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Record Nr. |
UNINA9910791869303321 |
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Autore |
Jeffries Michael P |
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Titolo |
Thug life [[electronic resource] ] : race, gender, and the meaning of hip-hop / / Michael P. Jeffries |
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Pubbl/distr/stampa |
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Chicago, : University of Chicago Press, 2011 |
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ISBN |
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9786613058287 |
0-226-39586-3 |
1-283-05828-6 |
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Descrizione fisica |
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1 online resource (274 p.) |
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Disciplina |
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Soggetti |
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Rap (Music) - Social aspects - United States |
Hip-hop - Social aspects - United States |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Description based upon print version of record. |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Front matter -- CONTENTS -- ACKNOWLEDGMENTS -- INTRODUCTION: State of the Hip-Hop Union -- ONE. The Meaning of Hip-Hop -- TWO. From a Cool Complex to Complex Cool -- THREE. Thug Life and Social Death -- THE BRIDGE. Summary of Chapters Two and Three -- FOUR. Hip-Hop Authenticity in Black and White -- FIVE. Parental Advisory: Explicit Lyrics -- CONCLUSION. The Last Verse -- EPILOGUE. Obama as Hip-Hop Icon -- APPENDIX -- NOTES -- REFERENCES -- DISCOGRAPHY -- INDEX |
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Sommario/riassunto |
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Hip-hop has come a long way from its origins in the Bronx in the 1970's, when rapping and DJing were just part of a lively, decidedly local scene that also venerated b-boying and graffiti. Now hip-hop is a global phenomenon and, in the United States, a massively successful corporate enterprise predominantly controlled and consumed by whites while the most prominent performers are black. How does this shift in racial dynamics affect our understanding of contemporary hip-hop, especially when the music perpetuates stereotypes of black men? Do black listeners interpret hip-hop differently from white fans? These questions have dogged hip-hop for decades, but unlike most pundits, Michael P. Jeffries finds answers by interviewing everyday people. Instead of turning to performers or media critics, Thug Life focuses on |
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the music's fans-young men, both black and white-and the resulting account avoids romanticism, offering an unbiased examination of how hip-hop works in people's daily lives. As Jeffries weaves the fans' voices together with his own sophisticated analysis, we are able to understand hip-hop as a tool listeners use to make sense of themselves and society as well as a rich, self-contained world containing politics and pleasure, virtue and vice. |
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