Hip Hop Heresies

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1990s
A01=Shanté Paradigm Smalls
Aesthetics
Afro Asian
Age Group_Uncategorized
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archival
Author_Shanté Paradigm Smalls
automatic-update
Berry Gordy's The Last Dragon
Black aesthetics
Black masculinity
Black women
Blackness
Brooklyn
Category1=Non-Fiction
Category=AVA
Category=AVGR
Category=AVLP
Category=HBTB
Category=JBSJ
Category=JBSL
Category=JFSK
Category=JFSL
Category=NHTB
Chinest
COP=United States
dance
Delivery_Delivery within 10-20 working days
eq_art-fashion-photography
eq_history
eq_isMigrated=2
eq_music
eq_non-fiction
eq_society-politics
ethnography
film
future
gay hip hop
gay rappers
Graffiti
Hip Hop
hip hop aesthetics
Jean Grae
Language_English
LGBTQ
Lil Nas X
Lower East Side
Man Parrish
martial arts
Martin Wong
Museum of American Graffiti
music
New York City
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Price_€20 to €50
PS=Active
psychoanalysis
Queer
queer aesthetics
Queer hip hop
rap music
softlaunch
trans
uncanny
visual art

Product details

  • ISBN 9781479808205
  • Weight: 354g
  • Dimensions: 152 x 229mm
  • Publication Date: 28 Jun 2022
  • Publisher: New York University Press
  • Publication City/Country: US
  • Product Form: Paperback
  • Language: English
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Winner of the 2022-2023 New York City Book Awards!
SPECIAL MENTION, 2023 IASPM Book Prize, given by the International Association for the Study of Popular Music
SHORTLISTED, 2023 Ralph J. Gleason Book Award, given by the Rock N Roll Hall of Fame/Clive Davis Institute

Unearths the queer aesthetic origins of NYC hip hop

Hip Hop Heresies centers New York City as a space where vibrant queer, Black, and hip hop worlds collide and bond in dance clubs, schools, roller rinks, basketball courts, subways, and movie houses. Using this cultural nexus as the stage, Shanté Paradigm Smalls attends to the ways that hip hop cultural production in New York City from the 1970s through the early twenty-first century produced film, visual art, and music that offer queer articulations of race, gender, and sexuality.
To illustrate New York City as a place of experimental aesthetic collaboration, Smalls brings four cultural moments to the forefront: the life and work of the gay Chinese American visual and graffiti artist Martin Wong, who brokered the relationship between New York City graffiti artists and gallery and museum spaces; the Brooklyn-based rapper-singer-writer-producer Jean Grae, one of the most prolific and underrated emcees of the last two decades; the iconic 1980s film The Last Dragon, which exemplifies the experimental and queer Black masculinity possible in early formal hip hop culture; and finally queer- and trans-identified hip hop artists and groups like BQE, Deepdickollective, and Hanifah Walidah, and the documentary Pick Up the Mic.
Hip Hop Heresies transforms the landscape of hip hop scholarship, Black studies, and queer studies by bringing together these fields through the hermeneutic of aesthetics. Providing a guidepost for future scholarship on queer, trans, and feminist hip hop studies, Hip Hop Heresies takes seriously the work that New York City hip hop cultural production has done and will do, and advocates a form of hip hop that eschews authenticity in favor of performativity, bricolage, and pastiche.

Shanté Paradigm Smalls is Associate Professor in the Department of Art & Public Policy at New York University.