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An autoethnography of Scottish hip-hop: social commentary, outsiderdom , locality and authenticity

Hook, David



Hip-hop’s export, practise, appropriation and reuse can be found in cultures around the globe from Aborigines in Australia, to Palestinian hip-hop in the Middle East. While a number of academic works already exist examining the development of hip-hop music and culture in the UK, this research is predominantly England and even London-based. Scottish hip-hop has been in existence since the late 1980s but has remained historically a subculture, much less regularly crossing over into wider culture than its English counterpart. Largely a working-class subculture, the barriers that have traditionally existed between Scottish hip-hop and Scottish cultural commentators (and consumers) have added to its creators’ existing feelings of social marginalisation. As principal songwriter with critically acclaimed live hip-hop group Stanley Odd, I have spent a prolonged period intensely studying, writing and producing hip-hop. Examining my own work and that of other leading writers, I argue that by utilising established hip-hop forms filtered through a locally representative voice no other Scottish musical genre is as relevant in chronicling contemporary Scottish society at present.

Presentation Conference Type Conference Paper (unpublished)
Conference Name It Ain't Where You're From, It's Where You're At: International Hip-Hop Studies Conference
Start Date Jun 23, 2016
End Date Jun 24, 2016
Deposit Date Aug 14, 2019
Public URL