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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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Contents
List of Figures
Guide
Pagebreaks of the print version
HIP HOP HERESIES POSTMILLENNIAL POP General Editors Karen Tongson and Henry - photo 1
HIP HOP HERESIES
POSTMILLENNIAL POP

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

Hip Hop Heresies

Queer Aesthetics in New York City

Shant Paradigm Smalls

Picture 2

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

10 9 8 7 6 5 4 3 2 1

Also available as an ebook

CONTENTS
Introduction

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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