136 pp., 6.125 x 9.25, notes, index
Paperback ISBN: 978-1-4696-6196-4
Published: February 2021
Hardcover ISBN: 978-1-4696-6195-7
Published: February 2021
Paperback Available February 2021, but pre-order your copy today!
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Chronicling Stankonia reflects the ways that culture, race, and southernness intersect in the late twentieth and early twenty-first centuries. Although part of southern hip-hop culture remains attached to the past, Bradley demonstrates how younger southerners use the music to embrace the possibility of multiple Souths, multiple narratives, and multiple points of entry to contemporary southern black identity.
About the Author
Regina N. Bradley is an alumna Nasir Jones Hiphop Fellow at Harvard University and an assistant professor of English and African diaspora studies at Kennesaw State University.
For more information about Regina Bradley, visit the Author Page.
"A brilliant, beautifully written, creatively innovative, and field-shifting work.... Bradley is already recognized as one of the key figures in the study of the contemporary black South. This book solidifies the centrality of the South to hip-hop studies and Bradley to the future of the field."—Imani Perry, author of May We Forever Stand: A History of the Black National Anthem
"Regina Bradley has written a classic. In Chronicling Stankonia, Bradley cements herself as the most incisive contemporary critic of black southern sound and literature in the nation. Bradley is what Ellison calls the 'Little Man at the Chehaw Station.' We’ve needed a reader and listener with her inventive literary range to actually show us the inventive origins and possibilities of this music and culture we critically love. Chronicling Stankonia is the beautiful, rigorous intervention we've been waiting two decades for."—Kiese Laymon, author of Heavy
"Part autobiography, part music analysis, part literary criticism, Chronicling Stankonia masterfully engages the intellectual tradition of Southern hip-hop—OutKast, specifically—as integral to understanding the post–civil rights South. Rejecting popular conceptions of the contemporary black South as monolithic and muted, Bradley reminds us ’the South still got something to say’ and trains our ears to hear it reverberating across the deep bass, the funky harmonies, and the inimitable flow of the hip-hop South."—Justin D. Burton, author of Posthuman Rap