Jay McLeod’s Ain’t No Makin’ It (1995). McLeod studied two groups of teenage boys from a low-income housing project in an unidentified Northeastern city. The Hallway Hangers were the tough kids who thought school was bullshit, expected little out of life, and weren’t about to “kiss anyone’s ass.” They were the kinds of boys my girlfriends and I were watching. They excelled at being cool. “The subculture of the Hallway Hangers is at odds with the dominant culture,” McLeod observed. “The path to conventional success leads in one direction; the path to a redefined success lies another. A boy
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