Abstract
This historical, ethnographic, and archival chapter focuses on the history and performances of queer-(LGBTQ)-identified hip hop DJs, emcees, dancers, and graffiti artists from 1982 to 2005. The chapter focuses on early gay hip hop DJ Man Parrish, as well as on the LGBTQ hip hop festival Peace Out East (2004–2007). I argue these artists and spaces have a particular sonic import and queer aesthetic—queer dissonance—that interrupts linear understandings of race, gender, sexuality, and musical acumen inside hip hop culture.
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