After finishing this book by Derek Pardue, it would be an understatement to call his work an interesting and insightful look into the world of Brazilian hip-hop culture. With the city of Sao Paulo at the forefront of discussion, the book is based on over five years of fieldwork by Pardue and highlights topics of race, class, and territory to make the overall argument that Brazilian hip hoppers are subjects rather than objects of history and everyday life. Brazilian hip hop is considered a national music genre in the Latin American country that has over time grown into a nationwide phenomenon since its earliest days in the African-Brazilian communities of Sao Paulo and Rio de Janeiro in the 1980s. Initially, Brazilian hip hop was created as an assertion of the African-Brazilian identity. According to the 2010 census, over 14.5 million African descendants call Brazil home, which makes up about 8% of Brazil’s overall population. As the genre gradually emerged, its themes widened to encompass a range of social and political issues. Pardue uses this book to identify and analyze three critical categories of Brazilian hip hop culture: space, race, and gender. Additionally, he looks at hip hoppers attempt to redesign the social categories of race, class, and gender as well as socio-geographical categories like periferia and marginality. Along with Pardue’s established argument, this essay will seek to argue that there is a positive relationship between listening to hip hop music and a racial consciousness among younger generations of Afro-Brazilians. In the second chapter of the book, Assembling Brazilian Hip Hop Histories, Pardue focuses on the importance of the access to informacao (information) among the marginalized youth in Brazil: “According to Sao Paulo DJs, music producers, rappers, and pop music critics, ‘to be informed’ is a valuable asset that speaks to culture, business, history, and ideology. The term ‘informacao’ penetrated almost every conversation I had