Khalil Amani has put homophobia on blast! 50 Cent, Eminem, DMX, Ja Rule, Busta Rhymes, Elephant Man, Buju Banton, Tim Hardaway, TD Jakes, Creflo Dollar, Bishop Eddie Long the jig's up! Your homophobia has been officially dismantled! Do you even know why you're homophobic? Homophobia is rooted in our Judeo-Christian upbringing. It doesn't matter how gangsta you are! We have been religiously/culturally brainwashed to believe that homosexuality is a sin against God-the greatest story never told-in the church! Now it is time to unlearn the ignorance of ages gone by. These preachers are damnable liars-purveyors of religious ignorance! Hip-hop heads, gay and straight, peep game. The truth is here! Nas has declared, "Hip-hop is dead." Introducing some new voices into the game-meet HOMO-HOP world! No more speculation about gay rappers! Yes, there are many gay & lesbian rappers with great stories. Hip-hop used to be about giving voice to the voiceless or as lesbian rapper FELONi so aptly raps, "If hip-hop is here to represent the black collective, then what the f*#! is it about my black perspective?" It is time for homo-hop to get off the back seat of the mainstream hip-hop bus and jump in the driver's seat! "Homophobia, like racism, seems quite silly after reading this book!"

This book offers an interdisciplinary study of hip-hop music written and performed by rappers who happen to be out black gay men. It examines the storytelling mechanisms of gay themed lyrics, and how these form protests and become enabling tools for (black) gay men to discuss issues such as living on the down-low and HIV/AIDS. It considers how the biased promotion of feminised gay male artists/characters in mainstream entertainment industry has rendered masculinity an exclusively male heterosexual property, providing a representational framework for men to identify with a form of “homosexual masculinity” – one that is constructed without having to either victimise anything feminine or necessarily convert to femininity. The book makes a strong case that it is possible for individuals (like gay rappers) to perform masculinity against masculinity, and open up a new way of striving for gender equality.

In the tradition of "New York Times" bestsellers "Confessions of a Video Vixen" and "It's No Secret," an entertainment industry insider presents an expos into the down low culture of Hollywood and hip hop, where straight male celebrities find themselves intimate with other men.

Notions of hip hop authenticity, as expressed both within hip hop communities and in the larger American culture, rely on the construction of the rapper as a Black, masculine, heterosexual, cisgender man who enacts a narrative of struggle and success. In Queer Voices in Hip Hop, Lauron J. Kehrer turns our attention to openly queer and trans rappers and positions them within a longer Black queer musical lineage. Combining musical, textual, and visual analysis with reception history, this book reclaims queer involvement in hip hop by tracing the genre’s beginnings within Black and Latinx queer music-making practices and spaces, demonstrating that queer and trans rappers draw on Ballroom and other cultural expressions particular to queer and trans communities of color in their work in order to articulate their subject positions. By centering the performances of openly queer and trans artists of color, Queer Voices in Hip Hop reclaims their work as essential to the development and persistence of hip hop in the United States as it tells the story of hip hop’s queer roots.