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Prophets of the Hood: Politics and Poetics in Hip Hop PDF

249 Pages·2004·0.89 MB·English
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8 4 2 f o 1 t e e h s / D O O H E H T F O S T E H P O R P / y r r e P 8 6 1 7 ProphetsoftheHood 0 4 : 9 0 4 1 . 9 . 4 0 0 2 g n e s T 8 4 2 f o 2 t e e h s / D O O H E H T F O S T E H P O R P / y r r e P 8 6 1 7 0 4 : 9 0 4 1 . 9 . 4 0 0 2 g n e s T 8 4 2 f o 3 t e e h s / D O O H E H T Politics F O S T E and H P O R P / Poetics y r r e P in 8 6 1 7 Hip Hop . . . . . Prophets of the Hood Imani Perry . DukeUniversityPress Durham&London 2004 0 4 : 9 0 4 1 . 9 . 4 0 0 2 g n e s T 8 4 2 f o 4 t e e h s / D O O H E H T F O S T E H P O R P / y r r e P 8 6 1 7 ©2004DukeUniversityPress Allrightsreserved PrintedintheUnitedStatesofAmerica onacid-freepaper(cid:4) DesignedbyC.H.Westmoreland TypesetinScalawithStoneSansdisplay byTsengInformationSystems,Inc. LibraryofCongressCataloging-in-Publication Dataappearonthelastprintedpage ofthisbook. 0 4 : 9 0 4 1 . 9 . 4 0 0 2 g n e s T 8 4 2 f o 5 t e e h s / D O O H E H T F O S T E H P O R P / y r r e P 8 6 1 7 . ForFreemanDiallo 0 4 : 9 0 4 1 . 9 . 4 0 0 2 g n e s T 8 4 2 f o 6 t e e h s / D O O H E H T F O S T E H P O R P / y r r e P 8 6 1 7 0 4 : 9 0 4 1 . 9 . 4 0 0 2 g n e s T 8 4 2 f o 7 t e e h s / D O O H E H T F O Acknowledgments ix S T HE Introduction 1 P O R P 1 / y HipHop’sMama: r r e OriginalismandIdentityintheMusic 9 P 8 6 71 2 MyMicSoundNice: Art,Community,andConsciousness 38 3 Contents StingingLikeTabasco:StructureandFormat inHipHopCompositions 58 4 TheGloriousOutlaw: HipHopNarratives,AmericanLaw,and theCourtofPublicOpinion 102 5 B-Boys,Players,andPreachers: ReadingMasculinity 117 6 TheVenusHipHopandthePinkGhetto: NegotiatingSpacesforWomen 155 7 BlingBling...andGoingPop: ConsumerismandCo-optationinHipHop 191 Notes 205 Index 223 0 4 : 9 0 4 1 . 9 . 4 0 0 2 g n e s T 8 4 2 f o 8 t e e h s / D O O H E H T F O S T E H P O R P / y r r e P 8 6 1 7 0 4 : 9 0 4 1 . 9 . 4 0 0 2 g n e s T 8 4 2 f o 9 t e e h s / D O O H E H T F O S T E H P O R P / y r r e P 8 6 1 7 Acknowledgments This project was nurtured, supported, and fueled by many people. Abundant thanks to J. Reynolds Smith, my editor, and Sharon Parks TorianofDukeUniversityPressforcommitment,encouragement,and carefulreadingovertheyearsinwhichthisprojectdeveloped. Thank you to the institutions, foundations, and programs that have supported this work: The Minority Summer Research Exchange Pro- gram at the University of California, Los Angeles, the Ford Founda- tion, the Mellon Foundation, the American Studies Association, Har- vardUniversity’sBlackGraduateNetwork. Thankyoutothementors,teachers,motivators,andopportunitycre- ators:RobertBellinger,HazelCarby,Fr.ThomasClark,MichaelDen- ning,Gail Dines, Michael Eric Dyson, Janet Eisendrath, Ann Fabian, HenryLouisGatesJr.,HermanGray,FarahJasmineGriffin,bellhooks, CesarMcDowell,PhillipMcFarland,ReneéNeblett,JohnSzwed,Cornel West,andThomasWilcox. ThankyoutothosewithwhomIhavebrokenbreadoverhiphopanaly- sisandthevagariesofpopularcultureatvariouspointsoverthelastthir- teenyears,colleagues,students,acquaintances,friends,andlovedones: Michele Alexandre, Anthony Almeida, Terence Barrett, Alvin Bragg, 0 4 : 9 0 4 1 . 9 . 4 0 0 2 g n e s T

Description:
At once the most lucrative, popular, and culturally oppositional musical force in the United States, hip hop demands the kind of interpretation Imani Perry provides here: criticism engaged with this vibrant musical form on its own terms. A scholar and a fan, Perry considers the art, politics, and cu
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Most books are stored in the elastic cloud where traffic is expensive. For this reason, we have a limit on daily download.