4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 Estover Road, Plymouth PL6 7PY, United Kingdom Copyright © 2011 by Andrew J. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. The reason we hire affordable Guitar Works Volume Three: Custom Builds 2 (Volume 3) Geo Dell and professional essay writers with cheap prices is to make sure that Guitar Works Volume Three: Custom Builds 2 (Volume 3) Geo Dell you get a quality paper with original and non-plagiarized content.Published by Scarecrow Press, Inc. (en el 93 habian debutado con un disco. Fue uno de los grupos pioneros en su pais y dio a conocer artistica y comercialmente el Hip-Hop Canadiense, este es su segundo album y el mejor para mi gusto. El grupo consiste en los MC´s Red1 y Misfit, junto a DJ Kemo (Chileno.).ISBN 978-0-8108-7791-7 (cloth : alk. I am hip-hop : conversations on the music and culture / Andrew J. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Rausch, Andrew J. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review.
Soundbombing Vol 3 Rat Professional Essay WritersI never really thought much about what it would be like to remember when rock was young—when this new form of musical expression rose up and captured the imagination of America’s youth, forever separating from the generation that came before them. —Jean-Paul SartreForeword David Walker Acknowledgments IntroductionLton John starts his song “Crocodile Rock” with the verse, “I remember when rock was young.” I’ve heard that song thousands of times, but never really thought about the implication and true meaning behind that statement. Printed in the United States of AmericaFor Michael Dequina, Henry Nash, and Aron Taylor, three of my oldest and best friends.Every age has its own poetry in every age the circumstances of history choose a nation, a race, a class to take up the torch by creating situations that can be expressed or transcended only through poetry. ML394.R387 2011 782.421649092’273—dc22 2010053563™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Rap (Music)—History and criticism. Rap musicians—United States—Interviews. Hp 1020 printer driver for macTo be ten or eleven years old, having been raised on a steady musical diet of Earth, Wind & Fire and Billy Joel, and hearing for the first time, “I said a hip hop the hippie the hippie to the hip hip hop, a you don’t stop the rock”—well, that was just something else altogether.It’s difficult to truly convey what I felt about this music, other than to say it sounded “right” to me. A child really, when I first heard Sugarhill Gang’s “Rapper’s Delight.” Everyone knows that song now, as it is pretty much the ultimate classic of hip-hop, having come along at a time when the sounds emitting from the streets of New York hadn’t even been labeled hip-hop yet. At the risk of dating myself, I remember when hip-hop was young. And at some point I actually found myself saying, “I remember when hip-hop was young,” as thoughts of Elton John’s “Crocodile Rock” passed through my mind. Not that long ago I was having a conversation with someone more than twenty years my junior, and the topic turned to hip-hop. It is a defiant stance against a society that seeks to marginalize the poor and disenfranchised, only to find that the poor and disenfranchised have created their own kingdom. It is the transformation of ugliness into beauty. Hip-hop, in all of its permutations, is the creation of something from nothing. Sure, you can love hip-hop and immerse yourself in every aspect of the culture, but you will never be able to say you remember when hip-hop was young. Ice were backup dancers for Whodini, I feel sorry for you. For those of you too young to remember when the Fat Boys were still the Disco 3, or when Kangol Kid and Dr. It is hearing a song like “Street Justice” by the Rake for the first time, and being transported to another place through the sheer might of lyrical force. It is knowing that deep down inside of you there is a message that must be delivered to the world, on your terms, in a language that you speak. It is about finding your way when you’re lost. We old guys now talk about how things were “back in the day” and we wax nostalgic about the old school, but we need to keep in mind that everything must change and grow—even if it changes and grows in ways we don’t always understand or appreciate. It is difficult at times to not look at the current commercialized state of hip-hop without becoming cynical. For those of you old enough to remember when Kurtis Blow first dropped “The Breaks,” or when Run-DMC first appeared on Soul Train and blew the spot up, try not to get too caught up in lamenting the days viiiGone by. But the answers I like best are the ones in which the interview subjects simply say something to the effect of “It’s my life.” Those are the responses I can best relate to. Gregory, David Walker, Michael Dequina, Henry Nash, Aron Taylor, Ronald Riley, Charles Pratt, Kerri Rausch, and all of the artists whose interviews are included in this book, as well as all of the agents, managers, and publicists who helped to make it happen.He unifying question found in each of the following interviews is “What does hip-hop mean to you?” Some of the interview subjects dug down deep and came up with thorough, well thought-out responses about the nature and historical meanings of hip-hop. —David Walker, author of Reflections on BlaxploitationWould like to acknowledge the following people: Stephen Ryan, Marilyn Allen, Louis L. It has thrived and flourished and spread all over the globe, and when all is said and done, hip-hop to me is about being alive and finding a way to express yourself to the world. But what they were really dismissing was a culture that had found its voice—a voice that those within the establishment could never fully comprehend. There were naysayers who discounted all of it—the music, the dance, the art—dismissing it as nothing more than junk. What was once an underground movement in the streets of New York City is now a phenomenon which reaches around the globe. And while hip-hop must be recognized as a black art form and culture first and foremost, it cannot be denied that a great many people of varying races from a wide variety of countries define themselves through hip-hop. It is likely that inner-city b-boys will find difficulty in recognizing or appreciating that people of other races who live in places like Nebraska or even Japan have grown up with this music and identify with it in much the same ways that they do. As you will discover within the pages of this book, hip-hop means something different to everyone. That I could have been so personally affected by this urban music and culture is perhaps a testament to the widespread popularity and worldwide embracing of hip-hop, as well as its raw power. Many of you may be questioning that statement, unable to believe that a white guy from Kansas would even have the audacity to write a book on the subject of hiphop, let alone claim it to be a defining factor in his life.
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