What resonated about "Endtroducing" when it was released in 1996, and what makes it still resonate today, is the way in which it loosens itself from the mooring of the known and sails off into an uncharted territory that seems to exist both in and out of time. Josh Davis is not only a master sampler and turntablist supreme, he is also a serious archaeologist with a world-thirsty passion (what "Cut Chemist" refers to as Josh's "spidey sense") for seeking out, uncovering and then ripping apart the discarded graces of some other generation - that "pile of broken dreams" - and weaving them back together into a tapestry of chronic bleakness and beauty. Over the course of several long conversations with Josh Davis (DJ Shadow), we learn about his early years in California, the friends and mentors who helped him along the way, his relationship with Mo'Wax and James Lavelle, and the genesis and creation of his widely acknowledged masterpiece, "Endtroducing."

"Remixing multilingualism" is conceptualised in this book as engaging in the linguistic act of using, combining and manipulating multilingual forms. It is about creating new ways of 'doing' multilingualism through cultural acts and identities and involving a process that invokes bricolage. This book is an ethnographic study of multilingual remixing achieved by highly multilingual participants in the local hip hop culture of Cape Town. In globalised societies today previously marginalized speakers are carving out new and innovating spaces to put on display their voices and identities through the creative use of multilingualism. This book contributes to the development of new conceptual insights and theoretical developments on multilingualism in the global South by applying the notions of stylization, performance, performativity, entextualisation and enregisterment. This takes place through interviews, performance analysis and interactional analysis, showing how young multilingual speakers stage different personae, styles, registers and language varieties.

An extraordinary collection of lyrics showcasing rap's poetic depth and diversity From the school yards of the South Bronx to the tops of the Billboard charts, rap has emerged as one of the most influential musical and cultural forces of our time. In The Anthology of Rap, editors Adam Bradley and Andrew DuBois explore rap as a literary form, demonstrating that rap is also a wide-reaching and vital poetic tradition born of beats and rhymes. This pioneering anthology brings together more than three hundred rap and hip-hop lyrics written over thirty years, from the "old school" to the "golden age" to the present day. Rather than aim for encyclopedic coverage, Bradley and DuBois render through examples the richness and diversity of rap's poetic tradition. They feature both classic lyrics that helped define the genre, including Grandmaster Flash & the Furious Five's "The Message" and Eric B. & Rakim's "Microphone Fiend," as well as lesser-known gems like Blackalicious's "Alphabet Aerobics" and Jean Grae's "Hater's Anthem." Both a fan's guide and a resource for the uninitiated, The Anthology of Rap showcases the inventiveness and vitality of rap's lyrical art. The volume also features an overview of rap poetics and the forces that shaped each period in rap's historical development, as well as a foreword by Henry Louis Gates, Jr., and afterwords by Chuck D and Common. Enter the Anthology to experience the full range of rap's artistry and discover a rich poetic tradition hiding in plain sight.