'Hood, Prison, Body
The controversial music and image of Lil Wayne, who is the best-selling hip-hop artist of the last decade and an outspoken member of the notorious Bloods gang, have provided fodder for debates on the influence of gangsta rap on America's youth. My dissertation analyzes Lil Wayne's music and image at the interstices of race, space, and place, towards a more in-depth understanding of the conflicts and contributions of the gangsta figure in contemporary popular music. Scholars and popular music journalists alike often indiscriminately designate many hip-hop artists as "gangsta rappers," and assess their contributions across a spectrum varying from representing "real" conditions in ghettoized locations, to "blacking up" for white audiences in a modern-day reprisal of the minstrel show. Too often, scholars facilely apply the category of gangsta rap, and ghettoize artists in the process, mirroring the over-simplistic and divisive binaries of popular discourse. Consequently, these artists are relegated to scholar-imposed "blocks and corners" (to use a phrase popularized by hip hop lexicon), and severed from the rich historical and social context of the characters they create and enact through their music. By unpacking the relationship between Lil Wayne and the conceptual spaces of 'hood, prison, and body, I offer a more complex theory of authenticity as it relates to hip-hop's portrayal of space: one that contextualizes the gangsta figure in its historical precedents and thematic juxtapositions, the sociocultural realities of ghettoized spaces populated by increasingly disenfranchised and criminalized youth, and the musical signifiers that speak to the growing social impermeability of blackness in U.S. America