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From Arkansas with Love: Evangelical Crisis Management and Southern (White) Gospel Music

...1990), 153–162; 171–176. This musical culture subsequently spread across trans-Appalachia, and then later throughout the Midwest, Southwest, and, after the Great Migration of white southerners in the post–World War II...

Race, Capitalism, and the Rise and Fall of Black Beach Communities

...of Ida. B. Wells, 1892–1900 (Boston: Bedford/St. Martin's, 1996); W. Fitzhugh Brundage, Lynching in the New South: Georgia and Virginia, 1880–1940 (Urbana: University of Illinois, 1993). Kahrl points to a...

Uncovering Networks of (Mis)Communication in Early America

...Soto and Vitachuco, 1898. Image by George Gibbs. Originally published in Grace King's De Soto and his Men in the Land of Florida (The Macmilliam Company, 1898). Courtesy of the...

Queer Memory: Loss, Martyrs, and Memorialization in Southern Florida

...Orlando1Virginia Woolf, Orlando: A Biography (Orlando, FL: Harcourt, 1956), 78. Sankofa: go back to fetch it. The implied subject is the imperative "you," as in "you go back to fetch...

Slavery's Traces: In Search of Ashley's Sack

...1932, 5; Sept. 8, 1932, 5; Dec. 21, 1933, 6; Feb. 3, 1938, 6; Feb. 17, 1938, 6; March 3, 1938, 5; April 7, 1938, 6; Dec. 13, 1939, 9;...

Sankofa Series: What Must Be Remembered

...Company dating to ca. 1860.2This passbook is housed in the African American Miscellaneous Collection in Emory University’s Stuart A. Rose Manuscript, Archives, and Rare Book Library. Passbooks were used during...

Vale of Amusements: Modernity, Technology, and Atlanta's Ponce de Leon Park, 1870–1920

...(Source: "Shooting the Chutes," Atlanta Constitution (April 9, 1896), pg. 10. In the last decades of the nineteenth century, privately-owned amusement parks dotted the American landscape, and by 1920, between...

"The Room that We're Able to Take Up": Forrest Lawson's Queer Aesthetic

...used to condemn homosexuality.2Bible passages included in Convoluted’s web: Genesis 19, Leviticus 18:22, Leviticus 20:13, Mark 10:6–9, Romans 1:26–32, Romans 13:8–10, 1 Corinthians 6:9–11,17–20, 1 Corinthians 7:2, 1 Timothy 1:8–11,...

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

...styles."13Kelefa Sanneh, "Memphis Bleak," Village Voice (June 20, 2000), 144. Many of the most prominent of these local styles were located in various urban areas of the US South. Rap...

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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