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In the late 1980s, gangsta rap music emerged in urban America, giving voice to―and making money for―a social group widely considered to be in crisis: young, poor, black men. From its local origins, gangsta rap went on to flood the mainstream, generating enormous popularity and profits. Yet the highly charged lyrics, public battles, and hard, fast lifestyles that characterize the genre have incited the anger of many public figures and proponents of "family values." Constantly engaging questions of black identity and race relations, poverty and wealth, gangsta rap represents one of the most profound influences on pop culture in the last thirty years.
Focusing on the artists Ice Cube, Dr. Dre, the Geto Boys, Snoop Dogg, and Tupac Shakur, Quinn explores the origins, development, and immense appeal of gangsta rap. Including detailed readings in urban geography, neoconservative politics, subcultural formations, black cultural debates, and music industry conditions, this book explains how and why this music genre emerged. In Nuthin'but a "G" Thang, Quinn argues that gangsta rap both reflected and reinforced the decline in black protest culture and the great rise in individualist and entrepreneurial thinking that took place in the U.S. after the 1970s. Uncovering gangsta rap's deep roots in black working-class expressive culture, she stresses the music's aesthetic pleasures and complexities that have often been ignored in critical accounts.
- Sales Rank: #276339 in Books
- Published on: 2004-11-17
- Original language: English
- Number of items: 1
- Dimensions: 8.90" h x .80" w x 6.00" l, .83 pounds
- Binding: Paperback
- 264 pages
Review
Quinn has written an impressive academic study of gangsta rap's music and culture...recommended for music and cultural studies collections in academic or larger public libraries.
(Craig Shufelt Library Journal)
Quinn's narrative skillfully interweaves cultural trends and economic contextualisation with a thoroughness rarely encountered in studies of popular music.
(Tom Perchard Popular Music)
This book is a welcomed addition to a growing body of scholarship on hip-hop and a good contribution to the study of race, class, gender, and black cultural production.
(Jeffrey O. G. Ogbar Journal of American History)
Review
Quinn's book constitutes an original statement on the contradictory currents that continue to pattern popular American culture. Quinn explores the intricacies of black working-class culture, ideology, and agency with great skill and nuance. Above all, Nuthin' But a "G" Thang shows how gansta rap is not simply a pop culture fad but instead embodies profound shifts in American culture and everyday life.
(S. Craig Watkins, author of Representing: Hip Hop Culture and the Production of Black Cinema)
Eithne Quinn has written the richest, most insightful analysis of gansta rap I've ever read. She takes both a long view of the gangsta genre, locating it within a very old expressive culture, and also places it within contemporary commercial culture and flows of global capital. She shows how the historic pimp and rap artist are collapsed in interesting and contradictory ways, for the genre produces a critique of capitalism and white supremacy alongside a celebration of wealth and name-brand consumer items.
(Robin D. G. Kelley, author of Race Rebels: Culture, Politics, and The Black Working Class)
This is a profound and important book. Its aim is to explain the development and the popularity of gangsta rap. It accomplishes this aim masterfully, through a complex interdisciplinary argument that brings together deep readings in sociology, political economy, African American social history, folklore, and popular music studies. This book will appeal to readers who want a complex understanding of one of the most important popular cultural forms of our time.
(Barry Shank, author of A Token of My Affection: Greeting Cards and American Business Culture)
About the Author
Eithne Quinn teaches American Studies at the University of Manchester, UK. Her work on rap music, cultural studies, and African American popular culture has appeared in edited books and journals, including the Journal of American Studies and Black Music Research Journal.
Most helpful customer reviews
13 of 13 people found the following review helpful.
An interesting interdisciplinary study
By AfroAmericanHeritage
The author explores the genesis and maturation of Los Angeles-based gangsta music and culture during the post-Civil Rights era. She ties the genesis of gangsta to the time when the U.S. manufacturing economy shifted to a service based economy, urban areas were neglected and the neoconservative policies of the Reagan/Bush era redistributed the nation's wealth to a small group at the top. Theoretically this wealth would then "trickle down" and I suppose it did, though in the form of low paying, dead end service jobs for those who used to be skilled and semiskilled laborers. Her study ends in 1996, where the centrist policies of the Clinton administration did little to ameliorate the problems of which gangstas rap, and classic gangsta artists are mellowing. (And not coincidentally, the year Tupac Shakur, a child of Black Power parents, died in a drive-by shooting.)
The generation of young black men coming of age in places like Compton during this time saw only social immobility in the Land of Opportunity, so they created their own opportunities on their own terms. The irony, as she points out, is that gangsta is both a commentary on and child of the rampant free-market 1980's and `90s: ruthless, exploitative, unabashedly commercial, individualistic, hustling. (So is it really any surprise that here in the 21st century, Lee Iacocca gets jiggy with Snoop Dog for Chrysler commercials?)
This is an interesting interdisciplinary study of gangsta's texts and contexts, its academic commentators and its diverse opponents. While neither defending nor dismissing gangsta as the latest incarnation of the minstrel show stereotypes (like Stanley Crouch and others ) she demonstrates that it is rife with black archetypes which participate in some very old expressive repertoires. And she looks forward beyond 1996 by mentioning "Barbershop" in which Ice Cube's character has learned the value of community and non-materialism.
Those unfamiliar with the jargon of cultural studies might find themselves confused on occasion (I admit I did) but will also find that things clarify themselves with further reading. I recommend this for anyone interested in African American music and cultural studies.
4 of 21 people found the following review helpful.
Unintentionally Proves The Point
By Avid Reader
This encyclopaedic examination of "gangsta rap" culture states that the "movement" is a viable culture not only in the nation but within black society. I've been mistaken - I was convinced that the dumb spelling, childish slogans, ridiculous speech and obsession with obscenities was simply a marketing device. I now know that talking, writing and acting like semi-literate folks "normal". The author takes it further: It is to be admired and praised as simply another expression of black/street culture.
This "culture" reinforces every stereotype - uneducated, violent, obscene, criminal, lazy, irresponsible. The author asserts that gangsta rap genuinely describes the contemporary black experience for large numbers of folks. If so, the future is bleak indeed. We've all seen white & Latino kids trying to identify - rapping the words, dressing childishly, talking in that unintelligible shortcut speech accompanied by hilariously absurd hand gestures. Yet one knows it's an act. No one, especially black Americans, take them seriously. At any time they can re-enter modern society - lose the attitude, change to adult clothes adn speak normally. Those in the "gangsta" world may not have this option and that is sad. (The author would probably disagree.)
We get a tremendous amount of data supporting his thesis. Sadly, he may be correct. Gangsta rap dumbs down culture, offering a childish simplicity without complexity. Musicians cannot read, play or compose, entertainment is mindless, language is replaced with childish babble. "Western" values of education, thrift, hard work, morality, family and planning have been replaced by "street knowledge", living for the moment, criminal "heroes", gangs and an incredible ignorance of the modern world - from science to history to politics. It is a devestating indictment that is punctuated by the success of immigrants who adoped "Western" values and have flourished despite the many obstacles.
The question is not who can rap the baddest, has more street cred, sells more CDs, has better drugs or wears more bling. No, the question should be: Who will teach the children, heal the sick, fix the lights, repair the roads, deliver the mail, run the internet or produce BET? These basic societal functions are, of course, the ones that require so-called "Western" values. If we all lived the way the "heroes" do, where would we be then? No one in their right mind would choose this lifestyle for their child or family - it's a cultural death wish. This is an uneasy book, one that disturbs and leaves one depressed for the future.
3 of 22 people found the following review helpful.
I am reminded of a certain infamous quote...
By Eulit Hinson
After perusing this book at the local library, with its sympathetic eye to the prolifetation and glorification of hip-hop as a viable "culture", I can't help but think of something Hermann Goering once said: "Whenever I hear the word 'culture', I reach for my revolver". Decadent, apologetic propoganda in its worst form, disguised as credible academics, truly pathetic.
See all 3 customer reviews...
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