5 comments about Yes Yes Y'All: The Experience Music Project Oral History of Hip-Hop's First Decade.

1. This beautiful book attempts to trace the formation of hip-hop culture through interviews with those who were around for the first ten years. Fricke (a curator at the Experience Music Project museum) and Ahearn (photographer and director of the seminal hop-hop film Wild Style), attempt to document the New York City scene from about 1974-84 (right up to the formation of DefJam and Run-DMC) through photos, original party flyers, and the words of the DJs, MCs, b-boys (breakdancers), graffiti artists, and promoters who were there.

   The early portion shows how DJ sound-system battles emerged in the early to mid '70s against the backdrop of a decaying Bronx, attracting youths to more or less impromptu parties in parks, streets, and playgrounds. Competition was fierce as to who had the loudest sound system and the best records, and tough security (gang members) was a necessity. One thing that gets disappointingly glossed over is how this copied what happened in Kingston, Jamaica ten years earlier. It was exactly the same: competing street sound systems, with competing DJs who would take the labels off records so spies couldn't find out what they were playing, gangs, violence-all the same. DJ Kool Herc, who lived in Jamaica until 1967, makes a fleeting reference to it, but that's all.

   For the first few years, the DJs were the "stars" of the scene, offering an alternative to disco music. But as DJs started to learn how to manipulate their turntables to extend the "beats" from a song, eventually MCing started to become more vibrant. What had initially only been calls to the crowd to keep the party's energy up evolved into more and more sophisticated catchphrases, freestyle rhymes, and soon MCs were writing and memorizing lines. Again, it's a bit puzzling that no mention is made of Jamaican"toasting" which emerged in the mid to late '60s. This was the practice of DJs who would talk and rhyme over the records they played, and soon progressed to a point where they would have instrumental versions of popular songs laid down for them to rhyme over-often in a boasting style, talking about how they were the "#1", "champion", and so on. Sounds familiar, doesn't it?

   The other two legs of hip-hop culture are given somewhat less space. The material on breakdancing (aka "b-boying" to the true old-schoolers) seems to indicate that the "b-boy " crews filled a kind of competitive void left by the waning of street gang culture. And while there was some of this dancing at the parties, music was the focus, rather than the dancing-which didn't get big until the early '80s. Graffiti, on the other hand, was clearly a prominent feature of the NYC landscape from the early '70s on. But, what's most interesting here is that while the graffiti artists often went to parties and knew some of the music people, the idea that graffiti was part of a larger hip-cop culture didn't emerge until late in the game. It wasn't until the downtown Manhattan art scene started getting interested that the music, breakin', and graffiti were packaged-by the white art scene-a unified "street" culture.

   The book is lavishly put together, with tons to look at-however, the oral history structure isn't the greatest. From a historical perspective, it's great to hear all these unknown voices from the past telling about their roles, but at times it does get tedious. Especially when it comes to details on how so and so met so and so and that led the the formation of this or that. Even more so late in the book, when record companies get in the mix, and then all kinds of resentments come pouring out. There could have been a little more editing, as well as a little more context to fill in some of the gaps. For example, there are a lot of references to gangs being involved in the early scene, and shootings, and violence, but there's never any unified discussion of it. The same for the role of drugs in the scene, at one point someone (I think Spoonie Gee) talks about how everyone was totally coked up all the time, and that's something that could have been explored a little more. In any event, it's still a great book for anyone with an interest in the days of hip-hop, giving proper space and voice to all the unknowns who deserve to be known.




2. I got the coolest book this passed Christmas, entitled �Yes! Yes! Yall! The Experience Music Project Oral History of Hip-Hop�s First Decade � by Jim Fricke. This book focuses on Hip-Hop, and Black culture in America through oral history. Black urban culture gave birth to hip-hop and is the source of influence for today�s American culture. �Yes! Yes! Yall!� is a true period piece focusing on the growth of a new artistic movement. The book is very clear and is written as if you�re really listening to someone talk about Hip-Hop�s old school beginnings. This was a relaxing book to read, and very simplistic in form. As I was reading I felt as if I was sitting in a recreation center or classroom listening to the forefathers, and mothers of this great Black music culture.
   The book starts by panting a picture of New York�s inner city in the early 1970�s to the mid 80�s. Each chapter focuses on all four elements of Hip-Hop, such as: d.j-ing, brake dancing, emceeing/rhyming or raping, and graffiti art. Looking at some of the old photos of B-boys and girls break dancing, the airbrushed clothing, party flyers, and old record jackets was very nostalgic.
   The book highlights the fact that the whole subculture came out of unequal systematic conditions in the late 1970�s into the 80�s. This is a real honest approach to the history of the newest, and highly co-modified cultures. It�s filled with first hand accounts, stories of back stage antics, tours, emcee battles, dance battles, club fights, and groupies.
   In chapter two titled, �The Forefathers�, many people interviewed gave his or her respects to the godfather of Hip-Hop (d.j Kool Herc). They would talk about how d.j Kool Herc would play all the best brake beats at that time. D.j Kool Herc was Jamaica borne and his homeland would be the source that inspired his d.jing style.
   Kool Herc was the one who coined the term B-boy/B-girl, because boys and girls that would dance to brakes of different songs. The brake was the favorite part of the song, it was known as the get down part of the record. The other reason for calling the party people B-boys and girls was because they were all from Brooklyn also known as the �Boogie Down Bronx�.
   Kool Hrec changed and revolutionized the whole music form, once he started toasting, what we call rapping or rhyming today. Toasting started in the Jamaican dance halls, or yard parties. The Selecta or D.j would chant out two or three bare rhymes to get the crowd hyped. Herc added the style toasting from his homeland, and the New York street style of d.jing, to cerate his own style. Thus giving birth to a new sound and genre of music.
   �Yes! Yes! Yall!� lastly focuses on the gangs, graffiti, emceeing, and brake dancing and how they intertwine within hip-hop and black culture. I highly recommend this book to anyone interested in finding more information on the history of Hip-Hop and how it stems from Black culture.



3. Anyone into Hip Hop must own this book. It's a seminal work. Like Toop's The Rap Attack or Nelson George's Hip Hop America...it must be owned. The most detailed Old School study ever and great visuals.



4. I am the original King LaBrue out of the camp of Kool Herc and the Herculoids. Before there was Sugar Hill and 50 Cent, there was King LaBrue--to this day still represents true hip-hop. I plan to write my own account of the true pioneers that should be respected for dedication and commitment for all these years.



5. As many other people, I consider myself a fan of true hip-hop but as they say, you must know where it came from before you can see where it is headed. This book perfectly recollected the beginning of hip-hop, breakdancing and DJ'ing that many of us have grown to know and love. It also has tons of pictures that also capture the essence of Hip Hop in its infancy! Definitely a collector's item!

5 comments about Hip Hop Files: Photographs 1979-1984.

1. i got this book not long ago,i have alot of graff and hip hop books and this is one of the best.it never drags on for to long on one subject.it has basically put like ten graff and hip hop books into one then they took out the bull###t and left us with one dope book.highly recomemened..



2. I lived in NYC in the 70's and 80's and witnessed the rise of subway graffiti and the beginnings of break dancing. This book brings it all back -- in a GOOD way. Reading it, you can understand why poor urban kids went to such lengths to make a mark for themselves. No one cared at first but Martha Cooper, who earned their respect and documented their achievements with her fine photographs. This book is a monument to those unsung teenage artists and the photographer who recognized and publicized their talents.



3. I loved this book! The photographs are powerful, and you can't find anything even close to their documentary quality anywhere else. The text is also interesting and includes quotes from a variety of people--the author, the hip hop performers themselves, and other scholars.



4. Being from this era,this book brings back a ton of great memories.The photos in this book are amazing,so crisp and vibrant.It doesn't seem like it was 2o+ years ago.This book will explain to you what is REAL HIP HOP(MCing,Breaking,Graffit},NOT the garbage they consider Hip Hop today.Looking at these photos it's hard to believe how young we were.Seeing old friends and classmates put a big smile on my face knowing that WE were there when it all started!GREAT book Marty!!!!!!



5. Anyone who is interested not just in the idea that such an underground culture could exist, but also the history and progression of it should check this out. Much of the text is done through quotes which gives a really great idea of the mannerisms of the people who lived during that era, though it's sometimes hard to get a complete grasp of the ideas that they are presenting.
   It truthfully surveys the elements of the Hip Hop culture and gives a nice history to each. A good introduction for anyone who does not know too much but it's also great for anyone interested in learning more.

5 comments about Have Gun Will Travel.

1. What should have been a fascinating book, at the very least as a voyeuristic experience, fails to deliver largely due to its poorly written pages. The text stumbles along from incomprehensible link to allusive derailment, making the mistake of huge chunks of repetitive material which inevitably detract from the fascinating subject matter. Perhaps more of an editng disaster than an author's failure.....at the heart of which lies a story deserving a more coherent telling.



2. Ronin Ro's "Have Gun Will Travel" is probably one of the most entertaining books ever written on the subject of Suge Knight's Death Row Records. However, a good deal of the information in this book should be taken with a grain of salt. Ro paints Knight as a thuggish bully who used violent tactics to extort his way into the music industry and helped create a feared "gang presence" behind the scenes at Death Row. It explores his partnership with Dr. Dre, a talented music producer who Knight pulled from rival Ruthless Records only to knock out of the picture when he was able to acquire an even-larger artist, Tupac Shakur. It goes into detail about the reported beatings of Dre production assistant, Sam Sneed and the infamous boat party where Warren G and his crew were assaulted. Ro tends to have a personal vendetta with some rappers, most noteably Tupac Shakur and DJ Quik. Shakur is written as a loud-mouthed, arrogant gangsta rapper who was falsely praised as a "revolutionary" because of his mother's fabricated past as a member of the Black Panthers. Quik is also written about in a less flattering way as Ro takes a biased look at his feud with MC Eiht, accussing him of hiding behind gang tactics and using violent threats while Eiht attempted to reconcile the problem. It fails to mention that Quik's diss record was a lyrical retaliation to a series of diss tracks called "Def Wish" where Eiht verbally punked Quik or that following the death of Biggie, Quik began recording positive anti-gang records including "You'z A Gangsta" where he made a call to end his problems with Eiht. Still, the star of the show, Suge Knight, takes the brunt of the beating in an editorial assault that makes Michael Moore's portrait of George W. Bush in "Farenheit 9/11" look kind in comparison. When he's not being accussed of assaulting record executives, promoting violence within the recording industry, or setting up rappers to be murdered, Knight's sexuality is also questioned as Ro explores a "supposed" homosexual relationship between Suge and his label's R&B crooner, Danny Boy, who is also his adopted son. If you were even a slight fan of West Coast rap music in the 90's, "Have Gun Will Travel" is one hell of an entertaining read, though most of its information is more "National Enquirer" than LA Times.



3. This book gives you an inside look at one of the most powerfull companies in history. Its not just contracts and courtrooms, its murder, shooting and violence. It keeps your interest from start to finish. You see what a true gangsta Suge Knight was, doing anything to get what he wanted. It covers Dr. Dre, Suge Knight, N.W.A., the DOC, Tupac, Snoop Dogg, and many more. Ronin Ro puts direct quotes and doesnt altar or change anything, its raw, real, true. The language is definatly for 16+ but its great regarless. Go behind the scenes of the biggest indusry in music, and go inside the East Vs. West Coast Rap Battle. Once it arrives you will never put it down.



4. Before I start this review, I'd like to defend Ronin Ro for his writing. There was absolutely nothing wrong with the way this book was written: the author carefully weaved in each character who was essential in the Death Row scandal. I saw no editorial mistakes and it was organized sufficiently. If a reader does not like the experiences in the book, that's one thing; but to insult the writer is ridiculous, especially since this was such an interesting and well-researched book.
   
   On to the book:
   I'm not quite sure how the topic of Suge Knight came up between a friend and I, but we were both shaking our heads about the man being shot in the leg. With all the rumored hits out on him, we were thinking "How could the shooter have such bad aim?" She told me about this book and I am so glad she did. I knew Suge Knight was an alleged dangerous man, and from an interview I saw of him challenging a journalist on a Tupac documentary, it was pretty obvious that he liked to intimidate people. But I was not expecting it to be this dramatic.
   Death Row had everything from gun fights, gangs, rape, holding people out of balconies, locked doors to hear desperate screams, drugs, disgruntled rappers, terrified employees, scared delivery people, Crips, Bloods, women being beaten, boyfriend/girlfriend relationships, boyfriend/boyfriend relationships, East Coast artists being forced into West Coast artists, "thugs" turning into grown men, grown men trying to figure out how to connect to the streets but be peaceful, business conflict, etc. Anything that could possibly go wrong in a business happened at Death Row. I didn't grow up in the safest neighborhood, so about half of this didn't even make me flinch, but when the story got into beating up women; jailhouse rapes; balcony scenes, etc., I was like "Okay, enough is enough."
   Although it is commendable that Suge Knight gave back to his community with food and money to the homeless/lower income, it does not justify all of the things he DID do. Honestly, I'm extremely surprised he's alive today, and definitely understand why he rolled with such a thick crew. Had he not, he'd have been dead long ago.
   While I was reading this book, I couldn't stop giggling thinking about the "Gangstalicious" episode of the "Boondocks." So much of what I thought was a mocking of 50 Cent seemed more like it related to Tupac, and the guy chasing Gangstalicous reminded me of Suge. Although there were definitely humorous scenes throughout the story (from my own morbid mind) and it was definitely an entertaining read, it was extremely disturbing to see so many grown men acting like teenagers. When is it time to decide to stand on your own two, fight your own battles ALONE, stop killing your own race, and bullying people every time you don't get your way? It's one thing to want to be a grown man; it's another to be a grown bully. I ponder over whether many of these people actually enjoy the lifestyle; or is it just a matter of survival in the ghettoes? I know so many young men who were BEATEN into gangs, and then forced to participate to show their loyalty. But how can you show loyalty to a group that you NEVER wanted to be a part of? Why would someone be so happy to get out of jail, if they were just going to return to the jail lifestyle regardless of the bars?
   If anything, this book definitely relates to the streets and brings up excellent questions. It also brings more information to cases that were only browsed over (i.e. how Tupac became a part of Death Row, the REAL relationship between Tupac and Dr. Dre, the murder trial for Snoop Doggy Dogg, Puffy's relationship with Suge Knight, Biggie's murder, Biggie's relationship with Tupac, the incidents of Tupac's being shot, robbed, and killed, etc.) Ro touches on SO many topics that the news glossed over or magazines didn't pay enough attention to.
   
   I was very impressed with this book and think he did a great job for research--and is one brave guy for putting all this information out there. Be safe, Ro!



5. This book and author are fantastic! Ro provides a detailed and free flowing view of Death Row Records. The text was very detailed and not drawn out. I highly recommend Ro's biography of Dr. Dre.

5 comments about Back In The Day: My Life And Times With Tupac Shakur.

1. I liked this book quite a bit.

   Mainly because it offered a different perspective than most other books about Tupac.

   This book was written by a teenage friend who experieced the same things Tupac himself experienced. They 'shared the struggle' of trying to better themselves in a very harsh environment.

   This book shows the almost relentless passion Tupac had to try and influence the world around him in a positive way. And the internal struggle he had with some of his actions. He knew of the contradiction and was trying to evolve. Too bad he was cut short in his quest.

   One of the most telling insights to the basis of Tupac's personality is the answer to the question one of his earlist teachers asked. "What do you want to be when you grow up?"

   For those who haven't ever looked too deeply into Tupac's more intellectual and compassionate side, there is a surprise in store, Tupac's heart. For those of us that knew he was much more than a thug, you'll see more and more of his depth.

   An easy read that kept me flippin pages..




2. This is a good book, insightful and well written by Mr.Bastfield, it was clearly written as a labor of love and a need to document an intense kinship, that ended before it had a chance to mature in the later years of life. Since Tupac Shakurs untimely death there have been many people trying to capitalize on his memory, however this author and book do not fall into that category. For those who are interested in the somewhat awkward but always smooth teenager, who would one day become Rap musics greatest legend, this is a heartfelt account of the building of the man behind the myth, the carefree but yet fiercely determined ghetto kid, who had the right stuff to overcome the enormous odds stacked against him. Few have the courage to dream big and then pursue those dreams at all cost, this is a story and observations of a young man who did just that. The book falls short in some areas but overall is well worth reading, and a job well done by Mr.Bastfield.



3. The book is the story of the author's life as it was when he grew up with Tupac. Even if you don't know who Tupac is (somehow I doubt that) you will still enjoy this book. The story is one of a man who plays the cards he was dealt and how no bad hand could hold him back. It gives you an appreciation of the artist, the author and of yourself all at the same time.
   This is the book to read for Tupac fans as it is written in story-book format thus enabeling you not only to learn the specs of the life but also to be put in the shoes of someone who was near him before he was famous. Great book, great life, great read!! Pac4life haha!



4. 
   
   
   Back In The Day: My Life and Times with Tupac Sharuk
   
   
   
   Tupac was the greatest rapper/actor in history. But to get to the top he had to go through struggles in his childhoods. Thats why the theme of the story
   
   Back in the in the Day: My Life and Times with Tupac Sharuk is to follow your dreams no matter what you had to go through and dont't stop unless
   
   you have to. Tupac also teaches us to use our talents to enjoy our life. Darrin Bastfeild , the author of the book , go with Tupac adventures during his
   
   high school years.So let talk about more of the theme.
   
   Tupac actions of the theme was letting no one stop him from his talents. Every day he would wake up, go to school, come home or go to his freind house
   
   and write raps, sleep then repeat the process all over. But one thing Tupac and the author always endured was both of them was poor although Darrin had
   
   had a little more money then Tupac. So Tupac would borrow clothes from his friends or kids from the school bring him clothes. Any chances Tupac had to
   
   to get a break he takes. For example Tupac and his friends almost had a break into Hollywood but the seruity guard caught them and the manager of Salt n' Pepa
   
   reject them saying he had to cacth a plane. No matter how much he was rejected Tupac still had a break.
   
   Tupac also shows the theme by the words out his mouth. One thing Darrin points out is that Tupac said he was little was that he wanted to be a revolvutionary
   
   when he grows up. That shows Tupac known what he wanted to be which he did but did it in a different style such as a rapper and an actor.He always told
   
   everyone what he wanted to be and he showed it. Like one of the Tupac wrote when he was growing up "We Work Hard" was what he did .He spoke out for
   
   people like him while he and his mom was with the Black Panther movemment about the voilence in his nieghberhood. So not only did Tupac rap but he was also a
   
   worker for peace.
   
   Yes this theme is true because I had my own taste of bad karma. When I was born I had a blood infection so I stay in the hospital for fifthteen days. Around two
   
   years old I had lead poisoning, which I miricaly survive and had to get surgery on on my ankle. At five my sodium level was to high. and only last year did I nearly
   
   passed out because of my heart membrace I got when I was born. Still I'm smart, got accepted to a good school and go there and play an insturment in band.That
   
   proves that the past can not predict your furture.
   
   In the end Tupac achieved his goals. He starred in movies such as A Raisin in the Sun and made smash hits like Califoria Love. He had the world knowing what
   
   his name was and rocking to his beat espcially in the black nieghberhoods of America. He known people like Biggy Smalls and Mary J. Bligh. Darrin almost went on
   
   a tour with Tupac realized they had lives of there their own and went their seperate ways. Tupac shows just we can anything we want to as long as we set are minds
   
   to it. But sadly, he was shot and died seven days later.



5. I was always pulling up a blank on my mind when anyone mentioned Tupac. Not only that, I also never knew when his music was playing. All I knew was that he was a rap artist who was shot to death one unfortunate day. What I came to learn from this book was stunning not only in the stories about his past, but also stories about his family, particularly his mother. The time and place of his beginning is humbling; for a child growing up in an impoverished and dangerous city, Tupac has shown society that great people CAN come from even the poorest of places. His revolutionary ideas and strong, provocative lyrics showed not only that great people can emerge from the most unlikely of places, but also showed that our society is full of corruption and in desperate need of reform, starting with the less fortunate and oppressed.

5 comments about There's a God on the Mic: The True 50 Greatest MCs.

1. If you like H.I.P H.O.P you must get this book. It is very informative to a person who doesn't know as much about this music. Lyrics are cited and they a rated in 17 catagories! But.... the ratings I find are a little off. Listen to this. Big L is not even mentioned!!! One of the greats! I am not a huge eminem fan but the guy is far better than mack 10 or lil kim. Mos and Kweli are great poets and they are not considered better than snoop dogg! Also Guru and Black THought shold have been higher up but what can u do. Towards the end of the countdown the book get a lot better. But anyways it is not for me to decide, when I bought the book i wanted to see Kool Moe Dee's POV and thats what I got. So all in all you must buy it to see and trust me you will learn a lot of stuff. So buy IT!



2. First of all this book is only for people you actually have a mature level of reading comprehension and discipline, who are true aspiring emcees with a passion for the craft of lyricism, who are actual hip hop enthusiasts who STUDY and LIVE the CULTURAL ROOTS since it truly embarked on the world around 1972-1974, and who are not just fans due to mainstream hype and fantasyof the material world.
   
   If you are a Tupac fan you should be offended by Mo Dee's personal rankings because that is what your heart has been consumed with in your collection or peer influences based on your age group. In your eyes maybe Tupac never did any wrong. Maybe you never read his interview in Vibe magazine during 1995 or 96 (Ricky Powell) behind bars in Riker's Island for rape saying "thug life is dead" confessing the act was to sell records. Not taking away from the artist that he truly is just blasting the nieve perception of Tupac the juvenile fantasy. Believe this, Tupac,could have been greater if he did not take the industry high road of marketing fake images for less money like Rakim and KRS. Maybe Tupac would also still be alive today.
   
   If you failed to read Chuck D's prolouge; failed to read Mo Dee's foreward and afterward to establish his thesis and end his POV; and you dared to jump to top 10 rankings to see if your "boy" or "girl" made it there on his list (because you have your own list which consists of a short history of experience)then you should be offended! Rule of thumb, "never start cutting the backyard until the frontyard is done first!"
   
   I am now considered an old school head when I ripened in the culture from the mid to late 1980's, but was born in it from the early seventies because that was life for what it was then until now. I am an all around Hip Hop Culture Artist as a graf writer, emcee, and producer. Only thing I did not fully do was DJ, and break. I was too much of an illustrator and lyricist with an ear for tracks I wanted to write my rhymes to.
   
   Me and my old crew have debated the future of Hip Hop for years since the late 90's with all the studio gangsta and crunk rappers bling blinging all over the place.Image is not everything just a part, and as much as many charts and music magazines get bought out of calling an album a 2.5 star for a 4 star rating (over a gram of cocaine and some champagne roomtime) 85% of the current total Hip Hop population would never know the truth of who is really good. Hype has replace your sense of talent because hype does not rely on intellect or true appreciation of substance.
   
   Hype is like only eating McDonald's cheesebugers as your beef source your whole life and never eating grilled sirloin because there was not a clown serving it to you out of a drive thru window with sugar on top.
   
   This book was written in 2003. Eminem and Ludicrous at that time only made 1 or 2 albums to truly be considered. In the mid 90's Chino XL did not do enough, and I believe he hurt himself more for releasing a Tupac diss just a week or 2 before his death in Vegas. He was really good. I do feel Big L should have been on the list, too, over Pun when it came to dead emcees. Big L was deadly. Maybe just an oversight on Mo Dee or maybe L was not that good live or subject matter and industry impact was not enough to consider. Big L only wrote battles, and Pun did have content. Too many great emcees through the years to discern or see live, too. I do not believe Doug E. Fresh made the list, but Doug E. is a self proclaimed entertainer (than an emcee) who set the throne for Missy Elliot to take. God Bless Her.
   
   Listen, this is not for your average rap fan. This is for the true school heads out there who want to master this craft. This book is about the naked stripped down thruth of Mo Dee's POV. That is it. It is a Technical Emcee Bible from truly one of the great emcees of all time in style, battles, and lyrics. If he writes this book again in 5 years the top 50 will change. This book is not a diss by any means.It is a seed for the future of Hip Hop's safekeeping. Emcees need an enema or an urgency to never quit being a student or to finally become a student. Maybe Pastor Troy really has the gift to write real rhymes if he at least studies this book. You can only go as far as you know and experience.
   
   There are not enough lyricists out there with a sense of art or perfection; pushing the poetic or rhyming envelope. Regardless of the rankings, a true emcee will test Mo Dee's theories. This is not about the greatest all time emcee because Hip Hop is not dead yet. This is alot to do with where we are today from where we came from. If you really want to know how good an emcee is? Turn off the music, and listen to him or her go acapella. Do their words incite visuals and syllables create their own rhythm?
   
   Believe this to be more than likley true: Nas, Tupac, Biggie, Eminem, Xzibit, JayZ, and Pharrell Monche all or would have supported the technical aspect of this book's overall focus and point to save the emcee craft and the Hip Hop culture...
   
   ...because fanboys and girls are guilty for killing it because some clown is selling them anything sugary through a drive-thru window.



3. Good Book but I disagree with some of the rankings and some of the people who made the list and some who did not.
   
   KMD did a good job on breaking down the way the emcees were effective, but I disagree with somethings in this book.
   
   For instance how can Foxxy Brown & Lil Kim be on the list, when Andre 3000 & Eminem are not. How is Will Smith rated above Busta.
   
   I do like how he did pay respect to the old school, many rappers who are not well known but who truly belong on this list.
   
   The main thing I disagree with is Rakim's ranking. Rakim should have been number 1. Rakim is your favorite rapper's, favorite rapper. True there are other rappers who may have things that Rakim does not have, but his all around skill is so great that he more than makes up for it.
   
   But all around this book should be on the shelf of every true hip hop head, who knows and understands the history behind the music.



4. alot of the top ratins are rated well, but when he gets downs the list wit the more main stream rappers, i think he gets way off. for example he says ice cube has no metaphors in his lyrics, when ice cube is the king of metaphors. He also puts fat joe, foxy brown, jay-z, will smith, busta rhymes, snoop dogg, lil' kim and mac 10 in the list, i have no idea why. I cant believe he put them in the list and not Dre, eminem, B-real and other such rappers. Im guessin he didn't put in some good underground rappers because they didn't make it big in the game. I personally think krs is the best MC but i can see why he didn't make it to #1 (u gotta look at the stats and how he rates it to understand why, so look at that b4 u start to disagree). It's still very interestin so i gave it 5 stars.



5. I made it a priority of mine to get this book. I read the intro, and I thought I was going to read one of the most intelligent discourses of hip-hop in the field of ranking of emcees. And I must say, I was greatly disappointed.
   
   The book does provide some interesting info on certain artists and overviews of their careers. He even highlights how innovative certain artists were in the department of lyrics and flows, and how others excelled and impacted the genre. The one positive thing I can say about the book is this. It strictly judges emcees in technical abilities (lyrics, flow, substance, charisma, etc.). Production is completely thrown out the window as a factor. Therefore, he set-up an interesting rating system.
   
   But the book falters greatly in the rankings themselves and the amount of points granted in the ratings for certain artists. Kurupt before Slick Rick? Kurtis Blow before DJ Run? Latifah before Pac? Mack 10 on this list? Will Smith number 23? It is disgusting.
   
   One thing that had me confused was how he said, Rakim is the greatest emcee of all-time. Yet he was number 2. And put Melle Mel ahead of him simply off the strength that Mel was one of the first to rhyme at a high level. Too many inconsistencies from Mr. Moe Dee. It's a good read but the ratings are way off.

1 comments about The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop.

1. "By placing black girls at the center of her analysis, Kyra Gaunt challenges us to be ever mindful of the importance of gender, the body, and the everyday in our discussions of black music. The Games Black Girls Play is an exciting and original work that should forever transform the way we think about the sources of black, indeed American, populat music. This is a bold, brilliant, and beautifully written book."-Farah Jasmine Griffin, Columbia University
   
   "The Games Black Girls Play not only makes the point that black girls matter, but that the games, thoughts, and passions of black girls matter in a world that regularly renders black girls invisible and silent. Gaunt brilliantly argues that the culture of black girls is a critical influence on contemporary black popular culture."
   - Mark Anthony Neal, author of New Black Man: Rethinking Black Masculinity

4 comments about The Message: 100 Life Lessons from Hip-Hop's Greatest Songs.

1. for anyone who is from the Hip Hop Culture or grew up in any phase of the Hip Hop generation. Outside of that, this book will connect to anyone who understands the power of music and its ability to heal, guide and reflect the way we feel. I think the writing was done beautifully. Go get it, and if you don't like it... you need to read it again! LOL
   
   peace.



2. When you reminisce over hip hop, where do your thoughts take you?
   Do you think about the night you went to the roller rink with your friends and you heard NWA's "Express Yourself" pumping loud from the DJ booth, inspiring you to dance to the 70's beats in the song? Or maybe you think about the times you chilled out at the park in your car, with your boyfriend or girlfriend when L.L. Cool J.'s "I Need Love" played on the radio? If you're like me, you may reminisce about your college days: the parties in the student union, the walks with your friends across the bridge to the nearby store, the sorority and fraternity step shows. All of these memories have hip hop wrapped around them. We lived, loved and laughed, riding on the beats of songs by old school and new school hip hop artists. Within the pages of The Message: 100 Life Lessons From Hip Hop's Greatest Songs, author Felicia Pride shares similar memories with us and invokes our hip hop laced past. Not only does Pride break down the meaning of each of the songs represented within The Message, she also provides inspirational anecdotes from her life. As a self proclaimed hip hopper and journalist, Pride reveals the lessons she has learned, ranging from how to succeed in life, to knowing when to end a failing relationship. The author shines a light on what is positive about hip hop so that we too can absorb valuable insights from these songs. Readers of all ages will be able to get something meaningful from The Message.
   
   DuEwa M. Frazier
   Rhymes, Views & News Reviews



3. The Message is a must read for teachers and other professionals who work wit youth. Hip Hop plays a major role in the socialization of youth worldwide. Ms. Pride's work highlights the power of Hip Hop. Although often demonized. Pride;s work illustrates the beauty of Hip Hop as an art form. Great work. Respectfully David Miller Urban Leadership Institute
   
   The Message: 100 Life Lessons from Hip-Hop's Greatest Songs



4. Being a TRUE hip-hop fan, I really enjoyed this book. I could totally relate to having certain songs/lyrics that fit a certain time in my life. Considering the vast amount of great artists, songs and lyrics, I would have a hard time trying to narrow it down, but I enjoyed the songs Ms. Pride used. If you enjoy TRUE hip-hop, then you'll enjoy this book.

3 comments about Hip-Hop Bass: 101 Grooves, Riffs, Loops, and Beats (Bass Builders).

1. This book is full of funky little progressions that really taught me a lot! I've been playing for a few years and wanted to expand my playing style...glad I picked this book up! I highly recommend it.



2. I enjoyed this product Hip Hop Bass very much. Earlier I had bought my first bass book on Funk Bass. After finishing Hip Hop Bass, I can say there are a lot of styles in what we today called Hip Hop. Hip Hop borrows music from a variety of rich sources such as: swing, funk, disco, and a variety of Latin music styles. I feel that my rhythmic abilities have increased because of Hip Hop Bass and that this book really opens you to the different movements such as West Coast, East Coast, and Down South. The first page gives a description of some of the differences between styles and a little history lesson as well. In all, I thought this book was a very good beginning tool to anyone with a curiosity with Hip Hop and an interest in using some of these ideas in their music whatever style it happens to be.



3. I just received this book a couple of days ago, and it was slightly different than my expectations. This book has a one page introduction, which describes the differences and origens of east coast, west coast, and down south styles. After that, it is 101 grooves, riffs, and loops to practice. Most of these musical examples are 2-4 measures in length and repeat. This is not nessecarily a bad thing, just different than what I had expected. I give the book four stars because even though the examples are great and varied, I was hoping there would be a little more written explanation to go along with the examples to help me understand them better.

5 comments about Young, Black, Rich, and Famous: The Rise of the NBA, the Hip Hop Invasion, and the Transformation of American Culture.

1. In the book, Young Black Rich and Famous, Dr. Todd Boyd talks about the struggles young African American men and women have in the United States. He uses basketball and the hip-hop nation as a giant metaphor, illustrating their reach for the American Dream. In his attempt to make his analogy, I feel he barely backs up his contention about hip-hop. Boyd does color his content with quotes from rapiers such as Notorious B.I.G. and Jay-Z, but he doesn't go in depth with his ideal synopses. He does talk broadly about basketball though. I fill he over-powers his context with sports facts instead of getting strait to the point. I think he uses a lot of "fluff" to try and fill in his points with basketball. He talks in his book about "Keeping It Real", but my opinion is that he is far from that. I will give him the benefit of the doubt though. Along with the abysmal content, there were many times in the book that he has put some hefty passages that were mind-boggling. In conclusion, this book did change my perspective on things. And that's keeping it real.



2. I dig whenever Todd Boyd is on a Project because He has a way with words.this Book puts alot into Perspective&Bridges many a gap.I was hoping for more Pulling together of Hip-Hop with the NBA a bit more but overall this Book makes for a Pretty Good read.



3. Todd Boyd takes the notion of the hip-hop industry and basketball being synonymous to an entirely new level. With fluid and memorable references to the similarities of how hip-hop came from the streets, to the formation of how basketball is now the newest form of hip-hop, Boyd captures the essence of the sport like no other.

   Using references of how both dominate the streets and how the world of basketball has been changed thereafter, Boyd highlights the game and its glitches, from racism down to the money-making formula that has taken hold today. With no stone unturned, readers are carried through moments of fame, glory and the challenges that former and current NBA players face, including dealings within the drug game and how money-making opportunities being offered today are very similar in nature.

   Although basketball used to be a quiet and unnoticed, it has now emerged as a dominant and lucrative force in the professional sports arena. With unparalleled style, YOUNG BLACK RICH & FAMOUS details the life that almost every young black man dreams of. The NBA, its lucrative deals and opportunities have transformed the way everyone looks at young black males and the actual sport today. Actually, it's quite obvious that basketball has emerged as the new "American" sport. They said it couldn't be done and couldn't happen - next question: Who's Ballin' Now?

   Reviewed by T. Belinda Williams
   of The RAWSISTAZ Reviewers




4. Dr. Boyd hits it on the head with this piece about basketball and hip-hop. The only way a book like this can be written the way it was is if you are a part of the culture yourself, because if not, it will not be easy to understand. I, for one, love it because he uses teams from the 80's, such as the Georgetown Hoyas, the early 90's with the Fab Five of the Michigan Wolverines, and other teams, players, and events in the game which took me back in time. When he speaks about these things, you can see the connection with hip-hop, such as Allen Iverson's influence, and others lack thereof. He uses lyrics from some of the hip-hop's greats, but like I mentioned before, you must be a part of the culture or at least familiar with it to see what he is trying to say. He keeps it real throughout the book and gives credit where it is due while being critical at the same time. 'Ball and hip-hop have a unique bond, and the significance of it cannot be ignored.



5. Using the tools of a critical theorist, Todd Boyd sets out to analyze the quest for freedom of expression and existence, as it is played out on the basketball court and within the Black cultural renaissance of Hip-Hop music. American basketball, as it is played and lived by young African American men and Hip-Hop culture both resist being co-opted by mainstream America. They have both moved from the purlieus of the larger American popular cultural purview to occupy a unique space at the vortex of the American global marketing machine. Within this framework, America and the world, are live witnesses of the creative expression of black culture as it is lived and informed by black rather than white norms and of the global representation of American popular culture, in the face of black rather than white men. Such an analysis requires that one is able to navigate seamlessly between the theoretical constructs of critical theory, the lyrical genius of the Notorious B.I.G. and the choreographic grace of his Airness, Michael Jordan, all the while "keeping it real" as only a Black man can do. Boyd is successful in his methodological approach as he delivers with stunning detail the nuances of what it means to be young, black, rich and famous in America.
   Boyd's expertise as a critical theorist is evident as he lays out the theoretical framework for the book and adeptly situates his theory within the venue of the National Basketball Association where Hip-Hop music has become the new national anthem. In addition, his background as a journalist and sports enthusiast gives him a solid foundation from which he recounts more than thirty years of basketball history. As an African American man and scholar, Boyd brings lived as well as critical experience to the understanding of the emergence of Hip-Hop culture as a counter hegemonic movement on the American landscape.
   Boyd identifies the creative genius of the African American style of basketball at the center of a transformation that has taken place in the NBA. It is basketball, with its low equipment cost, ability to be played in small places, and its capacity to be played alone, that is uniquely suited for the African American urban reality. Basketball provides African American "ballers" the creative canvass on which portraits of individualized representations of freedom may be painted.
   Reminiscent of the aesthetic rhythm of a Magic Johnson assist to James Worthy, Boyd show how the lyrics, the style of dress and the overall attitude of Hip-Hop has informed a new generation "Hip-Hop ballers" in the NBA. Boyd connects the freestyle of play in this new generation of ballers to the freedom of style and expression that is epitomized in Hip-Hop culture.
   The connection between Hip-Hop and how it influences the rise of freestyle play in the NBA, and the uncompromising and unassimilated attitude of the young, black, rich and famous NBA stars is critical to Boyd's central theme. Boyd does an outstanding job in developing his thesis along the lines of the transformation of the NBA through these new school players. However, he fails to do justice to the emergence and the development of Hip-Hop as a cultural phenomenon. The book focuses on the transformation of the NBA and Hip-Hop is used primarily as the background music throughout the process. Boyd also neglects the significance of the WNBA as a creative context for African American woman, or perhaps as a restrictive platform for a black female cultural contribution. Finally, Boyd leaves important questions unanswered: Does the power to maintain one's personal freedom and individual creativity only lend itself to the "rich and famous"? If so, how should we address the simply "young and black"?
   Overall, the work makes a significant contribution to the growing body of literature that concerns itself with the radical reconstruction of race and representation in a global society. Students and academicians of critical theory, critical race theory, and cultural anthropology will find the examination of the NBA and Hip-Hop as fascinating contexts in which to study race representations and the indigenous creation of cultural norms. In addition, the book provides for the sports enthusiast, a tremendous insight into the evolution of the game of basketball as it distinguishes itself from baseball and football, as the only major professional sport in which individual creativity has transformed the sport, and in doing so transformed the culture.
   In the end Boyd makes a shocking revelation that shows that as the NBA gains global popularity as an American cultural commodity, the global spokesperson for American culture is increasingly a black man.

5 comments about The Killing of Tupac Shakur.

1. I place this book beside another three books on Tupac which I feel are must reads: [1] "Back in the Day" by Darrin Keith Bastfield, [2] "Holler if you hear me" by Michael Eric Dyson, and [3] "Got your back" by Frank Alexander. These three plus Cathy Scott's book paint a complete picture of his life and death. Cathy Scott's book is thoroughly researched but some facts that are commonly excepted as fact are expressed differently by her. It is evident in this book that she wishes she could talk about the investigation into Pac's death but the sad fact is that there is no investigation. Witness's refuse to cooperate and the incidents on the night of his death make the whole situation difficult for the police. Scott tries to circumvent this very hard but in the end she fails. The book also deals with the murders of Biggie, Orlando Anderson, Yafeu Fula and discusses how moronic the "he is alive" theories are as well. Very good book overall and a very quick read.



2. With so much controversy about his death, I decided to get the facts from this shocking, yet very informative book from acclaimed journalist Cathy Scott.

   While also telling you about the man himself, Scott reveals the many flaws in the investigation of the shooting that took place on the night of September 7th, 1996 - the scene of the crime not being secured quick enough, the fatal release of key witness Yafeu Fula, Suge Knight's attorney playing hard to get with Les Vegas Police and the confusion of other witnesses Frank Alexander and Malcolm Greenridge - which makes you wonder just how much effort did police put into this case?

   Not just providing the facts, Scott also presents the many possible motives and turns heads to several known suspects. An interesting read, showing you not only a violent, but tragic story about a young man who lived hard and fast all the way to the end. With information on Tupac's background and other events related to him and his murder, you get to know about the man as well as the musician, with additional comments made by various writers - Kevin Powell, Michael Eric Dyson - and those who knew him well - Jasmine Guy, Suge Knight, a moving letter from his Godfather and a final comment from his mother, Afeni Shakur. The book even uncovers the rapper's mystique - his obsession with death, the alive theories and many other strange coincidences.

   'The Killing Of Tupac Shakur' is a revelation that will both shock and fascinate you in more ways then one. A must have for Tupac fans.




3. 2PAC...was,is,and will be forever in our hearts.
   I really don't know what to believe:is he death or not...because here,in romania a lot of magazines keep saying that he is not death...why?Just becaue they wanna be close to him,or what?
   suspicious events:13th is a day which usually doesn't bring us good news.Interesting is that there weren't any pictures with PAC bleeding.In his song "Life Goes On"he is talking about his own death . The driver of the car,SUGE KNIGHT hasn't been present at the inquiry of the event."i'm not paid to solve murders"said him
   The white cadillac in which where the assasins,just after the murder ,passed near PAC's car,but nobody tdyed to stop theme.
   His video,"I Ain't Mad At Cha"was released rigt after the shoots.
   in that video,2pac was an angel in Heaven...and there are a lot of theories like these...anyway,his lucky number seems to be 7...
   Even if they say yhat he isn't death,I think that we should respect him,even in his death!
   Keep ya head up and folllow your dreams!
   Peace,love and respect for this ANGEL!



4. There aren't many actual facts in this book and honestly, this is slipshod work at best. I am very knowledgeable about Tupac Shakur and truthfully, I would have written a better book. The autopsy photo disturbed me greatly and who took that photo anyway? Whoever took the autopsy photo should be shot! I was not at all impressed by Ms. Scott's conjectures that she tried to pass off as facts. This book is a waste of time and money if you're really interested in the death of Mr. Shakur. I wouldn't recommend this book to my neighbor's dog.



5. I find it hard to believe this author managed to get a book published. She describes the BMW as a $47,000 V8....wrong. '96 750's were V12, and more like $90,000. Difficult to put much faith in whatever else is written when basic facts cannot be nailed down. Scott also describes Run DMC as 'a rapper', good god. One plus, the book is easy to read, because it's written at about a 3rd grade level.