Can't Stop Won't Stop: A History of the Hip-Hop Generation by Jeff Chang

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.

Show description

Read or Download Can't Stop Won't Stop: A History of the Hip-Hop Generation PDF

Similar music books

The Cantatas of J. S. Bach: With Their Librettos in German-English Parallel Text

A work-by-work statement at the Bach cantatas via the world's most famed Bach pupil, now to be had in English for the 1st time. It contains the entire cantata librettos in German-English parallel textual content. An quintessential reference publication for an individual hearing, acting in, or learning any of the Bach cantatas.

Beginning Fingerstyle Blues Guitar (Guitar Books)

Takes you from the basics of fingerpicking to 5 genuine blues tunes. With graded workouts, illustrated counsel, plus common notation and tablature. CD no longer integrated with this torrent.

OCR-ed PDF (raster) experiment

Best of the Beatles: The Sacking of Pete Best

This interesting ebook examines the best Beatles secret, which has prompted unending hypothesis over the years—why was once Pete most sensible sacked simply because the Beatles stood at the threshold of stardom? This booklet is the final word reaction to this query written by way of a number one professional at the historical past of the Beatles.

Source Readings in Music History: From Classical Antiquity Through the Romantic Era

Resource Readings in tune background From Classical Antiquity in the course of the Romantic period

Additional resources for Can't Stop Won't Stop: A History of the Hip-Hop Generation

Sample text

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.

Download PDF sample

Rated 4.31 of 5 – based on 36 votes