An inside look at women graffiti artists around the world Since the dawn of Hip Hop graffiti writing on the streets of Philadelphia and New York City in the late 1960s, writers have anonymously inscribed their tag names on trains, buildings, and bridges. Passersby are left to imagine who the author might be, and, despite the artists' anonymity, graffiti subculture is seen as a "boys club," where the presence of the graffiti girl is almost unimaginable. In Graffiti Grrlz, Jessica Nydia Pabon-Colon interrupts this stereotype and introduces us to the world of women graffiti artists. Drawing on the lives of over 100 women in 23 countries, Pabon-Colon argues that graffiti art is an unrecognized but crucial space for the performance of feminism. She demonstrates how it builds communities of artists, reconceptualizes the Hip Hop masculinity of these spaces, and rejects notions of "girl power." Graffiti Grrlz also unpacks the digital side of Hip Hop graffiti subculture and considers how it widens the presence of the woman graffiti artist and broadens her networks, which leads to the formation of all-girl graffiti crews or the organization of all-girl painting sessions. A rich and engaging look at women artists in a male-dominated subculture, Graffiti Grrlz reconsiders the intersections of feminism, hip hop, and youth performance and establishes graffiti art as a game that anyone can play.

View the Table of Contents. Read the Prologue.

aSharpley-Whiting's book does not suffer from the sort of cowardice one too often hears from black academics who genuflect to hip hop in order to stay current with the tastes of the students who provide them with whatever power they have on college campuses. Sharpley-Whiting calls them as she sees them and wisely quotes the offensive material when necessary. Her book is high level in its research and its thought, and those looking for adult ideas about the subject should look it up.a
--Stanley Crouch, "New York Daily News"

aSharpley-Whiting gets at the heart of the paradox . . . and puts the discussion on the turntable.a
--"Washington Post"

aSharpley-Whiting unmasks thought provoking socio-political commentaries concerning sexual obsession in rap music and its affects on the black female sense of self.a--"Allhiphop.com"

aOffers an insightful look into the strip clubs, groupie culture, and other aspects of hip hop that have given a voice to the disenfranchised while raising troubling questions about what those voices are saying and doing.a--"Vanderbilt Magazine"

aOffers damning evidence about hip hopas underlying racial and social prejudices, examining the politics of gender and providing a feministas perspective and insights into black music;s underlying message.a--"The Midwest Book Review"

aSharpley-Whittingas uncommon perspective is one that deserves to be examined more often.a
--"Bitch"

aFor B-girls who embrace both the brashness of Lila Kim and the pro-feminism of Lauryn Hill, Pimps Up, Hoas Down is an intellectual look at the intricate, diverse attitudes of young black women within the hip hop community.Sharpley-Whiting combines thought-provoking text with interviews that range from the aricha (see Trina) to the aregulara (everyday women), giving a voice to todayas complex and contradictory females within hip hop.a
--"The Source Magazine"

aThrough provocatively titled chapters such as aSex, Power, and Punannya and aStrip Tails: Booty Clappina, P-poppina, Shake Dancing, a Sharpley-Whiting provides a sobering analysis of womenas participation in the hyper-sexualized black American, urban youth culture known as hip hop. . . . This book delivers a riveting portrayal of hip hop, from the thumping rap music that serves as a soundtrack for Americaas strip clubs to the predatory groupies who relentlessly pursue rap stars.a
--"Ms. Magazine"

aProbing. . . . A canny study. . . . Sharpley-Whiting brings both street smarts and sophisticated cultural analysis to her subject.a
--"Philadelphia Inquirer"

aClear and well written. . . . It serves as a decent jumping-off point to discussions of young black women in our current society. . . . Sharpley-Whiting has opened up the dialog, offering a source for research in a burgeoning area of study.a
--"Library Journal"

aSharpley-Whiting provides interesting anecdotes about the ways in which women are portrayed (and often used) within hip hop. . . . [Her] insightful analyses [include] a particularly interesting discussion of the intersections of race, class, and capitalism in strip clubs.a
--"Bust Magazine"

Pimps Up, Hoas Down is an in-depth look at hip hopas effect on young black women. Sharpley-Whiting discusses topics such as light-skinned black (or ethnically ambiguous) females getting more love in hip hop videos, unreportedsexual abuse within black communities -- even the fact that most hip hop groupies do not consider themselves groupies. She successfully ties these trends into the mainstream hip hop culture of today. Pimps Up, Hoas Down provides an intellectual look at how hip hop views and affects the young black women of this generation, most who are oblivious to what is actually going on. Sharpley-Whitingas uncommon perspective is one that deserves to be examined more often.a
--"URB"

aOffers a bracing, brilliant, and provocative take on how hip hop has affected young black women. Sharpley-Whiting manages the difficult task of being critical of destructive elements of hip hop culture without being dismissive of its edifying dimensions. This lucidly penned manifesto in defense of the intellectual spaces between hip hop and feminism will undoubtedly inspire heated debate and fruitful conversation about gender, black identity, and conflict between the generations."
--Michael Eric Dyson, author of "Know What I Mean?"

aIn Pimps Up, Hoas Down, Sharpley-Whitingas razor-sharp analysis turns an illuminating spotlight on the dark, complicated intersection where feminism and hip hop meet.a
--Joan Morgan, author of "When Chickenheads Come Home to Roost"

"Pimps Up, Ho's Down provides a vital critical assessment of the sexual exploitation of women and girls all too prevalent in hip hop culture and in our larger society. This intelligent and sensitively written study is mandatory reading for those of us who must stop the violence."
--Darlene Clark Hine, co-author of "A Shining Thread of Hope: The History of Black Women in America"

aIn this bold critique of popular cultureas stereotypicalrepresentations of hip hop, Tracy Sharpley-Whiting never wavers from her end goal of empowering the hip hop generation. Pimps Up, Hoas Down takes this discussion beyond the ivory tower and into the lives of everyday people.a
--Bakari Kitwana, author of "The Hip-Hop Generation"

"This compelling, well-researched-and alarming-account of how hip hop culture has impacted the lives and shaped the identities of young black women should be read by women and men of every generation."
--Paula Giddings, author of "When and Where I Enter: The Impact of Black Women on Race and Sex in America"

aTracy Sharpley-Whitingas groundbreaking book makes central the harsh sexist and racist realities that hip hop generation Black women face on a daily basis.a
--Aishah Shahidah Simmons, Producer/Director of "NO! (The Rape Documentary)"

Pimps Up, Ho's Down pulls at the threads of the intricately knotted issues surrounding young black women and hip hop culture. What unravels for Tracy D. Sharpley-Whiting is a new, and problematic, politics of gender. In this fascinating and forceful book, Sharpley-Whiting, a feminist writer who is a member of the hip hop generation, interrogates the complexities of young black women's engagement with a culture that is masculinist, misogynistic, and frequently mystifying.

Beyond their portrayal in rap lyrics, the display of black women in music videos, television, film, fashion, and on the Internet is indispensable to the mass media engineered appeal of hip hop culture, the author argues. And the commercial trafficking in the images and behaviors associated with hip hop has made them appear normal, acceptable, and entertaining-both in the U.S. and around the world.

Sharpley-Whiting questions the impacts of hip hop's increasing alliance with the sex industry, the rise of groupie culture in the hip hop world, the impact of hip hop's compulsory heterosexual culture on young black women, and the permeation of the hip hop ethos into young black women's conceptions of love and romance.

The author knows her subject from the inside. Coming of age in the midst of hip hop's evolution in the late 1980s, she mixed her graduate studies with work as a runway and print model in the 1990s. Her book features interviews with exotic dancers, black hip hop groupies, and hip hop generation members Jacklyn "Diva" Bush, rapper Trina, and filmmaker Aishah Simmons, along with the voices of many "everyday" young women.

Pimps Up, Ho's Down turns down the volume and amplifies the substance of discussions about hip hop culture and to provide a space for young black women to be heard.

In "Buena Vista in the Club," Geoffrey Baker traces the trajectory of the Havana hip hop scene from the late 1980s to the present and analyzes its partial eclipse by reggaeton. While Cuban officials initially rejected rap as "the music of the enemy," leading figures in the hip hop scene soon convinced certain cultural institutions to accept and then promote rap as part of Cuba's national culture. Culminating in the creation of the state-run Cuban Rap Agency, this process of "nationalization" drew on the shared ideological roots of hip hop and the Cuban nation and the historical connections between Cubans and African Americans. At the same time, young Havana rappers used hip hop, ""the music of urban inequality "par excellence," to critique the rapid changes occurring in Havana since the early 1990s, when the Soviet Union fell, its subsidy of Cuba ceased, and a tourism-based economy emerged. Baker considers the explosion of reggaeton in the early 2000s as a reflection of the "new materialism" that accompanied the influx of foreign consumer goods and cultural priorities into "sociocapitalist" Havana. Exploring the transnational dimensions of Cuba's urban music, he examines how foreigners supported and documented Havana's growing hip hop scene starting in the late 1990s and represented it in print and on film and CD. He argues that the discursive framing of Cuban rap played a crucial part in its success.

Project Blowed is a legendary hiphop workshop based in Los Angeles. It began in 1994 when a group of youths moved their already renowned open-mic nights from the Good Life, a Crenshaw district health food store, to the KAOS Network, an arts center in Leimert Park. The local freestyle of articulate, rapid-fire, extemporaneous delivery, the juxtaposition of meaningful words and sounds, and the way that MCs followed one another without missing a beat, quickly became known throughout the LA underground. Leimert Park has long been a center of African American culture and arts in Los Angeles, and Project Blowed inspired youth throughout the city to consider the neighborhood the epicenter of their own cultural movement. "The Real Hiphop" is an in-depth account of the language and culture of Project Blowed, based on the seven years Marcyliena Morgan spent observing the workshop and the KAOS Network. Morgan is a leading scholar of hiphop, and throughout the volume her ethnographic analysis of the LA underground opens up into a broader examination of the artistic and cultural value of hiphop.

Morgan intersperses her observations with excerpts from interviews and transcripts of freestyle lyrics. Providing a thorough linguistic interpretation of the music, she teases out the cultural antecedents and ideologies embedded in the language, emphases, and wordplay. She discusses the artistic skills and cultural knowledge MCs must acquire to rock the mic, the socialization of hiphop culture's core and long-term members, and the persistent focus on skills, competition, and evaluation. She brings attention to adults who provided material and moral support to sustain underground hiphop, identifies the ways that women choose to participate in Project Blowed, and vividly renders the dynamics of the workshop's famous lyrical battles.

Rhyme Book is a durable cloth-covered notebook, silkscreened with the design of the iconic composition book favored by hip-hop lyricists. Whether you aspire to write rhymes or are just a fan of the craft, this is the notebook that you need when inspiration strikes. Throughout its ruled pages, it contains thirty pages of content, including playlists, hip-hop infographics, factoids, rhyming lists, and more. Conceived by Eric and Jeff Rosenthal (collectively known as ItsTheReal), Rhyme Book will help you gather your ideas for just about anything while also providing you with insight into what it takes to spit fire!

From Nelson George, supervising producer and writer of the hit Netflix series, "The Get Down, Hip Hop America is the definitive account of the society-altering collision between black youth culture and the mass media.

In the late 1980s, gangsta rap music emerged in urban America, giving voice to -- and making money for -- a social group widely considered to be in crisis: young, poor, black men. From its local origins, gangsta rap went on to flood the mainstream, generating enormous popularity and profits. Yet the highly charged lyrics, public battles, and hard, fast lifestyles that characterize the genre have incited the anger of many public figures and proponents of "family values." Constantly engaging questions of black identity and race relations, poverty and wealth, gangsta rap represents one of the most profound influences on pop culture in the last thirty years.

Focusing on the artists Ice Cube, Dr. Dre, the Geto Boys, Snoop Dogg, and Tupac Shakur, Quinn explores the origins, development, and immense appeal of gangsta rap. Including detailed readings in urban geography, neoconservative politics, subcultural formations, black cultural debates, and music industry conditions, this book explains how and why this music genre emerged. In "Nuthin'but a "G" Thang," Quinn argues that gangsta rap both reflected and reinforced the decline in black protest culture and the great rise in individualist and entrepreneurial thinking that took place in the U.S. after the 1970s. Uncovering gangsta rap's deep roots in black working-class expressive culture, she stresses the music's aesthetic pleasures and complexities that have often been ignored in critical accounts.

Take control of your narrative and become the best version of yourself with 50 Hip-Hop inspired lessons that will motivate a new generation. Grant Brydon has interviewed some of the biggest names in hip-hop. Here he shares the creative directions and tips derived from one-on-one conversations with Pharrell Williams, J Cole, Big Sean, Nipsey Hussle, and many more. With chapters covering motivation, creativity, authenticity, mental wellbeing, resilience, and more, the advice gleaned from these important artists' life experiences will help you to face up to your own challenges and inspire you to make simple changes that have major positive consequences. Lessons include: - Award-winning rapper, singer, songwriter and producer J Cole on how to Define Success - Grammy award-winning hip-hop- legend Nas on Maintaining Focus on What's Important - A lesson in Committing to Inspiration from Flo Milli, viral TikTok sensation and Best New Artist nominee at the 2020 BET Hip Hop Awards - Big Sean on how to Take Time Off and Talk to Someone - Multiple BET Hip Hop Awards nominee Action Bronson on how not to be discouraged - Kenny Beats - producer of Vince Staples and Ed Sheeran - on the dangers of overthinking - Grammy nominated Freddie Gibbs on Integrity - Hip-hop royalty Pharrell Williams on the importance of always staying curious - Mac Miller on reinvention Adopt a hip-hop mindset to take control of your own narrative and become the best version of yourself with this book of 50 must-read lessons on creativity and self help that will inspire a new generation. Containing exclusive interviews with billion-streaming artists, including J Cole, Nas, Big Sean, Flo Milli, Action Bronson and many more, alongside contemporary illustrations by Ketu the Artist, which offer a fresh visual take on the self-help genre. This is a must-have volume for fans of hip-hop, alongside individuals with an interest in positive thinking, wellness and self-help. Quotes: "Grant Brydon compiles many of the major keys from some of the most prolific voices in hip-hop and draws a through-line to the hearts of their success stories... An entertaining and informative read." ? Kathy Iandoli, author of God Save The Queens: The Essential History of Women in Hip-Hop. "A thoughtful collection of essays on hard work and creativity that taps into generous anecdotal wisdom about music and life from an array of personalities in the industry, past and present." ? Lance Scott Walker, author of DJ Screw: A Life In Slow Revolution. "A brilliant tapestry of story and artistry by a seasoned journalist whose love for hip-hop flourishes here." ? Ciesay, co-founder of PLACES+FACES.

"NEW YORK TIMES" BESTSELLER
"Decoded" is a book like no other: a collection of lyrics and their meanings that together tell the story of a culture, an art form, a moment in history, and one of the most provocative and successful artists of our time.
Expanded edition

This titillating expose chronicles the personal and professional adventures of this tabloid-laden socialite, dispelling some rumors, while confirming others. Diaries unveils the heavily shrouded Hollywood backrooms and its coveted secrets. Offering her ardent fans answers to burning questions and presenting lessons learned, this book will surely not disappoint. Karrine Steffans continues to dish out juicy gossip and the much sought after details of her star studded lifestyle and the celebrity men that helped her get where she needed to be. Karrine draws you in to get an up-close and personal look at the Hollywood life of fast money, drugs, and sex; all the things that make for a great movie. She discusses her interactions with people after the release of Confessions of a Video Vixen and how she copes with it all.

**As featured on Barack Obama's Summer 2022 Reading List** Winner of the Gordon Burn Prize Winner of the 2022 Andrew Carnegie Medal for Excellence in Nonfiction Finalist for the National Book Critics Circle Award Finalist for the Pen/Diamonstein-Spievogel Award for the Art of the Essay Shortlisted for the National Book Award 'Gorgeous' - Brit Bennett 'Pure genius' - Jacqueline Woodson 'One of the most dynamic books I have ever read' - Clint Smith At the March on Washington, Josephine Baker reflected on her life and her legacy. She had spent decades as one of the most successful entertainers in the world, but, she told the crowd, "I was a devil in other countries, and I was a little devil in America, too". Inspired by these words, Hanif Abdurraqib has written a stirring meditation on Black performance in the modern age, in which culture, history and his own lived experience collide. With sharp insight, humour and heart, Abdurraqib explores a sequence of iconic and intimate performances that take him from mid-century Paris to the moon -- and back down again, to a cramped living room in Columbus, Ohio. Each one, he shows, has layers of resonance across Black and white cultures, the politics of American empire, and his own personal history of love and grief -- whether it's the twenty-seven seconds of 'Gimme Shelter' in which Merry Clayton sings, or the magnificent hours of Aretha Franklin's homegoing; Beyonce's Super Bowl show or a schoolyard fistfight; Dave Chapelle's skits or a game of spades among friends.

In the first decade of the twenty-first century, Kanye West produced what is arguably the most compelling body of work made by a popular American musician during the period. Rising from obscurity as a precocious producer through the ranks of Jay-Z's Roc-A-Fella records, by the time he released My Beautiful Dark Twisted Fantasy in late 2010, West had evolved into a master collagist, an alchemist capable of transfiguring semi-obscure soul samples and indelible beats into a brash and vulnerable art form. A long look at the arc of his career - from the early days as an apprentice producer gaining mastery of the sample, to his creation of My Beautiful Dark Twisted Fantasy during a hypomanic self-imposed Hawaiian exile - tells us about the march of pop music into the twenty first century and, by extension, the redrawn lines of American life. In our cloud-based and on-demand world, amid a cultural consensus with practically no regard for the pop album as an aesthetic product, West straddles this critical moment as what David Samuels of The Atlantic calls the first true genius of the iPhone era, the Mozart of contemporary American music.He boasts an intrusive online presence-- tweeting to the unpredictable tune of his mercurial moods--and understands as few artists do the viral value of so-called rich content, of digital video (some of which he directs) and the well-placed high resolution image. Yet, for all that, his body of work has demonstrated a cohesive drive toward perfecting that nearly forgotten form - the album. Weaving original soundscapes comprising old, familiar voices (Ray Charles, King Crimson, Otis Redding, and a host of others), no other artist has so deftly curated conversations between pop music's past and future--very much a story of our culture's narcissistic wish for unfettered digital ubiquity--and no album tells this story with more decadent artistry and surrealist gusto than My Beautiful Dark Twisted Fantasy.

This book is a journey back though time focusing on Kings County's (Brooklyn) Contribution to Hip Hop, a culture created by inner-city youth enduring the hardships of poverty. An incredible expedition into gang fights, train yards, block parties and sewing needles. Defining the term B- Boy and pinpointing the origins of style while examining the work of the first turntablists... A compilation of interesting personalities, their memories of the Brooklyn scene and their love for Hip Hop.

One of Rolling Stone's Best Music Books of 2015 From Geto Boys legend and renowned storyteller Scarface, comes a passionate memoir about how hip-hop changed the life of a kid from the south side of Houston, and how he rose to the top-and ushered in a new generation of rap dominance. Scarface is the celebrated rapper whose hits include "On My Block," "Mind Playing Tricks on Me" and "Damn It Feels Good to be a Gangsta" (made famous in the cult film Office Space). The former president of Def Jam South, he's collaborated with everyone from Kanye West, Ice Cube and Nas, and had many solo hits such as "Guess Who's Back" feat. Jay-Z and "Smile" feat. Tupac. But before that, he was a kid from Houston in love with rock-and-roll, listening to AC/DC and KISS. In Diary of a Madman, Scarface shares how his world changed when he heard Run DMC for the first time; how he dropped out of school in the ninth grade and started selling crack; and how he began rapping as the new form of music made its way out of New York and across the country. It is the account of his rise to the heights of the rap world, as well as his battles with his own demons and depression. Passionately exploring and explaining the roots and influences of rap culture, Diary of a Madman is the story of hip-hop-the music, the business, the streets, and life on the south side Houston, Texas.

Early hip hop film musicals have either been expunged from cinema history or excoriated in brief passages by critics and other writers. "Hip Hop on Film" reclaims and reexamines productions such as "Breakin'" (1984), " Beat Street" (1984), and "Krush Groove" (1985) in order to illuminate Hollywood's fascinating efforts to incorporate this nascent urban culture into conventional narrative forms. Such films presented musical conventions against the backdrop of graffiti-splattered trains and abandoned tenements in urban communities of color, setting the stage for radical social and political transformations. Hip hop musicals are also part of the broader history of teen cinema, and films such as Charlie Ahearn's "Wild Style" (1983) are here examined alongside other contemporary youth-oriented productions. As suburban teen films banished parents and children to the margins of narrative action, hip hop musicals, by contrast, presented inclusive and unconventional filial groupings that included all members of the neighborhood. These alternative social configurations directly referenced specific urban social problems, which affected the stability of inner city families following diminished governmental assistance in communities of color during the 1980s.

Breakdancing, a central element of hip hop musicals, is also reconsidered. It gained widespread acclaim at the same time that these films entered the theaters, but the nation's newly discovered dance form was embattled--caught between a multitude of institutional entities such as the ballet academy, advertising culture, and dance publications that vied to control its meaning, particularly in relation to delineations of gender. As street-trained breakers were enticed to join the world of professional ballet, this newly forged relationship was recast by dance promoters as a way to invigorate and "remasculinize" European dance, while young women simultaneously critiqued conventional masculinities through an appropriation of breakdance. These multiple and volatile histories influenced the first wave of hip hop films, and even structured the sleeper hit "Flashdance" (1983). This forgotten, ignored, and maligned cinema is not only an important aspect of hip hop history, but is also central to the histories of teen film, the postclassical musical, and even institutional dance. Kimberley Monteyne places these films within the wider context of their cultural antecedents and reconsiders the genre's influence.

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.

Questlove collects the 500 songs that have changed not just popular music, but also the world Questlove's Music Is History is an in-depth look into the 500 most influential songs in the history of music. Most famously known as a the drummer and joint frontman for the Grammy Award-winning band The Roots, Questlove is also an astute musicologist and voracious historian. In this book, Questlove dives into musical history from every decade of twentieth century, choosing one essential track from each year. The author thoughtfully and insightfully unpacks each song's cultural significance by placing it in its historical context, discussing real world events that shaped both the song's creation and its lasting impact. Analyses of iconic classics like "Sir Duke" by Stevie Wonder include tangents into the histories of science, politics, and pop culture. Questlove moves fluidly from the personal to the political, from Curtis Mayfield to the history of Black representation in cinema to musings on the Nixon presidency. Complete with comprehensive playlists organized around personal, playful themes like "Songs That Got Shafted" or "Songs With a Part I Really Like Even Though I Don't Like the Whole Song," this book is so full of Questlove's essential recommendations that it feels like a conversation with the industry's coolest music obsessive. Music Is History is a masterclass in music by a contemporary icon-a new American musical canon from one of music's most influential and unique voices.

It's all about the scratch in Groove Music, award-winning music historian Mark Katz's groundbreaking book about the figure that defined hip-hop: the DJ.
Today hip-hop is a global phenomenon, and the sight and sound of DJs mixing and scratching is familiar in every corner of the world. But hip-hop was born in the streets of New York in the 1970s when a handful of teenagers started experimenting with spinning vinyl records on turntables in new ways. Although rapping has become the face of hip-hop, for nearly 40 years the DJ has proven the backbone of the culture. In Groove Music, Katz (an amateur DJ himself) delves into the fascinating world of the DJ, tracing the art of the turntable from its humble beginnings in the Bronx in the 1970s to its meteoric rise to global phenomenon today. Based on extensive interviews with practicing DJs, historical research, and his own personal experience, Katz presents a history of hip-hop from the point of view of the people who invented the genre. Here, DJs step up to discuss a wide range of topics, including the transformation of the turntable from a playback device to an instrument in its own right, the highly charged competitive DJ battles, the game-changing introduction of digital technology, and the complex politics of race and gender in the DJ scene.
Exhaustively researched and written with all the verve and energy of hip-hop itself, Groove Music will delight experienced and aspiring DJs, hip-hop fans, and all students or scholars of popular music and culture.

"The Big Payback" takes readers from the first $15 made by a "rapping DJ" in 1970s New York to the multi-million-dollar sales of the Phat Farm and Roc-a-Wear clothing companies in 2004 and 2007. On this four-decade-long journey from the studios where the first rap records were made to the boardrooms where the big deals were inked, "The Big Payback" tallies the list of who lost and who won. Read the secret histories of the early long-shot successes of Sugar Hill Records and Grandmaster Flash, Run DMC's crossover breakthrough on MTV, the marketing of gangsta rap, and the rise of artist/ entrepreneurs like Jay-Z and Sean "Diddy" Combs.

300 industry giants like Def Jam founders Rick Rubin and Russell Simmons gave their stories to renowned hip-hop journalist Dan Charnas, who provides a compelling, never-before-seen, myth-debunking view into the victories, defeats, corporate clashes, and street battles along the 40-year road to hip-hop's dominance.

"A provocative, intellectual memoir" ("USA Today")-from a remarkable new literary voice.
Growing up, Thomas Chatterton Williams knew he loved three things in life: his parents, literature, and the intoxicating hip-hop culture that surrounded him. For years, he managed to juggle two disparate lifestyles, "keeping it real" in his friends' eyes and studying for the SATs under his father's strict tutelage-until it all threatened to spin out of control. Written with remarkable candor and emotional depth, "Losing My Cool" portrays the allure and danger of hip-hop culture with the authority of a true fan who's lived through it all, while demonstrating the saving grace of literature and the power of the bond between father and son.

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.

In Dead Precedents, Roy Christopher traces the story of how hip-hop invented the twenty-first century. Emerging alongside cyberpunk in the 1980s, the hallmarks of hip-hop - allusion, self-reference, the use of new technologies, sampling, the cutting and splicing of language and sound - would come to define the culture of the new millennium.Taking in the groundbreaking work of DJs and MCs, alongside writers like Dick and Gibson, as well as graffiti and DIY culture, Dead Precedents is a counter-culture history of the twentieth century, showcasing hip-hop's role in the creation of the world we now live in.