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Afrofuturism: the World of Black Sci-Fi and Fantasy Culture
AFROFUTURISMAFROFUTURISM THE WORLD OF BLACK SCI-FI AND FANTASY CULTURE YTASHA L. WOMACK Chicago Afrofuturism_half title and title.indd 3 5/22/13 3:53 PM AFROFUTURISMAFROFUTURISM THE WORLD OF BLACK SCI-FI AND FANTASY CULTURE YTASHA L. WOMACK Chicago Afrofuturism_half title and title.indd 3 5/22/13 3:53 PM AFROFUTURISM Afrofuturism_half title and title.indd 1 5/22/13 3:53 PM Copyright © 2013 by Ytasha L. Womack All rights reserved First edition Published by Lawrence Hill Books, an imprint of Chicago Review Press, Incorporated 814 North Franklin Street Chicago, Illinois 60610 ISBN 978-1-61374-796-4 Library of Congress Cataloging-in-Publication Data Womack, Ytasha. Afrofuturism : the world of black sci-fi and fantasy culture / Ytasha L. Womack. — First edition. pages cm Includes bibliographical references and index. ISBN 978-1-61374-796-4 (trade paper) 1. Science fiction—Social aspects. 2. African Americans—Race identity. 3. Science fiction films—Influence. 4. Futurologists. 5. African diaspora— Social conditions. I. Title. PN3433.5.W66 2013 809.3’8762093529—dc23 2013025755 Cover art and design: “Ioe Ostara” by John Jennings Cover layout: Jonathan Hahn Interior design: PerfecType, Nashville, TN Interior art: John Jennings and James Marshall (p. 187) Printed in the United States of America 5 4 3 2 1 I dedicate this book to Dr. Johnnie Colemon, the first Afrofuturist to inspire my journey. I dedicate this book to the legions of thinkers and futurists who envision a loving world. CONTENTS Acknowledgments .................................................................. ix Introduction ............................................................................ 1 1 Evolution of a Space Cadet ................................................ 3 2 A Human Fairy Tale Named Black .................................. -
Confessions of a Black Female Rapper: an Autoethnographic Study on Navigating Selfhood and the Music Industry
Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-8-2020 Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry Chinwe Salisa Maponya-Cook Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation Maponya-Cook, Chinwe Salisa, "Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry." Thesis, Georgia State University, 2020. https://scholarworks.gsu.edu/aas_theses/66 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CONFESSIONS OF A BLACK FEMALE RAPPER: AN AUTOETHNOGRAPHIC STUDY ON NAVIGATING SELFHOOD AND THE MUSIC INDUSTRY by CHINWE MAPONYA-COOK Under the DireCtion of Jonathan Gayles, PhD ABSTRACT The following research explores the ways in whiCh a BlaCk female rapper navigates her selfhood and traditional expeCtations of the musiC industry. By examining four overarching themes in the literature review - Hip-Hop, raCe, gender and agency - the author used observations of prominent BlaCk female rappers spanning over five deCades, as well as personal experiences, to detail an autoethnographiC aCCount of self-development alongside pursuing a musiC career. MethodologiCally, the author wrote journal entries to detail her experiences, as well as wrote and performed an aCCompanying original mixtape entitled The Thesis (available on all streaming platforms), as a creative addition to the research. -
Why Hip-Hop Is Queer: Using Queer Theory to Examine Identity Formation in Rap Music
Why Hip-Hop is Queer: Using Queer Theory to Examine Identity Formation in Rap Music Silvia Maria Galis-Menendez Advisor: Dr. Irene Mata Submitted in Partial Fulfillment of the Prerequisite for Honors in the Department of Women’s and Gender Studies May 2013 © Silvia Maria Galis-Menendez 2 Table of Contents Introduction 3 “These Are the Breaks:” Flow, Layering, Rupture, and the History of Hip-Hop 6 Hip-Hop Identity Interventions and My Project 12 “When Hip-Hop Lost Its Way, He Added a Fifth Element – Knowledge” 18 Chapter 1. “Baby I Ride with My Mic in My Bra:” Nicki Minaj, Azealia Banks and the Black Female Body as Resistance 23 “Super Bass:” Black Sexual Politics and Romantic Relationships in the Works of Nicki Minaj and Azealia Banks 28 “Hey, I’m the Liquorice Bitch:” Challenging Dominant Representations of the Black Female Body 39 Fierce: Affirmation and Appropriation of Queer Black and Latin@ Cultures 43 Chapter 2. “Vamo a Vence:” Las Krudas, Feminist Activism, and Hip-Hop Identities across Borders 50 El Hip-Hop Cubano 53 Las Krudas and Queer Cuban Feminist Activism 57 Chapter 3. Coming Out and Keepin’ It Real: Frank Ocean, Big Freedia, and Hip- Hop Performances 69 Big Freedia, Queen Diva: Twerking, Positionality, and Challenging the Gaze 79 Conclusion 88 Bibliography 95 3 Introduction In 1987 Onika Tanya Maraj immigrated to Queens, New York City from her native Trinidad and Tobago with her family. Maraj attended a performing arts high school in New York City and pursued an acting career. In addition to acting, Maraj had an interest in singing and rapping. -
Billboard Magazine
HOT R&B SONGSWorldMags.net™ R&B ALBUMS™ Taylor, 2 WKS. LAST THIS TITLE CERTIFICATION Artist PEAK WKS. ON LAST THIS ARTIST CERTIFICATION Title WKS. ON AGO WEEK WEEK POS. CHART WEEK WEEK CHART PRODUCER (SONGWRITER) IMPRINT/PROMOTION LABEL IMPRINT/DISTRIBUTING LABEL Banks #1 0 #1 TEYANA TAYLOR VII BANKS: BROOKE NIPAR BANKS: 12 WKS DON’T TELL ‘EM Jeremih Featuring YG 122 1 WK 1 1 1 1 M.SCHULTZ,DJ MUSTARD (J.FELTON,M.SCHULTZ,D.MCFARLANE,K.D.R.JACKSON,B.BENITES,M.MUNZING,L.ANZILOTTI,T.AUSTIN) MICK SCHULTZ/DEF JAM G.O.O.D./DEF JAM Take A TUESDAY I LOVE MAKONNEN Featuring Drake CHRIS BROWN X 8 3 29 4 2 RCA 2 0 M.SHERAN,L.WAYNE,SONNY DIGITAL (M.SHERAN,O.ALEEM,A.GRAHAM) OVO SOUND/WARNER BROS. NEW FLAME Chris Brown Featuring Usher & Rick Ross 219 PRINCE ART OFFICIAL AGE 6 Bow J.B.JOHNSON (C.M.BROWN,J.B.JOHNSON,K.THOMAS,M.N.SIMMONDS,W.L.ROBERTS II,M.PITTS,E.BELLINGER) RCA NPG/WARNER BROS. 30 0 HOLD YOU DOWN ARETHA FRANKLIN Sings The Great Diva Classics Newcomer Teyana Taylor DJ Khaled Feat. Chris Brown, August Alsina, Future & Jeremih 413 2 4 3 LDB,LEE ON THE BEATS,B.KORN,DJ KHALED (K.M.KHALED,C.M.BROWN,A.ALSINA,N.WILBURN CASH,J.FELTON,A.L.NORRIS,B.KORN) WE THE BEST/CASH MONEY/REPUBLIC RCA travels directly to No. 1 00 on Top R&B/Hip-Hop TOUCHIN, LOVIN Trey Songz Featuring Nicki Minaj 519 JAGGED EDGE JE Heartbreak II 2 THE FEATHERSTONES (T.NEVERSON,K.ROSS,F.BRIM,W.FEATHERSTONE,J.FEATHERSTONE,C.FEATHERSTONE,M.FEATHERSTONE . -
Featured Writer... Fafara Concludes, "These Five Souls Make This Band What It Is
3rd Quarter • 2012 They'll lay on their laurels and stick to what they've done on the next album. We're not look- ing at what anyone around us is doing. Since we're not paying attention to any of that, we were able to find unique music within ourselves. We tried to break some boundaries and stretch the genre open. We keep redefining ourselves." The musical prowess of the band members is becoming more evident beyond the metal world, as Spreitzer and Kendrick released signature ESP guitars. Boecklin has also been prominently featured in all drum magazines, namely Modern Drummer and DRUM!, as his kit work continues to turn heads. Featured Writer... Fafara concludes, "These five souls make this band what it is. It lies in the salt and pepper from everyone. What's most important is our fans get delivered the kind of music, stage show and energy that they're expecting from us. Because DevilDriver are preparing to release the of all the time and personal sacrifice, we are a band's sixth album, which is an exorcism of Beast. The pleasure is that we're all together as animalistic, primal hooks, thunderous percus- friends still. Nothing can stop DevilDriver." sion and propulsive thrashing. While many This Beast is alive and won't ever die. You have bands in the modern era are already wither- been warned… ing away by their second album and have shriveled up and died by their third, Devil- Look for DevilDriver's new album in 2013 on Driver have proven to mutate, growing stron- Napalm Records. -
Picture This BANK HOLIDAY PHOTO SPECIAL 18 RYNBHB[JOFDPNTRYHBZMPOEPO Suitable Only for Persons of 18 Years and Over
clubs t bars t cabaret t life No 1099 31 March 2016 Picture This BANK HOLIDAY PHOTO SPECIAL 18 RYNBHB[JOFDPNtRYHBZMPOEPO Suitable only for persons of 18 years and over QX_1099_Cover_Oly.indd 2 30/03/2016 11:04 The who, what, why, where & when of gay London… THE INFORMER AIDS Ark AIDS Ark is a charity that helps to save the lives of people living with HIV in the developing world by funding their care and medication. The concept is simple: Host a dinner for friends at home. Each guest makes a donation to AIDSArk, and each dinner raises at least £300. Everything raised by AIDSArk goes directly to funding medication and associated medical care with all costs covered by the founder Trustees, and all time and materials donated or given for free. This year’s Dinner for 1 event is on Saturday 2 April followed by an after party at private members club: Eight Club in Bank with special act, opera cabaret sensation Le Gateau Chocolat! To sign up to host a dinner or to buy tickets to the after party at Eight Club visit at www.aidsark.org. The Soho Salon Rupaul is being very camp in interviews at the moment Drag Race has its flaws, but RuPaul himself qxmagazine.com is actually SCENE EDITOR formidably JAMES EGAN intelligent, [email protected] and always FEATURES EDITOR has interesting DYLAN JONES things to say [email protected] about the DIRECTOR gay/straight SALES AND MARKETING divide and CHRIS COLMAN the cultural 020 7240 0055 zeitgeist. He’s [email protected] said in a recent NEW BUSINESS SALES EXECUTIVE interview STEVE GREGORY with Vulture 020 7240 0055 [email protected] Magazine that US show Lip Sync Battle is “a poor rip-off” of Drag Race, that straight culture SENIOR DESIGNER steals from gay culture, and that the drag and JANNE ÖIJER [email protected] SO! The Soho Salon is a totes amaze company in trans communities shouldn’t be lumped in a box DESIGNER Soho, as the name suggests. -
Not Black Enough: Singing Group, the Five Heartbeats, the Cost of a Static View of What It Means to Be from the 1960S to the 1990S
Tia Smith My favorite movie is The Five Heartbeats. The film focuses on the journey of a fictionalized R&B Not Black Enough: singing group, The Five Heartbeats, The Cost of a Static View of What It Means to be from the 1960s to the 1990s. During the scene in which the Black for Black Women Performers group discovers a white family on the beach will represent them on their album cover, one of the most poignant lines from the film is delivered by one of The Heartbeats: “Crossover ain’t nothing but a Tia Smith double cross.” Writing 101: ¡La gozadera! Music/ Dance/ Emotion For years I wondered about the relationship between black musical artists Instructor: Sarah Town and black versus white audiences. What does it mean that black people could perform at the Cotton Club but not be members of the audience? What allowed for the backlash of Beyonce’s performance at the Country Music Awards? What is efore Whitney Houston’s iconic rendition of the “Star Spangled Banner” at the the impact of Leon Bridges performing BTampa Stadium for the 1991 Super Bowl XXV, Houston appeared on the late- his song “Brown Skin Girl” for a white night talk show, The Arsenio Hall Show, to promote her most recent album I’m audience? Additionally, I noticed how black Your Baby Tonight. After performing the single from the album of the same name, male musical artists were granted more Houston sat down with Arsenio Hall to discuss her upcoming performance of the flexibility to venture into genres associated national anthem and future musical projects. -
Azealia Banks: ‘Chasing Time’, Erotics, and Body Politics
Popular Music (2018) Volume 37/2. © Cambridge University Press 2018, pp. 157–174 doi:10.1017/S0261143018000053 Azealia Banks: ‘Chasing Time’, erotics, and body politics KAI ARNE HANSEN and STAN HAWKINS Department of Musicology, University of Oslo, Oslo, Norway E-mail: [email protected] and [email protected] Abstract During the 2010s a new generation of queer hip hop artists emerged, providing an opportunity to engage with a set of politics defined by art, fashion, lyrics and music. A leading proponent of this movement was Azealia Banks, the controversial rapper, artist and actress from New York. This study instigates a critical investigation of her performance strategies in the track and video, ‘Chasing Time’ (2014), offering up various perspectives that probe into queer agency. It is suggested that techniques of sonic styling necessitate a consideration of subjectivity alongside genre and style. Employing audiovisual methods of analysis, we reflect on the relationship between gendered subjectivity and modalities of queerness as a means for demonstrating how aesthetics are staged and aligned to advanced techniques of production. It is argued that the phenomenon of eroticised agency, through hyperembodied display, is central to understanding body politics. This article opens a space for problematising issues of black female subjectivity in a genre that is traditionally relegated to the male domain. Introduction1 One might well wonder what time Banks is actually chasing in the exhilarating song, ‘Chasing Time’. What compels her to steer away from ‘straight time’ with such alac- rity? And, how does music eroticise her act? Born in 1991, Azealia Banks hails from Harlem, New York. -
Bad Bitches, Jezebels, Hoes, Beasts, and Monsters
BAD BITCHES, JEZEBELS, HOES, BEASTS, AND MONSTERS: THE CREATIVE AND MUSICAL AGENCY OF NICKI MINAJ by ANNA YEAGLE Submitted in partial fulfillment of the requirements for the degree Master of Arts Thesis Adviser: Dr. Francesca Brittan, Ph.D. Department of Music CASE WESTERN RESERVE UNIVERSITY August, 2013 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis of ____ ______ _____ ____Anna Yeagle_____________ ______ candidate for the __ __Master of Arts__ ___ degree.* __________Francesca Brittan__________ Committee Chair __________Susan McClary__________ Committee Member __________Daniel Goldmark__________ Committee Member (date)_____June 17, 2013_____ *We also certify that written approval has been obtained for any proprietary material contained therein. TABLE OF CONTENTS List of Figures i Acknowledgements ii Abstract iii INTRODUCTION: “Bitch Bad, Woman Good, Lady Better”: The Semiotics of Power & Gender in Rap 1 CHAPTER 1: “You a Stupid Hoe”: The Problematic History of the Bad Bitch 20 Exploiting Jezebel 23 Nicki Minaj and Signifying 32 The Power of Images 42 CHAPTER 2: “I Just Want to Be Me and Do Me”: Deconstruction and Performance of Selfhood 45 Ambiguous Selfhood 47 Racial Ambiguity 50 Sexual Ambiguity 53 Gender Ambiguity 59 Performing Performativity 61 CHAPTER 3: “You Have to be a Beast”: Using Musical Agency to Navigate Industry Inequities 67 Industry Barriers 68 Breaking Barriers 73 Rap Credibility and Commercial Viability 75 Minaj the Monster 77 CONCLUSION: “You Can be the King, but Watch the Queen -
Genealogies of Capture and Evasion: a Radical Black Feminist Meditation for Neoliberal Times by Lydia M. Kelow-Bennett B.A
Genealogies of Capture and Evasion: A Radical Black Feminist Meditation for Neoliberal Times By Lydia M. Kelow-Bennett B.A., University of Puget Sound, 2002 M.A., Georgetown University, 2011 A.M., Brown University, 2016 A dissertation submitted in partial fulfillment of the requirements for the Doctorate of Philosophy in the Department of Africana Studies at Brown University Providence, RI May 2018 © Copyright 2018 by Lydia Marie Kelow-Bennett This dissertation by Lydia M. Kelow-Bennett is accepted in its present form by the Department of Africana Studies as satisfying the dissertation requirement for the degree of Doctor of Philosophy Date________________ ______________________________ Matthew Guterl, Advisor Recommended to the Graduate Council Date________________ ______________________________ Anthony Bogues, Reader Date________________ ______________________________ Françoise Hamlin, Reader Approved by the Graduate Council Date________________ ____________________________________ Andrew G. Campbell, Dean of the Graduate School iii [CURRICULUM VITAE] Lydia M. Kelow-Bennett was born May 13, 1980 in Denver, Colorado, the first of four children to Jerry and Judy Kelow. She received a B.A. in Communication Studies with a minor in Psychology from the University of Puget Sound in 2002. Following several years working in education administration, she received a M.A. in Communication, Culture and Technology from Georgetown University in 2011. She received a A.M. in Africana Studies from Brown University in 2016. Lydia has been a committed advocate for students of color at Brown, and served as a Graduate Coordinator for the Sarah Doyle Women’s Center for a number of years. She was a 2017-2018 Pembroke Center Interdisciplinary Opportunity Fellow, and will begin as an Assistant Professor in the Department of Afroamerican and African Studies at the University of Michigan in Fall 2018. -
Iggy Azalea and the Reality Performance
The New Real: Iggy Azalea and the Reality Performance Tara Morrissey, University of Sydney I’m the first of my kind, / You ain’t seen any? Iggy Azalea, ‘Murda Bizness.’ Hip-hop—as rap music, as music video, as style and aesthetic, and as cultural meme—is a site of simultaneous representation and creation, reflection and revision. The well- worn hip-hop mantra of ‘keeping it real’ simultaneously points to retention (‘keeping,’ maintaining) and the elusive ‘real’ in which the culture has remained invested since its inception in the 1970s. Hip-hop realness should not, however, be confused with realism, but rather understood as a performative gesture. Likewise, the twenty-first century proliferation of the reality television genre celebrates the performance of the hyper-real in a way that deliberately complicates traditional distinctions between fiction and reality. In his manifesto on our contemporary infatuation with ‘reality,’ David Shields argues that ‘realness is not reality, something that can be defined or identified. Reality is what is imposed on you; realness is what you impose back’ (2011: 98). Australian rapper Iggy Azalea, whose positionality as a white female in hip-hop’s problematically black male-centric space immediately troubles her bid for hip-hop authenticity, presents a particularly interesting case for the ways in which twenty-first century performances of the hyper-real in both hip-hop and reality television converge. Although the particularities of what constitutes real-ness or authenticity in the hip-hop context have in the years since the culture’s documented beginnings been subject to a continuous process of revision and redefinition, the ethos of being real and representing PORTAL Journal of Multidisciplinary International Studies, vol. -
Performing Manchyna: Unmapping Promissory Exaltation, Multicultural
Performing ManChyna: Unmapping Promissory Exaltation, Multicultural Eugenics, and the New Whiteness (Or, “Call Me Dr. ManChyna”) By Andrew Wei Ling (A.W.) William Lee A thesis submitted to the Graduate Program in Cultural Studies in conformity with the requirements for the Degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada September, 2015 Copyright © Andrew Wei Ling William Lee, 2015 Abstract Creating art and performing as ManChyna collectively function as my entry into an autoethnographic mapping of mobility and space within liberal multiculturalism. I introduce the research creative method of autoethnographic creatography, because creation and performance are my interventions into and tools for analyzing social space. My parody of queer Asian racialization upends liberal multiculturalism’s promise of incorporation, or promissory exaltation (invoking Sunera Thobani’s, “racial exaltation”), which instrumentally disciplines and includes putative model minorities and homonorms alike. Thus, assimilation into a queer liberal multiculturalism is my primary theoretical target. Building on José Muñoz’s idea of disidentification, I introduce the notion of disassimilation as a performative embodiment of critical analysis and theory. How can individuals articulate the current contours of liberal ideology? How can one counter an ever-shifting dominant culture from a ‘minor’ point of view when one crucial aim of the latter’s evasive energy is the incorporation of that minor gaze? And how does the minoritarian subject represent