By Michael P. Jeffries
Hip-hop has come some distance from its origins within the Bronx within the Seventies, while rapping and DJing have been simply a part of a full of life, decidedly neighborhood scene that still commemorated b-boying and graffiti. Now hip-hop is an international phenomenon and, within the usa, a vastly winning company firm predominantly managed and ate up via whites whereas the main popular performers are black. How does this shift in racial dynamics have an effect on our knowing of latest hip-hop, specifically whilst the track perpetuates stereotypes of black males? Do black listeners interpret hip-hop in a different way from white fans?
These questions have dogged hip-hop for many years, yet not like so much pundits, Michael P. Jeffries reveals solutions by means of interviewing daily humans. rather than turning to performers or media critics, Thug Life makes a speciality of the music's fans--young males, either black and white--and the ensuing account avoids romanticism, providing an independent exam of ways hip-hop works in people's day-by-day lives. As Jeffries weaves the fanatics' voices along with his personal refined research, hip-hop is published as a device listeners use to make feel of the area, in addition to a wealthy, self-contained tradition containing politics, excitement, advantage, and vice.