Bradley, Regina N. “An Experiment in Teaching OutKast and the Hip Hop South” – south: a scholarly journal 50.2 (Spring 2018): 105-113.
Regina Bradley and Seneca Vaught. “Of the Wings of Traplanta: (Re)Historicizing W.E.B. Du Bois’ Atlanta in the Hip Hop South” – Phylon: The Clark Atlanta University Review of Race and Culture 54.1 (2017): 11-27.
I’m from Albany, Georgia. We’re in the southwest corner of the state. About a three-and-a-half-hour ride south from Atlanta. Ninety miles north of Tallahassee. Wedged between leaning cornstalks, flat farmlands, and plantations. W.E.B. Du Bois came down for a visit once.
The offer seemed too good to be true. Six years ago, well before College Park, Georgia, native OG Maco rapped for a living, he was a freshman at Georgia State University, and at the time a pint of codeine-promethazine cough syrup usually ran $600.
Atlanta eats its young. That might be a cold-blooded accusation to level at a town dripping with so much black cultural currency. But the hip-hop capital has gained more than it’s ever contributed to its greatest export. Welcome to the city too player to hate.
From flip-flops and socks to outer space and iconic jumpsuits
Why Goodie Mob’s Soul Food’ is the greatest Atlanta rap album of all time | Atlanta Creative Loafing
The money. The power. The trap. The New South. The War on Drugs. The Red Dogs. The Dixie flags. The Million Man March. The Atlanta Child Murders. The black mecca. The 20th anniversary of ‘Soul Food.’ The South Had Something to Say.
The average rap fan imagines Houston as a land of slab drivin’, screw jammin’ music heads, but the city’s hip-hop culture goes deeper than rap. H-Town – home of the Geto Boys, Scarface, UGK, DJ Screw, Chamillionaire, Paul Wall, Slim Thug, and even Beyoncé – has become an epicenter of hip-hop culture.
Godfrey, Gavin, Rodney Carmichael, and Christina Lee. “Straight Outta Stankonia.” Creative Loafing Atlanta (April, 2014).
Lauricella, Sharon and Samuel Kyereme. “T.I. and Jay-Z’s Lyrical Narratives from ‘the Trap’ to the Spiritual.” Journal of Religion and Society 14 (2012): 1-12.
____________. “How Hip-Hop Stole My Southern Black Boy.” Seen in How to Slowly Kill Yourself and Others in America. Evanston, IL: Agate Bolden, 2013.
Talking about a Southern hip-hop album used to be easy. All you had to do, basically, was discuss the difference between Sunbelt rappers and Northern rappers, add a few anecdotes about how them all do down home, a generic reference to fried catfish, and one sweeping comment about The South (you know, that part of the country that isn’t Queensbridge or L.A.), and you were pretty much set.
From six in the morning until five in the afternoon, five days a week, for thirty years, my Grandmama Catherine’s fingers, palms, and wrists wandered deep in the bellies of dead chickens. Grandmama was a buttonhole slicer at a chicken plant in central Mississippi-her job was to slice the belly and pull out the guts of thousands of chickens a day.
November 1, 2018 In the video for “My President,” Gabriel Hart wanted to honor and re-create the excitement of Barack Obama’s historic presidential election. So on Nov. 23, 2008, Hart had trap rapper Jeezy walk out of his blue Lamborghini’s scissor doors to a majority-black crowd cheering and holding “My President is black” picket signs in Atlanta’s Sweet Auburn neighborhood.
Wilson, Joycelyn. “The MC in Y-O-U: Leadership Pedagogy and Southern Hip-Hop in the HBCU Classroom. Seen in Schooling Hip-Hop: Expanding Hip-Hop Across the Curriculum. Eds. Marc Lamont Hill and Emery Petchauer. New York: Teachers College, Columbia University, 2013.
____________ and Charlie Braxton. “‘Shadowed’ Lessons of OutKast’s Southernplayalisticadillacmuzik. Seen in Spinning Popular Culture as Public Pedagogy. Ed. Jon Austin. Leiden: Brill|Sense Publishers, 2017: 127-138.
The Dirty South spread from a relatively insular rap music subculture to a wider, popular usage during the late 1990s along with the acceleration of investment on the part of major music corporations in the rap scenes of several large southern cities, including Atlanta, New Orleans, and Houston, as well as Memphis, Miami, and Virginia Beach.
Gangsta Boo’s (1998) was the soundtrack to a season of fence-jumping feminism, a culmination of springs, summers, and falls spent fighting boys and finding our voices in communities that worked to silence the raucous and bulbous female parts of us.
How do cities and urban spaces impact art? Working off the notion that art is informed by its surroundings, the Rap Map project in ATLMaps explores how Metro Atlanta has impacted not just the artists that call the city home but a whole genre of music by spatializing that impact.
Blogs and online zines had a field day critiquing this 30-minute exchange. Like many of us, I was introduced to the interview through an edited video of Yachty telling Budden to “chiiiillll…,” as if to say, “Dude, don’t come ‘cross this table on me. We can disagree without being disagreeable.”
Phylon: The Clark Atlanta University Review of Race and Culture. With Stephanie Y. Evans and Courtney Terry. “Hip Hop Culture and Rap Music Aesthetics in the Post-Civil Rights South” 54.1 (Winter 2017).
Michelle Hite: “Andre’s Dread: Communicating Survival of Racial Terror.” Phylon: The Clark Atlanta University Review of Race and Culture 54.1 (Winter 2017): 28-40.