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Southern Spaces

A journal about real and imagined spaces and places of the US South and their global connections

"The Emblem of North American Fraternity": Opossums and Jim Crow Politics

...actors could deploy new strategies and solidify networks of accomplices. Beginning in 1894, Colonel Harry Fisher—"railroad man, fertilizer magnate, friend of corporations"—commenced the political opossum suppers of Newnan, Georgia, to...

Unearthing the Weeping Time: Savannah's Ten Broeck Race Course and 1859 Slave Sale

...had to change their last name from Mease, to Butler. For brief biographic details of both Mease Butler and Major Butler, see The New Georgia Encyclopedia (http://www.georgiaencyclopedia.org/nge/Article.jsp?id=h-617); for complete biographic...

DDT Disbelievers: Health and the New Economic Poisons in Georgia after World War II

...the other insecticides by name.66News Clippings: "Economic Poisons Bulletin," November 1950, Folder: N-16: Newspaper Clippings-Insecticides, Box 3, Record Group 26, Subgroup 4, Series 21, Georgia Archives. News items based on...

The Countryside Transformed: The Eastern Shore of Virginia, the Pennsylvania Railroad, and the Creation of a Modern Landscape

...Eastern Shore," New York Evening Post, April 25, 1885 (quotation); Howard Douglas Dozier, A History of the Atlantic Coast Line Railroad (Boston and New York: Houghton Mifflin Company, 1920), 124-125;...

Back to the Future: Mapping Workers Across the Global South

...mills of the New South, male supervisors oversee the Margilan weave room, Uzbekistan, 2006. New South industrialization became the model for subsequent development as investment extended beyond the borders of...

Creolization as Cultural Continuity and Creativity in Postdiluvian New Orleans and Beyond

...Work and Play in Creole New Orleans," in John Ethan Hankins and Steven Maclansky, eds., Raised to the Trade: Creole Building Arts of New Orleans (New Orleans: New Orleans Museum...

John Cohen in Eastern Kentucky: Documentary Expression and the Image of Roscoe Halcomb During the Folk Revival

...this time frame), "grew up in a reality perplexingly divided by the intermingling of an emerging mass society and a decaying industrial culture." New technologies, new familial structures, new networks...

Hoboken Style: Meaning and Change in Okefenokee Sacred Harp Singing

...Georgia, 4 September 2003. As new Sacred Harp spread nationally, private Crawfordite sings continued in homes and in association with Big Meeting. Advocates of new Sacred Harp joined with members...

"I Used That Katrina Water To Master My Flow": Rap Performance, Disaster, and Recovery in New Orleans

...now more closely associated with Miami than New Orleans, entertains a new generation. New Orleans bounce twerking became a mainstream topic in 2013 via Miley Cyrus's controversial career reinvention.2Nico Lang,...

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References
1.	"Hollygrove Mikey, The Ca$hius Clay Tape," http://hollygrovemikey.bandcamp.com/.
2.	Nico Lang, "Cultural Appropriation Is a Bigger Problem than Miley Cyrus," Thought Catalog, August 26, 2013, http://thoughtcatalog.com/nico-lang/2013/08/cultural-appropriation-is-a-bigger-problem-than-miley-cyrus/. For Big Freedia's response to Miley Cyrus, see Jason Newman, "Bounce Queen Big Freedia Slams Miley Cyrus' Twerking," FUSE TV, August 18, 2013, http://www.fuse.tv/2013/08/big-freedia-miley-cyrus-twerk.
3.	Archival photographs and audio excerpts of accompanying oral history interviews can be found at "Where They At," http://wheretheyatnola.com/.
4.	The NOLA Hip-Hop Archive is the first university-affiliated rap archive in the Deep South: "NOLA Hip-hop Archive," http://www.nolahiphoparchive.com. The Amistad Research Center is the nation's oldest, largest, and most comprehensive independent archive specializing in African American history: "Amistad Research Center," http://www.amistadresearchcenter.org.
5.	Matt Miller, Bounce: Rap Music and Local Identity in New Orleans (Amherst: University of Massachusetts Press, 2012), 172.
6.	This is one of many recurrent themes taken from my interviews with artists for the NOLA Hip-hop Archive.
7.	A notable exception is the spate of scholarly work on New Orleans "sissy bounce" and gender politics. Two recent monographs engaging with mainstream rap and bounce in New Orleans are Matt Sakakeeny, Roll With It: Brass Bands in the Streets of New Orleans (Durham: Duke University Press, 2013) and Miller, Bounce.
8.	Notable exceptions include the work of writers Alison Fensterstock (Times-Picayune), Alex Woodward (The Gambit), Keith Spera (Times-Picayune), Scott Aiges (Times-Picayune, New Orleans Jazz and Heritage Festival and Foundation) and Ned Sublette, The Year Before the Flood: A Story of New Orleans (Chicago: Lawrence Hill Books, 2009).
9.	Kelefa Sanneh, "New Orleans Hip-Hop Is the Home of Gangsta Gumbo," New York Times, April 23, 2006, http://www.nytimes.com/2006/04/23/arts/music/23sann.html.
10.	French Quarter Fest is one of many local festivals that has shown a noticeable increase in local rap and bounce bookings. Jazz Fest includes more rap and bounce artists in their Allison Miner Music Heritage Stage programming, in particular.
11.	Holly Hobbs and Alison Fensterstock, "New Orleans Hiphop and Bounce Storytelling, Preservation, and Place in Post-Katrina" (paper presented at the Music of the South conference, Oxford, Mississippi, April 2–3, 2014).
12.	Alison Fensterstock, "DJ Jubilee Makes History with Acoustic Bounce Show at Preservation Hall," Nola.com, November 9, 2013, http://www.nola.com/music/index.ssf/2013/11/dj_jubilee_makes_history_with.html.
13.	Alison Fensterstock, "PressHall Brass Backed Fiend and Nesby Phips for a Wild Midnight Show at Preservation Hall," Nola.com, March 2, 2015, http://www.nola.com/music/index.ssf/2015/03/preshall_brass_backed_rappers.html.
14.	See Scott Jordan, "The Rap on WWOZ," The Gambit, August 19, 2003, http://www.bestofneworleans.com/gambit/the-rap-on-wwoz/Content?oid=1241861. Rogan was an inspiration for Steve Zahn's DJ Davis McAlary character in David Simon's Tremé on HBO. While there are two commercial hip-hop/R&B radio stations in New Orleans at the time of writing—93.3FM and 102.9FM—both must abide by regulations set by the stations' corporate parents limiting local rap and bounce play, though both have made important advances in getting local rap on the air. See 93.3FM radio star Wild Wayne's oral history interview at http://www.nolahiphoparchive.com.
15.	Ricky B, interview by Holly Hobbs, NOLA Hip Hop and Bounce Archive, July 7, 2012, http://www.louisianadigitallibrary.org/cdm/compoundobject/collection/p16313coll68/id/117/rec/39.
16.	Alison Fensterstock, "Bounce Originator Ricky B Celebrates Album Release at Blue Nile April 5, along with the Stooges Brass Band," Nola.com, April 2, 2013, http://www.nola.com/music/index.ssf/2013/04/bounce_originator_ricky_b_cele.html.
17.	Nesby Phips, interview by Holly Hobbs, NOLA Hip Hop and Bounce Archive, July 13, 2014, http://www.louisianadigitallibrary.org/cdm/compoundobject/collection/p16313coll68/id/117/rec/39.
18.	See, among others, Insanul Ahmed, "Hate of the Union: When New York Disses The South,"Complex Magazine, July 1, 2010, http://www.complex.com/music/2010/07/hate-of-the-union-when-new-york-disses-the-south/; Darren E. Grem, "'The South Got Something to Say': Atlanta's Dirty South and the Southernization of Hip-hop America,"Southern Cultures 12, no. 4 (2006): 55–73; Ali Colleen Neff, Let the World Listen Right: The Mississippi Delta Hip-Hop Story (Jackson: University of Mississippi Press, 2009); Roni Sarig, Third Coast: OutKast, Timbaland, and How Hip-Hop Became a Southern Thing (New York: Da Capo Press, 2007); and Ben Westhoff, Dirty South: OutKast, Lil Wayne, Soulja Boy, and the Southern Rappers Who Reinvented Hip-hop (Chicago: Chicago Review Press, 2011).
19.	Travel writers and scholars have long characterized New Orleans as the most African of US cities, see Gwendolyn Midlo Hall, "The Formation of Afro-Creole Culture," in Creole New Orleans: Race and Americanization, ed. Arnold R. Hirsch et al. (Baton Rouge: Louisiana State University Press, 1992), 58–87. Anthropologist Melville Herskovits argued that "those aspects of the African tradition peculiar to this specialized region have reached their greatest development [in New Orleans]" in The Myth of the Negro Past (New York: Harper and Brothers, 1941), 245. If, as Congolese scholar V. Y. Mudimbe has written, the representational function of Africa operates as a "sign of something else," then New Orleans, fetishized, exoticized, and romanticized ad nauseum, is a "sign of something else" writ large in the American psyche. See The Invention of Africa: Gnosis, Philosophy, and the Order of Knowledge (Bloomington: University of Indiana Press, 1988), ix. For an extended discussion of these dynamics, see Lewis Watts and Eric Porter, New Orleans Suite: Music and Culture in Transition (Berkeley: University of California Press, 2013), 5. As mass mediated images of Katrina "refugees" have informed much of the world's knowledge of black New Orleanians, these paradigms have become even more pronounced. See Zenia Kish, "Hiphop as Disaster Recovery in the Katrina Diaspora," American Quarterly 61, no. 3 (2009): 671–692.
20.	Watts and Porter, New Orleans Suite, 7. See also Sakakeeny's discussion of New Orleans musicians and the tourism economy in Roll With It, 69–107.
21.	See Nik Cohn, Triksta: Life and Death and New Orleans Rap (New York: Alfred A. Knopf, 2007); Daron Crawford and Pernell Russell, Beyond the Bricks, (New Orleans: Neighborhood Story Project, 2009); Miller, Bounce; and Sakakeeny, Roll With It, along with the work of journalists mentioned in note 8.
22.	Capitalization derived from Truth Universal's preferred marketing of the event.
23.	GRASSROOTS! was begun by Truth Universal in 2002 at the Neighborhood Gallery Theater on Oretha Castle Haley Boulevard in the Central City neighborhood of New Orleans. At that time, the Neighborhood Gallery was a vital part of the city's black community-based business network. Begun by Sandra Berry and Joshua Walker in their living room on Soniat Street, the Neighborhood Gallery permanently closed after Hurricane Katrina. Truth relocated GRASSROOTS! to the Dragon's Den in 2007, where it remained until its final show in December of 2012.
24.	Kish, "Hiphop as Disaster Recovery in the Katrina Diaspora," 672.
25.	See Kish, "Hiphop as Disaster Recovery in the Katrina Diaspora," for a detailed account of post-Katrina rap and activism.
26.	Representation is always a fraught proposition. Visit the NOLA Hip-hop Archive to hear artists speak about the complexity of representation in their own words.
27.	The ethnographic moment presented here is an excerpt from my forthcoming dissertation, "'Shake Fo' Ya Hood': Hip-Hop and Recovery in Post-Katrina New Orleans."
28.	"Hurricane Isaac Damaged 59,000 Homes in Louisiana, Officials Estimate," Associated Press, September 28, 2012, http://www.nola.com/hurricane/index.ssf/2012/09/hurricane_isaac_damaged_59000.html.
29.	John Schwartz and Campbell Robertson, "New Orleans Levees Hold, and Outsiders Want In," New York Times, September 6, 2012, http://www.nytimes.com/2012/09/07/us/new-orleans-levees-hold-and-outsiders-want-in.html.
30.	Bob Marshall, "Hurricane Isaac Lays Bare the Painful Economics of Flood Protection," The Lens, September 2, 2012, http://www.nola.com/hurricane/index.ssf/2012/09/hurricane_isaac_lays_bare_the.html.
31.	KVLE, "Studio Life: How Dee-1's Parents Were Saved," 3 Little Digs, September 3, 2012, http://3littledigs.com/blog/2012/09/03/studio-life-dee-1/.
32.	Dee-1, interview by Holly Hobbs, NOLA Hip Hop and Bounce Archive, September 15, 2012, http://cdm16313.contentdm.oclc.org/cdm/singleitem/collection/p16313coll68/id/4/rec/9.
33.	The earliest act of sale for the building dates to 1882, although according to the Bourbon Group, the building was likely built twenty years before that date.
34.	Mary Louise Christovich, Sally Kittredge Evans, and Roulhac Toledano, New Orleans Architecture: The Esplanade Ridge (New Orleans: Pelican Publishing, 1995), 18.
35.	Alex Woodward, "Truth Universal Discusses His New Album and Politics in Hip-hop," The Gambit, September 10, 2013, http://www.bestofneworleans.com/gambit/universal-appeal/Content?oid=2250160.
36.	I use quotes to denote widespread ambivalence about the use of the term.
37.	"The Urbanist's New Orleans: What To Do," New York Magazine, April 1, 2012, http://nymag.com/travel/features/new-orleans-entertainment-2012-4/.
38.	George Lipsitz, "Introduction: The Long Fetch of History; or, Why Music Matters," in Footsteps in the Dark: The Hidden Histories of Popular Music (Minneapolis: University of Minnesota Press, 2007), vii–xxv.
39.	Impulss, interview by Holly Hobbs, NOLA Hip Hop and Bounce Archive, June 4, 2012, http://cdm16313.contentdm.oclc.org/cdm/singleitem/collection/p16313coll68/id/14/rec/22.
40.	The writing of Alison Fensterstock, Matt Miller's work on Mia X, and Zenia Kish are notable exceptions to the erasure of women in New Orleans rap.
41.	David Dennis, "Lyrikill—'Yes Inf*kingdeed' Video," The Smoking Section*, August 30, 2011, http://uproxx.com/smokingsection/2011/08/lyrikill-yes-infkindeed-video/.
42.	Tricia Rose, "A Style Nobody Can Deal With: Politics, Style and the Postindustrial City in Hip Hop," in Microphone Fiends: Youth Music and Youth Culture, ed. Andrew Ross and Tricia Rose (New York: Routledge, 1994), 72.
43.	See Kelly M. Askew, Performing the Nation: Swahili Music and Cultural Politics in Tanzania (Chicago: University of Chicago Press, 2002), 23.
44.	Murray Forman, The 'Hood Comes First: Race, Space and Place in Rap and Hip-Hop (Middletown: Wesleyan University Press, 2002), xvii.
45.	Miller, Bounce, 1.
46.	Marcyliena Morgan, The Real Hip-hop: Battling for Knowledge, Power and Respect in the LA Underground (Durham: Duke University Press, 2009), 5.
47.	The event had been rescheduled from its usual August 29th date due to Hurricane Isaac.
48.	Alison Fensterstock, "December 1 Edition of Truth Universal's 'Grassroots' Will Be Hip-hop Showcase's Last Monthly Event," Nola.com, November 30, 2012, http://www.nola.com/music/index.ssf/2012/11/dec_1_edition_of_truth_univers.html.