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A pioneering expert in the study of hip-hop explains why the music matters--and why the battles surrounding it are so very fierce.
How hip hop shapes our conversations about race -- and how race influences our consideration of hip hop Hip hop is a distinctive form of black art in America-from Tupac to the Pulitzer Prize-winning Kendrick Lamar, hip hop has long given voice to the African American experience. As scholar and cultural critic Tricia Rose argues, hip hop, in fact, has become one of the primary ways we talk about race in the United States. But hip hop is in crisis. For years, the most commercially successful hip hop has become increasingly saturated with caricatures of black gangstas, thugs, pimps, and hos. This both represents and feeds a problem in black American culture. Or does it? In The Hip-Hop Wars, Rose explores the most crucial issues underlying the polarized claims on each side of the debate: Does hip hop cause violence, or merely reflect a violent ghetto culture? Is hip hop sexist, or are its detractors simply anti-sex? Does the portrayal of black culture in hip hop undermine black advancement? A potent exploration of a divisive and important subject, The Hip Hop Wars concludes with a call for the regalvanization of the progressive and creative heart of hip hop. What Rose calls for is not a sanitized vision of the form, but one that more accurately reflects a much richer space of culture, politics, anger, and yes, sex, than the current ubiquitous images in sound and video currently provide.
The most celebrated story collection from “one of the true American masters” (The New York Review of Books)—a haunting meditation on love, loss, and companionship, and finding one’s way through the dark that includes the iconic and much-referenced title story featured in the Academy Award-winning film Birdman. "Raymond Carver's America is ... clouded by pain and the loss of dreams, but it is not as fragile as it looks. It is a place of survivors and a place of stories.... [Carver] has done what many of the most gifted writers fail to do: He has invented a country of his own, like no other except that very world, as Wordsworth said, which is the world to all of us." —The New York Times Book Review
In It's Bigger Than Hip Hop, M. K. Asante, Jr. looks at the rise of a generation that sees beyond the smoke and mirrors of corporate-manufactured hip hop and is building a movement that will change not only the face of pop culture, but the world. Asante, a young firebrand poet, professor, filmmaker, and activist who represents this movement, uses hip hop as a springboard for a larger discussion about the urgent social and political issues affecting the post-hip-hop generation, a new wave of youth searching for an understanding of itself outside the self-destructive, corporate hip-hop monopoly. Through insightful anecdotes, scholarship, personal encounters, and conversations with youth across the globe as well as icons such as Chuck D and Maya Angelou, Asante illuminates a shift that can be felt in the crowded spoken-word joints in post-Katrina New Orleans, seen in the rise of youth-led organizations committed to social justice, and heard around the world chanting "It's bigger than hip hop."
From its beginnings in hip hop culture, the dense rhythms and aggressive lyrics of rap music have made it a provocative fixture on the American cultural landscape. In Black Noise: Rap Music and Black Culture in Contemporary America, Tricia Rose, described by the New York Times as a "hip hop theorist," takes a comprehensive look at the lyrics, music, cultures, themes, and styles of this highly rhythmic, rhymed storytelling and grapples with the most salient issues and debates that surround it. Assistant Professor of Africana Studies and History at New York University, Tricia Rose sorts through rap's multiple voices by exploring its underlying urban cultural politics, particularly the influential New York City rap scene, and discusses rap as a unique musical form in which traditional African-based oral traditions fuse with cutting-edge music technologies. Next she takes up rap's racial politics, its sharp criticisms of the police and the government, and the responses of those institutions. Finally, she explores the complex sexual politics of rap, including questions of misogyny, sexual domination, and female rappers' critiques of men. But these debates do not overshadow rappers' own words and thoughts. Rose also closely examines the lyrics and videos for songs by artists such as Public Enemy, KRS-One, Salt N' Pepa, MC Lyte, and L. L. Cool J. and draws on candid interviews with Queen Latifah, music producer Eric "Vietnam" Sadler, dancer Crazy Legs, and others to paint the full range of rap's political and aesthetic spectrum. In the end, Rose observes, rap music remains a vibrant force with its own aesthetic, "a noisy and powerful element of contemporary American popular culture which continues to draw a great deal of attention to itself."
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.
Spanning 25 years of serious writing on hip-hop by noted scholars and mainstream journalists, this comprehensive anthology includes observations and critiques on groundbreaking hip-hop recordings.
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.
A New York Times–bestselling, in-depth exploration of the most pivotal moments in rap music from 1979 to 2014. Here’s what The Rap Year Book does: It takes readers from 1979, widely regarded as the moment rap became recognized as part of the cultural and musical landscape, and comes right up to the present, with Shea Serrano hilariously discussing, debating, and deconstructing the most important rap song year by year. Serrano also examines the most important moments that surround the history and culture of rap music—from artists’ backgrounds to issues of race, the rise of hip-hop, and the struggles among its major players—both personal and professional. Covering East Coast and West Coast, famous rapper feuds, chart toppers, and show stoppers, The Rap Year Book is an in-depth look at the most influential genre of music to come out of the last generation. Picked by Billboard as One of the 100 Greatest Music Books of All-Time Pitchfork Book Club’s first selection
Composition and hip hop may seem unrelated, but the connection isn't hard to make: Hip hop and rap rely on a complex of narrative practices that have clear ties to some of the best American essay writing. A Hip Hop Reader brings together work about this cultural phenomenon and provides selections that represent a variety of styles and interests.