Mark V. Campbell – författare

We Still Here maps the edges of hip-hop culture and makes sense of the rich and diverse ways people create and engage with hip-hop music within Canadian borders. Contributors to the collection explore the power of institutions, mainstream hegemonies, and the processes of historical formation in the evolution of hip-hop culture. Throughout, the volume foregrounds the generative issues of gender, identity, and power, in particular in relation to the Black diaspora and Indigenous cultures. The contributions of artists in the scene are front and centre in this collection, exposing the distinct inner mechanics of Canadian hip hop from a variety of perspectives. By amplifying rarely heard voices within hip-hop culture, We Still Here argues for its power to disrupt national formations and highlights the people and communities who make hip hop happen.

We Still Here maps the edges of hip-hop culture and makes sense of the rich and diverse ways people create and engage with hip-hop music within Canadian borders. Contributors to the collection explore the power of institutions, mainstream hegemonies, and the processes of historical formation in the evolution of hip-hop culture. Throughout, the volume foregrounds the generative issues of gender, identity, and power, in particular in relation to the Black diaspora and Indigenous cultures. The contributions of artists in the scene are front and centre in this collection, exposing the distinct inner mechanics of Canadian hip hop from a variety of perspectives. By amplifying rarely heard voices within hip-hop culture, We Still Here argues for its power to disrupt national formations and highlights the people and communities who make hip hop happen.

We Still Here maps the edges of hip-hop culture and makes sense of the rich and diverse ways people create and engage with hip-hop music within Canadian borders. Contributors to the collection explore the power of institutions, mainstream hegemonies, and the processes of historical formation in the evolution of hip-hop culture. Throughout, the volume foregrounds the generative issues of gender, identity, and power, in particular in relation to the Black diaspora and Indigenous cultures. The contributions of artists in the scene are front and centre in this collection, exposing the distinct inner mechanics of Canadian hip hop from a variety of perspectives. By amplifying rarely heard voices within hip-hop culture, We Still Here argues for its power to disrupt national formations and highlights the people and communities who make hip hop happen.

Afrosonic Life explores the role sonic innovations in the African diaspora play in articulating methodologies for living the afterlife of slavery. Developing and extending debates on Afrosonic cultures, the book attends to the ways in which the acts of technological subversion, experimentation and production complement and interrupt the intellectual project of modernity. Music making processes such as dub, turntablism, hip-hop dj techniques and the remix, innovate methods of expressing subjecthoods beyond the dominant language of Western “Man” and the market. These sonic innovations utilize sound as a methodology to institute a rehumanizing subjectivity in which sound dislodges the hierarchical ordering of racial schemas. Afrosonic Life is invested in excavating and elaborating the nuanced and novel ways of music making and sound creation found in the African diaspora.

Afrosonic Life explores the role sonic innovations in the African diaspora play in articulating methodologies for living the afterlife of slavery. Developing and extending debates on Afrosonic cultures, the book attends to the ways in which the acts of technological subversion, experimentation and production complement and interrupt the intellectual project of modernity. Music making processes such as dub, turntablism, hip-hop dj techniques and the remix, innovate methods of expressing subjecthoods beyond the dominant language of Western “Man” and the market. These sonic innovations utilize sound as a methodology to institute a rehumanizing subjectivity in which sound dislodges the hierarchical ordering of racial schemas. Afrosonic Life is invested in excavating and elaborating the nuanced and novel ways of music making and sound creation found in the African diaspora.

Afrosonic Life explores the role sonic innovations in the African diaspora play in articulating methodologies for living the afterlife of slavery. Developing and extending debates on Afrosonic cultures, the book attends to the ways in which the acts of technological subversion, experimentation and production complement and interrupt the intellectual project of modernity. Music making processes such as dub, turntablism, hip-hop dj techniques and the remix, innovate methods of expressing subjecthoods beyond the dominant language of Western “Man” and the market. These sonic innovations utilize sound as a methodology to institute a rehumanizing subjectivity in which sound dislodges the hierarchical ordering of racial schemas. Afrosonic Life is invested in excavating and elaborating the nuanced and novel ways of music making and sound creation found in the African diaspora.

Afrosonic Life explores the role sonic innovations in the African diaspora play in articulating methodologies for living the afterlife of slavery. Developing and extending debates on Afrosonic cultures, the book attends to the ways in which the acts of technological subversion, experimentation and production complement and interrupt the intellectual project of modernity. Music making processes such as dub, turntablism, hip-hop dj techniques and the remix, innovate methods of expressing subjecthoods beyond the dominant language of Western “Man” and the market. These sonic innovations utilize sound as a methodology to institute a rehumanizing subjectivity in which sound dislodges the hierarchical ordering of racial schemas. Afrosonic Life is invested in excavating and elaborating the nuanced and novel ways of music making and sound creation found in the African diaspora.

Before there was Drake, there was The 6. The genesis and rise of Toronto's Hip Hop culture.Amongst the algorithmic pulsations that remap informational networks at the whim of any giant tech company, hip hop culture produces ways of knowing (and being in) the world that continually disrupt the status quo.Guided by a sense of rawness — an unsanitized speaking of truth to power — hip hop culture thrives outside of the formal and institutional settings which are often used to confer importance. Hip hop has no use for such pedestals. Its inherent and purposefully self-critical nature ensures that hip hop is both a widely appealing form for youth protest and a self-calibrating system of quality control.A photographic excavation of Toronto's hip hop archive, ...Everything Remains Raw draws on photographs of Kardinal Offishall, Michie Mee, Dream Warriors, Maestro, Drake, Director X, and others by Michael Chambers, Sheinina Raj, Demuth Flake, Craig Boyko, Nabil Shash, Patrick Nichols, and Stella Fakiyesi to offer a deep dive in hip hop's visual culture. An intentional intersection of the taste-making skills of the DJ and the nuanced particularism of the curator, the book and the accompanying exhibition juxtapose never-before-seen images with photojournalism, street posters, and zines to reframe and enhance popular understandings of this thing called hip hop....Everything Remains Raw accompanies an exhibition organized at the McMichael Canadian Art Collection.

This book focuses on the culture and politics involved in building hip-hop archives. It addresses practical aspects, including methods of accumulation, curation, preservation and digitization and critically analyses institutional power, community engagement, urban economics, public access and the ideological implications associated with hip-hop culture’s enduring tensions with dominant social values.The collection of essays are divided into four sections: Doing the Knowledge, Challenging Archival Forms, Beyond the Nation and Institutional Alignments: Interviews and Reflections. The book covers a range of official, unofficial, DIY and community archives and collections and features chapters by scholar practitioners, educators and curators. A wide swath of hip-hop culture is featured in the book, including a focus on dance, graffiti, clothing and battle rap. The range of authors and their topics span countries in Asia, Europe, the Caribbean and North America.