This newly expanded and revised third edition brings together the most important and up-to-date hip-hop scholarship in one comprehensive volume. This intellectual mixtape is comprised of 47 readings that are organized into nine sections representing key concepts and themes: the history of hip-hop, authenticity debates, gender, the globalization of hip-hop, identities, disability, politics, hip-hop and academia, and hip-hop and the media. This new edition also includes greater coverage of gender, sexuality and racial diversity in hip-hop, hip-hop’s global influence, and hip-hop’s role in social movements and political activism. The pedagogical features include detailed critical introductions framing each section and brief chapter introductions to help readers place each piece in context and within a broader scholarly dialogue. This text is essential reading for anyone seeking deeper understanding of the profound impact of hip-hop as an intellectual, aesthetic, and cultural movement.

"Before That's the Joint I spent countless hours making photo-copies of essays and articles on hip hop for my students. When That's the Joint dropped it changed everything. It took hip hop studies to the next logical level and, hopefully, with the second edition Forman and Neal will take hip hop studies to an even higher level. That's the Joint , indeed, it is the sure shot " -- Reiland Rabaka, Department of Ethnic Studies, University of Colorado, Boulder, USA "That's the Joint stands as the seminal Hip Hop studies volume. It is comprehensive in scope, incorporating works from the leading scholars, journalists and practitioners in the genre. Moreover, it treats the subject in a rigorous academic manner, while making the readings accessible to a broader audience." -- Melina Abdullah, California State University, Los Angeles, USA That's the Joint : The Hip-Hop Studies Reader brings together the best-known and most influential writings on rap and hip-hop from its beginnings to today. Spanning more than 30 years of scholarship, criticism, and journalism, this unprecedented anthology showcases the evolution and continuing influence of one of the most creative and contested elements of global popular culture since its advent in the late 1970s. Think of it as "Hip-Hop 101." This newly expanded and revised second edition of That's the Joint brings together the most important and up-to-date hip-hop scholarship in one comprehensive volume. Presented thematically, the selections address the history of hip-hop, identity politics of the "hip-hop nation," debates of "street authenticity," gender, revolutionary politics, aesthetics, technologies of production, hip-hop as a cultural industry, and much more. The new edition includes expanded coverage of gender and racial diversity in hip-hop, and takes a look at hip-hop's role in politics, including the 2008 presidential election of Barack Obama. The new edition also includes expanded pedagogical fe

This newly expanded and revised third edition brings together the most important and up-to-date hip-hop scholarship in one comprehensive volume. This intellectual mixtape is comprised of 47 readings that are organized into nine sections representing key concepts and themes: the history of hip-hop, authenticity debates, gender, the globalization of hip-hop, identities, disability, politics, hip-hop and academia, and hip-hop and the media. This new edition also includes greater coverage of gender, sexuality and racial diversity in hip-hop, hip-hop’s global influence, and hip-hop’s role in social movements and political activism. The pedagogical features include detailed critical introductions framing each section and brief chapter introductions to help readers place each piece in context and within a broader scholarly dialogue. This text is essential reading for anyone seeking deeper understanding of the profound impact of hip-hop as an intellectual, aesthetic, and cultural movement.

"Before That's the Joint I spent countless hours making photo-copies of essays and articles on hip hop for my students. When That's the Joint dropped it changed everything. It took hip hop studies to the next logical level and, hopefully, with the second edition Forman and Neal will take hip hop studies to an even higher level. That's the Joint , indeed, it is the sure shot " -- Reiland Rabaka, Department of Ethnic Studies, University of Colorado, Boulder, USA "That's the Joint stands as the seminal Hip Hop studies volume. It is comprehensive in scope, incorporating works from the leading scholars, journalists and practitioners in the genre. Moreover, it treats the subject in a rigorous academic manner, while making the readings accessible to a broader audience." -- Melina Abdullah, California State University, Los Angeles, USA That's the Joint : The Hip-Hop Studies Reader brings together the best-known and most influential writings on rap and hip-hop from its beginnings to today. Spanning more than 30 years of scholarship, criticism, and journalism, this unprecedented anthology showcases the evolution and continuing influence of one of the most creative and contested elements of global popular culture since its advent in the late 1970s. Think of it as "Hip-Hop 101." This newly expanded and revised second edition of That's the Joint brings together the most important and up-to-date hip-hop scholarship in one comprehensive volume. Presented thematically, the selections address the history of hip-hop, identity politics of the "hip-hop nation," debates of "street authenticity," gender, revolutionary politics, aesthetics, technologies of production, hip-hop as a cultural industry, and much more. The new edition includes expanded coverage of gender and racial diversity in hip-hop, and takes a look at hip-hop's role in politics, including the 2008 presidential election of Barack Obama. The new edition also includes expanded pedagogical fe

A framework for understanding the deep archive of Black performance in the digital era In an era of Big Data and algorithms, our easy access to the archive of contemporary and historical Blackness is unprecedented. That iterations of Black visual art, such as Bert Williams's 1916 silent film short "A Natural Born Gambler" or the performances of Josephine Baker from the 1920s, are merely a quick YouTube search away has transformed how scholars teach and research Black performance. While Black Ephemera celebrates this new access, it also questions the crisis and the challenge of the Black musical archive in a moment when Black American culture has become a global export. Using music and sound as its primary texts, Black Ephemera argues that the cultural DNA of Black America has become obscured in the transformation from analog to digital. Through a cross-reading of the relationship between the digital era and culture produced in the pre-digital era, Neal argues that Black music has itself been reduced to ephemera, at best, and at worst to the background sounds of the continued exploitation and commodification of Black culture. The crisis and challenges of Black archives are not simply questions of knowledge, but of how knowledge moves and manifests itself within Blackness that is obscure, ephemeral, fugitive, precarious, fluid, and increasingly digital. Black Ephemera is a reminder that for every great leap forward there is a necessary return to the archive. Through this work, Neal offers a new framework for thinking about Black culture in the digital world.

Ten years ago, Mark Anthony Neal's New Black Man put forth a revolutionary model of Black masculinity for the twenty-first century-one that moved beyond patriarchy to embrace feminism and combat homophobia. Now, Neal's book is more vital than ever, urging us to imagine a New Black Man whose strength resides in family, community, and diversity. Part memoir, part manifesto, this book celebrates the Black man of our times in all his vibrancy and virility. The tenth anniversary edition of this classic text includes a new foreword by Joan Morgan and a new introduction and postscript from Neal, which bring the issues in the book up to the present day.

Ten years ago, Mark Anthony Neal's New Black Man put forth a revolutionary model of Black masculinity for the twenty-first century-one that moved beyond patriarchy to embrace feminism and combat homophobia. Now, Neal's book is more vital than ever, urging us to imagine a New Black Man whose strength resides in family, community, and diversity. Part memoir, part manifesto, this book celebrates the Black man of our times in all his vibrancy and virility. The tenth anniversary edition of this classic text includes a new foreword by Joan Morgan and a new introduction and postscript from Neal, which bring the issues in the book up to the present day.

In Songs in the Key of Black Life, acclaimed cultural critic Mark Anthony Neal turns his attention to Rhythm and Blues. He argues that R&B-often dismissed as "just a bunch of love songs," yet the second most popular genre in terms of sales - can tell us much about the dynamic joys, apprehensions, tensions, and contradictions of contemporary black life, if we listen closely. With a voice as heartfelt and compelling as the best music, Neal guides us through the work of classic and contemporary artists ranging from Marvin Gaye to Macy Gray. In the first section of the book, "Rhythm," he uses the music of Meshell N'degeocello, Patti Labelle, Jill Scott, Alicia Keys, and others as guideposts to the major concerns of contemporary black life-issues such as gender, feminist politics, political activism, black masculinity, celebrity, and the fluidity of racial and sexual identity. The second part of the book, "Blues," uses the improvisational rhythms of black music as a metaphor to examine currents in black life including the public dispute between Cornel West and Harvard President Lawrence Summers and the firing of BET's talk-show host Tavis Smiley.
Songs in the Key of Black Life is a remarkable contribution to the study of black popular music, and valuable reading for anyone interested in how race is lived in America.

In Songs in the Key of Black Life, acclaimed cultural critic Mark Anthony Neal turns his attention to Rhythm and Blues. He argues that R&B - often dismissed as 'just a bunch of love songs', yet the second most popular genre in terms of sales - can tell us much about the dynamic joys, apprehensions, tensions, and contradictions of contemporary black life. With a voice as heartfelt and compelling as the best music, Neal guides us through the work of classic and contemporary artists ranging from Marvin Gaye to Macy Gray. In the first section of the book, 'Rhythm', he uses the music of Meshell N'degeocello, Patti Labelle, Jill Scott, Alicia Keys, and others as guideposts to the major concerns of contemporary black life-issues such as gender, feminist politics, political activism, black masculinity, celebrity, and the fluidity of racial and sexual identity. The second part of the book, 'Blues', uses the improvisational rhythms of black music as a metaphor to examine currents in black life including the public dispute between Cornel West and Harvard President Lawrence Summers and the firing of BET's talk-show host Tavis Smiley.
Songs in the Key of Black Life is a remarkable contribution to the study of black popular music, and valuable reading for anyone interested in how race is lived in America.

Soul Babies examines the world of black youth since the Black Power and Civil Rights era. Reading political events, musical works, social forms, media representations and literary productions, Mark Anthony Neal argues that 'Post-Soul Aesthetic' is forming that repudiates much of black modern traditions and focuses instead on contemporary problems of culture and identity.

Beginning with the role of music in nineteenth century slave culture, Neal covers key black cultural movements (Harlem, jazz, blaxploitation films, Motown, hip-hop, etc.), the social forces and organizations that countered them, including the FBI and the Nixon administration, a myriad of artists (Marvin Gaye figures significantly), and the relation of black music to such forces as the black feminist movement, black liberation, and identity politics.

Mark Anthony Neal reads the story of black communities through the black tradition in popular music. His history challenges the view that hip-hop was the first black cultural movement to speak truth to power. Beginning with the role of music in 19th-century slave culture, Neal covers key black cultural movements (Harlem, jazz, blaxploitation films, Motown, hip-hop, etc.), the social forces and organizations that countered them, including the FBI and the Nixon administration, a myriad of artists (Marvin Gaye figures significantly), and the relation of black music to such forces as the black feminist movement, black liberation, and identity politics.

Mark Anthony Neal's Looking for Leroy is an engaging and provocative analysis of the complex ways in which black masculinity has been read and misread through contemporary American popular culture. Neal argues that black men and boys are bound, in profound ways, to and by their legibility. The most "legible" black male bodies are often rendered as criminal, bodies in need of policing and containment. Ironically, Neal argues, this sort of legibility brings welcome relief to white America, providing easily identifiable images of black men in an era defined by shifts in racial, sexual, and gendered identities. Neal highlights the radical potential of rendering legible black male bodies-those bodies that are all too real for us-as illegible, while simultaneously rendering illegible black male bodies-those versions of black masculinity that we can't believe are real-as legible. In examining figures such as hip-hop entrepreneur and artist Jay-Z, R&B Svengali R. Kelly, the late vocalist Luther Vandross, and characters from the hit HBO series The Wire, among others, Neal demonstrates how distinct representations of black masculinity can break the links in the public imagination that create antagonism toward black men. Looking for Leroy features close readings of contemporary black masculinity and popular culture, highlighting both the complexity and accessibility of black men and boys through visual and sonic cues within American culture, media, and public policy. By rendering legible the illegible, Neal maps the range of identifications and anxieties that have marked the performance and reception of post-Civil Rights era African American masculinity.

Soul Babies examines the world of black youth since the Black Power and Civil Rights era. Reading political events, musical works, social forms, media representations and literary productions, Mark Anthony Neal argues that a 'Post-Soul Aesthetic' is forming that repudiates much of black modern traditions and focuses instead on contemporary problems of culture and identity.

A framework for understanding the deep archive of Black performance in the digital era In an era of Big Data and algorithms, our easy access to the archive of contemporary and historical Blackness is unprecedented. That iterations of Black visual art, such as Bert Williams's 1916 silent film short "A Natural Born Gambler" or the performances of Josephine Baker from the 1920s, are merely a quick YouTube search away has transformed how scholars teach and research Black performance. While Black Ephemera celebrates this new access, it also questions the crisis and the challenge of the Black musical archive in a moment when Black American culture has become a global export. Using music and sound as its primary texts, Black Ephemera argues that the cultural DNA of Black America has become obscured in the transformation from analog to digital. Through a cross-reading of the relationship between the digital era and culture produced in the pre-digital era, Neal argues that Black music has itself been reduced to ephemera, at best, and at worst to the background sounds of the continued exploitation and commodification of Black culture. The crisis and challenges of Black archives are not simply questions of knowledge, but of how knowledge moves and manifests itself within Blackness that is obscure, ephemeral, fugitive, precarious, fluid, and increasingly digital. Black Ephemera is a reminder that for every great leap forward there is a necessary return to the archive. Through this work, Neal offers a new framework for thinking about Black culture in the digital world.

Mark Anthony Neal's Looking for Leroy is an engaging and provocative analysis of the complex ways in which black masculinity has been read and misread through contemporary American popular culture. Neal argues that black men and boys are bound, in profound ways, to and by their legibility. The most "legible" black male bodies are often rendered as criminal, bodies in need of policing and containment. Ironically, Neal argues, this sort of legibility brings welcome relief to white America, providing easily identifiable images of black men in an era defined by shifts in racial, sexual, and gendered identities. Neal highlights the radical potential of rendering legible black male bodies--those bodies that are all too real for us--as illegible, while simultaneously rendering illegible black male bodies--those versions of black masculinity that we can't believe are real--as legible. In examining figures such as hip-hop entrepreneur and artist Jay-Z, R&B Svengali R. Kelly, the late vocalist Luther Vandross, and characters from the hit HBO series The Wire, among others, Neal demonstrates how distinct representations of black masculinity can break the links in the public imagination that create antagonism toward black men. Looking for Leroy features close readings of contemporary black masculinity and popular culture, highlighting both the complexity and accessibility of black men and boys through visual and sonic cues within American culture, media, and public policy. By rendering legible the illegible, Neal maps the range of identifications and anxieties that have marked the performance and reception of post-Civil Rights era African American masculinity.Mark Anthony Nealis Professor of African & African American Studies at Duke University. He is the author of several books including New Black Man andSoul Babies: Black Popular Culture and the Post-Soul Aestheticand the host of the weekly webcast Left of Black.