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dc.contributor.authorDurham, Aisha Shennette
dc.date.accessioned2014-03-03T20:08:17Z
dc.date.available2014-03-03T20:08:17Z
dc.date.issued2002-05
dc.identifier.otherdurham_aisha_s_200205_ma
dc.identifier.urihttp://purl.galileo.usg.edu/uga_etd/durham_aisha_s_200205_ma
dc.identifier.urihttp://hdl.handle.net/10724/20534
dc.description.abstractTwenty years ago, ghetto youth sent a S.O.S signal to the world through radio airwaves in a rap song called “The Message.” It was dawn of a new genre of rap that expressed a politicized consciousness of urban youth in hip-hop culture. It ushered in hip-hop nationalism. This work examines black power of hip-hop nationalism and counterhegemony in Dead Prez rap texts. I employ the concept of hegemony to discuss how Dead Prez use rap as a communicative tool to educate and empower marginalized youth in popular culture. Through a textual reading of spoken word on four rap tracks, I address ways in which the duo challenge white supremacy and capitalism, yet maintain masculinist constructions of black empowerment. Specifically, I address Afrocentric identity as the construction of class consciousness, anti-capitalism, and direct and indirect forms of oppression in the state and in civil society/popular culture.
dc.publisheruga
dc.rightspublic
dc.subjectDead Prez
dc.subjectrap music
dc.subjecthip-hop nationalism
dc.subjecthegemony
dc.subjectidentity
dc.subjectblack power
dc.subjectAfrocentrcity
dc.subjectblack cultural aesthetic
dc.subjectyouth subculture
dc.titleLet's get free : a soundtrack for revolution : a textual analysis of black power and counterhegemony in the debut rap album by Dead Prez
dc.typeThesis
dc.description.degreeMA
dc.description.departmentGrady College of Journalism and Mass Communication
dc.description.majorJournalism
dc.description.advisorDwight E. Brooks
dc.description.committeeDwight E. Brooks
dc.description.committeeElizabeth Lester Roushanzamir
dc.description.committeeCarolina Acosta-Alzuru


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