“Hip-Hop’s New New York”: What I’ve been reading this week

photo by Jessica Lehrman, via NYTimes.com – see below

In the New York Times, Jessica Lehrman’s photo essay “Hip-Hop’s New New York” 

In the Zinn Education Project blog, Sudie Hoffman’s “Rethinking Cinco de Mayo”

In io9, Annalee Newitz’s “How Iran Became One of the World’s Most Futuristic Countries,” on reproductive health freedom and education in Iran

In Buzzfeed, Anne Helen Peterson’s “Zac Efron Bros Down to Grow Up”

In Grantland, Molly Lambert’s “The Visor and the Beret”

In Elle, “Not a Girl, Not Yet a Woman” – Tavi Gevinson interviews Miley Cyrus

In The Atlantic, Ta-Nehisi Coates’s “This Town Needs a Better Class of Racist

And some listening for ya: tracks from Music Band’s “Can I Live”

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Literacy in “Awkward Black Girl”

[this is an excerpt from a final-paper-in-progress called “’Write the story yourself’: Literacy as Social Practice in Hiphop Feminist Art, Scholarship, and Activism”]

In her “Hip Hop and the Black Ratchet Imagination,” L. H. Stallings points to the way that Issa Rae, the creator and star of the web series The Mis-Adventures of Awkward Black Girl, has her protagonist J “strap on hip hop” as an outlet for her righteous anger (136). Stallings is referring to those moments when, in fits of frustration, J sits down on her bed and writes furious, explicit, gangsta-inflected rhymes. In her text, Stallings focuses on J’s male-oriented gender performance to explore the queerness of what she calls the “Black Ratchet Imagination.” But we might also see J’s scenes writing raps, one of which appears in the series’s first episode, as a complex literacy event* that not only queers J’s gender identity (a theme brought up in other parts of the episode) but also queers, or questions, her middle-class status, her participation in the information economy, and professional rappers’ processes when writing ridiculous, shallow, expletive-laced lyrics. Continue reading