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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 e s s a y . . . . . . . . . . . . . . . . . . . . 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 Ne ff. 7 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 ith a heavy diamond stud anchoring each earlobe hop , hip- 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 g, esture the   is a stereotypical one for any Atlanta rapper. Here, the fan- tasy surrounding 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

Neff, Ali Colleen.
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

Abstract

e s s a y . . . . . . . . . . . . . . . . . . . . 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 Ne ff. 7 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 ith a heavy diamond stud anchoring each earlobe hop , hip- 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 g, esture the   is a stereotypical one for any Atlanta rapper. Here, the fan- tasy surrounding

Journal

Southern Cultures – University of North Carolina Press

Published: Feb 1, 2013

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