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Post-Soul SatireBlack Identity after Civil Rights$
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Derek C. Maus and James J. Donahue

Print publication date: 2014

Print ISBN-13: 9781617039973

Published to University Press of Mississippi: May 2017

DOI: 10.14325/mississippi/9781617039973.001.0001

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PRINTED FROM Mississippi SCHOLARSHIP ONLINE (www.mississippi.universitypressscholarship.com). (c) Copyright University Press of Mississippi, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MSSO for personal use.date: 19 September 2021

The Lower Frequencies: Hip-Hop Satire in the New Millennium

The Lower Frequencies: Hip-Hop Satire in the New Millennium

Chapter:
(p.38) The Lower Frequencies: Hip-Hop Satire in the New Millennium
Source:
Post-Soul Satire
Author(s):

Kinohi Nishikawa

Publisher:
University Press of Mississippi
DOI:10.14325/mississippi/9781617039973.003.0003

This chapter argues that hip-hop satire offers a critique of commercial hip-hop’s fetishization of racial authenticity. Mighty Casey, Childish Gambino, and Little Brother all challenge the definitions of blackness provided by mainstream and commercially-successful hip-hop. These artists rely on independent labels and internet outlets, and as such operate on the “lower frequencies” of African American cultural production.

Keywords:   Hip-Hop, Authenticity, Mighty Casey, Childish Gambino, Little Brother

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