User:Szalayr1/sandbox

How one interacts with the Land creates a much more positive impact on our lives, among everyone elses, rather than treating the land as just property... Source: Kyle T. Mays. Hip Hop Beats, Indigenous Rhymes: Modernity and Hip Hop in Indigenous North America. Albany, State University of New York Press, 2018. https://books.google.com/books?id=YSVTDwAAQBAJ&printsec=frontcover&dq=native+hip+hop&hl=en&sa=X&ved=0ahUKEwiqk_eb19HaAhWnTd8KHXgvCRkQ6AEILzAC#v=onepage&q=native%20hip%20hop&f=false ISBN: 9781438469454

(This source looks at how other scholars of hip hop write about the culture, its people, including if they are respectful of the subject and its history.) Native Hip Hop, described by Mays, is the gateway between the perceived disappearance of Indigenous peoples and their contributions to Hip Hop culture at large. (("Hip Hop allows for Indigenous people, through culture, to express themselves as modern subjects. They can use it to move beyond the persistent narratives of their demise, or their invisibility, or the notion that they are people of the past incapable of engaging with moderninity" (p. 3) ****paraphrase))


 * Craig Harris' Heartbeat, Warble, and Electric Powwow: American Indian Music includes a chapter called "Divas, Hip-Hoppers, and Electronic Dance Masters" includes the works of Cherokee artist Litefoot**, Ottowa-based group called A Tribe Called Red, and Lakota rapper Frank Waln (also references book below for reimagining tradition, in that it is ever changing and never stagnant.) (p. 7)
 * Tony Mitchell studies the impact of Aboriginal hip-hop in Australia; Journalist Cristina Veran has written on Indigenous hip-hop (within Australia and New Zealand specifically) since 2006; also wrote an article for SNAG magazine about reservation hip-hop, on how youth hip-hop artists use the music genre as a gateway to embracing their respective cultural identities (p. 7-8)

Source: Indigenous Pop: Native American Music from Jazz to Hip Hop. Edited by Jeff Berglund, Jan Johnson, Kimberli Lee. Tucson, The Arizona Board of Regents, 2016. https://books.google.com/books?id=LZxxCwAAQBAJ&printsec=frontcover&dq=native+hip+hop&hl=en&sa=X&ved=0ahUKEwiqk_eb19HaAhWnTd8KHXgvCRkQ6AEIJzAA#v=onepage&q=native%20hip%20hop&f=false ISBN: 9780816509447

This source serves as a platform for further scholarly discussion on contemporary Native music and its connections to Native culture. The editors explain that there is little scholarly work done in regards to Native American music and its commentary on oppression, tradition, and respect for the Earth. Berglund et al explains that "by translocating our discussion of contemporary Indigenous popular music, we're claiming new and multiple spaces for the analysis of musical traditions..." (p. 4)


 * Mildred Bailey, a Couer d'Alene jazz singer from the 1930s, influenced other artists such as Billy Holiday, Ella Fitzgerald, and Bing Crosby, among others (p. 12). She admitted that her musical influences came from songs native to her tribe growing up.

Source: Navarro, Jenell. "Solarize-ing Native Hip-Hop: Native Feminist Land Ethics and Cultural Resistance." Decolonization: Indigeneity, Education and Society. Vol. 3, No. 1, pp. 101-118. California Polytechnic State University, 2014. http://www.decolonization.org/index.php/des/article/view/20812/17321

--this functions as a documented scholarly article (available to the public for free) providing information and examples regarding the various ways in which Indigenous artists use hip-hop to platform their ideas for a liberated future, to maintain focus on the ongoing colonial practices enacted upon Native tribe's lands and people, as well as creating connections with other communities for solidarity and mutual support.

resistant strain of early hip-hop that was committed to speaking truth to power..." (103)
 * Desirae Harp (of the Mishewal Wappo Tribe) worked with Fly50 and SeasunZ (through United Roots Oakland) to create "Solarize" in which they tackle ongoing environmental damage and structural racism, while simultaneously collaborating with Black communities throughout the United States through the platform of hip-hop. (103)
 * Grand Master Flash and the Furious Five's "The Message" was a direct callout to the various structures of racism within New York; This work can be considered feminist due to its acknowledgement of institutional racism... (103)
 * In 2013, at the Aboriginal People's Choice Music Awards: Rellik's "Idle No More" won Best Music Video; the album Redwinter by Drezus won Best Rap/Hip Hop CD; Lightning Cloud won Best New Artist Award; in 2014, A Tribe Called Red won Best Group, Best Album Cover for Nation II Nation, and won Best Producer for 2013; Tall Paul (Leech Lake Band of Ojibwe) was recently roasted by Dave Chapelle; in 2014, Crow rapper Supaman won "MTV's Artist of the Month" (103)
 * "my aim is to examine the poetics and politics of Native hip-hop that continues the

Peer Review- Will Ballner
Hey! The additions you've drafted look really solid. I think it's really important that you've made sure to include what tribes each artist is from. One thing you might want to do, for a couple of them, is see if there are any interviews where they talk about their culture/heritage and how that has developed the way they interact and contribute to the hip hop scene. I'd also split up each artist into their own sentence or perhaps format the section into bullet points. It'll make it easier to see and understand. Some other pages use a similar format and I've noticed that it also makes sources a bit more clear.

With the Mays article; I think it sounds like a really important source and the part about writing respectfully is integral but it may be difficult to make sure the explanation is as unbiased sounding as possible. Try drafting it a few different ways and maybe seek comments on the page's talk page/sandbox.

Good luck with the rest of your editing! WDeniseB (talk) 08:37, 29 April 2018 (UTC)