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Cover -- Half Title -- Title Page -- Copyright Page -- Contents -- List of Figures -- Acknowledgments -- Introduction: The Making of Black Womanhood -- Authenticity in Representation -- The Political Life of Black Dolls -- Black Popular Imagination and Corporate Alignment -- Structure of the Book -- 1. Theorizing Black Women's Cultural Influence through Consumption -- Consumption as Ideological Renegotiation -- Black Bodies in the Fight for Symbolic Power -- Black Women's Self-Objectification -- Consumption for Black Girls: Objecthood, Desire, and Play -- Conclusion -- 2. From Riots to Style: The History of Black Barbie -- Barbie and Other Material Girls: Mattel's Early Black Dolls -- Learning Black Self-Determination: The Rise and Fall of Shindana Toy Company -- Black Women Are Dynamite: Black Barbie Comes to Mattel -- Black Women Are Marvelous: The Shani Dolls -- Mapping Blackness (Again) at Mattel: So In Style dolls -- Confluence in Selling Twenty-first-Century Blackness -- 3. From Bootstraps to Glass Slippers: Black Women's Uplift in Disney's Princess Canon -- Black Uplift Breadcrumbs: Popular Culture, Consumption, and Black Citizenship -- Colorblind Magic: Black Cinderella Debuts at Disney -- Treat Me Like a Person: Black Cinderella Makes Her Television Debut -- Historical, Geographic, and Contextual Blackness: The Magic of a New Orleans Princess -- Lessons from Glass Slippers, Star Wishes, and Black Cultural Traditions -- Commodifying Black Women's Experiences for Glass-Slipper Wishes -- 4. A Black Barbie's Moment: Nicki Minaj and the Struggle for Cultural Dominance -- Barbie Bitch!: The Construction of Hip-Hop's Barbie -- Black Cinderella and Fairy Godmother: Nicki's "Moment 4 Life" -- From Embodied Objectification to Appropriated Object: Minaj and Social Media Consumption -- Black Ass Goes Viral: Nicki Minaj's "Anaconda".

"Negotiating the line between "sell out" and "for us, by us," Buy Black explores how Black women cultural producers' further Black women's historical position as the moral compass and arbiter of Black racial progress in the United States. Black women cultural producers' aesthetic choices communicate that even though capitalist discourses dictate that anything is sellable in our society, there are some symbols of beauty, femininity, and sexuality that sell better than others because of how they occupy the set of already recognizable and, at times, relatable representations of blackness. While they compete in the consumer market for the attention and loyalty of Black consumer dollars, their capitulation to white corporate interests and audiences requires propagating historical tensions regarding Black consumer citizenship and multicultural inclusion. Each chapter contextualizes the role that Black women in the United States play in the global project of Black consumption, questioning which dolls, which princesses, which rags-to-riches narratives, and which characteristics represent the repertoire of Black girlhood. Through themes of self-making and objectification in dolls, princesses, and hip-hop, Buy Black maps the imagined space of "America" and the cultural attitudes that produced a twenty-first-century Black American sensibility based in representation and consumerism. Buy Black teaches all of us the parameters of Black symbolic power by mapping the confluence of intraracial ideals of blackness, womanhood, beauty, play, and sexuality in popular culture"--

Front cover -- Half-title page -- Title page -- Copyright page -- Table of Contents -- Foreword -- Introduction -- Chapter 1 Theorizing Black Girlhood -- Chapter 2 Contesting Black Girlhood(s) beyond Northern Borders: Exploring a Black African Girl Approach -- Chapter 3 The Politics of Black Girlhood and a Ratchet Imaginary -- Chapter 4 Ah Suh Yuh Bad?: How Bad Gyals Are Revolutionizing How Black Girls Resist and Transcend Toxicity during Girlhood -- Chapter 5 Role Models Matter: Black Girls and Political Leadership Possibilities -- Chapter 6 Pushing the Limits in Black Girl-Centred Research: Exploring the Methodological Possibilities of Melt Magazine -- Chapter 7 Self-Care and Community: Black Girls Saving Themselves -- Chapter 8 "Take the Kinks Out Your Mind, Not Your Hair": The Politics of Black Canadian Girls' Hair and Self-Love -- Chapter 9 "We Need a Seat at the Table": Black Girls Using New Media to Construct Black Identity -- Chapter 10 "Canon: Brown Eyes, Frizzy Hair and Very Clever": Fan Art, Fan Activism, and Black Hermione Granger -- Afterword -- Contributor Biographies -- Index -- Back cover.

Images on popular social media platforms like Instagram and Twitter that are the most entertaining are loaded with memetic power because their value is based on cultural attitudes that already constitute our lives in the everyday. Focusing on memes appropriating the artwork from Nicki Minaj's single, Anaconda, I explore how popular memetic culture is fueled by Black women's creativity yet positions Black women's bodies as the fodder for potent viral images on social media platforms and in everyday experiences; Black girlhoods, at this level of representation and in lived experiences, are rarely awarded the distinction from womanhood that many other girlhoods enjoy. Thus, Black feminist discourses of desire which speak to both girlhoods and womanhoods inform my argument that social media has become a site of reproduction and consumption—a technological auction block where Black women's bodies, aesthetics, and experiences are vilified for viral enjoyment.