Source:University of North Carolina Press,, Chapel Hill, United States, p.xiii, 121 pages ; (2021)
Mots-clés:(OCoLC)fst00799666, (OCoLC)fst00957237, (OCoLC)fst01089951, (OCoLC)fst01089957, African Americans, fast, hip-hop, Hip-hop., History and criticism., Race identity, Race identity., Rap (Music), Social aspects, Social aspects., Southern States, Southern States.
Includes bibliographical references and index.Introduction: The mountaintop ain't flat -- The demo tape ain't nobody wanna hear -- Spelling out the work -- Re-imagining slavery in the hip-hop imagination -- Still ain't forgave myself -- A final note: The South still got something to say."Chronicling Stankonia situates hip hop as an intervention in constructing post-Civil Rights black identities and cultural discourse. For southern blacks, the past is often restricted to three recognizable historical moments - the Antebellum Era, Jim Crow, and the Civil Rights Movement. Aside from the deeply traumatic experience of these periods of history, they also serve as cornerstones of validating and recognizing southern blacks' experiences. However, the challenge for post-Civil Rights generations of southern blacks is speaking truth to power when their truths depart the trajectory of what was considered power in the past. Chronicling Stankonia updates the black South using hip hop as an agent to reflect multiple intersections of time, race, and southernness in the late twentieth and early twenty-first centuries. Part of southern hip hop culture's truth remains attached to the past but its power is grounded in the fact that younger southerners use hip hop to embrace the possibility of multiple Souths, multiple narratives, and multiple entry points into contemporary southern black identities"--