Synopses & Reviews
Brothers Gonna Work It Out considers the political expression of rap artists within the historical tradition of black nationalism. Interweaving songs and personal interviews with hip-hop artists and activists including Chuck D of Public Enemy, KRS-One, Rosa Clemente, manager of dead prez, and Wise Intelligent of Poor Righteous Teachers, Cheney links late twentieth-century hip-hop nationalists with their nineteenth-century spiritual forebears.
Cheney examines Black nationalism as an ideology historically inspired by a crisis of masculinity. Challenging simplistic notions of hip-hop culture as simply sexist or misogynistic, she pays particular attention to Black nationalists historicizing of slavery and their visualization of male empowerment through violent resistance. She charts the recent rejection of Christianity in the lyrics of rap nationalist music due to the perception that it is too conciliatory, and the increasing popularity of Black Muslim rap artists.
Cheney situates rap nationalism in the 1980s and 90s within a long tradition of Black nationalist political thought which extends beyond its more obvious influences in the mid-to-late twentieth century like the Nation of Islam or the Black Power Movement, and demonstrates its power as a voice for disenfranchised and disillusioned youth all over the world.
Review
“In her book, Cheney tries to dispel the notion that all rap music is about sex, violence and bling. . . . The book is insightful—particularly to white Americans who don't get the appeal of Louis Farrakhan or to older African-Americans whose knowledge of black music stops at Smokey Robinson. After reading this book, both groups might at least be tempted to sample some Public Enemy music.”
“A study of rap singers of the 1980s and 90s that sets their political expression in the context of the racial and sexual politics of black nationalism since the early 19th century.”
“.[A] must read for anyone interested in the problems of gender and politics in rap music. Charise Cheney combines an historian's insight with an expansive knowledge of hip-hop culture to produce this remarkable study of the rise of artists influenced by black nationalism—the self-proclaimed “raptivists.” Cheney dives head-on into the contentious debates regarding the articulations of masculinity and black nationalism in rap, and how these reflect black Americans' age-old desire for power and authority. A vital contribution.”
“A provocative analysis that no one will be able to ignore. A compelling challenge to consider the ways that patriarchy has influenced the movement for black self-determination.”
“A lively, unique, and often revisionist perspective on the sexual politics of hip-hop culture.”
Review
“In her book, Cheney tries to dispel the notion that all rap music is about sex, violence and bling. . . . The book is insightful—particularly to white Americans who don't get the appeal of Louis Farrakhan or to older African-Americans whose knowledge of black music stops at Smokey Robinson. After reading this book, both groups might at least be tempted to sample some Public Enemy music.”
-The San Luis Obispo Tribune,
Review
“A study of rap singers of the 1980s and 90s that sets their political expression in the context of the racial and sexual politics of black nationalism since the early 19th century.”
-The Chronicle,
Review
“.[A] must read for anyone interested in the problems of gender and politics in rap music. Charise Cheney combines an historian's insight with an expansive knowledge of hip-hop culture to produce this remarkable study of the rise of artists influenced by black nationalism—the self-proclaimed “raptivists.” Cheney dives head-on into the contentious debates regarding the articulations of masculinity and black nationalism in rap, and how these reflect black Americans' age-old desire for power and authority. A vital contribution.”
-Jane Rhodes,author of Framing the Black Panthers: The Spectacular Rise of a Black Power Icon
Review
“A provocative analysis that no one will be able to ignore. A compelling challenge to consider the ways that patriarchy has influenced the movement for black self-determination.”
-Choice, Highly Recommended,
Review
“A lively, unique, and often revisionist perspective on the sexual politics of hip-hop culture.”
Synopsis
A lively, unique, and often revisionist perspective on the sexual politics of hip-hop culture. -William L. Van Deburg, author of New Day in Babylon: The Black Power Movement and American Culture, 19651975 Must reading for anyone interested in the problems of gender and politics in rap music. Charise Cheney combines an historians insight with an expansive knowledge of hip-hop culture to produce this remarkable study of the rise of artists influenced by black nationalism-the self-proclaimed raptivists. Cheney dives head-on into the contentious debates regarding the articulations of masculinity and black nationalism in rap, and how these reflect black Americans age-old desire for power and authority. A vital contribution."-Jane Rhodes, author of Framing the Black Panthers: The Spectacular Rise of a Black Power Icon Brothers Gonna Work It Out considers the political expression of rap artists within the historical tradition of black nationalism. Interweaving songs and personal interviews with hip-hop artists and activists including Chuck D of Public Enemy, KRS-One, Rosa Clemente, manager of dead prez, and Wise Intelligent of Poor Righteous Teachers, Cheney links late twentieth-century hip-hop nationalists with their nineteenth-century spiritual forebears. Cheney examines Black nationalism as an ideology historically inspired by a crisis of masculinity. Challenging simplistic notions of hip-hop culture as simply sexist or misogynistic, she pays particular attention to Black nationalists'historicizing of slavery and their visualization of male empowerment through violent resistance. She charts the recent rejection of Christianity in the lyrics of rap nationalist music due to the perception that it is too conciliatory, and the increasing popularity of Black Muslim rap artists. Cheney situates rap nationalism in the 1980s and 90s within a long tradition of Black nationalist political thought which extends beyond its more obvious influences in the mid-to-late twentieth century like the Nation of Islam or the Black Power Movement, and demonstrates its power as a voice for disenfranchised and disillusioned youth all over the world.
Synopsis
The Constitution is the cornerstone of American government, hailed as one of the greatest contributions of the Western Enlightenment. While many seem content simply to celebrate it, those most familiar with the document invariably find it wanting in at least some aspects.
This unique volume brings together many of the country's most esteemed constitutional commentators and invites them to answer two questions: First, what is the stupidest provision of the Constitution? "Stupid" need not mean evil. Thus, a second, related question is whether the scholar-interpreter would be forced to reach truly evil results even if applying his or her own favored theory of constitutional interpretation.
The contributors include Lawrence Alexander, Akhil Reed Amar, Jack Balkin, Philip Bobbitt, Gerard Bradley, Rebecca Brown, Steven Calabresi, Lief Carter, Christopher Eisgruber, Lawrence Sager, Marie Failinger, Daniel Farber, James Fleming, Mark Graber, Stephen Griffin, Gary Jacobsohn, Randall Kennedy, Lewis LaRue, Theodore Lowi, Earl Maltz, Michael McConnell, Matthew Michael, Robert Nagel, Daniel Ortiz, Pamela Karlen, Michael Paulsen, Robert Post, Lucas Powe, Dorothy Roberts, Jeffrey Rosen, Frederick Schauer, Michael Seidman, Suzanna Sherry, David Strauss, Laurence Tribe, Mark Tushnet, and John Yoo.
About the Author
William N. Eskridge, Jr., is Professor of Law at Georgetown University Law Center and the author, most recently, of
The Case for Same-Sex Marriage: From Sexual Liberty to Civilized Commitment.
The author and editor of numerous books, most recently Responding to Imperfection: Constitutional Amendment in Theory and Practice, Sanford V. Levinson holds the W. St. John Garwood and W. St. Garwood, Jr. Regents Chair in Law at the University of Texas Law School and is also Professor of Government.