I Mix What I Like!: A Mixtape Manifesto

I Mix What I Like!: A Mixtape Manifesto

Jared A. Ball

Language: English

Pages: 240

ISBN: 1849350574

Format: PDF / Kindle (mobi) / ePub


"Jared Ball is determined to rescue hip hop and left activism from increasingly subversive corporate control. This book is a manifesto that needs to be read, argued about, and yelled from the rooftops. Let the bricks fly!"—Todd Steven Burroughs, co-author of Civil Rights Chronicle

"The Funkiest Journalist breaks it all down for all servants of Soul/Funk music and Art in the 21st Century. His Mixtape Manifesto explains what we are up against battling corporate empires that control the coveted consumer-merchant access points, and offers us an option to distribute, connect, and popularize our culture."—Head Roc, political hip-hop artist

"The revolutionary power of this book lies in its capacity to interrogate staid constructs of thought and re-pose vital questions pertaining to 'emancipatory journalism.' For the power to pose the question is the greatest power of all."—Frank B. Wilderson, III, author of Incognegro

In a moment of increasing corporate control in the music industry, Jared A. Ball analyzes the colonization and control of popular music and posits the homemade hip-hop mixtape as an emancipatory tool for community resistance. Equally at home in a post-colonial studies class and on the shelves of an indie record store, I Mix What I Like! is a revolutionary investigation of the cultural dimension of anti-racist organizing in African America.

Jared A. Ball, PhD, (a.k.a. The Funkiest Journalist) is the host of FreeMix Radio, and assistant professor of communication studies at Morgan State University in Baltimore, Maryland.

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negatively impact the practice of journalists throughout the African continent.354 And in the United States (as is the case throughout the West), the press is often described as seeking to discredit notions of or tendencies toward African independence.355 Similarly, this historical pattern of media and journalism as mechanisms of colonization has been and continues to be challenged by Black people seeking to maintain liberated spaces for much needed dialogue journalism and conceptual

benefit from considering how low-tech media options connected to localized political organizing outside a non-profit industrial complex may further and invigorate their efforts.14 But it is first this initial understanding that there is no inherent or natural tendency among the world’s Black people to the lower rungs of the global pyramid that must take precedence for the following argument to even begin to resonate with the reader.15 So, therefore, the intent here is to speak locally to a global

Hindman shows, in many ways the Internet is even more concentrated in audience than previous media forms, because the top news/media sites garner 30 percent of the web’s audience while the top 12 newspapers hold only 20 percent of the total audience. So the more people move online and away from print media the more they are washington, d.c.: a case study in the colonizing function of radio 105 concentrated into the hands of fewer providers. Hindman also notes that the attempt to move

not, in most cases, own their own music, so bootlegging their music has less of a direct impact on them than some might suggest. Plus, with the increasing prevalence of “360 deals” (in which the corporations who own the artists’ music gain percentages of everything the artist does that “uses the artist’s brand or music”), it is the fundamental relationship that these corporations have with art and artists that is the real culprit in any exploitation that occurs.21 Second, the issue moves beyond

and only four shows were about some contemporary issue.611 Post-levees, like all media, there was a boost in coverage, but then, like all media, trends and tendencies return. This study was updated more recently only to show that while some were focused on news that 74 percent of episodes of NBC’s flagship news and interview program Meet the Press contained no Black guests, 88 percent of the episodes of the White Left’s flagship news/interview program Democracy Now! had no Black guests.612 In

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