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題名 抬頭發聲：台灣地下嘻哈領域的正統性、身份與發展
Raise Your Voices: Authenticity, Identity, and the Evolution of Taiwanese Underground Hip-Hop作者 吳望明
Uwanamodo, Anene Kelechi Daniel貢獻者 劉曉鵬
Liu, Philip Hsiaopong
吳望明
Uwanamodo, Anene Kelechi Daniel關鍵詞 嘻哈文化
饒舌
正統性
地下嘻哈
Taiwan
Hip-Hop
Underground
Ethnomusicology日期 2024 上傳時間 1-三月-2024 12:33:18 (UTC+8) 摘要 本研究採用地下和主流的框架來關注台灣嘻哈的發展。 本研究參考世界各地地下嘻哈場景的研究，以深度半結構化訪談為主要研究方法，探討地下場景中的饒舌歌手是否以及如何定義正統性、身分和意識形態的概念。 本研究認為主流（隸屬於三個獨立嘻哈廠牌 True Color 本色、Kao!INC 顏社 和 Kung Fu Entertainment 人人有功練 的藝術家）與迅速擴張的地下圈之間存在著顯著的分離。 這項研究的三個主要目的是：透過研究最近的發展來擴展 Meredith Schweig 的台灣嘻哈年表； 將這一領域的發展與美國和全球嘻哈趨勢、台灣社會以及有影響力的技術進步聯繫起來； 並透過地下和主流二分法的視角進行分析，為現有文獻做出貢獻。 為了實現這些目標，該研究補充了對 20 多人的半結構化訪談和數位對話，以及對嘻哈活動和相關物理空間的額外參與觀察、歌詞分析和社交媒體社群觀察。 研究得出的結論是，嘻哈文化在台灣主流音樂產業中的地位變得更加根深蒂固，這從嘻哈音樂在頒獎典禮和一般流行音樂中的出現就可以看出。 研究還發現，當地嘻哈地下音樂的參與者對正統性和性別認同的態度與施威格的研究提出的不同，並將嘻哈文化的增長歸因於嘻哈專用數位社區和學生社團的激增在高中和大學階段。
This study focuses on the development of Taiwanese hip-hop by adopting the framework of underground and mainstream. Referencing research on underground hip-hop scenes around the world and adopting in-depth semi-structured interview as the primary research method, this study explores if and how rappers in the underground scene define the concepts of authenticity, identity, and ideology. It contends that there is a distinction between the mainstream (artists affiliated with the three independent hip-hop labels True Color, Kao!INC, and Kung Fu Entertainment), and a rapidly expanding underground. This research is undertakenwith three main aims: to expand on Meredith Schweig's chronology of Taiwanese hip-hop by researching recent developments; to contextualize the development of this scene within American and global hip-hop trends, Taiwanese society, and influential technological advancements; and to contribute to the existing literature by analyzing through the lens of a dichotomous underground and mainstream. To accomplish these goals, the study supplements the semi-structured interviews and digital conversations with over 20 individuals with additional participant observation of hip-hop events and associated physical spaces, lyrical analysis, and investigation of social media communities. The research concludes that hip-hop has become more entrenched within Taiwan's mainstream music industry, demonstrated by the presence of hip-hop in award shows and larger pop music. It also finds that participants in the local hip-hop underground espouse different attitudes about authenticity and gender identity than those proposed by Schweig's study, and attributes the growth of hip-hop culture to the proliferation of hip-hop dedicated digital communities and student clubs at the high school and university level.參考文獻 河岸留言. “西門紅樓展演館 RLH 介紹.” 河岸留言. Accessed January 3, 2024. https://www.riverside.com.tw/rlh. “台灣嘻哈音樂文化討論社.” Facebook. Accessed January 22, 2024. https://www.facebook.com/groups/nicepassexpress.tw. Bourdieu, Pierre. 1993. The Field of Cultural Production: Essays on Art and Literature. New York: Columbia University Press. Bourdieu, Pierre. 1996. The Rules of Art. The Rules of Art. https://doi.org/10.1515/9781503615861. Bynoe, Yvonne. 2006. Encyclopedia of Rap and Hip-Hop Culture. Greenwood Press. https://books.google.com/books/about/Encyclopedia_of_Rap_and_Hip_Hop_Culture.html?id=ioKfAAAAMAAJ. Elafros, Athena. 2013. “Greek Hip Hop: Local and Translocal Authentication in the Restricted Field of Production.” Poetics 41 (1). https://doi.org/10.1016/j.poetic.2012.11.002. Goldthread. “Jony J, China’s ‘hip-Hop Poet,’ on Socially Conscious Rap and How J. Cole Inspired Him.” LINE TODAY, August 8, 2019. https://today.line.me/hk/v2/article/LL2GYr. Golpushnezhad, Elham. “Untold Stories of DIY/Underground Iranian Rap Culture: The Legitimization of Iranian Hip-Hop and the Loss of Radical Potential.” Cultural Sociology 12, no. 2 (2018): 260–275. Hall, Stuart, Tony Jefferson, and Brian Roberts. "Subcultures, cultures and class." Resistance through rituals: Youth subcultures in post-war Britain (1976): 9-74. Hare, Sarah, and Andrea Baker. 2017. “Keepin’ It Real: Authenticity, Commercialization, and the Media in Korean Hip Hop.” SAGE Open 7 (2). https://doi.org/10.1177/2158244017710294. Harrison, Anthony Kwame. 2009. Hip Hop Underground: The Integrity and Ethics of Racial Identification. Hip Hop Underground: The Integrity and Ethics of Racial Identification. Vol. 9781439900628. https://doi.org/10.5860/choice.47-5739. Hesmondhalgh, David. 2006. “Bourdieu, the Media and Cultural Production.” https://doi.org/10.1177/0163443706061682. Hsueh, Chia-Ming. “Higher Education Crisis in Taiwan.” Inside Higher Ed | Higher Education News, Events and Jobs, August 4, 2018. https://www.insidehighered.com/blogs/world-view/higher-education-crisis-taiwan. Huq, Rupa. Beyond subculture: Pop, youth and identity in a postcolonial world. Routledge, 2007. Hydraulic Engineering Office. “What Are the Places Opened for Public Graffiti in Riverside Parks in Taipei?” Taipei City Government. Accessed December 28th, 2023. https://english.gov.taipei/News_Content.aspx?n=A0EDC3930FBE7EFC&sms=5B794C46F3CDE718&s=D5E9C52A8C141B1C. Jackson, Brenda, and Sharon Anderson. "Hip-hop culture around the globe: implications for teaching." Black History Bulletin 72, no. 1 (2009): 22+. Gale Academic OneFile (accessed September 5, 2023). https://link.gale.com/apps/doc/A199912097/AONE?u=googlescholar&sid=bookmark-AONE&xid=e04aff46. Jeffries, Michael P. 2010. Thug Life: Race, Gender, and the Meaning of Hip-Hop. Chicago: University of Chicago Press. Kornhorst, Adan. “Rap of China: New Reality Show Stirs Controversy and Memes.” Stories from the center of China’s youth culture, July 5, 2017. https://radii.co/article/hip-hop-of-china-new-reality-show-stirs-controversy-and-memes. L., Ian. “Hip Hop From Detroit To China: The Iron Mic.” SmartShanghai. SmartShanghai, November 19, 2014. https://www.smartshanghai.com/articles/nightlife/hip-hop-from-detoit-to-china-the-iron mic. Lena, Jennifer C. 2006. “Social Context and Musical Content of Rap Music, 1979–1995.” Social Forces 85 (1): 479–95. https://doi.org/10.1353/SOF.2006.0131. Lopes, Paul. "Pierre Bourdieu’s fields of cultural production: A case study of modern jazz." Pierre Bourdieu: fieldwork in culture (2000): 165-185. McKrell, Aaron. “A Timeline of Historic Hip Hop Firsts at the Grammy Awards.” HipHopDX, January 25, 2018. https://hiphopdx.com/editorials/id.3995/title.a-timeline-of-historic-hip-hop-firsts-at-the-grammy-awards#:~:text=Ten%20years%20after%20%E2%80%9CRapper%E2%80%99s%20Delight%E2%80%9D%20hit%20the%20airwaves%2C,that%20would%20take%20many%20forms%20over%20the%20years. Negus, Keith. Popular music in theory: An introduction. Wesleyan University Press, 1997. Oware, Matthew. 2014. “(Un)Conscious (Popular) Underground: Restricted Cultural Production and Underground Rap Music.” Poetics 42 (1). https://doi.org/10.1016/j.poetic.2013.12.001. Ong, Celia. “The next Wave of Taiwanese Hip-Hop Artists.” Bandwagon, November 7, 2019. https://www.bandwagon.asia/articles/the-next-wave-of-taiwanese-hip-hop-artists. Park, Woo-seung. 2021. “Cultural Investigation of Korean Underground Hip Hop Music: From Subculture to Mainstream Culture.” Social Integration Research 2 (1). https://doi.org/10.46907/sir.2021.2.1.81. Peck, Ra Shelle R. 2018. “Love, Struggle, and Compromises: The Political Seriousness of Nairobi Underground Hip Hop.” African Studies Review. https://doi.org/10.1017/asr.2017.143. Pedac. “Rap Cap.” Urban Dictionary, June 13, 2018. https://www.urbandictionary.com/define.php?term=rap+cap. Peng, Zishan. “獨立廠牌玩嘻哈 歌壇大反骨｜天下雜誌.” 天下雜誌, March 3, 2015. https://www.cw.com.tw/article/5065217. Peterson, James Braxton. 2014. The Hip-Hop Underground and African American Culture: Beneath the Surface. The Hip-Hop Underground and African American Culture: Beneath the Surface. https://doi.org/10.1057/9781137305251. Rodger, Dianne. 2020. “Defining Authenticity in the Mid-2000s Australian Hip-Hop Scene: Constructing and Maintaining ‘Underground’ Status at a Time of Increasing Popularity.” Asia Pacific Journal of Anthropology 21 (2). https://doi.org/10.1080/14442213.2020.1714707. Rodriquez, Jason. 2006. “Color-Blind Ideology and the Cultural Appropriation of Hip-Hop.” Http://Dx.Doi.Org/10.1177/0891241606286997 35 (6): 645–68. https://doi.org/10.1177/0891241606286997. Rose, Tricia. 1994. Black Noise: Rap Music and Black Culture in Contemporary America. Wesleyan University Press. Schweig, Meredith L. 2022. Renegade Rhymes: Rap Music, Narrative, and Knowledge in Taiwan. University of Chicago Press. https://doi.org/10.7208/chicago/9780226820583.001.0001. Schweig, Meredith. “‘Young Soldiers, One Day We Will Change Taiwan’: Masculinity Politics in the Taiwan Rap Scene.” Ethnomusicology 60, no. 3 (2016): 383–410. Shuker, Roy. 2013. Understanding Popular Music. 2nd Edition. London: Routledge. https://www.taylorfrancis.com/books/mono/10.4324/9780203188019/understanding-popular-music-roy-shuker. Speers, Laura. 2017. “Setting the Scene: The Changing Context of the London Hip-Hop Scene.” In Hip-Hop Authenticity and the London Scene: Living Out Authenticity in Popular Music, 34–61. https://doi.org/10.4324/9781315661049. Swanson, Abbie Fentress. “The South Bronx: Where Hip-Hop Was Born: WNYC: New York Public Radio, Podcasts, Live Streaming Radio, News.” WNYC, August 2, 2010. https://www.wnyc.org/story/89709-south-bronx-hip-hop-year-zero/. van Beukering, Pieter, Yongjiang Li, Yumin Zhao and Xin Zhou. “Trends and Issues in the Plastics Cycle in China, with Special Emphasis on Trade and Recycling.” CREED Working Paper 16, (December 1997). https://ssrn.com/abstract=56029 Wheeler, Darby, dir. “The Foundation” in Hip-Hop Evolution. Darby Wheeler and Rodrigo Bascunan, 2016. https://www.netflix.com/title/80141782 描述 碩士
國立政治大學
國際研究英語碩士學位學程(IMPIS)
110862019資料來源 http://thesis.lib.nccu.edu.tw/record/#G0110862019 資料類型 thesis dc.contributor.advisor 劉曉鵬 zh_TW dc.contributor.advisor Liu, Philip Hsiaopong en_US dc.contributor.author (作者) 吳望明 zh_TW dc.contributor.author (作者) Uwanamodo, Anene Kelechi Daniel en_US dc.creator (作者) 吳望明 zh_TW dc.creator (作者) Uwanamodo, Anene Kelechi Daniel en_US dc.date (日期) 2024 en_US dc.date.accessioned 1-三月-2024 12:33:18 (UTC+8) - dc.date.available 1-三月-2024 12:33:18 (UTC+8) - dc.date.issued (上傳時間) 1-三月-2024 12:33:18 (UTC+8) - dc.identifier (其他 識別碼) G0110862019 en_US dc.identifier.uri (URI) https://nccur.lib.nccu.edu.tw/handle/140.119/150118 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 國際研究英語碩士學位學程(IMPIS) zh_TW dc.description (描述) 110862019 zh_TW dc.description.abstract (摘要) 本研究採用地下和主流的框架來關注台灣嘻哈的發展。 本研究參考世界各地地下嘻哈場景的研究，以深度半結構化訪談為主要研究方法，探討地下場景中的饒舌歌手是否以及如何定義正統性、身分和意識形態的概念。 本研究認為主流（隸屬於三個獨立嘻哈廠牌 True Color 本色、Kao!INC 顏社 和 Kung Fu Entertainment 人人有功練 的藝術家）與迅速擴張的地下圈之間存在著顯著的分離。 這項研究的三個主要目的是：透過研究最近的發展來擴展 Meredith Schweig 的台灣嘻哈年表； 將這一領域的發展與美國和全球嘻哈趨勢、台灣社會以及有影響力的技術進步聯繫起來； 並透過地下和主流二分法的視角進行分析，為現有文獻做出貢獻。 為了實現這些目標，該研究補充了對 20 多人的半結構化訪談和數位對話，以及對嘻哈活動和相關物理空間的額外參與觀察、歌詞分析和社交媒體社群觀察。 研究得出的結論是，嘻哈文化在台灣主流音樂產業中的地位變得更加根深蒂固，這從嘻哈音樂在頒獎典禮和一般流行音樂中的出現就可以看出。 研究還發現，當地嘻哈地下音樂的參與者對正統性和性別認同的態度與施威格的研究提出的不同，並將嘻哈文化的增長歸因於嘻哈專用數位社區和學生社團的激增在高中和大學階段。 zh_TW dc.description.abstract (摘要) This study focuses on the development of Taiwanese hip-hop by adopting the framework of underground and mainstream. Referencing research on underground hip-hop scenes around the world and adopting in-depth semi-structured interview as the primary research method, this study explores if and how rappers in the underground scene define the concepts of authenticity, identity, and ideology. It contends that there is a distinction between the mainstream (artists affiliated with the three independent hip-hop labels True Color, Kao!INC, and Kung Fu Entertainment), and a rapidly expanding underground. This research is undertakenwith three main aims: to expand on Meredith Schweig's chronology of Taiwanese hip-hop by researching recent developments; to contextualize the development of this scene within American and global hip-hop trends, Taiwanese society, and influential technological advancements; and to contribute to the existing literature by analyzing through the lens of a dichotomous underground and mainstream. To accomplish these goals, the study supplements the semi-structured interviews and digital conversations with over 20 individuals with additional participant observation of hip-hop events and associated physical spaces, lyrical analysis, and investigation of social media communities. The research concludes that hip-hop has become more entrenched within Taiwan's mainstream music industry, demonstrated by the presence of hip-hop in award shows and larger pop music. It also finds that participants in the local hip-hop underground espouse different attitudes about authenticity and gender identity than those proposed by Schweig's study, and attributes the growth of hip-hop culture to the proliferation of hip-hop dedicated digital communities and student clubs at the high school and university level. en_US dc.description.tableofcontents 1. Introduction 4 1.1 Why Here and Now? 5 2. Literature Review 10 2.1 Underground Hip-Hop Across the Globe 10 2.1.1 Case Studies of International Underground Hip-Hop 12 2.2 Theoretical Concepts in Hip-Hop Research 19 2.2.1 Bourdieusian Concepts in Hip-Hop Studies 20 2.2.2 Authenticity? Authenticities? 22 3. Methodology 24 4. Organization 24 5. Part One: United States Hip-Hop History 26 5.1 Origins: The South Bronx 26 5.2 Cooptation: Recognition of Hip-hop in the 1980s 28 5.3 Differentiation: Gangsta Rap, the American Hip-Hop Underground, and Backlash to Mainstreaming 31 5.4 Democratization: Technological Innovations and Universal Hip-hop 34 6. Part Two: Taiwanese Hip-Hop History 37 6.1 Hip-Hop for Every Voice 37 6.2 Track One: From American Streets to Taiwanese Shores 38 6.3 Track Two: Building Community 40 6.4 Track Three: Taiwan Rap Taking Shape 42 6.5 Track Four: The Age of Competition 44 7. Part Three: Raising Our Voices — Testimonies from the Underground 48 7.1 The "Outsider" Looking In 49 7.1.1 The Outsider 49 7.1.2 Looking In 51 7.1.2.1 At First Glance — Continue Music Studio 52 7.1.2.2 Double Take — Rumeng 54 7.1.2.3 (Third Time's) The Charm — Flow 59 7.1.2.4 Foursight — Assorted Performance Spaces 63 7.2 The "Scholarly Rapper:" From School Clubs to Nightclubs 65 7.2.1: (Never) Too Cool for (After) School 66 7.2.2:【CRACKING THE CYPHER】69 7.2.3: “You Do Talk About Night Club”71 7.2.4: Durable Connections (Club is Thicker Than Water) 72 7.2.5: In a Class of Their Own 73 7.3 What We Do This For: Identity and Motivation in the Underground 78 7.3.1 The Six Questions 79 7.3.2 Question One 79 7.3.3 Question Two 82 7.3.4 Question Three 84 7.3.5 Question Four 87 7.3.6 Question Five 91 7.3.7 Question Six 98 7.3.8 Afterthoughts 100 7.4 Until We Make It: The Ever-Evolving Landscape of Taiwanese Hip-Hop 102 7.4.1 Our New Digital Homes 104 7.4.2 Do You Want the Keys to the Kingdom 107 8. Conclusion 112 9. Bibliography 117 zh_TW dc.format.extent 1035921 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0110862019 en_US dc.subject (關鍵詞) 嘻哈文化 zh_TW dc.subject (關鍵詞) 饒舌 zh_TW dc.subject (關鍵詞) 正統性 zh_TW dc.subject (關鍵詞) 地下嘻哈 zh_TW dc.subject (關鍵詞) Taiwan en_US dc.subject (關鍵詞) Hip-Hop en_US dc.subject (關鍵詞) Underground en_US dc.subject (關鍵詞) Ethnomusicology en_US dc.title (題名) 抬頭發聲：台灣地下嘻哈領域的正統性、身份與發展 zh_TW dc.title (題名) Raise Your Voices: Authenticity, Identity, and the Evolution of Taiwanese Underground Hip-Hop en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) 河岸留言. “西門紅樓展演館 RLH 介紹.” 河岸留言. Accessed January 3, 2024. https://www.riverside.com.tw/rlh. “台灣嘻哈音樂文化討論社.” Facebook. Accessed January 22, 2024. https://www.facebook.com/groups/nicepassexpress.tw. Bourdieu, Pierre. 1993. The Field of Cultural Production: Essays on Art and Literature. New York: Columbia University Press. Bourdieu, Pierre. 1996. The Rules of Art. The Rules of Art. https://doi.org/10.1515/9781503615861. Bynoe, Yvonne. 2006. Encyclopedia of Rap and Hip-Hop Culture. Greenwood Press. https://books.google.com/books/about/Encyclopedia_of_Rap_and_Hip_Hop_Culture.html?id=ioKfAAAAMAAJ. Elafros, Athena. 2013. “Greek Hip Hop: Local and Translocal Authentication in the Restricted Field of Production.” Poetics 41 (1). https://doi.org/10.1016/j.poetic.2012.11.002. Goldthread. “Jony J, China’s ‘hip-Hop Poet,’ on Socially Conscious Rap and How J. Cole Inspired Him.” LINE TODAY, August 8, 2019. https://today.line.me/hk/v2/article/LL2GYr. Golpushnezhad, Elham. “Untold Stories of DIY/Underground Iranian Rap Culture: The Legitimization of Iranian Hip-Hop and the Loss of Radical Potential.” Cultural Sociology 12, no. 2 (2018): 260–275. Hall, Stuart, Tony Jefferson, and Brian Roberts. "Subcultures, cultures and class." Resistance through rituals: Youth subcultures in post-war Britain (1976): 9-74. Hare, Sarah, and Andrea Baker. 2017. “Keepin’ It Real: Authenticity, Commercialization, and the Media in Korean Hip Hop.” SAGE Open 7 (2). https://doi.org/10.1177/2158244017710294. Harrison, Anthony Kwame. 2009. Hip Hop Underground: The Integrity and Ethics of Racial Identification. Hip Hop Underground: The Integrity and Ethics of Racial Identification. Vol. 9781439900628. https://doi.org/10.5860/choice.47-5739. Hesmondhalgh, David. 2006. “Bourdieu, the Media and Cultural Production.” https://doi.org/10.1177/0163443706061682. Hsueh, Chia-Ming. “Higher Education Crisis in Taiwan.” Inside Higher Ed | Higher Education News, Events and Jobs, August 4, 2018. https://www.insidehighered.com/blogs/world-view/higher-education-crisis-taiwan. Huq, Rupa. Beyond subculture: Pop, youth and identity in a postcolonial world. Routledge, 2007. Hydraulic Engineering Office. “What Are the Places Opened for Public Graffiti in Riverside Parks in Taipei?” Taipei City Government. Accessed December 28th, 2023. https://english.gov.taipei/News_Content.aspx?n=A0EDC3930FBE7EFC&sms=5B794C46F3CDE718&s=D5E9C52A8C141B1C. Jackson, Brenda, and Sharon Anderson. "Hip-hop culture around the globe: implications for teaching." Black History Bulletin 72, no. 1 (2009): 22+. Gale Academic OneFile (accessed September 5, 2023). https://link.gale.com/apps/doc/A199912097/AONE?u=googlescholar&sid=bookmark-AONE&xid=e04aff46. Jeffries, Michael P. 2010. Thug Life: Race, Gender, and the Meaning of Hip-Hop. Chicago: University of Chicago Press. Kornhorst, Adan. “Rap of China: New Reality Show Stirs Controversy and Memes.” Stories from the center of China’s youth culture, July 5, 2017. https://radii.co/article/hip-hop-of-china-new-reality-show-stirs-controversy-and-memes. L., Ian. “Hip Hop From Detroit To China: The Iron Mic.” SmartShanghai. SmartShanghai, November 19, 2014. https://www.smartshanghai.com/articles/nightlife/hip-hop-from-detoit-to-china-the-iron mic. Lena, Jennifer C. 2006. “Social Context and Musical Content of Rap Music, 1979–1995.” Social Forces 85 (1): 479–95. https://doi.org/10.1353/SOF.2006.0131. Lopes, Paul. "Pierre Bourdieu’s fields of cultural production: A case study of modern jazz." Pierre Bourdieu: fieldwork in culture (2000): 165-185. McKrell, Aaron. “A Timeline of Historic Hip Hop Firsts at the Grammy Awards.” HipHopDX, January 25, 2018. https://hiphopdx.com/editorials/id.3995/title.a-timeline-of-historic-hip-hop-firsts-at-the-grammy-awards#:~:text=Ten%20years%20after%20%E2%80%9CRapper%E2%80%99s%20Delight%E2%80%9D%20hit%20the%20airwaves%2C,that%20would%20take%20many%20forms%20over%20the%20years. Negus, Keith. Popular music in theory: An introduction. Wesleyan University Press, 1997. Oware, Matthew. 2014. “(Un)Conscious (Popular) Underground: Restricted Cultural Production and Underground Rap Music.” Poetics 42 (1). https://doi.org/10.1016/j.poetic.2013.12.001. Ong, Celia. “The next Wave of Taiwanese Hip-Hop Artists.” Bandwagon, November 7, 2019. https://www.bandwagon.asia/articles/the-next-wave-of-taiwanese-hip-hop-artists. Park, Woo-seung. 2021. “Cultural Investigation of Korean Underground Hip Hop Music: From Subculture to Mainstream Culture.” Social Integration Research 2 (1). https://doi.org/10.46907/sir.2021.2.1.81. Peck, Ra Shelle R. 2018. “Love, Struggle, and Compromises: The Political Seriousness of Nairobi Underground Hip Hop.” African Studies Review. https://doi.org/10.1017/asr.2017.143. Pedac. “Rap Cap.” Urban Dictionary, June 13, 2018. https://www.urbandictionary.com/define.php?term=rap+cap. Peng, Zishan. “獨立廠牌玩嘻哈 歌壇大反骨｜天下雜誌.” 天下雜誌, March 3, 2015. https://www.cw.com.tw/article/5065217. Peterson, James Braxton. 2014. The Hip-Hop Underground and African American Culture: Beneath the Surface. The Hip-Hop Underground and African American Culture: Beneath the Surface. https://doi.org/10.1057/9781137305251. 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