LEADER 04095nam 2200661Ia 450 001 9910826076403321 005 20240513191204.0 010 $a9786613058287 010 $a0-226-39586-3 010 $a1-283-05828-6 024 7 $a10.7208/9780226395869 035 $a(CKB)2560000000060793 035 $a(EBL)660539 035 $a(OCoLC)705538182 035 $a(SSID)ssj0000473830 035 $a(PQKBManifestationID)12150596 035 $a(PQKBTitleCode)TC0000473830 035 $a(PQKBWorkID)10449442 035 $a(PQKB)10473869 035 $a(StDuBDS)EDZ0000122475 035 $a(MiAaPQ)EBC660539 035 $a(DE-B1597)523674 035 $a(OCoLC)704275119 035 $a(DE-B1597)9780226395869 035 $a(Au-PeEL)EBL660539 035 $a(CaPaEBR)ebr10448178 035 $a(CaONFJC)MIL305828 035 $a(EXLCZ)992560000000060793 100 $a20100208d2011 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aThug life $erace, gender, and the meaning of hip-hop /$fMichael P. Jeffries 205 $a1st ed. 210 $aChicago $cUniversity of Chicago Press$d2011 215 $a1 online resource (274 p.) 300 $aDescription based upon print version of record. 311 $a0-226-39584-7 311 $a0-226-39585-5 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tCONTENTS --$tACKNOWLEDGMENTS --$tINTRODUCTION: State of the Hip-Hop Union --$tONE. The Meaning of Hip-Hop --$tTWO. From a Cool Complex to Complex Cool --$tTHREE. Thug Life and Social Death --$tTHE BRIDGE. Summary of Chapters Two and Three --$tFOUR. Hip-Hop Authenticity in Black and White --$tFIVE. Parental Advisory: Explicit Lyrics --$tCONCLUSION. The Last Verse --$tEPILOGUE. Obama as Hip-Hop Icon --$tAPPENDIX --$tNOTES --$tREFERENCES --$tDISCOGRAPHY --$tINDEX 330 $aHip-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 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. 606 $aRap (Music)$xSocial aspects$zUnited States 606 $aHip-hop$xSocial aspects$zUnited States 610 $arace, gender, music, hip hop, thug, black, rap, dj, b boy, graffiti, musicians, performance, audience, industry, commercialization, capitalism, cultural appropriation, stereotypes, gang, drugs, violence, sex, sexuality, fans, identity, pleasure, politics, authenticity, obama, language, vulgarity, swear words, expletives, explicit, lyrics, nonfiction, popular culture, masculinity, strength, power, street, fear, intimidation, reputation, cred. 615 0$aRap (Music)$xSocial aspects 615 0$aHip-hop$xSocial aspects 676 $a306.4/842490973 700 $aJeffries$b Michael P$01605287 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910826076403321 996 $aThug life$93992108 997 $aUNINA