2Chainz
A01=Corey J. Miles
Author_Corey J. Miles
Black
Black artists
Black sound
Blackness
Category=AVLP
Category=JBCC1
Category=JBSL
Category=NHB
contemporary South
criminalization of Blackness
eq_art-fashion-photography
eq_bestseller
eq_history
eq_isMigrated=1
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
eq_society-politics
ethnographic narratives
ghetto
hood
monolithic notions
North Carolina
pain music
Race
Rapsody
ratchet
Rod Wave
South
southern cultural creators
trap music
Product details
- ISBN 9781496848901
- Weight: 272g
- Dimensions: 152 x 229mm
- Publication Date: 15 Dec 2023
- Publisher: University Press of Mississippi
- Publication City/Country: US
- Product Form: Paperback
Secure
checkout
Fast Shipping
Easy returns
Where exactly does the South begin and end? Current maps are too rigid to account for the ways Black people have built the South while being simultaneously excluded from it. Drawing from the different ways Black artists in the 2-5-2 area code in North Carolina use "vibe" as a mode of knowing and communication, author Corey J. Miles illustrates how Black feeling and unfeeling offer entry points into the contemporary South that challenge static and monolithic notions of the region. Placing the local artists in conversation with other southern cultural creators such as 2 Chainz, Rod Wave, and Rapsody, these ethnographic narratives demonstrate that there are multiple Souths, with overlapping and distinct commitments to working through pain, sound, and belonging.
In Vibe: The Sound and Feeling of Black Life in the American South, Miles narrates how southern Black sound, feeling, and being is constantly policed, surveilled, and criminalized. In doing so, he re-narrates the region as the "carceral South," to capture the ways people in the South and beyond can feel the emotional weight of the criminalization of Blackness. Pain music, a subgenre of trap music, is used to take the listener to moments of violence to allow them to hear the desires, anger, and silences that bind Black life in community. Through conceptions of ratchet, hood, and ghetto, Black artists turn away from respectable images and unmap the South. In trap music, they move the South to a space where multiple modes of being find respect and care.
In Vibe: The Sound and Feeling of Black Life in the American South, Miles narrates how southern Black sound, feeling, and being is constantly policed, surveilled, and criminalized. In doing so, he re-narrates the region as the "carceral South," to capture the ways people in the South and beyond can feel the emotional weight of the criminalization of Blackness. Pain music, a subgenre of trap music, is used to take the listener to moments of violence to allow them to hear the desires, anger, and silences that bind Black life in community. Through conceptions of ratchet, hood, and ghetto, Black artists turn away from respectable images and unmap the South. In trap music, they move the South to a space where multiple modes of being find respect and care.
Corey J. Miles is assistant professor of sociology and Africana studies at Tulane University. His work has been published in the Journal of Hip-Hop Studies, Cultural Studies, and the Howard Journal of Communication.
