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Beyond Beyonce: Intersections of Rac...

Kehrer, Lauron Jockwig.

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Beyond Beyonce: Intersections of Race, Gender, and Sexuality in Contemporary American Hip-Hop ca. 2010-2016.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Beyond Beyonce: Intersections of Race, Gender, and Sexuality in Contemporary American Hip-Hop ca. 2010-2016./
作者:	Kehrer, Lauron Jockwig.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2017,
面頁冊數:	274 p.
附註:	Source: Dissertation Abstracts International, Volume: 78-10(E), Section: A.
Contained By:	Dissertation Abstracts International78-10A(E).
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10269516
ISBN:	9781369823127

Beyond Beyonce: Intersections of Race, Gender, and Sexuality in Contemporary American Hip-Hop ca. 2010-2016.
Kehrer, Lauron Jockwig.

Beyond Beyonce: Intersections of Race, Gender, and Sexuality in Contemporary American Hip-Hop ca. 2010-2016. - Ann Arbor : ProQuest Dissertations & Theses, 2017 - 274 p.

Source: Dissertation Abstracts International, Volume: 78-10(E), Section: A.

Thesis (Ph.D.)--University of Rochester, 2017.

Notions of hip-hop authenticity often rely on the construction of the rapper as a black, masculine, heterosexual, cisgender man. Artists that fall outside of this "normative" identity, including black women, white men and women, and queer and trans individuals, employ performance strategies that engage with and challenge this construction in order to render themselves legible to hip-hop audiences. Taking as its starting point the many scholarly discourses surrounding the performer Beyonce, this dissertation examines several of these strategies through a series of case studies that combine reception history with musical, textual, and visual analysis.

ISBN: 9781369823127Subjects--Topical Terms:

516178
Music.

Beyond Beyonce: Intersections of Race, Gender, and Sexuality in Contemporary American Hip-Hop ca. 2010-2016.
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520 $a Following an introduction that lays out key concepts and theoretical frameworks, the first chapter focuses on Nicki Minaj and her recent shift to a performance style in which she balances a feminine gender presentation with a hardened, masculine lyrical approach. Chapter 2 examines ways in which white women rappers Iggy Azalea and former members of the White Girl Mob (Kreayshawn, Lil Debbie, and V-Nasty) misappropriate black culture and concepts of "ratchetness" while mediating their white female identities and negotiating the expectations of mainstream hip-hop. In Chapter 3 I demonstrate how white, cisgender, heterosexual male rapper Macklemore's strategy for negotiating and articulating his own whiteness further marginalizes black LGBTQ artists by echoing white, mainstream concerns that hip-hop and, by extension, black communities are inherently more homophobic than white-dominated music genres and the communities that produce them. Chapter 4 explores the work of queer black artists active primarily in New York City, including Le1f, Zebra Katz, Cakes da Killa, and Azealia Banks, focusing on the influence of Ballroom culture on their musical output and positioning them within a black queer musical lineage. In the fifth and final chapter I explore the contemporary dominance of openly queer and trans rappers in New Orleans bounce, a local hip-hop genre, a phenomenon that is in part a consequence of the displacement and devastation of Hurricane Katrina. Ultimately, this dissertation uses feminist, queer, and critical race frameworks alongside musical analysis to de-center the normative rapper figure and assert that hip-hop is a musical response to the socio-political experiences of all its practitioners.
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