PIMPING FICTIONS: AFRICAN AMERICAN CRIME LITERATURE AND THE UNTOLD STORY OF BLACK PULP PUBLISHING. By Justin Gifford. Philadelphia: Temple UP, 2013. 216 pp. $74.50, cloth; $24.95, paperback; $24.95, e-book.In his wildly popular single-cum-political-anthem, Dirt Off Your Shoulder (2003), rapper-mogul Jay Z spits, If you feelin' like a nigga, go and brush your shoulders off / Ladies is pimps too, go and brush your shoulders off. His inclusion of women in the pimp is a brilliant, if wickedly deceptive, move. What Jay Z no doubt recognizes is the political baggage that is bound up in the ideas of and pimping, particularly as they concern black women, sexual violence/exploitation, and black-thug masculinity. He seems simultaneously aware of the cultural and gendered capital of these ideas as they concern black men and revolutionary politics. Indeed, the and player were elevated in blaxploitation films of the 1970s as heroic figures; their hypermasculinity and sexual prowess were inextricably linked to their bravery in the face of white male power. Even the iconic blaxploitation film Foxy Brown (1974), starring Pam Grier, reproduces these hypermasculine and playa versions of black masculinity to a large extent.Though the unwritten, if not also unspeakable, code of black respectability has long resisted at least the pimp-criminality version of these notions of black masculinity (because, as the thinking goes, the celebration of criminality to any extent reinforces white supremacist notions of black pathology), the tropes have remained viable in black spaces over several generations due in part to working-class blacks' extant mistrust of the (white) police and legal system, as well as to a comparable mistrust of an assimilation-minded segment of the black middle class. To be clear, the hypermasculine and playa aspects of black masculinity are not necessarily objectionable or even totally out of sync with the class, sexuality, and gender codes of black respectability (consider the love that middle- and upperclass blacks in particular continue to shower on the likes of Bill Cosby, Jesse Jackson, Michael Jordan, Mike Tyson, and Charles Barkley, to name but a few); rather, what may be seen as objectionable are the aspects of these tropes that link black masculinity to criminality, anti-intellectualism, and pathological behavior in general. Jay Z's Dirt Off Your Shoulder is a stroke of genius from a cultural marketing standpoint, then, because it anticipates and attends to the exploitative gendered baggage of pimping even as it recuperates the revolutionary fervor of these age-old, hypermasculine/playa tropes. Culturally speaking, Jay Z is able to have his hypermasculinity/black respectability cake and eat it too.The success, if you will, of Jay Z's song is perhaps most evidenced by the way in which President Barack Obama famously invoked and performed Jay Z's patented gesture of brushing off his shoulders during a stump speech in which he was referencing the hate that was coming his way from the GOP. Without uttering a word, Obama communicated that he was a pimp-subversive of the American political system. That is to say, he indicated that he had managed to bend to his political will the very system of power that was ostensibly designed to keep black folks from ascending to the highest office of the land. Being an outsider black man with a scary, Muslim-sounding name ultimately emerged as more benefit than liability in Obama's political game.But, of course, as we have witnessed with both Obama's ascendance to the presidency and Jay Z's ascendance to international celebrity and economic power, the game is, at bottom, another iteration or expression of status quo power. For all of his hope rhetoric and brush-off-his-shoulders bravado and black cool, Obama is every bit a status quo president. Perhaps a consequence of his blackness and the attendant (unspoken) promise to his white constituency that he would govern as a postracial president is that Obama pays at best only cursory attention to long-standing issues of racial and structural inequalities. …