Adam de Paor-Evans – författare

The culture of hip hop shifted dramatically soon after the first wave of studio-recorded vinyl releases at the turn of the 1980s. Drawing upon science fiction, ideas of fantasy, futurism, and sociocultural dynamics, this book presents a study of the impact and influence of electro rap on the formative years of recorded hip hop and beyond.de Paor-Evans reveals a parallel and occasionally dialectical evolution of hip hop music spawned from transatlantic, transdisciplinary, and transcultural engagements and unearths linkages between innovations in music technology, fantasy, folklore, arcade and video gaming, non-white diasporas, and transglobal politics of the time. Historically located between 1982 and 1987, the book takes exemplary well-known and equally obscure records as points of departure for analysis. It makes visible the greater significance of formative and future electro rap in hip hop culture, other musics and broader society.

The culture of hip hop shifted dramatically soon after the first wave of studio-recorded vinyl releases at the turn of the 1980s. Drawing upon science fiction, ideas of fantasy, futurism, and sociocultural dynamics, this book presents a study of the impact and influence of electro rap on the formative years of recorded hip hop and beyond.de Paor-Evans reveals a parallel and occasionally dialectical evolution of hip hop music spawned from transatlantic, transdisciplinary, and transcultural engagements and unearths linkages between innovations in music technology, fantasy, folklore, arcade and video gaming, non-white diasporas, and transglobal politics of the time. Historically located between 1982 and 1987, the book takes exemplary well-known and equally obscure records as points of departure for analysis. It makes visible the greater significance of formative and future electro rap in hip hop culture, other musics and broader society.

Provincial Headz: British Hip Hop and Critical Regionalism draws upon spatial practice, material culture, human geography, musicology and cultural theory in order to present an interdisciplinary counter-narrative to that of Hip Hop as a strictly urban phenomenon; providing insight into the relocation of Hip Hop culture from its inception in New York ghettos to its practices in provincial and rural Britain. Hip Hop culture truly arrived in Britain in 1983, a decade after its origin in New York City, and although many important events, artists and recordings that evidence Hip Hop's existence in 1980s Britain are well documented, these are almost exclusively urban. Additionally, the narratives embedded in these representations remain too convenient and unchallenged. This book reveals parallel and dialectical experiences of British Hip Hop pioneers and practitioners dwelling outside the metropolis, discussed under the recurring themes of relocation, territory, consumption, production and identity. These narratives are framed within a rich contextual discourse drawing upon the theories of Bhabha, Lefebvre, Bourdieu, Ricur, Foucault, and DeLanda among others. Projecting the focus of Hip Hop theory forward from urbanism to rurality, the book uncovers and challenges the conventions of a Hip Hop state of mind and how we understand it.