Abstract

Abstract:

Rapper 2 Chainz’s Pink Trap House, a bubble-gum pink home created as a symbolic representation of drug-infested ghettos, became an Atlanta landmark in summer of 2017, drawing in hip-hop enthusiasts from across the world. By addressing an audience in an aesthetic performance that disrupted white space, the Pink Trap House is a representative anecdote, synecdotal of the larger production of the Black aesthetic community. Using critical rhetorical analysis, this essay develops the concept of Black aesthetic community as a social space produced by the Black public in response to the destruction of the Black private sphere.

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