By Jeff Chang
Solid within the fires of the Bronx and Kingston, Jamaica, hip-hop grew to become the Esperanto of teenage uprising and a generation-defining move. In a post-civil rights period outlined by means of deindustrialization and globalization, hip-hop crystallized a multiracial, polycultural generation's worldview, and remodeled American politics and tradition. yet that epic tale hasn't ever been advised with this sort of breadth, perception, and style.
Based on unique interviews with DJs, b-boys, rappers, graffiti writers, activists, and gang contributors, with unforgettable snap shots of a lot of hip-hop's forebears, founders, and mavericks, together with DJ Kool Herc, Afrika Bambaataa, Chuck D, and Ice dice, Can't cease Won't Stop chronicles the occasions, the information, the song, and the paintings that marked the hip-hop generation's upward thrust from the ashes of the 60's into the recent millennium. here's a robust cultural and social background of the top of the yank century, and a provocative investigate the recent global that the hip-hop iteration created.
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Additional resources for Can't Stop Won't Stop: A History of the Hip-Hop Generation
68 Sono io stesso! A te davanti Vedi, o donna, un infelice; (Oberto, I,9) The frequency of elision raises questions about the function of caesuras and other structural pauses. , in those cases where the librettist combines two verses in one to reduce the number of obligatory rhymes). In that context, the caesura always divides the verse in half, and it can fall after a piano, sdrucciolo, or – in theory – a tronco ending:69 Non basta una vittima – a questo codardo, Il padre e la figlia – vilmente egli uccide, Rapisce l’onore, – insulta, deride ...
Au nom du salut de votre aˆ me! (Don Carlos, II,2,3) 7 10 Que tardez-vous a` frapper? | | me voil`a! (Don Carlos, III,3,3) — As stated earlier, a verse had to correspond to a syntactic group. 42 Such a definition unfortunately provides no guidelines as to when we can consider a syntactic group to be complete. 46 In spite of frequent censure, enjambment regularly occurred not only in drama and poetry but also in librettos, as in the following examples. ) Tu porteras ton opprobre et ton crime Aux pieds de Dieu, | | qui voit l’iniquit´e.
Syntactic pauses occur at points other than the caesura and in verses of any length. In Italian poetry, such pauses are rarely reinforced by an immediately following syntactic rest; instead, they are followed by an unaccented syllable or an elision, often across punctuation marks, thus obscuring the syntactic structure. A composer or reciter may, of course, disregard the elision but will do so only at the expense of destroying the characteristic rhythm of a particular type of verse. For instance, in the example from Oberto’s act I, scene 9, given above, disregarding the elisions would turn the verses from ottonari with obligatory accents on the third and seventh syllable into quinari doppi with obligatory accents on the fourth syllables of each hemistich.