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The New Masters of Eloquence: Southernness, Senegal, and Transatlantic Hip-Hop Mobilities

The New Masters of Eloquence: Southernness, Senegal, and Transatlantic Hip-Hop Mobilities essay .................... The New Masters of Eloquence Southernness, Senegal, and Transatlantic Hip-Hop Mobilities by Ali Colleen Neff While mainstream American journalists describe the southern takeover of Billboard's urban and pop charts as a turn to manufactured, inflated, and inauthentic commercialism, the Dirty South's audience locates within its style the substance of the neighborhood dance floor, an unruly engagement with digital technology, and an international rallying call to radical self-imagination. Sister Coumbis, a member of the Senegalese music group GOTAL, photographed by Ali Colleen Neff. I get it in 'til the sun rise, Goin' 90 in a 65, Windows rolled down screamin' out: "Hey-ey-ey, I'm so paid." --Akon, "I'm so Paid," 2008 1 ith a heavy diamond stud anchoring each earlobe, hip-hop hustler Akon disembarks from his helicopter, spreads his arms to the sky, and sings about his solvency from the bow of a high-seas luxury yacht. For all its exuberance, the gesture is a stereotypical one for any Atlanta rapper. Here, the fantasy surrounding hip-hop's southern "Third Coast"2--one represented by Akon's formidable pop presence--is crisscrossed by classic cars, fast motorcycles, and sprawling liners. With Akon and his peers at its helm, the last decade has witnessed the dominance http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Southern Cultures University of North Carolina Press

The New Masters of Eloquence: Southernness, Senegal, and Transatlantic Hip-Hop Mobilities

Southern Cultures , Volume 19 (1) – Feb 1, 2013

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Publisher
University of North Carolina Press
Copyright
Copyright © Center for the Study of the American South.
ISSN
1534-1488
Publisher site
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Abstract

essay .................... The New Masters of Eloquence Southernness, Senegal, and Transatlantic Hip-Hop Mobilities by Ali Colleen Neff While mainstream American journalists describe the southern takeover of Billboard's urban and pop charts as a turn to manufactured, inflated, and inauthentic commercialism, the Dirty South's audience locates within its style the substance of the neighborhood dance floor, an unruly engagement with digital technology, and an international rallying call to radical self-imagination. Sister Coumbis, a member of the Senegalese music group GOTAL, photographed by Ali Colleen Neff. I get it in 'til the sun rise, Goin' 90 in a 65, Windows rolled down screamin' out: "Hey-ey-ey, I'm so paid." --Akon, "I'm so Paid," 2008 1 ith a heavy diamond stud anchoring each earlobe, hip-hop hustler Akon disembarks from his helicopter, spreads his arms to the sky, and sings about his solvency from the bow of a high-seas luxury yacht. For all its exuberance, the gesture is a stereotypical one for any Atlanta rapper. Here, the fantasy surrounding hip-hop's southern "Third Coast"2--one represented by Akon's formidable pop presence--is crisscrossed by classic cars, fast motorcycles, and sprawling liners. With Akon and his peers at its helm, the last decade has witnessed the dominance

Journal

Southern CulturesUniversity of North Carolina Press

Published: Feb 1, 2013

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