Focuses on the socially relevant aspects of Hip Hop music: its treatment of the identity of the black subject in a white society, new definitions of blackness and its commercialization.
Focuses on the socially relevant aspects of Hip Hop music: its treatment of the identity of the black subject in a white society, new definitions of blackness and its commercialization.
Imani Perry is a Professor in the Center for African American Studies at Princeton University.
Inhaltsangabe
Acknowledgments > Introduction 1 1. Hip Hop's Mama: Originalism and Identity in the Music 9 2. My Mic Sound Nice: Art, Community, and Consciousness 38 3. Stinging Like Tabasco: Structure and Format in Hip Hop Compositions 58 4. The Glorious Outlaw: Hip Hop Narratives, American Law, and the Court of Public Opinion 102 5. B-Boys, Players, and Preachers: Reading Masculinity 117 6. The Venus Hip Hop and the Pink Ghetto: Negotiating Spaces for Women 155 7. Bling Bling…and Going Pop: Consumerism and Co-optation in Hip Hop 191 Notes 205 Index 223
Acknowledgments > Introduction 1 1. Hip Hop's Mama: Originalism and Identity in the Music 9 2. My Mic Sound Nice: Art, Community, and Consciousness 38 3. Stinging Like Tabasco: Structure and Format in Hip Hop Compositions 58 4. The Glorious Outlaw: Hip Hop Narratives, American Law, and the Court of Public Opinion 102 5. B-Boys, Players, and Preachers: Reading Masculinity 117 6. The Venus Hip Hop and the Pink Ghetto: Negotiating Spaces for Women 155 7. Bling Bling…and Going Pop: Consumerism and Co-optation in Hip Hop 191 Notes 205 Index 223
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