Winner : 2022-2023 New York City Book Awards! 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.
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