CONTENTS	8
	ILLUSTRATIONS	10
	Figures	10
	Tables	10
	ACKNOWLEDGEMENTS	12
	PREFACE	16
	1 BLACK/ FOLK/ DISCOURSEZ: OutKast and The Whole World	20
	Black and African American Vernacular Discourses	20
	A working de.nition of African American rap/ Hiphop discourse	28
	OutKast of the whole world	31
	2 CROSSCULTURAL VIBRATIONS: The shared language of contestation of Jamaican Dancehallas and American Hiphoppas	41
	Hiphop and Dancehall discourse	44
	Precolonial and enslavement mix	50
	Black strugglers’ mix	54
	Conclusion	59
	3 YOUNG WOMEN AND CRITICAL HIPHOP LITERACIES: Their readings of the world	60
	Black femalehiphophood in print: the ghetto girl	63
	Some women are and some women ain’t: digital Black femalehiphophood	66
	4 RIDE OR DIE B, JEZEBEL, LIL’ KIM OR KIMBERLY JONES AND AFRICAN AMERICAN WOMEN’S LANGUAGE AND LITERACY PRACTICES: The naked truf	75
	Black women and the myth of Jezebel	77
	Jezebel on trial	79
	Kimberly Jones and African American female literacies	83
	The strong Black woman doing verbal battle	85
	Did Kimberly Jones lie to us?	89
	5 "YO MEIN RAP IS PHAT WIE DEINE MAMA": African American language in online German Hiphop, or identifying the global in global Hiphop	90
	German Hiphop of .ine and on	92
	Data analysis	94
	What it be? Hiphop’s ideology	95
	Content morpheme/codeswitching	96
	System morpheme/code mixing	105
	Embedded language/codeswitching	109
	Calquing	111
	6 HIPHOP AND VIDEO GAMES	116
	Def Jam Vendetta	118
	Identi.cation	120
	Interaction	122
	Producer	123
	Agency	123
	APPENDIX: Shared vocabulary	124
	Hiphop words/phrases	124
	Dancehall words/phrases	131
	Common Hiphop/Dancehall words/phrases	140
	NOTES	143
	1 Black/folk/discoursez	143
	2 Crosscultural vibrations	144
	3 Young women and critical Hiphop literacies	145
	4 Ride or Die B, Jezebel, Lil’ Kim or Kimberly Jones and African American women’s language and literacy practices	145
	5 Yo mein Rap is phat wie deine Mama	146
	6 Hiphop and video games	146
	REFERENCES	147
	INDEX	156
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