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A sociologist and pop-culture expert offers a balanced engagement of hip-hop and rap music, showing God's presence in the music and the message.
He’s a hip-hop icon credited with single-handedly creating gangsta rap. Television viewers know him as Detective Odafin “Fin” Tutuola on the top-rated drama Law & Order: SVU. But where the hype and the headlines end, the real story of Ice-T—the one few of his millions of fans have ever heard—truly begins. Ice is Ice-T in his own words—raw, uncensored, and unafraid to speak his mind. About his orphan upbringing on the gang-infested streets of South Central, his four-year stint in the U.S. Army, his successful career as a hustler and thief, and his fateful decision to turn away from a life of crime and forge his own path to international stardom. Along the way, Ice shares never-before-told stories about friends such as Tupac, Dick Wolf, Chris Rock, and Flavor Flav, among others. And he offers up candid observations on marriage and monogamy, the current state of hip-hop, and his latest passion: mentoring at-risk youths around the country. With insights into the cutthroat world of the street—and the cutthroat world of Hollywood—Ice is the unforgettable story of a true American original.
If you live for people's acceptance, you'll die from their rejection. Two-time Grammy winning rap artist, Lecrae, learned this lesson through more than his share of adversity—childhood abuse, drugs and alcoholism, a stint in rehab, an abortion, and an unsuccessful suicide attempt. Along the way, Lecrae attained an unwavering faith in Jesus and began looking to God for affirmation. Now as a chart-topping industry anomaly, he has learned to ignore the haters and make peace with his craft. The rap artist holds nothing back as he divulges the most sensitive details of his life, answers his critics, shares intimate handwritten journal entries, and powerfully models how to be a Christian in a secular age. This is the story of one man's journey to faith and freedom. *Cover/Interior design by Alex Medina, photography by Mary Caroline Mann
The Gospel of Hip Hop: First Instrument, the first book from the I Am Hip Hop, is the philosophical masterwork of KRS ONE. Set in the format of the Christian Bible, this 800-plus-page opus is a life-guide manual for members of Hip Hop Kulture that combines classic philosophy with faith and practical knowledge for a fascinating, in-depth exploration of Hip Hop as a life path. Known as “The Teacha,” KRS ONE developed his unique outlook as a homeless teen in Brooklyn, New York, engaging his philosophy of self-creation to become one of the most respected emcees in Hip Hop history. Respected as Hip Hop’s true steward, KRS ONE painstakingly details the development of the culture and the ways in which we, as “Hiphoppas,” can and should preserve its future. "The Teacha" also discusses the origination of Hip Hop Kulture and relays specific instances in history wherein one can discover the same spirit and ideas that are at the core of Hip Hop’s current manifestation. He explains Hip Hop down to the actual meaning and linguistic history of the words “hip” and “hop,” and describes the ways in which "Hiphoppas" can change their current circumstances to create a future that incorporates Health, Love, Awareness, and Wealth (H-LAW). Committed to fervently promoting self-reliance, dedicated study, peace, unity, and truth, The "Teacha" has drawn both criticism and worship from within and from outside of Hip Hop Kulture. In this beautifully written, inspiring book, KRS ONE shines the light of truth, from his own empirical research over a 14-year period, into the fascinating world of Hip Hop.
In Search of Soul explores the meaning of “soul” in sacred and profane incarnations, from its biblical origins to its central place in the rich traditions of black and Latin history. Surveying the work of writers, artists, poets, musicians, philosophers and theologians, Alejandro Nava shows how their understandings of the “soul” revolve around narratives of justice, liberation, and spiritual redemption. He contends that biblical traditions and hip-hop emerged out of experiences of dispossession and oppression. Whether born in the ghettos of America or of the Roman Empire, hip-hop and Christianity have endured by giving voice to the persecuted. This book offers a view of soul in living color, as a breathing, suffering, dreaming thing.
At once the most lucrative, popular, and culturally oppositional musical force in the United States, hip hop demands the kind of interpretation Imani Perry provides here: criticism engaged with this vibrant musical form on its own terms. A scholar and a fan, Perry considers the art, politics, and culture of hip hop through an analysis of song lyrics, the words of the prophets of the hood. Recognizing prevailing characterizations of hip hop as a transnational musical form, Perry advances a powerful argument that hip hop is first and foremost black American music. At the same time, she contends that many studies have shortchanged the aesthetic value of rap by attributing its form and content primarily to socioeconomic factors. Her innovative analysis revels in the artistry of hip hop, revealing it as an art of innovation, not deprivation. Perry offers detailed readings of the lyrics of many hip hop artists, including Ice Cube, Public Enemy, De La Soul, krs-One, OutKast, Sean “Puffy” Combs, Tupac Shakur, Lil’ Kim, Biggie Smalls, Nas, Method Man, and Lauryn Hill. She focuses on the cultural foundations of the music and on the form and narrative features of the songs—the call and response, the reliance on the break, the use of metaphor, and the recurring figures of the trickster and the outlaw. Perry also provides complex considerations of hip hop’s association with crime, violence, and misogyny. She shows that while its message may be disconcerting, rap often expresses brilliant insights about existence in a society mired in difficult racial and gender politics. Hip hop, she suggests, airs a much wider, more troubling range of black experience than was projected during the civil rights era. It provides a unique public space where the sacred and the profane impulses within African American culture unite.
From the founder of the Wu-Tang Clan—celebrating their 25th anniversary this year—an inspirational book for the hip hop fan. The RZA, founder of the Wu-Tang Clan, imparts the lessons he's learned on his journey from the Staten Island projects to international superstardom. A devout student of knowledge in every form in which he's found it, he distills here the wisdom he's acquired into seven "pillars," each based on a formative event in his life-from the moment he first heard the call of hip-hop to the death of his cousin and Clan- mate, Russell Jones, aka ODB. Delivered in RZA's unmistakable style, at once surprising, profound, and provocative, The Tao of Wu is a spiritual memoir the world has never seen before, and will never see again. A nonfiction Siddhartha for the hip-hop generation from the author of The Wu-Tang Manual, it will enlighten, entertain, and inspire.
Welcome to The Periodic Table of Hip Hop. Instead of hydrogen to helium, here you'll find James Brown to Kendrick Lamar - 94 artists that have defined Hip Hop arranged following the logic of The Periodic Table of Elements. MCs, DJs, rappers and producers are the elements here, and this expert guide orders them to reveal their contrasts and connections, along with key movements and moments in the history of this music genre. Includes: James Brown, P-Funk, Kool Herc, Melle Mel, Sugarhill Records, Fab Five Freddy, Whodini, Run DMC, Rick Rubin, LL Cool J, Kendrick Lamar and Jay Z and many, many more...
Now a global and transnational phenomenon, hip hop culture continues to affect and be affected by the institutional, cultural, religious, social, economic and political landscape of American society and beyond. Over the past two decades, numerous disciplines have taken up hip hop culture for its intellectual weight and contributions to the cultural life and self-understanding of the United States. More recently, the academic study of religion has given hip hop culture closer and more critical attention, yet this conversation is often limited to discussions of hip hop and traditional understandings of religion and a methodological hyper-focus on lyrical and textual analyses. Religion in Hip Hop: Mapping the Terrain provides an important step in advancing and mapping this new field of Religion and Hip Hop Studies. The volume features 14 original contributions representative of this new terrain within three sections representing major thematic issues over the past two decades. The Preface is written by one of the most prolific and founding scholars of this area of study, Michael Eric Dyson, and the inclusion of and collaboration with Bernard 'Bun B' Freeman fosters a perspective internal to Hip Hop and encourages conversation between artists and academics.
I was a 7-year-old Chicago kid when Hip Hop was born in the Bronx, NY projects. .it had been around for some years getting its legs under it before I got a taste of it around junior high school...being from Chicago, my foundation is house music, but when I heard the Ultramagnetic MCs, I was sold...Hip Hop is a part of my being, I was raised on it, and it has been the soundtrack for some of the best moments/years of my life. .'til death do us part. .Hip Hop married lyricism, djing, graffiti art, breakdancing, and later, KNOwledge of Self. .every component equally as essential to the vibe. .over the years, as with other music forms created by African people, we've witnessed Hip Hop being compromised, coopted, and commercialized. .it has been whittled down gradually to something that is unrecognizable to its beginnings. .the profit motive has crept in along with the overarching agendas that anchor Black people to that bottom rung on that capitalist/classist ladder. .rich or poor, we are all being targeted with WAR. .one of our great ancestors, Fela Anikulapo Kuti, put it best, "music is the weapon". .Hip Hop was OUR weapon. .today though, Hip Hop is no longer a tool our creative linguists use to teach and reach us. .the consciousness has been evaporated and the messages have drastically changed. .from Black culture, Hip Hop is somewhat estranged. .I still LOVE her. .WE still LOVE her. .WE still want Hip Hop to return to us WHOLE. .food for US. .with a SOUL. .