Shanté Paradigm Smalls - Hip Hop Heresies: Queer Aesthetics in New York City
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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, Shant 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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General Editors: Karen Tongson and Henry Jenkins
Puro Arte: Filipinos on the Stages of Empire
Lucy Mae San Pablo Burns
Spreadable Media: Creating Value and Meaning in a Networked Culture
Henry Jenkins, Sam Ford, and Joshua Green
Media Franchising: Creative License and Collaboration in the Culture Industries
Derek Johnson
Your Ad Here: The Cool Sell of Guerrilla Marketing
Michael Serazio
Looking for Leroy: Illegible Black Masculinities
Mark Anthony Neal
From Bombay to Bollywood: The Making of a Global Media Industry
Aswin Punathambekar
A Race So Different: Performance and Law in Asian America
Joshua Takano Chambers-Letson
Surveillance Cinema
Catherine Zimmer
Modernitys Ear: Listening to Race and Gender in World Music
Roshanak Kheshti
The New Mutants: Superheroes and the Radical Imagination of American Comics
Ramzi Fawaz
Restricted Access: Media, Disability, and the Politics of Participation
Elizabeth Ellcessor
The Sonic Color Line: Race and the Cultural Politics of Listening
Jennifer Lynn Stoever
Diversin: Play and Popular Culture in Cuban America
Albert Sergio Laguna
Antisocial Media: Anxious Labor in the Digital Economy
Greg Goldberg
Open TV: Innovation beyond Hollywood and the Rise of Web Television
Aymar Jean Christian
More Than Meets the Eye: Special Effects and the Fantastic Transmedia Franchise
Bob Rehak
Playing to the Crowd: Musicians, Audiences, and the Intimate Work of Connection
Nancy K. Baym
Old Futures: Speculative Fiction and Queer Possibility
Alexis Lothian
Anti-Fandom: Dislike and Hate in the Digital Age
Edited by Melissa A. Click
Social Media Entertainment: The New Industry at the Intersection of Hollywood and Silicon Valley
Stuart Cunningham and David Craig
Video Games Have Always Been Queer
Bonnie Ruberg
The Power of Sports: Media and Spectacle in American Culture
Michael Serazio
The Dark Fantastic: Race and the Imagination from Harry Potter to the Hunger Games
Ebony Elizabeth Thomas
The Race Card: From Gaming Technologies to Model Minorities
Tara Fickle
Open World Empire: Race, Erotics, and the Global Rise of Video Games
Christopher B. Patterson
The Content of Our Caricature: African American Comic Art and Political Belonging
Rebecca Wanzo
Stories of the Self: Life Writing after the Book
Anna Poletti
The Dark Fantastic: Race and the Imagination from Harry Potter to the Hunger Games
Ebony Elizabeth Thomas
Hip Hop Heresies: Queer Aesthetics in New York City
Shant Paradigm Smalls
Queer Aesthetics in New York City
Shant Paradigm Smalls
NEW YORK UNIVERSITY PRESS
New York
NEW YORK UNIVERSITY PRESS
New York
www.nyupress.org
2022 by Shant Paradigm Smalls
All rights reserved
References to Internet websites (URLs) were accurate at the time of writing. Neither the author nor New York University Press is responsible for URLs that may have expired or changed since the manuscript was prepared.
Library of Congress Cataloging-in-Publication Data
Names: Smalls, Shant Paradigm, author.
Title: Hip hop heresies : queer aesthetics in New York City / Shante Paradigm Smalls.
Description: New York : New York University Press, [2022] | Series: Postmillennial pop | Includes bibliographical references and index.
Identifiers: LCCN 2021047241 | ISBN 9781479808199 (hardback ; alk. paper) | ISBN 9781479808205 (paperback ; alk. paper) | ISBN 9781479808182 (ebook) | ISBN 9781479808212 (ebook other)
Subjects: LCSH: Aesthetics, Black. | Gay cultureNew York (State)New YorkHistory. | Hip-hopNew York (State)New YorkHistory. | African American artsNew York (State)New YorkHistory.
Classification: LCC BH301.B53 S63 2022 | DDC 111/.8508996073dc23/eng/20211115
LC record available at https://lccn.loc.gov/2021047241
New York University Press books are printed on acid-free paper, and their binding materials are chosen for strength and durability. We strive to use environmentally responsible suppliers and materials to the greatest extent possible in publishing our books.
Manufactured in the United States of America
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Heretical Desire: New York Citys Queer Hip Hop Aesthetics
Hip Hop Heresies: Queer Aesthetics in New York City brings together Black, queer, and hip hop aesthetics through a study of New York City artists and artistic scenes in multiple media genres from 1975 to the present. I argue they queerly articulate gender, racial, and sexual identitarian performances through specifically New Yorkbased aesthetic and artistic practices and cues. These performances could emerge and congeal only in New York because of the citys bodily co-mingling (queer, Black, trans, immigrant, and other people of color) and genre experimentation (hip hop, house music, punk, funk, disco). Although these bodies and genres existed in other localesChicago: the birthplace of house music; Philadelphia: the hub of contemporary graffiti; and Los Angeles: a city central to the development of hip hop danceNew York Citys nexus of vibrant queer, Black, and hip hop worlds colliding and bonding in dance clubs, housing complexes, schools, roller rinks, art spaces, handball and basketball courts, movie houses, specific neighborhoods, the subway system, and other quotidian, subcultural, and ephemeral sites uniquely positions New York as a place of experimental and original aesthetic collaboration. If other cities had some of these elements, why do I argue that New York is unique among them? There are three main reasons for New Yorks queer hip hop aesthetics: one is the subway. Though the city is over 302 square miles, it is connected by a relatively affordable and easily navigable subway system. For instance, one can travel from Yankee Stadium in the Bronx to Barclays Center in Brooklyn in 4045 minutes by train for less than three dollars. The second reason is the dense proximity of bodies and the vast national, cultural, linguistic, ethnic, and racial diversity of New York Citys population. Unlike other cities that may have had more homogenous populations or clearly demarcated racial neighborhoods, New Yorks extensive foot traffic, the subway, the bus system, and other forms of forced proximity made cross-ethnic, cross-racial, and cross-cultural aesthetics possible. Finally, New Yorks multiple industries and scenesvibrant institutional art, independent art, and street art scenes; similar levels of music industry, a wide network of music venues, and street musicianship; the fashion industry, publishing, a nascent no-wave film school, roller rinks, parks, and other sites of play and improvisation made the city a cauldron of artistic ingenuity and collaboration.
Azealia Amanda Bankss delectable track 1991 (2012) pays homage to 1980s and early 1990s Black ball culture and house music.
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