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| Foreword | |
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| Acknowledgments | |
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| Introduction | |
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| Hip-Hop Ya Don't Stop: Hip-Hop History and Historiography | |
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| Breaking | |
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| The Politics of Graffiti | |
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| Breaking: The History | |
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| B-Beats Bombarding Bronx: Mobile DJ Starts Something with Oldie R&B Disks | |
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| Jive Talking N.Y. DJs Rapping Away in Black Discos | |
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| Hip-Hop's Founding Fathers Speak the Truth | |
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| No Time for Fake Niggas: Hip-Hop Culture and the Authenticity Debates | |
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| The Culture of Hip-Hop | |
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| Puerto Rocks: Rap, Roots, and Amnesia | |
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| It's a Family Affair | |
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| Hip-Hop Chicano: A Separate but Parallel Story | |
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| On the Question of Nigga Authenticity | |
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| Looking for the "Real" Nigga: Social Scientists Construct the Ghetto | |
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| About a Salary or Reality?--Rap's Recurrent Conflict | |
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| The Rap on Rap: The "Black Music" that Isn't Either | |
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| Ain't No Love in the Heart of the City: Hip-Hop, Space, and Place | |
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| Black Empires, White Desires: The Spatial Politics of Identity in the Age of Hip-Hop | |
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| Hip-Hop am Main, Rappin' on the Tyne: Hip-Hop Culture as a Local Construct in Two European Cities | |
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| "Represent": Race, Space, and Place in Rap Music | |
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| Rap and Hip-Hop: The New York Connection | |
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| Uptown Throwdown | |
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| I'll Be Nina Simone Defecating on Your Microphone: Hip-Hop and Gender | |
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| Translating Double-Dutch to Hip-Hop: The Musical Vernacular of Black Girls' Play | |
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| Empowering Self, Making Choices, Creating Spaces: Black Female Identity via Rap Music Performance | |
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| Hip-Hop Feminist | |
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| Seeds and Legacies: Tapping the Potential in Hip-Hop | |
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| Never Trust a Big Butt and a Smile | |
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| The Message: Rap, Politics, and Resistance | |
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| Organizing the Hip-Hop Generation | |
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| Check Yo Self Before You Wreck Yo Self: The Death of Politics in Rap Music and Popular Culture | |
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| The Challenge of Rap Music from Cultural Movement to Political Power | |
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| Rap, Race, and Politics | |
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| Postindustrial Soul: Black Popular Music at the Crossroads | |
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| Looking for the Perfect Beat: Hip-Hop Aesthetics and Technologies of Production | |
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| Airshafts, Loudspeakers, and the Hip Hop Sample: Contexts and African American Musical Aesthetics | |
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| Public Enemy Confrontation | |
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| Hip-Hop: From Live Performance to Mediated Narrative | |
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| Sample This | |
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| "This Is a Sampling Sport": Digital Sampling, Rap Music, and the Law in Cultural Production | |
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| Challenging Conventions in the Fine Art of Rap | |
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| Hip-Hop and Black Noise: Raising Hell | |
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| I Used to Love H.E.R.: Hip-Hop in/and the Culture Industries | |
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| Commercialization of the Rap Music Youth Subculture | |
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| Dance in Hip-Hop Culture | |
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| Wendy Day, Advocate for Rappers | |
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| The Business of Rap: Between the Street and the Executive Suite | |
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| Contracting Rap: An Interview with Carmen Ashhurst-Watson | |
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| Black Youth and the Ironies of Capitalism | |
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| Homies in The 'Hood: Rap's Commodification of Insubordination | |
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| An Exploration of Spectacular Consumption: Gangsta Rap as Cultural Commodity | |
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| Permissions | |
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| Index | |