THANK YOU FOR READING MY LIFE STORY. THERE AREN'T MANY OF US LEFT TO TELL THE TALE OF THE "INVISIBLE LEGENDS OF HIP-HOP" A BRONX B-BOY/M. C. LEGEND GANGSTALLY YOURS, M. C. EL BEE PERCEPTION OF LOVE Poem written by M. C. EL BEE They say that love isn't supposed to hurt, but passive love never corrected anybody from the ghetto. The sign of true love's face comes to a world who has gone astray from its moral self. She rides high on the planes of open-mindedness; it makes excuses for its way wood ways, resisting anyone who offers true love, for true love in the eyes of way woodiness often appears harsh, cruel, painful, sorrowful. Only the immoral sees love as passive to its corrupt self.
THANK YOU FOR READING MY LIFE STORY. THERE ARENT MANY OF US LEFT TO TELL THE TALE OF THE INVISIBLE LEGENDS OF HIP-HOP A BRONX B-BOY/M. C. LEGEND GANGSTALLY YOURS, M. C. EL BEE PERCEPTION OF LOVE Poem written by M. C. EL BEE They say that love isnt supposed to hurt, but passive love never corrected anybody from the ghetto. The sign of true loves face comes to a world who has gone astray from its moral self. She rides high on the planes of open-mindedness; it makes excuses for its way wood ways, resisting anyone who offers true love, for true love in the eyes of way woodiness often appears harsh, cruel, painful, sorrowful. Only the immoral sees love as passive to its corrupt self.
THANK YOU FOR READING MY LIFE STORY. THERE AREN'T MANY OF US LEFT TO TELL THE TALE OF THE "INVISIBLE LEGENDS OF HIP-HOP" A BRONX B-BOY/M. C. LEGEND GANGSTALLY YOURS, M. C. EL BEE PERCEPTION OF LOVE Poem written by M. C. EL BEE They say that love isn't supposed to hurt, but passive love never corrected anybody from the ghetto. The sign of true love's face comes to a world who has gone astray from its moral self. She rides high on the planes of open-mindedness; it makes excuses for its way wood ways, resisting anyone who offers true love, for true love in the eyes of way woodiness often appears harsh, cruel, painful, sorrowful. Only the immoral sees love as passive to its corrupt self.
This book examines the post-1960s era of popular music in the Anglo-Black Atlantic through the prism of historical theory and methods. By using a series of case studies, this book mobilizes historical theory and methods to underline different expressions of alternative music functioning within a mainstream musical industry. Each chapter highlights a particular theory or method while simultaneously weaving it through a genre of music expressing a notion of alternativity—an explicit positioning of one’s expression outside and counter to the mainstream. Historical Theory and Methods through Popular Music seeks to fill a gap in current scholarship by offering a collection written specifically for the pedagogical and theoretical needs of those interested in the topic.
Journalist Soren Baker’sThe History of Gangster Rap takes a deep dive into this fascinating music subgenre. Foreword by Xzibit Sixteen detailed chapters, organized chronologically, examine the evolution of gangster rap, its main players, and the culture that created this revolutionary music. From still-swirling conspiracy theories about the murders of Biggie and Tupac to the release of the film Straight Outta Compton, the era of gangster rap is one that fascinates music junkies and remains at the forefront of pop culture. Filled with interviews with key players such as Snoop Dogg, Ice-T, and dozens more, as well as sidebars, breakout bios of notorious characters, lists, charts, and beyond, The History of Gangster Rap is the be-all-end-all book that contextualizes the importance of gangster rap as a cultural phenomenon. “History has so often been written by the victors, that you very rarely ever get the real story behind anything. So it’s really important to hear from the people that were there, which is exactly what Soren Baker shares in this book. He writes about it and he’s honest about it.” —The D.O.C.
As hip-hop artists constantly struggle to "keep it real," this fascinating study examines the debates over the core codes of hip-hop authenticity--as it reflects and reacts to problematic black images in popular culture--placing hip-hop in its proper cultural, political, and social contexts.
How gangsta rap shocked America, made millions, and pulled back the curtain on an urban crisis. How is it that gangsta rap—so dystopian that it struck aspiring Brooklyn rapper and future superstar Jay-Z as “over the top”—was born in Los Angeles, the home of Hollywood, surf, and sun? In the Reagan era, hip-hop was understood to be the music of the inner city and, with rare exception, of New York. Rap was considered the poetry of the street, and it was thought to breed in close quarters, the product of dilapidated tenements, crime-infested housing projects, and graffiti-covered subway cars. To many in the industry, LA was certainly not hard-edged and urban enough to generate authentic hip-hop; a new brand of black rebel music could never come from La-La Land. But it did. In To Live and Defy in LA, Felicia Viator tells the story of the young black men who built gangsta rap and changed LA and the world. She takes readers into South Central, Compton, Long Beach, and Watts two decades after the long hot summer of 1965. This was the world of crack cocaine, street gangs, and Daryl Gates, and it was the environment in which rappers such as Ice Cube, Dr. Dre, and Eazy-E came of age. By the end of the 1980s, these self-styled “ghetto reporters” had fought their way onto the nation’s radio and TV stations and thus into America’s consciousness, mocking law-and-order crusaders, exposing police brutality, outraging both feminists and traditionalists with their often retrograde treatment of sex and gender, and demanding that America confront an urban crisis too often ignored.
A Tribe Called Quest • Beastie Boys • De La Soul • Eric B. & Rakim • The Fugees • KRS-One • Pete Rock & CL Smooth • Public Enemy • The Roots • Run-DMC • Wu-Tang Clan • and twenty-five more hip-hop immortals It’s a sad fact: hip-hop album liners have always been reduced to a list of producer and sample credits, a publicity photo or two, and some hastily composed shout-outs. That’s a damn shame, because few outside the game know about the true creative forces behind influential masterpieces like PE’s It Takes a Nation of Millions. . ., De La’s 3 Feet High and Rising, and Wu-Tang’s Enter the Wu-Tang (36 Chambers). A longtime scribe for the hip-hop nation, Brian Coleman fills this void, and delivers a thrilling, knockout oral history of the albums that define this dynamic and iconoclastic art form. The format: One chapter, one artist, one album, blow-by-blow and track-by-track, delivered straight from the original sources. Performers, producers, DJs, and b-boys–including Big Daddy Kane, Muggs and B-Real, Biz Markie, RZA, Ice-T, and Wyclef–step to the mic to talk about the influences, environment, equipment, samples, beats, beefs, and surprises that went into making each classic record. Studio craft and street smarts, sonic inspiration and skate ramps, triumph, tragedy, and take-out food–all played their part in creating these essential albums of the hip-hop canon. Insightful, raucous, and addictive, Check the Technique transports you back to hip-hop’s golden age with the greatest artists of the ’80s and ’90s. This is the book that belongs on the stacks next to your wax. “Brian Coleman’s writing is a lot like the albums he covers: direct, uproarious, and more than six-fifths genius.” –Jeff Chang, author of Can’t Stop Won’t Stop “All producers and hip-hop fans must read this book. It really shows how these albums were made and touches the music fiend in everyone.” –DJ Evil Dee of Black Moon and Da Beatminerz “A rarity in mainstream publishing: a truly essential rap history.” –Ronin Ro, author of Have Gun Will Travel
Can't Stop Won't Stop is a powerful cultural and social history of the end of the American century, and a provocative look into the new world that the hip-hop generation created. Forged in the fires of the Bronx and Kingston, Jamaica, hip-hop became the Esperanto of youth rebellion and a generation-defining movement. In a post-civil rights era defined by deindustrialization and globalization, hip-hop crystallized a multiracial, polycultural generation's worldview, and transformed American politics and culture. But that epic story has never been told with this kind of breadth, insight, and style. Based on original interviews with DJs, b-boys, rappers, graffiti writers, activists, and gang members, with unforgettable portraits of many of hip-hop's forebears, founders, and mavericks, including DJ Kool Herc, Afrika Bambaataa, Chuck D, and Ice Cube, Can't Stop Won't Stop chronicles the events, the ideas, the music, and the art that marked the hip-hop generation's rise from the ashes of the 60's into the new millennium.
"Don't get high on your own supply." Brian de Palma's brash, bloody version of Scarface was trashed by critics when it came out twenty-five years ago and didn't do well at the box office, but has become a spectacular fan favorite and enduring pop culture classic since. "Never underestimate the greed of the other guy." What makes millions of people obsess over this movie? Why has Al Pacino's Tony Montana become the drug kingpin whose pugnacity and philosophy are revered in boardrooms and bedrooms across America? Who were the people that made the movie, influencing hip-hop style and swagger to this day? "The world is yours." Scarface Nation is Ken Tucker's homage to all things Scarface—from the stars that acted in it to the influence it's had on all of us, from facts, figures and stories about the making of the movie to a witty and comprehensive look at Scarface's traces in today's pop and political culture. "Say hello to my li'l fren!" You know you love the line. You know you've seen the movie more than once. Now dive into the ultimate book of Scarface—mounded as high as the pile of cocaine on Tony's desk with delicious details and stimulating observations. "You know what capitalism is? F--- you!"
