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The apex of critical praise and commercial success is a metric achieved by a select few. In 2020, Cardi B became synonymous with “record breaking” as her debut album Invasion of Privacy went five times platinum and became the longest charting record by a female rapper in history. From streaming and charting to views, likes, retweets, and shares, Cardi dominates. Cardi B's ascension to stardom is pure 21st century: from welfare kid to unapologetic stripper; reality TV persona, to social media maven, to a household name delivering one of the consummately executed albums in rap history, it's easy to imagine future critics noting popular music as before and after the rise of Cardi B. This in-depth look at Invasion of Privacy explores the sexual politics of hip hop through a track-by-track breakdown of the album. It addresses questions like: How does the wage gap impact pop music? Has Cardi destigmatized sex work for artists? What would hip hop look like as a matriarchy? Each chapter explores the musicality and social constructs that shape the album and a new movement in femme rap.
HIP-HOP (AND OTHER THINGS) is about, as it were, rap, but also some other things. It's a smart, fun, funny, insightful book that spends the entirety of its time celebrating what has become the most dominant form of music these past two and a half decades. Tupac is in there. Jay Z is in there. Missy Elliott is in there. Drake is in there. Pretty much all of the big names are in there, as are a bunch of the smaller names, too. There's art from acclaimed illustrator Arturo Torres, there are infographics and footnotes; there's all kinds of stuff in there. Some of the chapters are serious, and some of the chapters are silly, and some of the chapters are a combination of both things. All of them, though, are treated with the care and respect that they deserve. HIP-HOP (AND OTHER THINGS) is the third book in the (And Other Things) series. The first two—Basketball (And Other Things) and Movies (And Other Things)—were both #1 New York Times bestsellers.
An illustrated highlight reel of more than 100 women in rap who have helped shape the genre and eschewed gender norms in the process The Motherlode highlights more than 100 women who have shaped the power, scope, and reach of rap music, including pioneers like Roxanne Shanté, game changers like Lauryn Hill and Missy Elliott, and current reigning queens like Nicki Minaj, Cardi B, and Lizzo—as well as everyone who came before, after, and in between. Some of these women were respected but not widely celebrated. Some are impossible not to know. Some of these women have stood on their own; others were forced into templates, compelled to stand beside men in big rap crews. Some have been trapped in a strange critical space between respected MC and object. They are characters, caricatures, lyricists, at times both feminine and explicit. This book profiles each of these women, their musical and career breakthroughs, and the ways in which they each helped change the culture of rap.
GLOBAL LAUNCH in August, 2021! Early signups and VIP's save 50% during launch. Price increases after 2 weeks. Cardi B is a 21st century global rap-phenomenon, loved as much for her personality as her music. Now in this rare book - a collection of Cardi's most honest thoughts ever recorded on success, love, intimacy and more - you can reflect on what makes this next generation celebrity's character such a force, and why she's as much a comedian as she is a musician & artist. Inside you'll find unique new insights, such as Cardi's love for budgeting, distaste for threesomes, and insecurities about whether men really love her for her, or just love the clout. If you're lucky, you'll even be able to apply some of Cardi's wisdom to your own life. Enjoy this book, laugh, get inspired, share it with friends, and don't forget, as Cardi says on page 43, "I love you bigger than my ass--and my ass is big." DISCLAIMER: THIS BOOK HAS NOT BEEN PREPARED, APPROVED, OR LICENSED BY CARDI B.
In this book, Shawn Taylor explores the creation of the album as well as the impact it had on him at the time
The Poet Laureate's clear and entertaining account of how poetry works. "Poetry is a vocal, which is to say a bodily, art," Robert Pinsky declares in The Sounds of Poetry. "The medium of poetry is the human body: the column of air inside the chest, shaped into signifying sounds in the larynx and the mouth. In this sense, poetry is as physical or bodily an art as dancing." As Poet Laureate, Pinsky is one of America's best spokesmen for poetry. In this fascinating book, he explains how poets use the "technology" of poetry--its sounds--to create works of art that are "performed" in us when we read them aloud. He devotes brief, informative chapters to accent and duration, syntax and line, like and unlike sounds, blank and free verse. He cites examples from the work of fifty different poets--from Shakespeare, Donne, and Herbert to W. C. Williams, Frost, Elizabeth Bishop, C. K. Williams, Louise Glück, and Frank Bidart. This ideal introductory volume belongs in the library of every poet and student of poetry.
“Morgan has given an entire generation of Black feminists space and language to center their pleasures alongside their politics.” —Janet Mock, New York Times bestselling author of Redefining Realness “All that and then some, Chickenheads informs and educates, confronts and charms, raises the bar high by getting down low, and, to steal my favorite Joan Morgan phrase, bounced me out of the room.” —Marlon James, Man Booker Prize–winning author of A Brief History of Seven Killings Still as fresh, funny, and ferociously honest as ever, this piercing meditation on the fault lines between hip-hop and feminism captures the most intimate thoughts of the post-Civil Rights, post-feminist, post-soul generation. Award-winning journalist Joan Morgan offers a provocative and powerful look into the life of the modern Black woman: a complex world in which feminists often have not-so-clandestine affairs with the most sexist of men, where women who treasure their independence frequently prefer men who pick up the tab, where the deluge of babymothers and babyfathers reminds Black women who long for marriage that traditional nuclear families are a reality for less than forty percent of the population, and where Black women are forced to make sense of a world where truth is no longer black and white but subtle, intriguing shades of gray.
This work is a revealing chronicle of Hip Hop culture from its beginnings three decades ago to the present, with an analysis of its influence on people and popular culture in the United States and around the world. From Grandmaster Flash and the Furious Five's "The Message," to Jay-Z, Diddy, and 50 Cent, Hip Hop Culture is the first comprehensive reference work to focus on one of the most influential cultural phenomena of our time. Scholarly and streetwise, backed by statistics, documents, and research, it recounts three decades of Hip Hop's evolution, highlighting its defining events, recordings, personalities, movements, and ideas, as well as society's response. How did an inner-city subculture, all but dismissed in the early 1980s, become the ruler of the world's airwaves and iPods? Who are the players who moved Hip Hop from the record bins to the pinnacles of entertainment, business, and fashion? Who are the founders, innovators, legends, and major players? Authoritative and authentic, Hip Hop Culture provides a wealth of information and insights for students, educators, and anyone interested in the ways pop culture reflects and shapes our lives.
Derided as one-hit wonders, estranged from their original producer and record label, and in self-imposed exile in Los Angeles, the Beastie Boys were written off by most observers before even beginning to record their second album-an embarrassing commercial flop that should have ruined the group's career. But not only did Paul's Boutique eventually transform the Beasties from a frat-boy novelty to hiphop giants, its sample-happy, retro aesthetic changed popular culture forever.
From a Los Angeles hospital bed, equipped with little more than a laptop and a stack of records, James “J Dilla” Yancey crafted a set of tracks that would forever change the way beatmakers viewed their artform. The songs on Donuts are not hip hop music as “hip hop music” is typically defined; they careen and crash into each other, in one moment noisy and abrasive, gorgeous and heartbreaking the next. The samples and melodies tell the story of a man coming to terms with his declining health, a final love letter to the family and friends he was leaving behind. As a prolific producer with a voracious appetite for the history and mechanics of the music he loved, J Dilla knew the records that went into constructing Donuts inside and out. He could have taken them all and made a much different, more accessible album. If the widely accepted view is that his final work is a record about dying, the question becomes why did he make this record about dying? Drawing from philosophy, critical theory and musicology, as well as Dilla's own musical catalogue, Jordan Ferguson shows that the contradictory, irascible and confrontational music found on Donuts is as much a result of an artist's declining health as it is an example of what scholars call “late style,” placing the album in a musical tradition that stretches back centuries.