Description
Book SynopsisNegotiating identity in hip-hop culture
Trade Review "Miles White's From Jim Crow to Jay-Z drops squarely into the Bermuda Triangle of critical race studies, gender and sexuality studies, and performance studies with useful new approaches to studying rappers as ambivalent cultural exemplars of black masculine performance."--H-Net Review
"Invaluable. . . . Provides a clear example of how interdisciplinary approaches to African American music and culture can provide future scholars with the tools to examine the ever changing and diverse identities within the community."--
Black Grooves"White's generative approach and application are ground-breaking, innovative, and ultimately laudable."--
Popular Music and Society"Unique in both approach and scope, this work adds a scholarly perspective to the popular literature that examines issues of black masculinity and hardcore hip-hop as performed by black and white rappers. An example of excellent scholarship that sets new standards for writing on this topic."--Portia K. Maultsby, coeditor of
African American Music: An Introduction"A thought-provoking work offering a hard look at hardcore hip-hop's masculinities."--
Notes"A captivating study of hardcore styles of hip-hop, masculinity and the performance of the body."--
Ethnic and Radical Studies"By interrogating the cultural logic through which blackness and masculinity are constructed in our society, [White] opens up possibilities for more empowering forms of representation and identification both within popular culture and in the lived experiences of race, class and gender."--
PopMatters.com"White offers a vivid view of contemporary black male hip-hop culture. . . . A courageous work."--
ForeWord "[
From Jim Crow to Jay-Z] takes a critical look at the portrayal of racialized machismo in modern America, and how hip-hop helps perpetuate stereotypical tropes about the African-American male. . . . Perfect for anyone who enjoys an intellectually stimulating and provocative read."--
The RootTable of ContentsAcknowledgements; Introduction ONE: Shadow and Act: Minstrelsy and the Absent Black Presence; TWO: The Fire This Time: Black Masculinity in Contemporary Performance; THREE: Affective Gestures: Hip-Hop Aesthetics and the Body in Performance; FOUR: Real Niggas: Black Men, Hard Men and the Rise of Gangsta Culture; FIVE: Race Rebels: Whiteness and the New Masculine Desire Epilogue; References; Notes; Appendix
