5 comments about Check the Technique: Liner Notes for Hip-Hop Junkies.

1. If you really love hip hop you'll buy this book... You already own all of the records covered, right? Right.



2. This book is essential for any fan of hip hop. It goes through classic albums track by track, and the forwards at the beginning of each chapter, describing where the artist, the music, and america was at the time of the albums creation, are very interesting themselves. The writing is competent, which is all we need since it is mostly interview style writing and the words are coming directly from the artist (and in some cases, industry execs) involved. Of course the choice of albums could have been different, some were unecessary (the Marley Marl record which only made it because of the track "The Symphony") and some just werent classic (Poor Righteous Teachers? huh?) but most are undeniable classics and have so much lore and mystery surrounding them it is nothing less than a blessing that Brain Coleman uncovered the story behind these records. Of course there are crucial records he left out, but i assume that he's saving those for the sequel.



3. This was a Christmas gift for my fiance! He absloutely loved it and was very surprised!!! :-)



4. Huge, ludicrously detailed accounts of the creation of pretty much all the most important albums in my life circa seventh grade. Warning: read near your stereo so you can put these back on as you read about them. You'll want to.



5. For all of us who grew up in the Golden Age of rap, the 80's and early 90's, Check The Technique is a must read. When these ground breaking albums broke, I was starved for information on how these artists began and found their inspiration. This book enlightens the reader to the rap scene of the time period, and truly provides an insight into what drove these artists to produce the best rap ever, and consequently inspire other artists around them. Though not all of the major artists and infuences from the time period are covered, the albums that are are the foundations of rap that many of today's artists would be well served in reading this book and getting back to the roots of the most important genre of music in the past 50 years.

5 comments about Gotta Get Signed: How To Become A Hip-Hop Producer.

1. I think it was worth my money i got it along with a manual I purchased from Musicbrains.net on producing and selling beats.



2. I read this book and realized I was going about my career the wrong way. In order to be successful in a cut throat business such as this it is easier to learn things on your own and push your way into the door in stead of waiting and ringing the bell. This book also gave me great ideas on how to set up my studio without completely draining my pockets but still manage to make high quality mixes. I also saw the author at a seminar earlier this year, he keeps it real while still being informative unlike many others in this industry who can't tell you how to plug in a light let alone qualified enough to speak on a panel. If I could only read one this for the rest of my life it would be this because by the time I'd finished reading it over and over I'd be paid from all the tips given inside.



3. This book answer all question I had about beginning in the industry on how to become a producer.



4. i bought this for my boyfriend because he's going to Production school. He loves reading it becuase the arthur is down to earth and breaks everything down as far as what goes on in the production world & his past experiences.



5. I found this an excellent book written by a pro. First I like the cover design, the clarity of the text print, and the neat content organization. Next, the book provide you with a lot of useful information, practical advices on all the aspect relevant to a producer: talents, attitude, beats making toolz, record deals, finance, managing artists, gettin' paid, how to deal with R&A .. etc, and the book also have a very good resources section which the author gives us the list of songs for a samples library, address of record label and company.
   
   Overall, Gotta Get Signed is worth the money for me, because it helps me understand much more bout the producerz job.

4 comments about Pimps Up, Ho's Down: Hip Hop's Hold on Young Black Women.

1. 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!



2. 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.



3. PIMPS UP, HO'S DOWN: HIP HOP'S HOLD ON YOUNG BLACK WOMEN offers damning evidence about hip hop's underlying racial and social prejudices, examining the politics of gender and providing a feminist's perspective and insights into black music's underlying message. One would expect - and receive - a focus on lyrics - but also scrutinized is how black women are displayed in music videos, film, TV and on the internet, making for an important analysis well suited to any college collection with strong music or social issues sections.



4. This work of T. Denean Sharpley-Whiting is an interesting dialogue on the effects of hip-hop culture on the lives of young black women. The book is a well-researched back-story on visual stimulation and power women's bodies have in hip-hop culture. The book focuses on the bodies of women as they are portrayed in videos, films, Internet, and strip clubs. It offers new thoughts to women's sexuality, pleasure, beauty, and labor outside a conservative space. The contribution of hip hop is important as it reveals motivations towards body, sex, and the realms of abuse and control. There are great facts and great resources to anyone interested in contributing to the conversation of the future of hip-hop and women.
   
   Where I begin to struggle with this book is when it focuses solely on the images of women and offering no solutions or suggestions on what can be done to help motivate change. It left me with questions of what can we do to help change future generations perception of the body, feminism/womanism, and hip-hop. I had a hard time believing that nothing could be done and that the future of hip hop would still be dominated by images of women rather than other entities such as voice, activism, or political motivation. I was hoping that there would be some motivation towards change rather than just facts.

5 comments about Check It While I Wreck It: Black Womanhood, Hip-Hop Culture, and the Public Sphere.

1. 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.



2. 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



3. "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



4. 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.



5. 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.

2 comments about Stand and Deliver: Political Activism, Leadership, and Hip Hop Culture.

1. This is an excellent and timely book! Ms. Bynoe provides new and important insights about how we should critique and engage political leaders and activists. She is truly an independent thinker who is more interested in people improving their communities than in them propping up ineffectual Black leaders, young or old----based on out-dated rules about party or race unity. Her thoughts about Hip Hop activism are on the money. It is time that the Hip Hop generation move beyond the rhetoric of political activism to actually implementing the tried and true, long-term organizing and mobilizing strategies that actually helped us to make progress years ago. Registration drives without plans to get folks to the polls are not effective! People who talk about problems but who have no solid plans to solve them are irrelevant! Read "Stand and Deliver," Yvonne Bynoe is definitely a new and important voice that we should pay heed to.



2. It is probably obvious to any thinking Black American that the movement toward an equitable society is lacking in leadership today. The old school civil rights leaders are not connecting with the Hip Hop generation and the Hip Hop generation does not relate to where the civil rights leaders from the sixties and seventies are coming from. Yvonne Bynoe explores the reasons for this disconnect in the Black community. Her book, STAND AND DELIVER, is rich with the history of the civil rights era and also delves deeply into the psyche of the Hip Hop generation. She is equitable in placing responsibility for shortcomings from both generations where they belong and gives credit where it should be given. Bynoe thoughtfully explores the history and the reasoning behind each generation and gives reasonable explanations about why people do the things they do.
   
   What makes her book an outstanding read is that she doesn't just ask the questions; she also provides reasonable solutions and outlines exactly how activism can once more be a part of the Black community. She gives concrete suggestions for the questions the Hip Hop generation must ask, such as how do we make America an equitable society. She even gives information on how to disagree without destroying a movement. In addition, she reminds those from other generations that they must come to the Hip Hop generation as equals, not with a snobbish attitude that suggests that they know without a shadow of a doubt, how to solve the problem of inequality in America. Bynoe also reminds us that in the new century, we can no longer exclude people from the movement because of race, class, or economic condition but we must find a common ground to insure that all Americans have an equal chance to be the best that they can. I frequently found myself nodding in agreement as I read her words. She is a voice to be reckoned with.
   
   Reviewed by alice Holman
   of The RAWSISTAZ Reviewers

5 comments about Legend of a Rock Star: A Memoir: The Last Testament of Dee Dee Ramone.

1. I read this book in one day! To me, this book was like a long version of one of his best songs, but with such a sad ending. Through this book, and in his own words, I got the impression that DeeDee knew that his time on this earth was short.
   
   Rest in Peace DeeDee Ramone.



2. This is not an autobiography!!! or even Biography.. Its a diary of one of his tours plus a little on Joeys death.. Its amusing as Dee Dee always is.
   It Also contains a great discography of Ramones and Solo Dee Dee. Any Dee Dee fan will get a laugh out of this.. Enjoyable and worth a read.



3. Everyone who loved Dee Dee would want to read this.



4. personally, i was 13 when my slick friend got me into the ramones and i never think of them as 'punk', punk is the sex pistols and mohawks, they were just hard rock, further i don't think dee dee was a 'rock star', though he with joey/johnny were super influential to those who were into it, his book, then, is for those who are up for a short quick read about mostly the last year or the last europe tour, which is not all that poetic, though interesting to hear what a band of his level does when they tour there, i don't think it was particularly revealing of the person, i imagine he is, though it has moments, it was worth finishing especially as it IS short.



5. It was really great book, almost I felt like I have a conversation with him.
   Go on tour with him, and talk about fame with him.
   
   I would keep reading this book.You might be do the same.

5 comments about Tupac Shakur.

1. I my self am not a very big fan of rap music however i was intrigued to read this book after looking into some of the lyrics of 2pacs singles they seemed very in depth. After reading the lyrics i felt that his words had a lot of depth and soul attached to them which intrigued me to find out more about the rap star.

   I myself have a genuine interest in politics, philisophy and poetry similarly to 2pac and i felt that i could relate to some of the lyrics he wrote. This book on tupac gives a deeper insight to the rap artist not only his music and talent but to his life it shed light on many differant topics from differant aspects and i found it very inspirational. What i particularly liked about this book was the way it presented both sides of the story (with the rape case) and i felt this ruled out any bias.

   I would recommend this book to anyone who has a love for reading regardless of whether they have a genuine interest in rap this book not only looks at his career but looks at his inspiration, ambition, life and above all recognised him as more than a rap artist but as a human being and who he actually was!!!




2. 2pac is a legacy of our generation..he is and will always be the best, not only was he an awesome rapper, but he was also a good actor and poet. This book is very well done and covers so much. When he was shot the first time 5 times..and leading up to his unjustly death..i recommend this book to anyone if they want to learn about 2pac, he wasnt a bad man or a gangsta like most assume, he was just at the wrong place at the wrong time..or he just got involved with the wrong ppl...and like he said live by the gun..die by the gun..and that is exactly what happened to this man...may he rest in peace



3. As a massive fan of the late great Tupac Shakur, there are few publishings that capture as much information and insight into his life and career as this amazing book from the good people at Vibe Magazine. Consisting of every Vibe article and interview written on Shakur between 1994-97, this gives even the most casual of Pac's fans more information than they could ever dream of. With features on his early career, his signing to Death Row, and his infamous interview with Kevin Powell from inside Clinton Correctional Facility where he denounced "Thug Life", it's all here. This book also contains some of the most informative material on the feud between Death Row Records and Bad Boy. You'll get everyone's side of the story on the Can-Am Studio shooting. You'll hear what both Suge and Puffy had to say about the East vs. West saga. You will also get to hear Pac at his rawest and most candid. If you are even the least bit interested in the amazing story of Tupac Shakur, you should pick up this book.



4. When I discovered that my 3rd graders knew who Tupac was, even though he died the year they were born, I felt that I needed to know more about Tupac. This book is published by Vibe, the official scribes of hip hop. It is a collection on interviews and articles that appeared in Vibe and they document the rise and fall of Tupac.
   Tupac had "Thug Life" tatooed on his stomach and he lived the life of a misogynist thug. He was disrespectful to everyone around him. Perhaps, as Quincy Jones suggests in the forward, Tupac could've changed into a positive force had he lived past 25. However, this book, and his own words, show him to be a negative influence on everyone he had contact with. It is very sad that he died at such a young age. It is even sadder that so many youngesters know who he was but cannot tell you about the lives of people who have accomplished great things with their lives. I have my work cut out for me next school year.
   Mark Gast



5. This piece of work created by the editors of Vibe Magazine could easily be appropriately titled "Essence of Tupac." In this collection of previous interviews and vivrant photos you truely get the feeling that you are holding a conversation with The ledgendary Tupac Shakur. This is a must have for all Tupac fans and for anyone wishing to know more about Pac's Life. Good job by the folks at Vibe Magazine.

5 comments about E.A.R.L.: The Autobiography of DMX.

1. Never could have imagined what a rough life DMX had. He has truly defied all odds!



2. I just grabbed this book out of curiosity. I knew of DMX and his music but no fan. Wow, was I impressed. To be completely honest, I figured it wouldn't be so good because frankly, how good of a story can a ghetto playa bring to the table?
   Well, a very good one in fact. My favorite part of it was that he didn't restrain himself from sounding intimate. He would describe how he was living with nothing and then he had bought a little bouncy ball and that was the shiznit! lol I love that. He appreciated the small things. He still had a heart and needed love no matter how roughed up he was. I got mad respect for him and I feel his story was genuine. DMX did not try to make the projects seem cool or anything. I had a picture the entire time reading it. Dark, gloomy, dirty streets and bad vibes. I recommend this book. Seriously, just read it with an open mind. WOW.



3. There aren't many people who possess the energy and resilience that DMX has. He connects with his audience in ways beyond belief. I met him at a recent performance, was on stage with him the whole time, and was literally blown away. He is one of the greatest performers in the industry today and should be recognized as such. I appreciate his honesty in his book and in his life. What a great man!!



4. I picked this book up in a used book store. Although I am not a huge fan of his music I picked the book thinking it may be interesting. I was actually surprised to find out how good this book was to read. DMX discloses so much of his personal life in this book. He is very candid and does an excellent job telling his life story from his passion for pitbulls to his problems with drugs.



5. This book offers nothing positive at all. DMX lived a negative life and he speaks negative rap. He robbed people (mostly women) as a youngster. He robbed other kids by using his dog. He stole cars. He stole for the thrill and because he wanted nice things without working for them. And he didn't care who he stole from. He stole a chain from his friend (TQ). He would offer his home made tapes for sell to people, take their money and not give them anything. He promotes violence. He spent most of his life victimizing people in and out of jail. At one point in the later chapters and in one of his raps, he implies raping men in jail. He summarizes quickly what his jail time was like, he avoids going into alot of detail about those years. He's showing you the slice of his life that he wants to show.
   
   He spends too much time on the earliest years of his life which are uninteresting. He doesn't really cover the parts of his life that most people are interested in. He doesn't talk much about the actual business of music. He doesn't talk about how his life changed with the music business success. He doesn't talk about how he grew as a person or what he learned from his incarcerations. Did he spend his time in jail doing anything positive? Or was his jail time just fighting people and rapping about it?
   
   I do appreciate his talent, but not his messages. There were alot of DMX songs that I used to listen to. After reading this book, I see him more vividly now. I see him as a horrible person who I would want nothing to do with. He isn't a person that should be celebrated, he should be ashamed for the life he has led.
   
   You shouldn't buy this book. You shouldn't even borrow it. It's a waste of time to read, there are much better, more positive things that you could be doing with your life.

5 comments about Holler If You Hear Me (2006).

1. and so it may be unfair for me to give an opinion but sense i am a book worm, the kind that prides myself on reading a book in one day, I feel that I am experienced enough to pick up a certain sense of the author by the first chapter.
   Now, in saying that, so far, from what I've read, I feel the authoer (Mr. Dyson) is trying to appeal to people outside of hip hop because it is as if he's saying that Tupac was more than a thug, or there was something very dynamic about his thug formula at the same time tragic (to say the least).
   There's no doubt in my man that Tupac (r.i.p.) was an intelligent person to some level because of how he articulated his words and I knew he had some grass root flavor because the brother was straight up real in what he was saying (interviews, appearences) outside of his music. But I feel that Mr. Dyson is trying to tell the world (white world?) that Tupac was a very soulful and artistic person who was gotten trapped inside of his art that lead to a very tragic ending; that he (tupac had more to offer the world) before his early death.
   I feel that who ever Mr. Dyson was trying to reach with his semi-autobiography of the slain star is very least insulting towards the average person's intelligence because history dictates that once a person is stuck with interest by a person, place or thing, that person will go out on their own to find out more information about the object of their attention (be it elderly white rock n' roll types, blues people, whoever) and in saying that, perhaps, this type of mindset is who Mr. Dyson was aiming at.
   Another thing that bothers me about hip hop journalism in general is that in general, I don't know who were the true ideal reader that these books are meant for: are they for the true hip hopper or is it the true hippor and a more broader reading base (with high literary skills?) because whenever I read this types of books (3 so far) I need a thesaurus next to me. And I figure hip hop isn't about using big words, and so if one wants to write about the art form, they have to also think like the fan and not like themselves to make a core impact. Not that I'm saying this book hasn't made a good impact (look at the other reviews) but when one makes a comparison (and you should), I like Chuck D's book, "Fight the Power" because it's simple, down to earth, and honest. Infact, I was surprised how Chuck D honest approach throughout the whole book because he was humble and not egotistical or biased.
   Anyway, read the book, like I'm continuing to do so and judge for yourself.



2. Tupac Amaru Shakur may not have been Hip Hop's "best" rapper of all time, but he is hands down, without question, the greatest and most compelling Hip Hop FIGURE, of all time. what amazes me so much about Tupac is how he seems to represent so many different things to so many different people.Some people see Tupac as nothing more then a foul mouthed Thug who got what he deserved when he was killed. Other people see him as a Hip Hop Martyr/revolutionary who was on the verge of becoming a great leader, when he was killed. Then their are those who who don't think of Tupac as anything more then a dead rapper. While others see 2pac as not only the voice for his genre, but rather the voice for his generation.To me, the truth is, Tupac was/is probably a combination of all those things to some degree. He is and probably will always remain the only true ICON in rap.Like I said earlier, he wasn't the best rapper, he wasn't the best lyricist, he didn't have the best metaphors, he wasn't the best battle rapper, but it was just somthing about him, something about his charisma, someting about his passion, something about his emotion, something about his words, something about his voice, that just somehow seemed to separate him from everyone else.If their was one M.C. who deserved a book written about them and their life, Pac was clearly that person.
   
   I gave this book 4 stars, but it really deserves about a 3.5 star rating. The book is supposed to be about Tupac, but Tupac only seems to be a vehicle for Michael Dyson to discuss Young Black Males as a whole. That's all fine and dandy, but I didn't buy this book for that.I bought this book to get insight on Tuapc, and in terms of that, this book dissapointed to a certain degree.But what really grabed me in this book was when they were talking about his experiance in prison. They talked about how he may or may not have been raped. To me, that was nothing more then what it was, a rumer. A lot of people don't know this, and something they should have added in the book, right before he went to prison and after he was shot 5 times, he was suicidal.In fact, at his house one day, his family caught him sitting in a living room with F**k the world written across his forehead and a 45 pistal he was pointing at his head. Now imagine, on top of everything else, how he would have reacted, if the most degrading, humiliating thing that could possibly happen to a man(or women for that matter), happened to him, on top of everything else.Ive digressed.
   
   The bottom line is, this would have been a very enjoyible book, sans all of the big words as well as all the interviews with people who not only didn't know Tupac but in all likelihood, never even so much as seen or came in contact with the brother before(Stanly crouch,Kephra Burns,Mos def Talib Kweli, Bishop T.D. Jakes, Ray Jay, Sonia Sanchez,ect.).In fact, I really don't even know what buisiness they had even being put in this book(W/ all do respect to all of them).The book Title is called; "Searching For Tupac Shakur" not, "What people who never even knew Tupac Shakur think about him". If you want a real book on Tupac Shakur, and only Tupac Shakur, Then you should pick up Darrin Bastfields book on Tupac.This, buy no means,is a bad book however.



3. I must give props to Micheal Eric Dyson. He did a good job on this autobiography of this rebel of the underground. Michael Eric Dyson writes pretty good detailed accounts on Tupac's life without the being bias or partial(something a lot of these trash ragazines couldnt do to save their puny lives!). This son of a Black Panther was a lot deeper than these egocentric clowns you compare him to in the rap game. Tupac was giving you gems since his first magnum opus 2pacalypse Now. A lot of the rappers you compare him to still talk abou absolutely nothing. Its sad that there are still some childish jackals out there trying to desecrate the memory of this conscious poet. Even though he was a flawed character(like everybody else!) he was still giving you treasures like Part Time Mutha, Trapped, Violent, Keep Your Head Up, Point Tha Finga, Dear Mother etc and Micheal Eric Dyson notes this. I strongly recommend Holla If You Hear Me. REST IN PEACE TUPAC AMARU SHAKUR AND PEACE TO MICHAEL ERIC DYSON



4. Micheal Dyson's book "Holler If You Hear Me: Searching for Tupac Shakur" was a pleasant and refreshing surprise. I purchased the book thinking it would be another biography of my favorite artist and I got so much more. It spoke to me intellectually as well as making me culturally aware of the issues and concerns of the black community yesterday, today, and tommorrow. I felt like this is the best book about Tupac out there today, not because it follows every step of his life, but because I got to take a look at him as a protagonist and an antagonist in urban socieity. I found out what books he read, what people thought of him outside of his culture, the influence he had on society outside of rap, and most importantly I figured out about his thought process and honesty. Michael even gives us an interesting perspective of Tupac as a child of a Black Panther, the last of the Shakurs'. This book is for anyone who is a real fan of Tupac and wants to see him from every angle possible.



5. This book was amazing. I am from rural Nebraska, and was only 10 when Tupac was killed, so I knew almost nothing about him. I have since purchased EVERY Tupac CD and would recommend this book to you. Michael Eric Dyson is a very intelligent man that shows you the duality that is required of black men in our society.

5 comments about Making Beats: The Art of Sample-Based Hip-Hop (Music Culture).

1. 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.



2. 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!!!!!!!!!!!!!!!!!



3. .



4. As a producer and music fan, I was inspired by this book. It's an academic study, but unlike other such works, it's also a page-turner. The author does a great job of mixing data with anecdotal evidence that comes from his field work, and the result reads like a well-organized historical narrative.
   
   Perhaps my favorite aspect of this book was that it denies all the nonsense that other writers have asserted about hip-hop's use of sampling as only an ironic way of referencing the past. This book instead puts forth the idea, which I agree with as a music producer, that sounds are chosen because they simply sound pleasing when combined with one another. In this respect, sampled-based hip-hop is really no different from many types of electronic music: Compositions are built up by putting sounds into the mix that work well with what is already there, and this process continues until you have some kind of groove or atmosphere established. All this patronizing stuff about hip-hop producers all being street philosophers from the school of hard knocks needs to stop. The truth is that they are composers like the rest of us, and they dig stuff that sounds good in their tracks. Thus, I highly recommend this book to anyone wanting to read about the nature of sample-based hip-hop as a musical genre rather than as purely a method of recontextualizing the past to pay some mystical homage to those who came before. A refreshing, realistic book that gives proper respect and validity to a genre that is too often misunderstood and marginalized.



5. Interesting exploration of underground hip-hop production. A limited diversity of interviewees hampers its usefulness - I was incredibly disturbed when one interviewee said, unchallenged, that the use of live instruments was "not real hip-hop." Otherwise, an interesting, albeit short-sighted journey.