Murray Forman
Biographic Data
| ID | 797103 |
|---|---|
| NAME | Murray Forman |
| GIVEN NAMES | Murray |
| FAMILY NAME | Forman |
| SIGNATURE | FORMAN M |
| AFFILIATIONS | Northeastern University |
| VERIFIED | No |
| TOTAL WORKS | 25 |
| TOTAL CITATIONS | 88 |
| AUTHOR COUNT | 24 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1992 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 3 |
“Things Done Changed”: Recalibrating the Real in Hip-Hop
This paper critically engages the ways in which hip-hop artists and scholars have commonly defined authenticity and “the real” in relation to Black male identities with an emphasis on the dominant representations of the real associated with the “gangsta” persona. In a crucial shift, however, open discussion about mental health and Black social existence has helped to unravel prior concepts of unyielding masculinity, facilitating the public expres…
To Live and Defy in La: How Gangsta Rap Changed America
Hip-hop culture and its various offshoots have long been the focus of historical analysis, with academic and nonacademic publications alike examining its formation in 1973 and its expansion from its birthplace in New York City. Felicia Angeja Viator's To Live and Defy in La arrives at this theme with a narrowed focus, isolating a brief historical period (mainly 1986–1992), a highly regional and localized perspective (primarily Los Angeles and its…
Les Hip-Hop Studies aux États-Unis, des controverses passées aux projets futurs: Entretien avec Murray Forman
Présentation Professeur en Media and Screen Studies à la Northeastern University, à Boston, Murray Forman est une figure majeure des études sur le hip-hop aux États-Unis. Au début des années 2000, il a publié un ouvrage de référence en la matière (The Hood Comes First : Race, Space and Place in Rap and Hip-Hop, 2002, Wesleyan University Press), dans lequel il analysait l’histoire du rap américain via l’évolution des discours portés sur sa géograp…
Things Done Changed”: Recalibrating the Real in Hip-Hop
This paper critically engages the ways in which hip-hop artists and scholars have commonly defined authenticity and “the real” in relation to Black male identities with an emphasis on the dominant representations of the real associated with the “gangsta” persona. In a crucial shift, however, open discussion about mental health and Black social existence has helped to unravel prior concepts of unyielding masculinity, facilitating the public expres…
Visualizing place, representing age in hip-hop: Converging themes in Scarface's ‘My Block’
Taking contemporary hip-hop as the primary object of analysis, this paper identifies two dominant and entwined themes: the active representation of place and of age. In hip-hop, to ‘represent’ typically involves the articulation of spatial affinities and place-based loyalties that are fused with the social contexts of one's localized experience. Yet an additional facet of representing also involves the emphasis on formative moments throughout one…
Sonic Visions: Popular Music on Television: Sonic Visions
Habitus of the Hood
Knowing and Flowing: The SearchLa Búsquedafor Hip-Hop's Transnational Politics
Doing Their Own Thing
The term political activism would seem, on the surface, to be relatively straightforward. Employed in casual conversation (certainly among those on the political Left), its implicit meanings encompass ideological commitment to social justice and equality issues, community-based outreach, organizing skills, and an unrelenting desire, as Andreana Clay suggests in her exciting new publication, to "do something for a cause" (176). With an array of pr…
One Night on TV Is Worth Weeks at the Paramount: Popular Music on Early Television
How we feel the music: Popular Music by Elders and for Elders
This article is inspired by the voices and perceptions of elder music fans and performing musicians, especially those older than 70 years of age. Based upon field interviews and ethnographic observations, it challenges the deleterious influences of social labelling and ageist perspectives (including casual yet damaging attributions of nostalgic yearning) that tend to delegitimise the musical interests or tastes of older citizens. By also emphasis…
Introduction: As Time Goes By
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Groove Music: The Art and Culture of the Hip-Hop DJ (Mark Katz)
Never mind the robots. Electronic music has always entertained the trajectory of becoming someone-or something-slightly if not entirely other. When the Jonzun Crew performed "Pack Jam" live in 1983, they took the stage in a strange blend of interstellar outerwear and 18th century clothing modelled from the French aristocracy. Who were these Afrofuturists aliens? The Jonzun Crew's blend of hip-hop and electro announced a unique, offworld status to…
That's the Joint!: The Hip-Hop Studies Reader
That's the Joint: The Hip-Hop Studies Reader brings together the best-known and most influential writings on rap and hip-hop from its beginnings to today. Spanning nearly 25 years of scholarship, criticism, and journalism, this unprecedented anthology showcases the evolution and continuing influence of one of the most creative and contested elements of global popular culture since its advent in the late 1970s. That's the Joint presents the most i…
Television before Television Genre: The Case of Popular Music
The author argues the value of a historical approach to television genre research and the need to reconsider the terms in which contemporary genre theory addresses television in its nascent stage. Primary analytical emphasis is placed on emergent technical practices and industrial discourses that preceded the establishment of consistent or regularly deployed television genre categories. By specifically analyzing early popular music programming, t…
The 'Hood Comes First: Race, Space, and Place in Rap and Hip-Hop
Soundtrack to a Crisis: Music, Context, Discourse
One night on TV is worth weeks at the Paramount: Musicians and Opportunity in Early Television, 1948-55
This article addresses a gap in the historical study of music on television by revisiting North American popular music in conjunction with the broadcast medium's early stage of development. Central to its analysis is the fact that music has always been deemed essential to the character and success of television. Emphasising the circulating discourses of 'opportunity', the article isolates the ways in which some musicians and others in various sec…
No Sleep 'Til Brooklyn
Hip-Hop Nation: Roots, Rhymes & Rage. Brooklyn Museum of Art, September 22 through December 31, 2000. Kevin Powell, Guest Curator; Kevin Stayton and Deborah Schwartz, BMA Curators. Riding on the 2-train through Brooklyn on my way to the Brooklyn Museum of Art (BMA) exhibition Hip-Hop Nation: Roots, Rhymes & Rage, I contemplated the many recordings by rap artists throughout the years that referred explicitly to the borough's neighborhoods of Bed-S…
It Ain't All About the Benjamins: Summit on Social Responsibility in the Hip-Hop Industry
It Ain't All About the Benjamins: Summit on Social Responsibility in the Hip-Hop Industry
Represent: Race, Space and Place in Rap Music
Say somethin' positive, well positive ain't where I liveI live around the corner from West HellTwo blocks from South Shit and once in a jail cellThe sun never shined on my side of the street, see?(Naughty By Nature, 'Ghetto Bastard (Everything's Gonna Be Alright)', 1991, Isba/Tommy Boy Records)If you're from Compton you know it's the 'hood where it's good(Compton's Most Wanted, 'Raised in Compton', 1991, Epic/Sony)IntroductionHip hop's capacity t…
Media Form and Cultural Space: Negotiating Rap “Fanzines”
Movin’ closer to an independent funk”: Black Feminist Theory, Standpoint, and Women in Rap
(1994). “Movin’ closer to an independent funk”: Black Feminist Theory, Standpoint, and Women in Rap. Women's Studies: Vol. 23, No. 1, pp. 35-55
Betrayal and Fear: Press Coverage of Canadian Skinheads
This paper examines the ways in which skinheads and the press in Canada mutually engage in public strategies to subvert each other’s significatory powers. Arguably, skinheads present a limited challenge to the social mainstream which, like their style, exists primarily on the surface. In analyzing the media response, the discursive containment of subcultural resistance is revealed as news reports retain the social order of the existing institutio…
Represent: Race, Space and Place in Rap Music
Say somethin' positive, well positive ain't where I liveI live around the corner from West HellTwo blocks from South Shit and once in a jail cellThe sun never shined on my side of the street, see?(Naughty By Nature, 'Ghetto Bastard (Everything's Gonna Be Alright)', 1991, Isba/Tommy Boy Records)If you're from Compton you know it's the 'hood where it's good(Compton's Most Wanted, 'Raised in Compton', 1991, Epic/Sony)IntroductionHip hop's capacity t…
Movin’ closer to an independent funk”: Black Feminist Theory, Standpoint, and Women in Rap
(1994). “Movin’ closer to an independent funk”: Black Feminist Theory, Standpoint, and Women in Rap. Women's Studies: Vol. 23, No. 1, pp. 35-55
No Sleep 'Til Brooklyn
Hip-Hop Nation: Roots, Rhymes & Rage. Brooklyn Museum of Art, September 22 through December 31, 2000. Kevin Powell, Guest Curator; Kevin Stayton and Deborah Schwartz, BMA Curators. Riding on the 2-train through Brooklyn on my way to the Brooklyn Museum of Art (BMA) exhibition Hip-Hop Nation: Roots, Rhymes & Rage, I contemplated the many recordings by rap artists throughout the years that referred explicitly to the borough's neighborhoods of Bed-S…
Visualizing place, representing age in hip-hop: Converging themes in Scarface's ‘My Block’
Taking contemporary hip-hop as the primary object of analysis, this paper identifies two dominant and entwined themes: the active representation of place and of age. In hip-hop, to ‘represent’ typically involves the articulation of spatial affinities and place-based loyalties that are fused with the social contexts of one's localized experience. Yet an additional facet of representing also involves the emphasis on formative moments throughout one…
How we feel the music: Popular Music by Elders and for Elders
This article is inspired by the voices and perceptions of elder music fans and performing musicians, especially those older than 70 years of age. Based upon field interviews and ethnographic observations, it challenges the deleterious influences of social labelling and ageist perspectives (including casual yet damaging attributions of nostalgic yearning) that tend to delegitimise the musical interests or tastes of older citizens. By also emphasis…
One Night on TV Is Worth Weeks at the Paramount: Popular Music on Early Television
Soundtrack to a Crisis: Music, Context, Discourse
Things Done Changed”: Recalibrating the Real in Hip-Hop
This paper critically engages the ways in which hip-hop artists and scholars have commonly defined authenticity and “the real” in relation to Black male identities with an emphasis on the dominant representations of the real associated with the “gangsta” persona. In a crucial shift, however, open discussion about mental health and Black social existence has helped to unravel prior concepts of unyielding masculinity, facilitating the public expres…
Knowing and Flowing: The SearchLa Búsquedafor Hip-Hop's Transnational Politics
One night on TV is worth weeks at the Paramount: Musicians and Opportunity in Early Television, 1948-55
This article addresses a gap in the historical study of music on television by revisiting North American popular music in conjunction with the broadcast medium's early stage of development. Central to its analysis is the fact that music has always been deemed essential to the character and success of television. Emphasising the circulating discourses of 'opportunity', the article isolates the ways in which some musicians and others in various sec…
Media Form and Cultural Space: Negotiating Rap “Fanzines”
Betrayal and Fear: Press Coverage of Canadian Skinheads
This paper examines the ways in which skinheads and the press in Canada mutually engage in public strategies to subvert each other’s significatory powers. Arguably, skinheads present a limited challenge to the social mainstream which, like their style, exists primarily on the surface. In analyzing the media response, the discursive containment of subcultural resistance is revealed as news reports retain the social order of the existing institutio…
Movin’ closer to an independent funk”: Black Feminist Theory, Standpoint, and Women in Rap
(1994). “Movin’ closer to an independent funk”: Black Feminist Theory, Standpoint, and Women in Rap. Women's Studies: Vol. 23, No. 1, pp. 35-55
Media Form and Cultural Space: Negotiating Rap “Fanzines”
Represent: Race, Space and Place in Rap Music
Say somethin' positive, well positive ain't where I liveI live around the corner from West HellTwo blocks from South Shit and once in a jail cellThe sun never shined on my side of the street, see?(Naughty By Nature, 'Ghetto Bastard (Everything's Gonna Be Alright)', 1991, Isba/Tommy Boy Records)If you're from Compton you know it's the 'hood where it's good(Compton's Most Wanted, 'Raised in Compton', 1991, Epic/Sony)IntroductionHip hop's capacity t…
It Ain't All About the Benjamins: Summit on Social Responsibility in the Hip-Hop Industry
It Ain't All About the Benjamins: Summit on Social Responsibility in the Hip-Hop Industry
The 'Hood Comes First: Race, Space, and Place in Rap and Hip-Hop
Soundtrack to a Crisis: Music, Context, Discourse
One night on TV is worth weeks at the Paramount: Musicians and Opportunity in Early Television, 1948-55
This article addresses a gap in the historical study of music on television by revisiting North American popular music in conjunction with the broadcast medium's early stage of development. Central to its analysis is the fact that music has always been deemed essential to the character and success of television. Emphasising the circulating discourses of 'opportunity', the article isolates the ways in which some musicians and others in various sec…
No Sleep 'Til Brooklyn
Hip-Hop Nation: Roots, Rhymes & Rage. Brooklyn Museum of Art, September 22 through December 31, 2000. Kevin Powell, Guest Curator; Kevin Stayton and Deborah Schwartz, BMA Curators. Riding on the 2-train through Brooklyn on my way to the Brooklyn Museum of Art (BMA) exhibition Hip-Hop Nation: Roots, Rhymes & Rage, I contemplated the many recordings by rap artists throughout the years that referred explicitly to the borough's neighborhoods of Bed-S…
Television before Television Genre: The Case of Popular Music
The author argues the value of a historical approach to television genre research and the need to reconsider the terms in which contemporary genre theory addresses television in its nascent stage. Primary analytical emphasis is placed on emergent technical practices and industrial discourses that preceded the establishment of consistent or regularly deployed television genre categories. By specifically analyzing early popular music programming, t…
That's the Joint!: The Hip-Hop Studies Reader
That's the Joint: The Hip-Hop Studies Reader brings together the best-known and most influential writings on rap and hip-hop from its beginnings to today. Spanning nearly 25 years of scholarship, criticism, and journalism, this unprecedented anthology showcases the evolution and continuing influence of one of the most creative and contested elements of global popular culture since its advent in the late 1970s. That's the Joint presents the most i…
One Night on TV Is Worth Weeks at the Paramount: Popular Music on Early Television
How we feel the music: Popular Music by Elders and for Elders
This article is inspired by the voices and perceptions of elder music fans and performing musicians, especially those older than 70 years of age. Based upon field interviews and ethnographic observations, it challenges the deleterious influences of social labelling and ageist perspectives (including casual yet damaging attributions of nostalgic yearning) that tend to delegitimise the musical interests or tastes of older citizens. By also emphasis…
Introduction: As Time Goes By
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Groove Music: The Art and Culture of the Hip-Hop DJ (Mark Katz)
Never mind the robots. Electronic music has always entertained the trajectory of becoming someone-or something-slightly if not entirely other. When the Jonzun Crew performed "Pack Jam" live in 1983, they took the stage in a strange blend of interstellar outerwear and 18th century clothing modelled from the French aristocracy. Who were these Afrofuturists aliens? The Jonzun Crew's blend of hip-hop and electro announced a unique, offworld status to…
Sonic Visions: Popular Music on Television: Sonic Visions
Habitus of the Hood
Knowing and Flowing: The SearchLa Búsquedafor Hip-Hop's Transnational Politics
Doing Their Own Thing
The term political activism would seem, on the surface, to be relatively straightforward. Employed in casual conversation (certainly among those on the political Left), its implicit meanings encompass ideological commitment to social justice and equality issues, community-based outreach, organizing skills, and an unrelenting desire, as Andreana Clay suggests in her exciting new publication, to "do something for a cause" (176). With an array of pr…
Visualizing place, representing age in hip-hop: Converging themes in Scarface's ‘My Block’
Taking contemporary hip-hop as the primary object of analysis, this paper identifies two dominant and entwined themes: the active representation of place and of age. In hip-hop, to ‘represent’ typically involves the articulation of spatial affinities and place-based loyalties that are fused with the social contexts of one's localized experience. Yet an additional facet of representing also involves the emphasis on formative moments throughout one…
Les Hip-Hop Studies aux États-Unis, des controverses passées aux projets futurs: Entretien avec Murray Forman
Présentation Professeur en Media and Screen Studies à la Northeastern University, à Boston, Murray Forman est une figure majeure des études sur le hip-hop aux États-Unis. Au début des années 2000, il a publié un ouvrage de référence en la matière (The Hood Comes First : Race, Space and Place in Rap and Hip-Hop, 2002, Wesleyan University Press), dans lequel il analysait l’histoire du rap américain via l’évolution des discours portés sur sa géograp…
Things Done Changed”: Recalibrating the Real in Hip-Hop
This paper critically engages the ways in which hip-hop artists and scholars have commonly defined authenticity and “the real” in relation to Black male identities with an emphasis on the dominant representations of the real associated with the “gangsta” persona. In a crucial shift, however, open discussion about mental health and Black social existence has helped to unravel prior concepts of unyielding masculinity, facilitating the public expres…
To Live and Defy in La: How Gangsta Rap Changed America
Hip-hop culture and its various offshoots have long been the focus of historical analysis, with academic and nonacademic publications alike examining its formation in 1973 and its expansion from its birthplace in New York City. Felicia Angeja Viator's To Live and Defy in La arrives at this theme with a narrowed focus, isolating a brief historical period (mainly 1986–1992), a highly regional and localized perspective (primarily Los Angeles and its…
“Things Done Changed”: Recalibrating the Real in Hip-Hop
This paper critically engages the ways in which hip-hop artists and scholars have commonly defined authenticity and “the real” in relation to Black male identities with an emphasis on the dominant representations of the real associated with the “gangsta” persona. In a crucial shift, however, open discussion about mental health and Black social existence has helped to unravel prior concepts of unyielding masculinity, facilitating the public expres…
Music History and Culture (18 works) · Sociology (15 works) · Art (12 works) · Media studies (10 works) · Computer Science (8 works) · History (8 works) · History (6 works) · Advertising (5 works) · Art history (5 works) · Latin American and Latino Studies (5 works)