Despite legislation designed to eliminate unfair racial practices, the United States continues to struggle with a race problem. Some thinkers label this a "new" racism and call for new political responses to it. Using the experiences of African American women and men as a touchstone for analysis, Patricia Hill Collins examines new forms of racism as well as political responses to it. In this incisive and stimulating book, renowned social theorist Patricia Hill Collins investigates how nationalism has operated and re-emerged in the wake of contemporary globalization and offers an interpretation of how black nationalism works today in the wake of changing black youth identity. Hers is the first study to analyze the interplay of racism, nationalism, and feminism in the context of twenty-first century black America. From Black Power to Hip Hop covers a wide range of topics including the significance of race and ethnicity to the American national identity; how ideas about motherhood affect population policies; African American use of black nationalism ideologies as anti-racist practice; and the relationship between black nationalism, feminism, and women in the hip-hop generation.

Pimps Up, Ho's Down pulls at the threads of the intricately knotted issues surrounding young black women and hip hop culture. What unravels for Tracy D. Sharpley-Whiting is a new, and problematic, politics of gender. In this fascinating and forceful book, Sharpley-Whiting, a feminist writer who is a member of the hip hop generation, interrogates the complexities of young black women's engagement with a culture that is masculinist, misogynistic, and frequently mystifying. Beyond their portrayal in rap lyrics, the display of black women in music videos, television, film, fashion, and on the Internet is indispensable to the mass media engineered appeal of hip hop culture, the author argues. And the commercial trafficking in the images and behaviors associated with hip hop has made them appear normal, acceptable, and entertaining-both in the U.S. and around the world. Sharpley-Whiting questions the impacts of hip hop's increasing alliance with the sex industry, the rise of groupie culture in the hip hop world, the impact of hip hop's compulsory heterosexual culture on young black women, and the permeation of the hip hop ethos into young black women's conceptions of love and romance. The author knows her subject from the inside. Coming of age in the midst of hip hop's evolution in the late 1980s, she mixed her graduate studies with work as a runway and print model in the 1990s. Her book features interviews with exotic dancers, black hip hop groupies, and hip hop generation members Jacklyn "Diva" Bush, rapper Trina, and filmmaker Aishah Simmons, along with the voices of many "everyday" young women. Pimps Up, Ho's Down turns down the volume and amplifies the substance of discussions about hip hop culture and to provide a space for young black women to be heard.

Home Girls Make Some Noise! Hip Hop Feminism Anthology seeks to complicate understandings of Hip Hop as a male space by including and identifying the women who were always involved with the culture. The anthology explores Hip Hop as a worldview, as an epistemology grounded in the experiences of communities of color under advanced capitalism, as a cultural site for rearticulating identity and sexual politics. With critical essays, cultural critiques, interviews, personal narratives, fiction, poetry, and artwork; the contributors are varied, from women working within the Hip Hop sphere, Hip Hop feminists and activists “on the ground,” as well as scholars, writers, and journalists.

Rapper, activist, and hip-hop rebel, Sister Souljah possesses the most passionate and articulate voice to emerge from the projects. Now she uses that voice to deliver what is at once a fiercely candid autobiography and a survival manual for any African American woman determined to keep her heart open and her integrity intact in 1990s America.

Hip-hop culture began in the early 1970s as the creative and activist expressions—graffiti writing, dee-jaying, break dancing, and rap music—of black and Latino youth in the depressed South Bronx, and the movement has since grown into a worldwide cultural phenomenon that permeates almost every aspect of society, from speech to dress. While hip-hop has been assimilated and exploited in the mainstream, young black women who came of age during the hip-hop era are grappling with the gender politics of a predominately masculine space. In this provocative study, Gwendolyn D. Pough explores the complex relationship between black women, hip-hop, and feminism. Examining a wide range of genres, including rap music, novels, spoken word poetry, hip-hop cinema, and hip-hop soul music, she traces the rhetoric of black women "bringing wreck." Pough demonstrates how influential women rappers such as Queen Latifah, Missy Elliot, and Lil' Kim are building on the legacy of earlier generations of women—from Sojourner Truth to sisters of the black power and civil rights movements—to disrupt and break into the dominant patriarchal public sphere. She discusses the ways in which today's young black women struggle against the stereotypical language of the past ("castrating black mother," "mammy," "sapphire") and the present ("bitch," "ho," "chickenhead"), and shows how rap provides an avenue to tell their own life stories, to construct their identities, and to dismantle historical and contemporary negative representations of black womanhood. Pough also looks at the on-going public dialogue between male and female rappers about love and relationships, explaining how the denigrating rhetoric used by men has been appropriated by black women rappers as a means to empowerment in their own lyrics. The author concludes with a discussion of the pedagogical implications of rap music as well as of third wave and black feminism. This fresh and thought-provoking perspective on the complexities of hip-hop urges young black women to harness the energy, vitality, and activist roots of hip-hop culture and rap music to claim a public voice for themselves and to "bring wreck" on sexism and misogyny in mainstream society. --This text refers to the Hardcover edition.

In this fresh, funky, and ferociously honest book, award-winning journalist Joan Morgan bravely probes the complex issues facing African-American women in today's world: a world where feminists often have not-so-clandestine affairs with the most sexist of men; where women who treasure their independence often prefer men who pick up the tab; and where the deluge of babymothers and babyfathers reminds black women who long for marriage that traditional nuclear families are a reality for less than 40 percent of the African-American population.

From Publishers Weekly "Queen Latifah is perhaps rap's most recognizable female artist, having parlayed a successful music career into several high-profile film and television roles. Part of her appeal stems from her relatively unique image, one that eschews spandex and innuendo for a tougher, earthier confidence. Less an autobiography than a motivational tract, this book attempts to impart the philosophy behind Latifah's image and, in so doing, "let every woman know that she, too... is royalty." She does this by basing the narrative loosely around some of the major events in her life: her parents' divorce, her experiences growing up in inner-city Newark, her initial forays into the rap scene and her brother's death in a motorcycle accident at the age of 24. Also included are Latifah's views on drug use, God, romance and sex. Her personal recollections, while frank and heartfelt, serve mainly as touchstones for aphoristic observations on self-esteem and faith; the text is peppered with assertions such as "It's harder to feel bad with your head held high" and "The key is not to rule others but to reign over yourself." While the goal here is inspiration rather than revelation, fans may feel cheated by what's left out. No insights are offered regarding Latifah's music career, creative process or her decision to move into acting; her star-making lead role on the television series Living Single is covered in half a sentence. Ultimately, however, Latifah's positive "be yourself" attitude is infectious, and readers are bound to come away from this book wanting at least a little bit to be like Latifah.