Keeping up with my tradition from 2020 and 2021 I have compiled my ‘Top 22’ books from this year!! I feel like I always have an endless supply of books, you can never have too many! Plus I love seeing my library grow!!
This year I added a few graphic novels that caught my attention during one of my many travels this year!!
All in all, I love sharing some of my top reading faves!! As I always say, ‘sharing is caring.’
So in no particular order, here is my Top 22 List of Books for 2022!!
Black Panther: Wakanda Forever the Courage to Dream ~Frederick Joseph
The Keeper ~Tananarive Due & Steven Barnes
Take My Hand ~Dolen Perkins-Valdez
Red Lip Theology: For Church Girls Who’ve Considered Tithing to the Beauty Supply Store When Sunday Morning Isn’t Enough ~Candice Marie Benbow
The Silent Twins ~Marjorie Wallace
The Light We Carry ~Michelle Obama
Black Disability Politics ~Sami Schalk
Riding Jane Crow:African American Women on the American Railroad ~Miriam Thaggert
Finding Me ~Viola Davis
Walking in My Joy In These Streets ~Jenifer Lewis
Surviving Southampton: African American Women and Resistance in Nat Turner’s Community ~Vanessa M. Holden
2021 is just about over, but not before I share a few of my pop culture faves!! I wanted to compile a list of few of favorite shows, movies, comic books, documentaries, short films, podcasts, and soundtracks that made an impact on me in a major way this year!!
These are a few of my favorite things from 2021…Check them out below*:
Comic Books/Graphic Novels
Eve (Victor LaValle, Boom! Studios)
Far Sector (N.K. Jemisin/Jamal Campbell, DC Comics)
Nubia and the Amazons (Stephanie Williams/Ayala Vita, DC Comics)
Wake: The Hidden History of Women-Led Slave Revolts (Rebecca Hall/Penguin Books)
Run: Book One (John Lewis/Andrew Aydin/Nate Powell/L. Fury, Abrams Books)
“Outkast and the Rise of the Hip-Hop South” (Book Review)*
“The South got something to say!” This call to arms from Outkast member André Benjamin (better known as André 3000) best summarizes the frustration, the need to self-validate, and the opportunity to make Outkast’s presence known within the hip-hop landscape and the South. These words also resonate as a proclamation of resilience as well as another approach to how we understand the southern narrative.
In Chronicling Stankonia: The Rise of the Hip-Hop South, African American literature and southern hip-hop scholar Regina N. Bradley offers an intersectional examination of the contemporary southern Black and hip-hop identity via the Atlanta hip-hop rap duo Outkast. Bradley centers the musical and cultural work of Outkast (an acronym for “Operating under the Krooked American System Too Long”)** and highlights their relevance to hip-hop and Southern (specifically Atlanta) culture. Coming from a post-Civil Rights lens, Bradley provides a multi-layered approach to the various southern experiences of obtaining the American Dream while Black.
As a southern text, Chronicling Stankonia blends music, literature, film, and southern history while simultaneously giving voice to the Black American South and a musical culture that has often been ignored and sidelined by Northern/East Coast contemporaries. Additionally, Bradley makes southern Black musical storytelling very legible by weaving in her own personal narratives as well as using Outkast as a focal point.
Bradley’s introduction, “The Mountaintop Ain’t Flat,” is a personal introduction to her background as a product of the American South. More specifically, her entry point to southern hip-hop via Outkast suggests another entry point for how we examine American southern hip hop beyond just being culture producers. Influenced by such post-Civil Rights Black cultural texts as Nelson George’s Post-Soul Nation, Mark Anthony Neal’s Soul Babies, and Zandria Robinson’s This Ain’t Chicago, Bradley inserts a specific southern experience, which had not been done previously. Also, through her personal interests and professional engagement with Outkast, Bradley acknowledges how they function as architects of the Atlanta hip-hop scene by using rap as a tool of “signifying their existence as young Black men” along with how they push against the dominant hip-hop scripts (p. 7). As Black southerners, Outkast redefine what it means to be Black and southern.
In the first chapter, “The Demo Tape Ain’t Nobody Wanna,” Bradley further argues why Outkast should be taken seriously academically, socially, musically, culturally, and globally. As contemporary post-Civil Rights icons, Bradley engages with Outkast’s unapologetic nature to contribute regular sonic commentary on the South, the nation, Black manhood, class, socioeconomic status, and racial displacement. Through Black futuristic imaginings of the hip-hop South, Outkast’s earlier semi-autobiographical work Southernplayalisticadillacmuzik (1994) followed by ATLiens (1996), Bradley examines their ability to be metaphorical wordsmiths and lyricists who resituate the gaze on how the Black south is perceived and acknowledged. Furthermore, their lyrics create a space to make certain communities (local and regional) that have been marginalized feel visible and seen.
In the second and third chapters, Bradley incorporates the blending of literature, film, and television with hip-hop to discuss storytelling, hip-hop aesthetics, and the preservation of southern culture and traditions. Chapter 2, “Spelling Out the Work,” reflects on Kiese Laymon’s book, Long Division (2013), and the complexity of southern Black culture. Both Outkast’s and Laymon’s ability to not sanitize trauma and southern Black culture and how they exist in the past, present, and future speaks to how they both use hip-hop aesthetics as a form of storytelling to connect readers to universal truths about ourselves that transcend generations. Drawing on Mississippi’s history of trauma and racial terror, Bradley brings Laymon’s work into the discussion of southern Black culture and how he also features Outkast’s 1998 track “Aquemini” in the context of the Mississippi Freedom Summer and Hurricane Katrina. Through Laymon’s text, Bradley also examines the legitimacy of hip-hop masculinity, acknowledging the multiple southern Black experiences and even tapping into the need to center southern Black women’s and girl’s experiences. Chapter 3, “Reimagining Slavery in the Hip Hop Imagination,” takes a similar approach to explore storytelling with alternate realities through the relationship of hip-hop aesthetics, the American South, collective memory, and slavery. This reimagining of slavery in hip-hop imagination troubles the idea of what slavery looks like in popular culture. Here, Bradley explores the blending of sonic hip-hop sounds with southern slave narrative visuals such as Kanye West in the opening scene of the WGN series Underground and Tupac Shakur and Rick Ross in the 2012 film Django Unchained. From these relational interpretations, Bradley argues that each of the above sonically and visually reclaim a southern Black identity while remaking the plantation and slave narrative.
The final chapter, “Still Ain’t Forgave Myself,” questions the southern hip-hop space via the lens of “the trap” through the sonic sounds of Clifford “T.I.” Harris and Mississippi author Jesmyn Ward’s books, Where the Line Bleeds and Men We Reaped. T.I.’s lyrics and complicated personal and rap life coupled with Ward’s narration of socioeconomic disparities speak to the pressures of hypervisibility and the consequences attached. Like Laymon, Bradley points out the way Ward weaves the experiences of Black men and boys and southern hip hop as a “unifying thread.” Ultimately, both works as described by Bradley, also situate “the trap” as a space for southern Black men to grieve, to mourn, and to be legible.
Bradley argues that the South, much like Blackness, is not monolithic and it should be read the same way. Chronicling Stankonia serves as a successful investigation on how and why we should expand our thoughts about how southern Blackness and hip-hop operate. She not only takes a deep dive into Outkast and southern hip-hop but manages to celebrate their longevity and create larger conversations surrounding Black masculinity, regional legacies, and identity formations/politics. Bradley’s ability to go back and forth between her own personal/social encounters and intellectual experiences provides a captivating example of what it means to be a fan-scholar.
As I continue to dive into my new city, I am super excited to share this CFC (Call For Contributions) on “Imagining Black Futures in Richmond” in which I am serving as the lead editor!! It is open to all and you do not have to reside in Richmond to contribute! See below for more information!
VCU Publishing seeking contributions to ‘Imagining Black Futures in Richmond’* The online anthology aims to reveal legacies of harm and envision new futures.
VCU Publishing — which amplifies VCU scholarly and research findings and provides publishing opportunities for students and faculty — is seeking contributions for “Imagining Black Futures in Richmond,” a curated open access anthology that will imagine and explore futures for Richmond through an Afrofuturist lens.
VCU Publishing, part of VCU Libraries, is hoping to receive Afrofuturist works from diverse authors — both academic and community members — as well as diverse disciplines and perspectives. These contributions could include any discipline and in many forms, whether they be scholarly essays, poetry, fiction, nonfiction, visual media (for example, photo essays or comic or graphic art), or interviews.
Authors do not have to reside in the Richmond area, but the work in some way must address the city, which continues to grapple with past and present racism and inequality. And since VCU is woven into the fabric of Richmond, VCU Publishing is also interested in works that embrace or challenge the university’s position in the community. By taking a multidisciplinary approach, the project aims to reveal legacies of harm and envision new futures.
“I am excited to take part in this multidisciplinary anthology project with VCU Publishing,” said Gipson, whose research interests include Black popular culture, digital humanities, representations of race and gender within comic books, Afrofuturism, and race and new media. “As a new resident to Richmond and to VCU, I look forward to learning more about the city of Richmond and the many ways that it explores the Black imaginary space.”
Afrofuturism has been defined by journalist and filmmaker Ytasha Womack as “an intersection of imagination, technology, the future, and liberation” that “redefines culture and notions of blackness for today and the future” while combining “elements of science fiction, historical fiction, speculative fiction, fantasy, Afrocentricity and magic realism with non-Western beliefs.”
Building on the aspirations and explorations of W.E.B. Du Bois’ scholarly work as well as his speculative fiction, and moving forward to encompass popular culture in its broadest sense, Afrofuturism offers a conceptual springboard for an imagined future for the greater Richmond area that can be expressed through essays, scholarly studies and creative works. A future where, in the words of Du Bois, all are judged “by their souls and not by their skins.”
The idea for “Imagining Black Futures in Richmond” arose out of discussions on future directions for VCU Publishing following the publication of “The Politics of Annexation” alongside renewed calls for racial justice in summer 2020.
Jimmy Ghaphery, associate dean for scholarly communications and publishing at VCU Libraries, said he is excited to see how “Imagining Black Futures in Richmond” “can reflect a rich history of community activism in the city, and establish Richmond as a nexus for imagining and creating a new and more just future for the South and the United States.”
The project, he added, is expected to include a hands-on paid publishing experience for a VCU student.
Sam Byrd, scholarly publishing librarian at VCU Libraries, said the team is hoping to receive an array of materials that “amaze us, that we hadn’t dreamed of.”
“Richmond is a changing city,” he said. “The monuments starting to come down may be the most visible sign of that, but there has been so much more work going on before, during and after, from so many different voices. I hope this project can amplify that diversity and energy and give us some creative paths to move forward on.”
The deadline to contribute to “Imagining Black Futures in Richmond” is July 1. Authors will retain copyright for their work and must be willing to have the work shared and preserved by VCU Publishing.
Authors can contribute their work online (Gmail account required). Alternatively, they can attach their file in email to email@example.com, including their name and the title of their contribution. The book is projected to publish in late spring 2022. For more details or further inquiries, VCU Publishing can be contacted at firstname.lastname@example.org.