A01=Regina Bradley
Albany
Aquemini
Atlanta
ATLiens
Author_Regina Bradley
Black American South
Black Mecca
Black New South
Category=AVA
Category=AVLP
Category=JBSL
contemporary American South
contemporary Black southern literature
Dirty South
Dungeon Family
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_music
eq_nobargain
eq_non-fiction
eq_society-politics
GA
Goodie Mob
Hip Hop South
Imani Perry
Jesmyn Ward
Kiese Laymon
LaFace Records
Long Division
Mark Anthony Neal
Organized Noize
OutKast
Pastor Troy
So So Def
southern hip hop
Southernplayalisticadillacmuzik
Stankonia
T.I.
Trap
Trap Muzik
Underground television show
Where the Line Bleeds
Product details
- ISBN 9781469661964
- Weight: 200g
- Dimensions: 195 x 233mm
- Publication Date: 28 Feb 2021
- Publisher: The University of North Carolina Press
- Publication City/Country: US
- Product Form: Paperback
Secure
checkout
Fast Shipping
Easy returns
This vibrant book pulses with the beats of a new American South, probing the ways music, literature, and film have remixed southern identities for a post-civil rights generation. For scholar and critic Regina N. Bradley, Outkast's work is the touchstone, a blend of funk, gospel, and hip-hop developed in conjunction with the work of other culture creators-including T.I., Kiese Laymon, and Jesmyn Ward. This work, Bradley argues, helps define new cultural possibilities for black southerners who came of age in the 1980s and 1990s and have used hip-hop culture to buffer themselves from the historical narratives and expectations of the civil rights era. Andre 3000, Big Boi, and a wider community of creators emerge as founding theoreticians of the hip-hop South, framing a larger question of how the region fits into not only hip-hop culture but also contemporary American society as a whole.
Chronicling Stankonia reflects the ways that culture, race, and southernness intersect in the late twentieth and early twenty-first centuries. Although part of southern hip-hop culture remains attached to the past, Bradley demonstrates how younger southerners use the music to embrace the possibility of multiple Souths, multiple narratives, and multiple points of entry to contemporary southern black identity.
Chronicling Stankonia reflects the ways that culture, race, and southernness intersect in the late twentieth and early twenty-first centuries. Although part of southern hip-hop culture remains attached to the past, Bradley demonstrates how younger southerners use the music to embrace the possibility of multiple Souths, multiple narratives, and multiple points of entry to contemporary southern black identity.
Regina N. Bradley is an alumna Nasir Jones Hiphop Fellow at Harvard University and an assistant professor of English and African diaspora studies at Kennesaw State University.
