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The Chican@ hip hop nation : politics of a new millennial mestizaje / Pancho McFarland.

By: Material type: TextTextSeries: Latinos in the United States seriesPublisher: East Lansing : Michigan State University Press, [2013]Copyright date: ©2013Description: 1 online resource : illustrationsContent type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9781609173753
  • 1609173759
Other title:
  • Chican at hip hop nation
  • Chicana hip hop nation
  • Chicano hip hop nation
Subject(s): Genre/Form: Additional physical formats: Print version:: Chican@ hip hop nationDDC classification:
  • 973/.046872 23
LOC classification:
  • E184.M5 M23 2013eb
Online resources:
Contents:
Setting the theoretical context -- Quién es más macho? quién es más mexicano?: Chican@ and Mexican@ identities in rap -- Barrio logos : the sacred and profane word of Chicano emcees -- Identities old and new -- Sonido indígena : Mexica hip-hop and masculine identity -- Paísas, compas, inmigrantes -- Barrio locos : street hop and Amerikan identity -- Mexicanidad, africanidad -- Multiracial macho : Kemo the Blaxican's hip-hop masculinity -- The rap on Chicano/Mexicano and Black masculinity -- "Soy la kalle" : radio, reggaetón, and latin@ identity -- Hip-hop and justice -- A hip-hop pedagogy for social justice -- Afterword : Hip-hop and freedom-dreaming in the Mexican diaspora.
Summary: The population of Mexican-origin peoples in the United States is a diverse one, as reflected by age, class, gender, sexuality, and religion. Far from antiquated concepts of mestizaje, recent scholarship has shown that Mexican@/Chican@ culture is a mixture of indigenous, African, and Spanish and other European peoples and cultures. No one reflects this rich blend of cultures better than Chican@ rappers, whose lyrics and iconography can help to deepen our understanding of what it means to be Chican@ or Mexican@ today. While some identify as Mexican mestizos, others identify as indigenous people or base their identities on their class and racial/ethnic makeup. No less significant is the intimate level of contact between Chican@s and Black Americans. Via a firm theoretical foundation, the author explores the language and ethos of Chican@/Mexican@ hip hop and sheds new light on three distinct identities reflected in the music: indigenous/Mexica, Mexican nationalist/immigrant, and street hopper. With particular attention to the intersection of Black and Chicano cultures, the author places exciting recent developments in music forms within the context of progressive social change, social justice, identity, and a new transnational, polycultural America.
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Print version record.

Includes bibliographical references (pages 273-28) and index.

Setting the theoretical context -- Quién es más macho? quién es más mexicano?: Chican@ and Mexican@ identities in rap -- Barrio logos : the sacred and profane word of Chicano emcees -- Identities old and new -- Sonido indígena : Mexica hip-hop and masculine identity -- Paísas, compas, inmigrantes -- Barrio locos : street hop and Amerikan identity -- Mexicanidad, africanidad -- Multiracial macho : Kemo the Blaxican's hip-hop masculinity -- The rap on Chicano/Mexicano and Black masculinity -- "Soy la kalle" : radio, reggaetón, and latin@ identity -- Hip-hop and justice -- A hip-hop pedagogy for social justice -- Afterword : Hip-hop and freedom-dreaming in the Mexican diaspora.

The population of Mexican-origin peoples in the United States is a diverse one, as reflected by age, class, gender, sexuality, and religion. Far from antiquated concepts of mestizaje, recent scholarship has shown that Mexican@/Chican@ culture is a mixture of indigenous, African, and Spanish and other European peoples and cultures. No one reflects this rich blend of cultures better than Chican@ rappers, whose lyrics and iconography can help to deepen our understanding of what it means to be Chican@ or Mexican@ today. While some identify as Mexican mestizos, others identify as indigenous people or base their identities on their class and racial/ethnic makeup. No less significant is the intimate level of contact between Chican@s and Black Americans. Via a firm theoretical foundation, the author explores the language and ethos of Chican@/Mexican@ hip hop and sheds new light on three distinct identities reflected in the music: indigenous/Mexica, Mexican nationalist/immigrant, and street hopper. With particular attention to the intersection of Black and Chicano cultures, the author places exciting recent developments in music forms within the context of progressive social change, social justice, identity, and a new transnational, polycultural America.

English.

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