2024 Roberto Reis Book Prize, First Book category, Brazilian Studies Association

How disenfranchised Black Brazilians use hip-hop to reinvigorate the Black radical tradition.

Known as Black Rome, Salvador da Bahia, Brazil, is a predominantly Black city. The local art, food, and dance are closely linked to the population’s African roots. Yet many Black Brazilian residents are politically and economically disenfranchised. Bryce Henson details a culture of resistance and activism that has emerged in response, expressed through hip-hop and the social relations surrounding it.

Based on years of ethnographic research, Emergent Quilombos illuminates how Black hip-hop artists and their circles contest structures of anti-Black racism by creating safe havens and alternative social, cultural, and political systems that serve Black people. These artists valorize and empower marginalized Black peoples through song, aesthetics, media, visual art, and community action that emphasize diasporic connections, ancestrality, and Black identifications in opposition to the anti-Black Brazilian nation. In the process, Henson argues, the Salvador hip-hop scene has reinvigorated and reterritorialized a critical legacy of Black politicocultural resistance: quilombos, maroon communities of Black fugitives who refused slavery as a way of life, gathered away from the spaces of their oppression, protected their communities, and nurtured Black life in all its possibilities.

This book explores an important aspect of hip-hop that is rarely considered: its deep entanglement with spiritual life.
 
The world of hip-hop is saturated with religion, but rarely is that element given serious consideration. In Street Scriptures, Alejandro Nava focuses our attention on this aspect of the music and culture in a fresh way, combining his profound love of hip-hop, his passion for racial and social justice, and his deep theological knowledge. Street Scriptures offers a refreshingly earnest and beautifully written journey through hip-hop’s deep entanglement with the sacred.
 
Nava reveals a largely unheard religious heartbeat in hip-hop, exploring crosscurrents of the sacred and profane in rap, reggaeton, and Latinx hip-hop today. Ranging from Kendrick Lamar, Chance the Rapper, Lauryn Hill, Cardi B, and Bad Bunny to St. Augustine and William James, Nava examines the ethical-political, mystical-prophetic, and theological qualities in hip-hop, probing the pure sonic and aesthetic signatures of music, while also diving deep into the voices that invoke the spirit of protest. The result is nothing short of a new liberation theology for our time, what Nava calls a “street theology.”

Hip-hop has come a long way from its origins in the Bronx in the 1970s, when rapping and DJing were just part of a lively, decidedly local scene that also venerated b-boying and graffiti. Now hip-hop is a global phenomenon and, in the United States, a massively successful corporate enterprise predominantly controlled and consumed by whites while the most prominent performers are black. How does this shift in racial dynamics affect our understanding of contemporary hip-hop, especially when the music perpetuates stereotypes of black men? Do black listeners interpret hip-hop differently from white fans?

These questions have dogged hip-hop for decades, but unlike most pundits, Michael P. Jeffries finds answers by interviewing everyday people. Instead of turning to performers or media critics, Thug Life focuses on the music’s fans—young men, both black and white—and the resulting account avoids romanticism, offering an unbiased examination of how hip-hop works in people’s daily lives. As Jeffries weaves the fans’ voices together with his own sophisticated analysis, we are able to understand hip-hop as a tool listeners use to make sense of themselves and society as well as a rich, self-contained world containing politics and pleasure, virtue and vice.