In Battling Imperialism: Revolutionary Hip Hop in the Americas I examine how revolutionary hip hop in the Americas works as a transnational movement of cultural, national, and insurgent expression. I use the term revolutionary hip hop to point to hip hop music and culture that explicitly works to implement social and structural change. This is also music that utilizes the four elements of hip hop in order to disseminate political messages about diverse struggles for equality. I argue that transnational movement(s) of revolutionary hip hop and culture constantly emerge anew denying any assertion of cultural and national absolutism because as hip hop travels it is often adapted to fit a particular geopolitical context where national history, struggles of the present, and possibilities of differentiated futures work to challenge cultural imperialism. I extend this argument by showing how a range of different revolutionary hip hop productions—productions that speak to the everyday realities of the people—incite longings for social and political change because they are formed at the temporal and spatial convergences of the nation. I specifically trace the transnational routes of revolutionary hip hop that traverse Cuba, Venezuela, and Indigenous communities in the United States and how these forms of hip hop produce critiques regarding the production and consumption of U.S. cultural imperialism in addition to addressing issues of national citizenship and national politics. Moreover, I situate the complexities of revolutionary hip hop productions within a feminist context that interrogates the possibilities for these productions to challenge heteropatriarchy, white supremacy, and imperialism; and, I propose that these cultural formations should not be understood as a privileged hegemonic model of resistance. Instead, I understand these revolutionary hip hop productions as varied forms of resistance fraught with layers of history and contingent struggle by wrestling with two driving questions: How do we form transnational communities of resistance without reproducing cultural hegemony? And, while hip hop seems to translate as a viable medium of resistance across the Americas, why do many of the revolutionary hip hop productions that resist imperialism, racism, and economic inequity, often still rely on the reproduction of misogyny?