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Separate and Unequal Schools: The Past Is Future

...not leaving public schools, department says,” New Hampshire Bulletin, Mar. 22, 2022, https://newhampshirebulletin.com/briefs/mosteducation-freedom-account-recipients-not-leaving-public-schools-department-says/; News Service Florida, “New report shows nearly 123,000 new students received Florida school vouchers in 2023,” NBC...

Katrina + 5: An X-Code Exhibition

...New Orleans—variants of the X-code left by searchers as they systematically covered the city, critically pertinent markings applied to visited houses and buildings. “Paint fades, archives endure,” reads a promotional...

Television News and the Civil Rights Struggle: The Views in Virginia and Mississippi

...to multiple perspectives, these shows offered audiences something new—a desegregated news account. At the local level, some news organizations began putting together hour-long news specials on the civil rights struggle...

Mapping the Muggleheads: New Orleans and the Marijuana Menace, 1920–1930

...Set as 'Muggles' Drive Is Ordered," Times-Picayune (New Orleans), April 18, 1929; "Police Open New War on Dealers in Marihuana," Times-Picayune (New Orleans), October 26, 1930. Previous studies of marijuana...

The Pursuit of Health: Colonialism and Hookworm Eradication in Puerto Rico

...also Frederick Cooper, Allen F. Isaacman, Florencia E. Mallon, William Roseberry, and Steve J. Stern, Confronting Historical Paradigms: Peasants, Labor, and the Capitalist World System in Africa and Latin America...

Wanted eLove: Queer Square Spaces and the Revolution in Digital Intimacy

...New York City, New York, 1940–1953. Courtesy of the New York Public Library Manuscript and Archives Division, digitalcollections.nypl.org/items/8fe9736d-0a51-cbc8-e040-e00a18063096. Indeed, this "revolutionary" research is ongoing in many new digital directions as...

The X-Codes: A Post-Katrina Postscript

...our house paint."6Barton, op. cit. Dorothy Moye, Bywater neighborhood, Tibetan prayer flags and poster with preserved code, 2009. Other New Orleanians purposefully preserve their X-codes as powerful memory markers, integral...

Segregationists, Libertarians, and the Modern "School Choice" Movement

...far been unable to convince Congress to fund such programs directly.4Jane Mayer, "Betsy DeVos, Trump's Big-Donor Education Secretary," New Yorker, November 23, 2016, https://www.newyorker.com/news/news-desk/betsy-devos-trumps-big-donor-education-secretary; Emma Brown, "DeVos Promises 'the Most...

Dirty Decade: Rap Music and the US South, 1997–2007

...of the earliest formations of a black popular music culture."6Kyra D. Gaunt, The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop. (New York: New York University Press,...

References
1.	Matt Miller, "Rap's Dirty South: From Subculture to Pop Culture," Journal of Popular Music Studies 16:2 (2004): 175-212.
2.	Jason Berry, Jonathan Foose, and Tad Jones, Up from the Cradle of Jazz: New Orleans Music Since World War II (Athens: Univ. of Georgia Press, 1986), xiii.
3.	Sara Cohen, "Sounding out the City: Music and the Sensuous Production of Place" in The Place of Music, eds. Andrew Leyshon, David Matless, and George Revill (New York: The Guilford Press, 1998), 287.
4.	Andy Bennett and Richard A. Peterson, eds., Music Scenes: Local, Translocal, and Virtual (Nashville: Vanderbilt Univ. Press, 2004), 7-8.
5.	Martin Stokes ed., Ethnicity, Identity, and Music: the Musical Construction of Place (Providence, RI: Berg, 1994), 4.
6.	Kyra D. Gaunt, The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop. (New York: New York University Press, 2006), 183. See also Roberta Rainwater, "Rhythm, Song Trademarks of '90s Patty-Cake," Times-Picayune, April 26, 1990; "Pizza Pizza Daddy-O" at http://www.folkstreams.net/film,73.
7.	Cheryl Keyes, Rap Music and Street Consciousness (Urbana: University of Illinois Press, 2002), 5; Adam Krims, Rap Music and the Poetics of Identity (New York: Cambridge University Press, 2000), 74-75, 77-78.
8.	Murray Forman, The 'Hood Comes First: Race, Space and Place in Rap and Hip-Hop (Middletown, CT: Wesleyan University Press, 2002), 179.
9.	Ibid., xvii.
10.	Ibid., 170.
11.	Adam Krims, Rap Music and the Poetics of Identity (New York: Cambridge University Press, 2000), 124.
12.	Lawrence B. De Graaf, "The City of Black Angels: Emergence of the Los Angeles Ghetto, 1890-1930,"Pacific Historical Review 39:3 (August 1970): 323-352, 331.
13.	Kelefa Sanneh, "Memphis Bleak," Village Voice (June 20, 2000), 144.
14.	Keith Negus, Music Genres and Corporate Cultures (New York: Routledge, 1999), 19.
15.	Luther Campbell and John R. Miller, As Nasty As They Wanna Be: The Uncensored Story of Luther Campbell of the 2 Live Crew (Fort Lee, N.J.: Barricade Books, 1992), 223.
16.	James Bernard, "Bass 9-1-9," The Source 54 (March, 1994): 40.
17.	Campbell and Miller, As Nasty As They Wanna Be, 22.
18.	J-Mill [Jeremy Miller], "Prince Raheem," The Source 54, (March, 1994): 22 ; Idem, "Bass Game: Clay D Returns to His Roots on His Latest Bass Odyssey," The Source 54, (March 1994): 32-33.
19.	Norman C. Stolzoff, Wake the Town & Tell the People: Dancehall Culture in Jamaica (Durham: Duke University Press, 2000), 19.
20.	Brett Atwood, "Bass Music Rises From South As Acts Seek Majors' Interest," Billboard 106:38 (September 17, 1994): 46.
21.	Janine McAdams, "Let's Talk About Sexism On Recent Raps; Wreckx-N-Effect, Disco Rick, Duice, Dre Revealed," Billboard 105:4 (January 23, 1993): 21.
22.	Roni Sarig, Third Coast: OutKast, Timbaland, and How Hip-Hop Became a Southern Thing (New York: Da Capo Press, 2007).
23.	Joe Nick Patoski, "Money in the Making," Texas Monthly (August 1998): 136.
24.	Ibid.
25.	Forman, The 'Hood Comes First, 330.
26.	Catherine Chriss, "For Houston's Geto Boys, Anything Goes in the World of Gangsta Rap," Houston Chronicle, Texas Magazine section, April 17, 2005.
27.	Patoski, "Money in the Making," 1998.
28.	Ibid.
29.	Sarig, Third Coast, 56.
30.	Kelefa Sanneh, "The Strangest Sound in Hip-Hop Goes National," New York Times, sec. 2, April 17, 2005. (Accessed electronically through LexisNexis Academic on April 13, 2007.)
31.	Ibid.
32.	Kelefa Sanneh, "The Woozy, Syrupy Sound of Codeine Rap," New York Times, sec. 2, April 18, 2005. (Accessed electronically through LexisNexis Academic on 13 April 13, 2007.)
33.	Sarig, Third Coast, 281.
34.	J-Dogg [John Shaw], "Parallels in the Development of Memphis and New Orleans Rap, " Rec.Music.Hip-Hop Usenet Newsgroup, Dec. 9, 1997. (Accessed electronically through Google Advanced Group Search on February 2, 2006.)
35.	Sarig, Third Coast, 272.
36.	Tony Green, "Twerk to Do," Village Voice (Oct. 23, 2001): 149.
37.	Sarig, Third Coast, 103.
38.	Roni Sarig, "Dungeon Family Tree," Creative Loafing (Atlanta), Sept. 18-24, 2003. See also "Additional reporting by Tony Ware," Creative Loafing (Atlanta), September 18-24, 2003.
39.	Sarig, Third Coast, 146.
40.	Sasha Frere-Jones, "The Sound," New York Times, sec. 6, February 8, 2004.

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