Book Description
The first book, the definitive book from HIP-HOP'S ORIGINAL DYNASTY
Since the release of the revolutionary Enter the Wu-Tang (36 Chambers), the Wu-Tang Clan has been hip-hop's leading creative force. Over the course of four seminal group albums and a multitude of ambitious side projects, they have constantly redefined the outer edge of what hip-hop can do and where hip-hop can go. Now, after a decade of dark beats and mysterious lyrics hinting at a larger whole, the legendary Staten Island hip-hop collective fully reveals, for the first time, the complex, multi-layered Wu-Tang Universe.
Spearheaded by the RZA, the "Abbot" of the Clan, The Wu-Tang Manual unravels the intricate web of personalities (and alter egos), warrior codes, numerological systems, and Eastern spiritual ethics that define the Wu-Tang dynasty. Here you'll find the key to Shaolin, to the Nine Rings and to the 36 Chambers, to the eight-point sun and to the rest of the enduring mysteries of Wu-Tang. The Wu-Tang Manual also contains the first official and comprehensive lyrical encyclopedia of the Wu-Tang, complete with musical, technical, and anecdotal analysis and annotation by the Clan.
For the hardcore Wu-Tang disciple and the recent initiate alike, The Wu-Tang Manual is the definitive guide to the essence of Wu.
Customer Reviews:
Wow!.......2007-08-29
I bought this book because I have been an avid fan of the Wu since high school. I had a feeling it would be good but little did I know that it would be in the tops of the bests books I've ever read in my life. If you've ever listened to a Wu song and wondered what this line meant, or what this word means, look no further. Who knew that there was actual rhyme and reason to ever since word picked for their lyrics.
If this is truely only a volume 1 out of many, I can't wait for the others. No matter what level of Wu fan you are, this will double it at least. Get this book.
Not for newcomers.......2007-08-18
The Wu-Tang Clan has been of the primary influences in my life, starting my interest in Hip-Hop music and culture as a youth through adulthood. This book is amazing; however, a novice listener of the Wu will not truly understand this book. A bandwagon listener of the Wu will not truly understand this book. This book is for the true heads, the people that have been intrigued with the sound, slang, style and charisma of the Wu-Tang ever since they first dropped on the music scene. If you're one of these fans, buy this book; you won't be dissapointed. For all you corny,wannabe, Johnny-come-latelys that claim to be a Wu fan and only own The W and Iron Flag, do us all a favor and don't buy this book; it will be a piece of genius that will go to waste collecting dust.
Witty Unpredictable Talent And Natural Game!
The RZA makes another classic!.......2006-11-05
This book is great for all Wu fans! Rza gives an in-depth look into the history of the Wu Tang Clan, its members, its songs and even the philosophies of the clan. This is a must read for anyone interested in the true innovators of the hip-hop game. From being the first rap group to have a clothing line, to the first rappers with a video game - the WU really taught all other rap labels how to stunt and laid a blueprint down for being successful in areas other than just rapping. Get this book to gain insight on the most prolific rap super group ever!
ABSOLUTELY ASTONISHING........2006-04-13
The Wu-Tang Manual is akin to all the EU (Expanded Universe) novels, comic books, and publications related to the Star Wars franchise for a hip hop fan of one of the culture's biggest phenomenons ever. The Manual is chock full of EVERYTHING an intellectual listener and avid fan of the Wu would want to know: biographies, lyrics explanations, philosophy, music equipment, and spirituality.
The Wu-Tang started a new sound in hip hop in early '93: gritty, minimalistic, atonal, and lo-fi, all exemplified in the classic debut 'Enter: The Wu-Tang'. From then on, a legend was born: numerous solo albums from all nine members, even including the honorary tenth member Cappadonna, movies, television, touring, guest appearances on other artists' projects, RZA even composed music for the original soundtrack to the Tarantino's two-parter 'Kill Bill'. The Wu-Tang even have their own "Expanded Universe" of branch-off emcees and groups that rivals the amount of material in that of the Star Wars EU (e.g. Cilvaringz, Killah Priest, Sunz of Man, Black Knights, Killarmy, etc.). And they're STILL going strong with a slew of new albums already dropping (Ghost's awesome 'Fishscale', Sunz' 'Old Testament', etc.). The Wu-Tang Clan are HIP HOP LEGENDS, and this Manual chronicles the beginning of the movement all the way to the present, even chronicling the events that shaped the life of Robert Diggs (RZA), which would eventually also shape his movement.
To the initiated, [hip hop] heads know the Wu stand for something and they're some pretty deep brothers. RZA quotes everyone from Nietzsche to the Hagakure, a guide of bushido commentaries for the warrior (samurai). Being heavily into philosophy myself, I was really intrigued and exhilerated to read what some of the artist's actually meant behind some of their poetic verses. I saw this book at a mom 'n' pop store (Hasting's) in San Marcos and absolutely fell in love with it.
If you're into hip hop, you're more than likely a fan of the Wu as well, and if you are, YOU NEED THIS BOOK -- become more intimately knowledgeable of the legendary Clan and everything they stand for and how they came to be. "CLAN IN THE FRONT!"
Must Have.......2006-04-05
If you're a Wu-Tang fan, you must buy this book. I think they could go deeper in few subjects, but it is good enough for the first book.
Amazon.com
Many good books have been written about the history of hip-hop music and the generation that nurtured it. Can't Stop Won't Stop ranks among the best. Jeff Chang covers the music--from its Jamaican roots in the late 1960s to its birth in the Bronx; its eventual explosion from underground to the American mainstream--with style, including DJs, MCs, b-boys, graffiti art, Black Nationalism, groundbreaking singles and albums, and the street parties that gave rise to a genuine movement. But the book is about more than beats and rhymes. What distinguishes his book from the pack is Chang's examination of how hip-hop has shaped not only pop music, but American history and culture over the past 30 years. He shows how events such as urban flight, race riots, neighborhood reclamation projects, gang warfare in the Bronx and Los Angeles, and grassroots movements that influenced political agendas are as integral a part of the hip-hop story as the music itself. He also charts the concurrent rise of hip-hop activism and the commodification of the music and the ideological clashes that developed as a result.
Based on hundreds of interviews and over a decade of work as a respected music journalist, Chang offers colorful profiles of the lives and influences of "the trinity of hip-hop music"--Grandmaster Flash, Afrika Bambaataa, and DJ Kool Herc--along with many other artists, label executives, DJs, writers, filmmakers, and promoters. Impressive in its scope, Can't Stop Won't Stop is a lively and sharply written exploration of the power of hip-hop to unite people across generational, racial, and economic lines. --Shawn Carkonen
Book Description
Forged in the fires of the Bronx and Kingston, Jamaica, hip-hop has been a generation-defining global movement. In a post-civil rights era rapidly transformed by deindustrialization and globalization, hip-hop gave voiceless youths a chance to address these seismic changes, and became a job-making engine and the Esperanto of youth rebellion. Hip-hop crystallized a multiracial generations worldview, and forever transformed politics and culture. But the epic story of how that happened has not been told....until now.
Customer Reviews:
Killer, meng.......2007-05-24
As a literate college graduate who loves hiphop and reading, this book bridges the gap by bringing a history of the movement and the place that, more or less, made hiphop. The initial chapters about NYC and Jamaica from the sixties onward really clarified the scene for me: white flight, the major NYC highway projects and the civil strife in Jamaica created a cauldron of creative activity in the center of the greatest city in the world, among its poorest citizens. This book rules, quite simply. I read it over a weekend, while downloading a lot of the music along with it, immersing myself in an epoch and a movement that I have only begun to truly appreciate in the last 3-4 years. Excellent and highly recommended.
a complete history.......2007-03-21
Chang's history of hip-hop starts at the beginning (in the 70s) and examines the phenomenon from musical, cultural, and political viewpoints. His main strength is that he refrains from discussing "current" events, lest the book become dated too quickly. Indeed, only the last couple of chapters deal with the last ten years, and at that it's a cursory look. Chang's writing is outstanding, if a little too focused on certain acts (Public Enemy seems to take up the entire mid-section of the book), but his depth of knowledge of his subject matter and his manner for conveying it are excellent. His primary weakness is that he has a definite political slant to his work, occasionally dropping his journalistic guard to take shots at right-wing causes/politicians. It doesn't get in the way of the text, but it does get annoying. It's hard to write a history of a person/event/phenomenon that is ongoing that actually seems like a history, but Chang has done an excellent job doing just that.
Quilting threads of Hip Hop.......2007-02-25
After reading Chang's book Can't Stop Won't Stop it is amazing how all the pieces come together. He writes with an amazing breadth that captures politics, sociology, history, economics, globalization, exploitation, capitalism, racism, media tricks, etc. and how they have all contributed to the formation of hip-hop and the resulting culture. As I came of age in the mid 90's I became transfixed with gangsta rap and inner city culture, I never realized how all the afore mentioned concepts made up an entire culture that connects with audiences all around the globe or the economics that helped regenerate a struggling economy and an evaporating job landscape. As the new century comes into full swing it is astounding to think of the power hip hop still holds and the mouths it feeds.
As I dig deeper into the sociology of this last statement I can't help but think while hip hop has revived industries like music, fashion, and film and laced corporate pockets with green the conditions that breed hip hop still have not changed. The current Bush Administration is continuing where Reagan and his pops left off by gutting social programs and destroying education while offering hope through the army only to die for a country that doesn't give a damn about a better tomorrow only a richer, whiter one. Hip Hop heads are still seen as criminals in broader society, still harassed by police and still followed around the stores their culture helps feed.
Perhaps Hip Hop can be the vehicle that delivers a unified front to reclaim this country from corporate interests and the carnivorous capitalist system. It has the power to reach audiences of every creed and the prophets to deliver the message.
Jeff Chang is a prophet of history. Thanks for writing this book and teaching me about my past. Because if you love hip hop this history is a part of you.
Overall an excellent book.......2006-10-22
Previous reviewers have already brought out the strengths of the book, so I won't extensively repeat them. For me, it was important that he located the development of hip hop in socio-economic contexts of the last few decades. Some were disappointed that this book was not a mindlessly celebratory litany of great artists, but a critical history of great art made by real people with real conflicts. I think we need less cheerleaders and more thoughtfulness.
While everyone has topics that they would like to see addressed, I was surprised that the author overlooked a major controversy in hip hop: the shootings of Tupac and Biggie. I am not nitpicking here, this was more important than the KRS-ONE/MC Shan dispute, y'know? This caused a great deal of anguish within hip hop and reverberated outside of it. Besides refocuing the question of violence in hop hop, it re-raised questions about the relationships between art, race, communitty and commerce.
Perhaps in future editions, something could be added?
the best academic Hip-Hop Book you will find.......2006-09-20
Jeff has doen an amazing job chronicling the culture from a academic perspective with the right amount of authenticity. He is not some egghead in a tower. He has started his own label and grinded it out in Hip-Hop. But he still has the intellectual desire to examine Hip-Hop with the proper historical angle.
I have read a lot of books on Hip-Hop and this is best. Amateurs - start here. Vets - brush up on your knowledge here.
Book Description
That's the Joint brings together the best-known and most influential writings on rap and hip-hop from its beginnings to today. Spanning nearly 25 years of scholarship, criticism, and journalism, this unprecedented anthology showcases the evolution and continuing influence of one of the most creative and contested elements of global popular culture since its advent in the late 1970s. Think of it as "Hip-Hop 101."
Assembled with great care by Mark Anthony Neal, hailed as "one of the most brilliant cultural critics of his generation" (Chicago Sun Times)] and fellow hip-hop scholar Murray Forman, That's the Joint is the first to attempt to present the most important hip-hop scholarship in one comprehensive volume.
The articles presented here display a diverse array of concerns, illuminating hip-hop in its broadest conception as both a musical and cultural practice. You will find critiques of groundbreaking recordings like Grandmaster Flash and the Furious Five's "The Message"and Public Enemy's "It Takes a Nation of Millions to Hold Us Back," some of the earliest commentary on B-Boys break dancing and DJs sampling, and serious responses to key moments and controversies from the 2 Live Crew obscenity trial to gangsta rap to the movement of hip-hop into commercial and academic spheres.
Book Description
View the
Table of Contents. Read the
Prologue.
”Sharpley-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.”
—Stanley Crouch, New York Daily News
”Sharpley-Whiting gets at the heart of the paradox . . . and puts the discussion on the turntable.”
—Washington Post
”Sharpley-Whitting's uncommon perspective is one that deserves to be examined more often.”
—Bitch
”For B-girls who embrace both the brashness of Lil' Kim and the pro-feminism of Lauryn Hill,
Pimps Up, Ho's 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 `rich' (see Trina) to the `regular' (everyday women), giving a voice to today's complex and contradictory females within hip hop.”
—The Source Magazine
”Through provocatively titled chapters such as `Sex, Power, and Punanny' and `Strip Tails: Booty Clappin', P-poppin', Shake Dancing,' Sharpley-Whiting provides a sobering analysis of women's 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 America's strip clubs to the predatory groupies who relentlessly pursue rap stars.”
—Ms. Magazine
”Probing. . . . A canny study. . . . Sharpley-Whiting brings both street smarts and sophisticated cultural analysis to her subject.”
—Philadelphia Inquirer
”Clear 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.”
—Library Journal
”Sharpley-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.”
—Bust Magazine
Pimps Up, Ho's Down is an in-depth look at hip hop's 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, unreported sexual 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, Ho's 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-Whiting's uncommon perspective is one that deserves to be examined more often.”
—URB
“Offers 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?
“In
Pimps Up, Ho's Down, Sharpley-Whiting's razor-sharp analysis turns an illuminating spotlight on the dark, complicated intersection where feminism and hip hop meet.”
—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
“In this bold critique of popular culture's stereotypical representations of hip hop, Tracy Sharpley-Whiting never wavers from her end goal of empowering the hip hop generation.
Pimps Up, Ho's Down takes this discussion beyond the ivory tower and into the lives of everyday people.”
—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
“Tracy Sharpley-Whiting's groundbreaking book makes central the harsh sexist and racist realities that hip hop generation Black women face on a daily basis.”
—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.
Customer Reviews:
insightful, well-written take on misogyny in popular culture.......2007-05-08
Sharpley-Whiting's accessible prose style and unique insight make this a must for anyone interested in popular culture, hip hop and rap, women's issues, Black popular culture, and youth. In all my years researching the topics of rap music, hip hop culture, gender and violence, I have never encountered such a unique and much needed approach. While much has been said about the sexist and homophobic nature of rap lyrics, very little has been done to understand how our sexually repressive, yet permissive, society including rap music has negatively affected Black girls and women. Sharpley-Whiting tackles this issue from a variety of angles demonstrating how the misogyny and sexual obsession in rap music impacts girls' and women's sense of self, how sex and rendering women as sexual objects in rap music affects Black women erotic dancers, video dancers, and groupies, and related topics.
Dr. Sharpley-Whiting broke it down! .......2007-03-23
Dr. Sharpley-Whiting has contributed a necessary and extremely timely analysis to the surface-level discussions surrounding hip hop and its impact on young black women. The exploration of complex contradictions within hip hop music and culture is both scholarly and sincere. This book is a necessary read, as it departs from the easy criticism of lyrics to the difficult and largely un-had conversations regarding sexual abuse, constructions of beauty, and the relationship between hip hop and the flourishing sex tourism industry. I learned about the prophetic warnings and relevance of Franz Fanon, I laughed about the similar and stark realities I share with the writer, and I learned, once again, that I love and am hip hop--contradictions and all!
Book Description
Despite having created one of the most important musical cultures of the last fifty years, hip-hop composers who use digital sampling are rarely taken seriously as artists. But hip-hop deejays and producers have collectively developed an artistic system that features a complex aesthetic, a detailed array of social protocols, a rigorous set of ethical expectations and a rich historical consciousness.
Based on ten years of research among hip-hop producers, Making Beats is the first work of scholarship to explore the goals, methods and values of this surprisingly insular community. Focusing on a variety of subjects--from hip-hop artists' pedagogical methods to the Afro-diasporic roots of the sampling process to the social significance of "digging" for rare records--Joseph G. Schloss examines the way hip-hop artists have managed to create a form of expression that reflects their creative aspirations, moral beliefs, political values and cultural realities.
Customer Reviews:
It made me slightly smarter! n/m.......2005-12-22
.
Quality Material...................................2005-07-08
Quality Material............................
If I Have To Say What is Lacking I'd Have to Say Some Example Pics..But Not Much Else...
The Sampling Ethics are GREAT!!!!!!!!!!!!!!!!
The Diggin Info is GOOD ALSO!!!!!!!!!!!!!!!!!
The DJ History/Info is KOOL!!!!!!!!!!!!!!!!!
A Very Well Spent $20-----
Trust That!!!!!!!!!!!!!!!!!
Finally someone gets it right.......2004-12-01
I'm usually pretty skeptical of books written about hip-hop by authors with PhD's. Most of the time, they don't get it. They aren't hip hop heads, although they might own a few Cd's. Mike Dyson, Tricia Rose, et cetera.
I think this book gets it right.
But the title of this book is misleading. It's not a how-to book on making hip hop beats.
It's an ethnographic study on hip hop producers, most of which are underground/college radio hip hop makers.
So chances are most Amazon customers won't know the names of the producers, or even be able to recognize any of their songs.
But if you know names like Paul C, Diamond D, Showbiz, Pete Rock, Premier, Dilla, Marley Marl, Supreme, Soulman, Dj Muro - this book is really good.
There are a lot of insider issues that producers talk about between themselves, but never really get into the main hip hop discussion, and so it has no chance of getting into the mainstream.
Joe decided to look at producers and ask these questions. He interviewed folks like Dj Kool Akiem (of the Micranauts), Vitamin D, Domino of Hieroglyphics, and he asks questions like
- Why do you need to sample, why not just replay the sample?
- What's the big deal with reissues?
- Producers who didn't start out as Dj's
- Will you sample from a rap record?
If you're just a hip hop head, the quotes from producers are probably the most interesting part of the book. You really get to look into 1 school of thought on how to make beats.
If you're an academic, it's got plenty of footnotes, and lots of support for his ideas.
For me, I think the best part of the book was the literature review. He looks at a lot of the bigger books on the subject of hip hop and breaks them down as to why they don't make sense.
The only problem I really see with the book, is that it focuses on a certain type of producer. Sample based, means sampled from vinyl. You won't find a "keyboard" producer. You won't find producers that make g-rap type beats. (Mannie Fresh type of producer). It's very biased towards an underground, old east coast sound 89-93 era, aesthetic. Which is all the more interesting since he's based on the West Coast.
Book Description
It's not just rap music.
Hip-hop has transformed theater, dance, performance, poetry, literature, fashion, design, photography, painting, and film, to become one of the most far-reaching and transformative arts movements of the past two decades.
American Book Award-winning journalist Jeff Chang, author of the acclaimed Can't Stop Won't Stop: A History of the Hip-Hop Generation, assembles some of the most innovative and provocative voices in hip-hop to assess the most important cultural movement of our time. It's an incisive look at hip-hop arts in the voices of the pioneers, innovators, and mavericks.
With an introductory survey essay by Chang, the anthology includes:
Greg Tate, Mark Anthony Neal, Brian "B+" Cross, and Vijay Prashad examining hip-hop aesthetics in the wake of multiculturalism.
Joan Morgan and Mark Anthony Neal discussing gender relations in hip-hop.
Hip-hop novelists Danyel Smith and Adam Mansbach on "street lit" and "lit hop".
Actor, playwright, and performance artist Danny Hoch on how hip-hop defined the aesthetics of a generation.
Rock Steady Crew b-boy-turned-celebrated visual artist DOZE on the uses and limits of a "hip-hop" identity.
Award-winning writer Raquel Cepeda on West African cosmology and "the flash of the spirit" in hip-hop arts.
Pioneer dancer POPMASTER FABEL's history of hip-hop dance, and acclaimed choreographer Rennie Harris on hip-hop's transformation of global dance theatre.
Bill Adler's history of hip-hop photography, including photos by Glen E. Friedman, Janette Beckman, and Joe Conzo.
Poetry and prose from Watts Prophet Father Amde Hamilton and Def Poetry Jam veterans Staceyann Chin, Suheir Hammad, Marc Bamuthi Joseph and Kevin Coval.
Roundtable discussions and essays presenting hip-hop in theatre, graphic design, documentary film and video, photography, and the visual arts.
Customer Reviews:
The anthology includes interviews, first-person experience and analysis.......2007-03-05
Most books on hip hop fall into the music category: not so TOTAL CHAOS: THE ART AND AESTHETICS OF HIP-HOP, compiled and edited by Jeff Chang whose contributors informatively and thoughtful consider the evolution, presence, and impact of hip-hop as a cultural expression and social commentary. From its commercial world to its cultural and artistic roots, TOTAL CHAOS offers students of sociology an excellent survey that runs the gamut from gender issues to artistic conflicts within the hiphop environment. The anthology includes interviews, first-person experience and analysis yet is lively enough for the general-interest library, as well.
Average customer rating:
- Every school should have one
- U.S. Constitution hippocket book
- For Quick Review This Pocket Guide is very useful
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The United States Constitution: What It Says, What It Means: A Hip Pocket Guide
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ASIN: 0195304438 |
Book Description
Affordable, readable, and indispensable,The United States Constitution: What it Says, What it Means allows you to put the most important document in American history in your back pocket. In conjunction with Justice Learning and The Annenberg Foundation Trust at Sunnylands and with an
introduction written by Caroline Kennedy and an afterword written by David Eisenhower this pocket guide appeals to the broadest possible audience. Each Article and each Amendment is followed by a clear and concise explanation, in plain English, that is suitable for both middle and high school
students.
On December 8, 2004 President Bush officially signed Constitution Day into law. The law mandates that each year, on September 17th, schools and colleges that receive federal money are required to teach the Constitution. The new law was championed in Congress by Sen. Robert Byrd who famously
carries around a copy of the document in his pocket. Sen. Byrd became increasingly alarmed at the lack of civics education-specifically relating to the Constitution-in our public schools and he wanted to take action.
Lightweight, easy to use and easy for everyone to understand The United States Constitution: What it Says, What it Means is an excellent way for students and citizens of all ages to read and completely comprehend the building block of American democracy.
Justice Learning (www.justicelearning.org), is a comprehensive on-line resource that offers wide-ranging non-partisan materials relating to civics education.
Customer Reviews:
Every school should have one.......2007-03-23
Makes the Constitution easy to understand. Wish I would have had it in high school. The framers would be impressed.
U.S. Constitution hippocket book.......2007-01-22
The book arrived in good condition, and is indeed a hip-pocket sized book.
For Quick Review This Pocket Guide is very useful.......2006-02-17
I found this pcoket guide very useful and handy when traying to recall the segments of the US Constitution. It is handy to have during discussions when you need the correct wording of the articles.
Book Description
From the first time a record was played over the airwaves in 1906, to a modern club economy that totals $3 billion annually in New York City alone, the DJ has been at the center of popular music. Starting as little more than a talking jukebox, the DJ is now a premier entertainer, producer, businessman, and musician in his own right. Superstar DJs, from Junior Vasquez to Sasha and Digweed, command worship and adoration from millions, flying around the globe to earn tens of thousands of dollars for one night's work. Increasingly, they are replacing live musicians as the central figures of the music industry. In Last Night a DJ Saved My Life, music journalists Bill Brewster and Frank Broughton have written the first comprehensive history of the mysterious and charismatic figure behind the turntables -- part obsessive record collector, part mad scientist, part intuitive psychologist of the party groove. From England's rabid Northern Soul scene to the birth of disco in New York, from the sound systems of Jamaica to the scratch wars of early hip-hop in the Bronx, from Chicago house to Detroit techno to London rave, DJs are responsible for most of the significant changes in music over the past forty years. Drawing on in-depth interviews with DJs, critics, musicians, record executives, and the revelers at some of the century's most legendary parties, Last Night a DJ Saved My Life is nothing less than the life story of dance music.
Customer Reviews:
Great History, Writing Talent Lacking.......2007-08-18
The only thing that kept me reading this book was that it contained information I didn't know. I found that skimming helped reduce the groaning and eye-rolling caused by poor organization of the material. Much of it was just fine, but parts of the book are difficult to read because the authors couldn't devise a smooth transition from one chapter to another. Other than that minor complaint, this is a great book!
Thoroughly researched, well-written history of the dance/club DJ.......2007-07-17
Written by two former editors of Mixmag (the magazine bible of club culture and dance music), this 400-page book provides a deep, well-researched history of the club DJ. It follows the evolution of the live performance DJ from a human record changer, to a macro mixer of individual platters, to a micro mixer of record segments and sounds, to a full-fledged music producer. In doing so the authors document the impact that DJs had on the music itself, first in selecting what they played, later in demanding what they needed, and lastly in creating what they wanted.
Although the book opens with a short chapter on radio DJs (all of twenty-one pages), this story is about the club DJ's rise to musicianship. The book charts the live DJ's beginnings as a record spinner in large halls, follows the DJ-fueled Northern Soul scene in the UK, threads in the revolutionary work of Jamaican DJ sound systems, and returns to the US for a lengthy exposition on disco, hip-hop, house and beyond.
The disco chapters, though at times devolving into discussion that's more of the music than the DJs, are among the book's most interesting. They explore the movement's organic New York roots, contrasting them sharply to the genre's publicly refuted commercial apogee. One might argue with their contention that the "disco sucks" backlash was a homophobic reaction (particularly when they do such a good job of describing the commercial overexposure that led to disco's mainstream repudiation), but their descriptions of the era's seminal underground clubs and DJs bring context to disco that was completely lost in its mainstream incarnation.
Two chapters on hip hop show both its evolutionary and revolutionary forward steps, with the DJ becoming a producer and musician. Fresh interviews with the major players are skillfully woven into a compelling narrative of the genre's birth and growth. Club music's transitions between house, techno, garage and other variants are layered with reporting on the stage-setting cultural environments and geographic movements of key players. These latter chapters read more as anthropological catalogs than the you-are-there accounts of disco, so while they're informative, they're a bit dry.
A good deal of the text devolves into a history of the music, leaving the DJs temporarily on the sideline. But given the intimate intertwining of DJs and music, and the reciprocal impact they had on each other, this is probably unavoidable. Unless you're an avid dance music fan, some of the authors' points, hinged upon references to specific songs, will fail to resonate.
The authors make a compelling argument for the DJ at the center of the vortex that created disco and morphed it into house, techno, acid house and more. Unlike music that was a product of artists, record companies and radio, dance music is a product of dancers, clubs, DJs and producers, with the latter two categories merging more and more over time. The added element of geographical isolation is shown to have had a major impact on numerous scenes (northern UK, New York, Chicago, Detroit, Europe) and the development of their respective musics, and the commercial needs for starless music created a vacuum into which DJs could step.
Though this is very well written, though there are nits to pick. Their anti-academic disclaimer is unnecessarily reactionary, and not even particularly true given the amount of original research they conducted. Their text on drug influences ignores numerous earlier drug/music interactions, such as in jazz and rock. Their lack of detail on radio DJs is a reasonable choice, but one not explained by the book's title or subhead. Their geography is UK/US-centric, and limited in the US mostly to New York, Chicago and Detroit. Whether or not those three cities were host to the only innovations worth reporting upon is questionable.
Structurally the book follows a linear timelines through the disco era, but later chapters have timelines that overlap. For the unschooled, it's difficult to really see how innovations in different places were influencing each other. The book's appendices include priceless club charts that provide useful guidance in assembling a soundtrack but it's unclear where these charts came from.
Quibbles aside, this is a great read for anyone who wants to learn about the DJ's critical role in the development of dance music. For disco, in particular, the DJ booth point provides an excellent view into the scene's true history. Brewster and Broughton write lively, engaging copy and have based it on thorough original research. Highly recommended! [©2007 redtunictroll at hotmail dot com]
Written With Passion.......2007-05-16
Covering a subject as broad as this is difficult and most readers will take exception somewhere since the author deals with such a subjective subject. However, I enjoyed both the exhaustive research and obvious passion that went into this work. It's a must, not only for DJs, but for any fan of music made for the dancefloor.
Read The Real History Of Disco.......2006-10-25
This book is pure magic and brought back some happy memories.
Wannabe Club DJs please read this and understand how it all really started.
Mobile DJs? Give up and let iPod reign...
Must Read for DJ's, Dancers, Music Heads.......2006-04-05
It is pretty well know that this book is a must read for DJ's, Makers, and Fans of all forms of electronic and dance music.
Excelent histories of Dub, Hip Hop, Disco, House etc. While many of the adherents of these sub-cultures don't necessarily appreciate the others, the histories outlined in this book show how they are all inherently connected.
My only issue with this book is that the West Coast is totally ignored up until the turntablist revolution of the late 90's which the authors regard as mostly mastabatory as the writers' bias is toward DJs as providers of a dance environment.
No matter ...
There are vital histories here.
READ THIS BOOK!
Book Description
Hip-hop culture began in the early 1970s as the creative and activist expressions -- graffiti writing, dee-jaying, break dancing, and rap music -- of black and Latino youth in the depressed South Bronx, and the movement has since grown into a worldwide cultural phenomenon that permeates almost every aspect of society, from speech to dress. But although hip-hop has been assimilated and exploited in the mainstream, young black women who came of age during the hip-hop era are still fighting for equality.
In this provocative study, Gwendolyn D. Pough explores the complex relationship between black women, hip-hop, and feminism. Examining a wide range of genres, including rap music, novels, spoken word poetry, hip-hop cinema, and hip-hop soul music, she traces the rhetoric of black women "bringing wreck." Pough demonstrates how influential women rappers such as Queen Latifah, Missy Elliot, and Lil' Kim are building on the legacy of earlier generations of women -- from Sojourner Truth to sisters of the black power and civil rights movements -- to disrupt and break into the dominant patriarchal public sphere. She discusses the ways in which today's young black women struggle against the stereotypical language of the past ("castrating black mother," "mammy," "sapphire") and the present ("bitch," "ho," "chickenhead"), and shows how rap provides an avenue to tell their own life stories, to construct their identities, and to dismantle historical and contemporary negative representations of black womanhood. Pough also looks at the ongoing public dialogue between male and female rappers about love and relationships, explaining how the denigrating rhetoric used by men has been appropriated by black women rappers as a means to empowerment in their own lyrics. The author concludes with a discussion of the pedagogical implications of rap music as well as of third wave and black feminism.
This fresh and thought-provoking perspective on the complexities of hip-hop urges young black women to harness the energy, vitality, and activist roots of hip-hop culture and rap music to claim a public voice for themselves and to "bring wreck" on sexism and misogyny in mainstream society.
Customer Reviews:
Hip-Hop From A Woman's Point Of View.......2006-02-27
Gwendolyn Pough has done something that many would have never thought could be done she wrote a delicate yet interesting academic book on an era that many seem to think will faze out hip hop has been with us for three decades or more hip hop has continue to thrive even when things that had nothing to do with it where use it against it but Ms. Pough takes it even farther she takes it to a point where most will tell you don't exist she breaks it down and tell you how woman yes I said it woman not just any woman but black woman step in and made their selves known in hip hop even though other hip hop scholars deny that ever being.
Gwendolyn takes you back to the days when working the turntables was a way to perform, rapping was a way to be heard, graffiti was a way to be seen because the state didn't want to have a performing arts curriculum so the black youth found away to allow their culture to thrive without the help of those who were educated to teach them these things they didn't need anyone to tell them what was the correct note or the proper way to do a dance the generation of that time was determine to make something of their selves and to say that this culture as Ms. Pough considers Hip Hop continues to grow so does other aspects of it from Rap to the Urban gear we see not only is it baggy jeans anymore we now see our young black brothers sharply dress in a three piece suite courtesy of Sean "P Diddy" Combs, brothers are wearing GRILLZ in their mouth because of Nelly, and last but surely not least women artist aren't afraid to take the stage because they have seen Missy, McLyte, Mary J Blidge, Queen Latifah, TLC, Salt N Pepper those ladies before them do it and they are determine to do it their selves I mean if you look at it Missy Elliott she is doing big things from producing to running her very own company. You can't tell me that hip hop has not arrived and that the black woman didn't help it arrive I mean woman are playing important roles in hip hop movies I know you all saw Brown Sugar where Taye Diggs and Sanaa Lathan are representatives of hip hop she is a part of it just as much as he is but no man will ever tell you hip hop is represent like it is black and white / man and female but Gwendolyn Pough has no problem telling you the truth behind the culture we know as Hip Hop.
After reading the book I sat back for a moment and really thought of what Ms. Pough said and her book now for me it was easy to accept as a young black woman working in the hip hop industry as a radio personality I see it all the time some black female artist trying to go up against whatever fella that's on the corner rapping its nothing to see a sister battling it out to maintain her place in the game they will get raunchy with their words and say something that you wouldn't expect but they will do what it takes to stand with the fellas because they know what its like to be in the male world of hip hop. So I stand give Ms Pough a applause for her dedication and hard work to make today's world understand that woman have a place in every culture even hip hop.
Different Perspective..........2005-12-31
Unfortunately I must disagree with the other reviewers in that Pough's book is a history of women in hip hop. It is actually much more than that. Check It While I Wreck It is mainly a discussion of black women in the public sphere and questions how black women are portrayed not only in hip hop culture but in black culture. The author asks the reader to review some of the things we as women love so much about hip hop and ask how much these things have influenced today's young women. She gives her own reasons of why women have a hard time breaking into the hip hop culture and engages in the age-old question: can black women uplift themselves and embrace their own culture without the emmasculation of black men. With that said, if you are looking for a history of women in hip hop, this may not be your best source. However, if you looking for a study of black womanhood as a culture and its evolution, this would be a great choice.
First Ladies of Hip Hop... Please Stand Up!.......2005-06-30
"Wave ya hands in the air and shake`em like you just don't care." These are words often used to hype the crowd for hip-hop concerts around the country. I found myself singing the same tune as I read this remarkable tribute to African American culture, hip-hop and feminism. Pough does an exceptional job of researching the roots of black women in the hip-hop phenomena, which has swept the world and become embedded in its very foundation. The hip-hop culture is broken down and explained through the lens of black women detailing how it has changed and how women are viewed. She traces the rhetoric of women in all hip-hop genres: urban literature, rap & soul music, development of the spoken word, and black film. The essence of the title, Pough explains is how black women bring "wreck" which is a form of praise to describe the "skill and greatness" of the lyrics.
Do you know the great women of hip-hop? You should take the time to sit down with this account of rap legends - Roxanne Shante, Queen Latifah, MC Lyte, Yo Yo, Salt-N-Pepa and many more. You will learn about Sylvia Robinson, the owner of Sugar Hill Records, break-dancer Baby Love, and poet lyricist Jessica Care Moore and Sista Soulja. Pough uses the work and dedication of these women to help readers understand how women are portrayed in hip-hop. She reaches back to Sojourner Truth preaching black power and equal rights use then leaps forward to Queen Latifah performing socially conscious rap and Salt-N-Pepa exuding sexuality in their breakout lyrics. From the stereotypical roles of "mammy" to the present day images of "chickenhead", black women have used rap music to outline their life, reconfigure their identities, and breakdown the historical stereotypes and negative images that male rappers have constructed.
Pough has provided the world with a well-researched, provocative account of hip-hop culture and the women who have added to its success. Readers can relive the development of hip-hop and sing the songs, remember the films, dances and slang made popular starting from the early 1970's to the present. This is a must-have book for every hip-hop lover, feminist, or African American studies student/department. The issues discussed in this book will provide hours of discussion for anyone who reads it. Pough has brought "wreck" to the area of academia.
Reviewed by M. Bruner for Loose Leaves Book Review
Bringing Wreck.......2004-10-08
When hip hop made its debut onto the urban scene in the 1970s, most saw it as a fad that would eventually fade into oblivion. Some thirty years later this culture, essentially born from urban decay, with its eclectic mix of rap music, poetry, dance, dress and attitude, has become universal.
In her new book CHECK IT WHILE I WRECK IT, Gwendolyn Pough, assistant Professor of Women's Studies at the University of Minnesota, highlights some of the contributions of noted female rappers to hip hop and explores their impact on the evolution of the genre.
Dr. Pough explains the phenomena of "bringing wreck" a catch phrase often used in hip hop circles, as a form of praise, to describe "skill and greatness." The author uses this terminology to ascribe to the ways in which various female rappers; from the lyrically raunchy Foxy Brown and Lil Kim to the socially conscious Queen Latifah and Lauren Hill have brought "wreck" to the world of hip hop by causing "disruptions which somehow shifted the way black people were viewed in the society at large." The author further expounds on the theory that the hip hop culture has the power to "affect change and bring wreck in a meaningful way" and exhorts female rappers to recognize the tremendous possibilities of hip hop and use it as a force for good.
CHECK IT WHILE I WRECK IT is a thought-provoking, enlightening read which affords all readers a window into the world of an often misunderstood, yet extremely popular culture. At the core of this book is the author's call for female rappers to continue to "bring wreck" to the hip hop world, as they strive to carve their own niche in this essentially male dominated culture.
Reviewed by Autumn
of The RAWSISTAZ™ Reviewers
Erudite and Culturally Relevant.......2004-07-25
Throughout the history of Hip-Hop, its relationship with women (particularly Black women) and feminism has been strained. Though there have been a few success stories regarding women on the scene and behind the scenes of the Hip-Hop movement, women's place in it have been, for the most part, invisible, degrading, and kept to a minimum. In Gwendolyn's Pough's exciting new book, Check It While I Wreck It, the assistant professor of women's studies at the University of Minnesota examines the dysfunctional relationship between Black women, feminism, and Hip Hop.
The book commences with a history of Black women in the public sphere who have contributed to the betterment of African-Americans such as Angela Davis, the historical Black clubwomen, and women who were trailblazers in the blues music industry. Pough reveals how Black women laid the foundation for future successes for the entire race. Pough writes "Black women were major players through Reconstruction, the civil rights movement, and the Black Power movement." In fact, because of their exclusion, the author even suggests a re-writing of history.
Later the author gives us a more recent history of women's contributions to the arts and Hop, including Sylvia Robinson, the label owner of Sugar Hill Records, break dancer Baby Love, and female rapper Roxanne Shante. The book gives major props to Grammy-winner Queen Latifah, Sista Soulja, MC Lyte, and poet Jessica Care Moore.
Pough also critiques the products of popular culture such as movies like Boyz N The Hood and Just Another Girl on the IRT, books such as Sista Soulja's The Coldest Winter Ever and Omar Tyree's Flyy Girl, and of course rap records such as L.L. Cool J's I Need Love, and Latifah's U.N.I.T.Y.
The book is best when examining the problems that exist between women and Hip-Hop, from the objectification of women in music videos to the acts of hyper-sexual rappers such as Lil' Kim and Foxy Brown. Pough writes "Today, in addition to the old images of the sexually promiscuous Black women...we have the bitches, hos, stunts, hoochies, pigeons, chickenheads, and baby mamas put forth by Black men rappers. The need to struggle against stereotyped images is still present." Let's hope this book will keep the discussion that invokes change alive.
"Check It While I Wreck" is a thoroughly researched, erudite, and culturally relevant work that is virtually impossible to put down. Reminiscent of the writings of bell hooks, this scholarly work in feminist theory and Hip-Hop culture is destined to be an instant classic taught in college lecture halls across the country.
Book Description
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."
Customer Reviews:
Thorough.......2003-03-26
Hip Hop is founded on the valorization--rather than villification--of recontextualization, revision, and redaction. In a examplary work of musical and cultural studies scholarship, Rose traces the ways prior black musical/oral traditions, technological advances, and sexism undergird the discourse (just to mention a couple of the lens through which she takes on rap). The work highly accessible to hip hoppers non hip hoppers alike, furthermore. Finally, it is to Rose's benefit that she comes from an "insider's" vantage point, giving the text a genuine concern for where the music comes from, finds itself, and is indefatigably headed towards.
Essential! Rich!.......2000-07-25
Tricia Rose details the Hip-Hop Culture - and its beauty and depth - in this book I call "essential for Hip-Hoppers". For example: I'm writing 'bout Brazilian hip-hop and "Black Noise" cleared many doubts I had on hystoric, artistic, and politic aspects of the 'Culture of Streetz'. Another contribution that elevates this 'Bible of Hip-Hop' is the way Tricia Rose writes. The words flow natural, with many rich informations reduced in a very agradable text. If you don't like this book, you'll never understand the 'Black Noise' of this new millenium! Peace!
powerful topic: execution?.......2000-04-03
I read this book as a compulsory action for the 'Poetry of Rap' course in which I am currently enrolled at a major university. As a narrative and dialectic of black culture, or rather a single faction of black culture, this book is powerful and informative, providing analysis of many, many social thinkers of the Black Arts and later movements as well as Rose's perspective(s) on the developments of the culture. However, the execution of this text, ostensibly an academic account, is weakened by a diffuse structure, imprecise diction (beyond that necessitated by dealing with a topic heretofore untreated in academic circles with any rigor) and atrocious editing. I highly recommend the text, but by the same token recommend it with a disclaimer: hear why she says, and not what she says.
Very interesting (but "brilliant"???).......1999-06-03
This is an impressive interpretation of Black musical culture, with loads of interesting information and pertinent feminist content. I've read several books with somewhat similar subject matter, from Dick Hebdige's broad and helpful survey to the rather pretentious book by Russell Potter; but none of them captured my interest as much as this one.
"more brilliant than the sun".......1999-02-08
brilliant, exhausting and informative... provides a feminist point of view from the inside for all important aspects... read it and love it...
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