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| Subjects: Anthropology, Race and Ethnicity, Women's Studies |
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Overwhelmingly, Black teenage girls are negatively represented in national and global popular discourses, either as being “at risk” for teenage pregnancy, obesity, or sexually transmitted diseases, or as helpless victims of inner city poverty and violence. Such popular representations are pervasive and often portray Black adolescents’ consumer and leisure culture as corruptive, uncivilized, and pathological. In She’s Mad Real, Oneka LaBennett draws on over a decade of researching teenage West Indian girls in the Flatbush and Crown Heights sections of Brooklyn to argue that Black youth are in fact strategic consumers of popular culture and through this consumption they assert far more agency in defining race, ethnicity, and gender than academic and popular discourses tend to acknowledge. Importantly, LaBennett also studies West Indian girls’ consumer and leisure culture within public spaces in order to analyze how teens like China are marginalized and policed as they attempt to carve out places for themselves within New York’s contested terrains. |
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Oneka LaBennett is assistant professor of African and African American studies and women’s studies at Fordham University. She is also research director of the Bronx African American History Project (BAAHP). View all books by Oneka LaBennett |
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| | “She’s mad real. She don’t front for nobody. If you listen to her music you learn stuff about her life and how she struggled to get where she is. She’s not just singing about how she’s out at the club.” | | -New York high-school student China on R&B singer Mary J. Blige |
| | “LaBennett’s depiction of how young girls actively and often successfully negotiate the seductiveness of popular culture—as active and self-conscious consumers and not just passive victims of stereotypes—is a powerful reminder of ethnography’s analytical value…This thoughtful and sophisticated piece of work is not about ‘model minorities’ or ‘welfare wannabees,’ but about complicated young women learning to live in their bodies amidst a world that sometimes uses those very bodies—in all their racial and gendered specificity—against them.”
| | -John L. Jackson, Jr., University of Pennsylvania |
| | “LaBennett is deeply attuned to her subjects. Together, researcher and research subjects explore the wide world around them: hip-hop culture, opportunities for mobility, sexual life, issues of risk, relationships with mom…it’s all here! LaBennett develops incisive new interpretations of such concepts as ‘play-labor’ and ‘authenticity.’ She’s Mad Real both joins a rich ethnographic literature and expands it in revealing politically conscious and hip ways. A fantastic text for in-class use.” | | -Howard Winant, University of California, Santa Barbara |
| | "LaBennett offers a pivotal critique as she takes issue with national (US) and global imagery of black teenage girls...She's Mad Real reminds readers to appreciate that ethnicity, gender, class and inter-generational differences, along with the contexts in which they are set in motion, are critical to understanding the experiences and subjectivity of American and immigrant black youth." | | -Aisha Khan, Anthropological Quarterly |
| | "Oneka LaBennett offers a timely analysis of how West Indian and African American teenagers living in Brooklyn understand their identities in the context of popular culture." | | -Tamara Rose Brown, Contemporary Sociology |
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