialized Expertise in Contemporary Finnish DIY Micro-Labels.” In DIY Cultures and Underground Music Scenes, edited by Andy Bennett, and Paula Guerra, 100–111. New York: Routledge.
  • Maxwell, I. 2003. Phat Beats, Dope Rhymes: Hip Hop Down Under Comin’ Upper. Middletown: Wesleyan University Press.
  • Maxwell, I. 2005. “When Worlds Collide: A Subculture Writes Back.” Perfect Beat 7 (2): 3–19.
  • McLeod, K. 1999. “Authenticity Within Hip-hop and Other Cultures Threatened with Assimilation.” Journal of Communication 49 (4): 134–150. doi: 10.1111/j.1460-2466.1999.tb02821.x
  • Minestrelli, C. 2016. Australian Indigenous Hip Hop: The Politics of Culture, Identity, and Spirituality. New York: Routledge.
  • Mitchell, T. 2001. Global Noise: Rap and Hip-hop Outside the USA. Middletown: Wesleyan University Press.
  • Mitchell, T. 2003. “Australian Hip Hop as a Subculture.” Youth Studies Australia 22 (2): 40–47.
  • Mitchell, T. 2008. “Australian Hip Hop’s Multicultural Literacies: A Subculture Emerges into the Light.” In Sounds of Then, Sounds of Now / Popular Music in Australia, edited by Shane Homan, and Tony Mitchell, 231–252. Tasmania: ACYS Publishing.
  • Muggleton, D. 2000/2002. Inside Subculture: The Postmodern Meaning of Style. Oxford: Berg.
  • Pardue, D. 2008. Ideologies of Marginality in Brazilian Hip Hop. New York: Palgrave Macmillan.
  • Peck, R. R. 2018. “Love, Struggle, and Compromises: The Political Seriousness of Nairobi Underground Hip Hop.” African Studies Review 61 (2): 111–133. doi: 10.1017/asr.2017.143
  • Pennycook, A., and T. Mitchell. 2009. “Hip Hop as Dusty Foot Philosophy: Engaging Locality.” In Global Linguistic Flows: Hip Hop Cultures, Youth Identities and the Politics of Language, edited by H. Samy Alim, Awad Ibrahim, and Alastair Pennycook, 25–42. New York: Routledge.
  • Rodger, D. 2011. “Living Hip Hop: Defining Authenticity in the Adelaide and Melbourne Hip Hop Scenes.” PhD diss., The University of Adelaide.
  • Rodger, D. 2019. “Forging Traditions: Continuity and Change in the Mid 2000s Australian Hip-Hop Scene.” Ethnomusicology Forum. doi:10.1080/17411912.2019.1691929.
  • Rose, T. 1994. Black Noise: Rap Music and Black Culture in Contemporary America. Middletown, CT: Wesleyan University Press.
  • Rowe, D. 1995. Popular Cultures: Rock Music, Sport and the Politics of Pleasure. London: Sage.
  • Sams, Christine. 2006. “Hip Hop Crew Stays True Blue.” Sydney Morning Herald. March 12. https://www.smh.com.au/entertainment/hip-hop-crew-stays-true-blue-20060312-gdn4ui.html.
  • Sharma, N. T. 2013. “Marketing MCs: South Asian American Rappers Negotiate Image, Audience, Artistic Control, and Capital.” Popular Music and Society 36 (5): 637–658. doi: 10.1080/03007766.2012.718507
  • Solomon, T. 2005. “‘Living Underground is Tough’: Authenticity and Locality in the Hip-hop Community in Istanbul, Turkey.” Popular Music 24 (1): 1–20. doi: 10.1017/S0261143004000273
  • Speers, L. 2017. Hip-hop Authenticity and the London Scene: Living Out Authenticity in Popular Music. New York: Routledge. Kindle for PC.
  • Stavrias, G. 2005. “Droppin' Conscious Beats and Flows: Aboriginal Hip Hop and Youth Identity.” Australian Aboriginal Studies 2 (1): 44–54.
  • Taylor, J. 2013. “Lesbian Musicalities, Queer Strains and Celesbian Pop: The Poetics and Polemics of Women-Loving Music in Mainstream Popular Music.” In Redefining Mainstream Popular Music, edited by S. Baker, A. Bennett, and J. Taylor, 39–49. New York: Routledge.
  • Taylor, J., S. Baker, and A. Bennett. 2013. “Preface.” In Redefining Mainstream Popular Music, edited by S. Baker, A. Bennett, and J. Taylor, viii–vxiv. New York: Routledge.
  • Theodossopoulos, D. 2013. “Introduction: Laying Claim to Authenticity: Five Anthropological Dilemmas.” Anthropological Quarterly 86 (2): 337–360. doi: 10.1353/anq.2013.0032
  • Thornton, S. 1996. Club Cultures: Music, Media and Subcultural Capital. Middletown: Wesleyan University Press.
  • Tiongson, A. T. 2013. Filipinos Represent: DJs, Racial Authenticity, and the Hip-hop Nation. London: University of Minnesota Press.
  • Vaismoradi, M., H. Turunen, and T. Bondas. 2013. “Content Analysis and Thematic Analysis: Implications for Conducting a Qualitative Descriptive Study.” Nursing Health Science 15: 398–405. doi: 10.1111/nhs.12048
  • Vito, C. 2019. The Values of Independent Hip-Hop in the Post-Golden Era: Hip-Hop’s Rebels. Cham: Palgrave Macmillan.
  • Williams, J. 2011. “Historicizing the Breakbeat: Hip-Hop's Origins and Authenticity.” Lied und populäre Kultur / Song and Popular Culture 56: 133–167.
  • Discography
  • Bias, B. 2007. Been There Done That, Obese Records.
  • Funkoars. 2006. The Greatest Hits, Obese Records.
  • The Hilltop Hoods. 2003. The Calling. Obese Records.
  • The Hilltop Hoods. 2006. The Hard Road, Obese Records.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.