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In my American Studies 10 course, I was required to prepare an Annotated Bibliography of secondary sources relevant to my research topic. And here they are:
Secondary Sources
1. Author Unknown. "Hip-Hop Culture." 1998. B-Boys.com. Online. Internet. 19 Feb. 2001.
In an online article from B-Boys.com, hip-hop culture is talked about by a person (author unknown) who is not directly associated with it. His interpretation is that "hip-hop is now a microcosm of the broader culture, whereas many individuals are rich but the masses of hip-hop artists and the people to whom they claim to represent are far from wealthy or a comfortable life." He also stresses about how rarely ever do people break into the industry by rapping. "I know that I would not and could not make a decent living being a hip-hop artist, unless I was willing to sacrifice my integrity or spend my life hustling my demo, among other things." In a final overview, he argues about why hip-hop shouldn't be regarded as highly as it is and why only certain people are paid rappers. This type of stance gives me the opportunity to compare and contrast different opinions about hip-hop culture.
2. Rhyme and Reason. Dir. Peter Spirer. Perf. Tupac, Method Man, Ice Cube, Da Brat, DJ Scratch, Mack 10, Sean "Puffy" Combs, Notorious B.I.G, and Nas. Miramax, 1997.
This film documentary helps to reveal the history and social importance of hip hop culture and music. It gives an appealing and unexpectedly honest look at a slice of American subculture by all those involved. Though told mostly from a male perspective, the director was able to cover all the angles of hip hop society, including sex, money, and crime, all the while displaying a prodigious amount of musical talent. With the numerous amounts of interviews and clips from lives concerts, the documentary helps bring hip-hop culture to life. The in-depth coverage allows one to see not only what makes hip-hop culture what it is but also who the people are who participate in it.
3. Jah,Yusuf, and Chuck D. Fight the Power : Rap, Race, and Reality.
Delta: Delta Press, 1997. (240Pgs.)
Fight the Power examines a multitude of complex social, racial and artistic issues. Chuck discusses the role of heroes and role models in the black community, Hollywood's negative images of blacks, the effect of gangsta rap, its images on the country's youth and the war between east and west coast rappers that may have spawned the murder of Tupac Shakur, the role of athletes and entertainers in eroding and strengthening values, and other vital contemporary concerns. Candid, thoughtful, and in your face, Fight the Power, the first substantial book by a rapper, offers readers a look into the culture of hip-hop and the future of Black culture.
4. Karon, Tony. "Hip-Hop Is The Most Important Youth Culture On The Planet."
Time Magazine. Jan. 2001: 18-21
This article by Tony Karon is about why he thinks hip-hop culture is the most important culture among today's youths. His argument is that hip-hop culture is a form of rebellion to many of today's teenagers and its edginess appeals to White young people as much as it does to Black young people. It is also a fashion trend in many ways because people who weren't participating before in hip-hop culture now are. Also, this magazine article reveals the positives and negatives of hip-hop culture. For instance he writes about it being a form of self-expression and at the same time how it is often criticized for the constant use of gang related material.
5. Scott, Cathy. The Killing of Tupac Shakur.
Las Vegas: Huntington Press, 1997. (182Pgs.)
This book is an example of how even though hip-hop is a form of self-expression, it can sometimes lead to unfortunate happenings as with Tupac. He was a hip-hop icon that millions of people looked up to and his status in the culture was unparalleled to any other. While driving back home one night after attending a boxing match in Las Vegas, he was shot to death in a drive by shooting. Some people think it was gang related but no one really knows for sure. Throughout the chapters, the last days of his life are chronicled to show what kind of life he lived and what incidents might have led up to his death.
6. Ro, Ronin. Have Gun Will Travel: The Spectacular Rise and Violent Fall of Death Row Records. New York: Broadway Books, 1998. (372Pgs.)
Ronin Ro's mention of Death Row Records is very important when speaking about hip hop because they were the record company that epitomized what the media calls "gangster music." They were a music label that ran a ferocious criminal enterprise behind a corporate facade. Ro uses them as an example of how many rappers (the ones signed to the record company) portray a 'hard core' image and give hip hop a bad name. He explains that there are many kinds of rap, but gangster rap is the one that gets the most media attention and that is why the public has such a negative perception about hip-hop. Ro is able to fully cover the many negative and aspects about Death Row Records. For instance, he mentions that Death Row Records was the only independent record company that was Black owned.
7. The editors of Vibe Magazine. Tupac Shakur.
New York: Three Rivers Press, 1997. (159Pgs.)
Tupac Shakur, one of rap's most influential individuals, is used as an example to help portray an image of hip hop that is not all about guns, sex, and violence. This piece shines the light on rappers as potentially 'good' role models. Vibe writes, "there are many socially conscious rappers out there, and Tupac is definitely one them." His lyrics aim to move people toward political action and freedom from the government. Later, they go on to mention Tupac as maybe equally influential to today's youth as Martin Luther King was to others in years past. This book allows people to see that there are very important messages in rap songs, contrary to what much of the mass media says. It also helps to shed some light on the positive side of hip hop instead of always the negative.
8. Light, Alan. The Vibe History of Hip-Hop.
New York: Three Rivers Press, 1999. (418Pgs.)
Light's The Vibe History of Hip Hop is best exemplified when he writes, "from the old Bronx nightclub the Fever to the age of Puffy, hip hop has been here for a long time." He uses this statement to emphasize how hip hop used to be underground and has only recently been able to move into the mainstream. This book studies the roots of how hip-hop culture got started and traces it all the way until now. It accurately mentions the ups and downs that the musical artists go through, changing of the rhyme style, instrumental patterns, dress, and language. Various pictures and quotes are offered in the book that makes it more appealing.
9. George, Nelson. Hip-Hop America.
Berkeley: Penguin Press, 1999. (240Pgs.)
Although it's been part of the cultural soundscape for over 25 years, hip-hop has been the focus of very few books. And when those books do pop up, they tend to be either overtly scholarly. A veteran journalist, George is one of the smartest and most observant chroniclers of African American pop culture. He tackles hip-hop with the clarity of a reporter and the enthusiasm of a fan--which is fitting, because George is both. A Brooklyn native, he began writing about rap back in the late 1970s, when the beats and the lifestyle were not only foreign to most white folks, they were still underground in the black communities. Hip Hop America is filled with George's memories of the scene's nascent years, and it tells the story of rap both as an art form and a cultural and economic force--from the old Bronx nightclub the Fever to the age of Puffy. Highlighting both the major players and some of the forces behind the scenes, George gives rap a historical perspective without coming off as too intellectual.
10. Shabazz, Julian. United States Vs Hip-Hop the Historical and Political Significance of Rap Music. New York: Khalifahs Book Sellers & Associates, 1992. (192Pgs)
Hip-Hop was created in the United States and has now branched out into all parts of the world. It is big enough for politicians to take notice and fight against. Before it used to be underground, but now it is main stream. This book provides a brief history about hip-hop and how it came about. It also includes how much of today's rap artists and their lyrics are becoming increasingly controversial. One of the main examples that Shabazz constantly uses is the song "cop killer" by rapper Ice-T. It went all the way to the courts and was a trial about freedom of speech. There were protests about this song and people wanted it banned from the radio and taken off his CD. Eventually, the politicians won and it forever changed rap music and its content. Now all CDs that contain offensive language have labels that say "parental advisory" on them. This book contains a lot of good information of my rap music is the way it is today and how politics has a lot to do with it.
11. Wilson, Sule, and Ayazi-Hashjin. Rap and Hip-Hop : The Voice of a Generation. Lansing: Rosen Publishing Group, 1999. (234Pgs.)
Like many of the other books, Wilson and Ayazi-Hashjin look at hip-hop as a voice of a generation. They offer no different theories or reasons why hip-hop has had such an effect on today's youth. Their theories are that hip-hop is used as a form of rebellion, it is a fashion statement, and it sets the tone for one's personality. If you read other books, you will be able to find the same reasons that these two authors offer. It is obvious that they used references to other books when writing this book. Though it does offer a lot of information, it is not very interesting when you have already read it before.
12. Ehrlich, Gregor, and Ehrlich, Dimitri. Move the Crowd : Voices and Faces of the Hip-Hop Nation. Los Angeles: Pocket Books, 1999. (192Pgs.)
Move the Crowd celebrates the meteoric success of hip-hop, chronicling rap's Golden Age -- the '80s and early '90s, when the music grew from an inner city phenomenon to a primary force of youth culture. The book captures this unique era through hundreds of thought-provoking quotations from the artists themselves, and alongside their powerful words, newspaper headlines and brief excerpts from other media evoke the political and cultural climate that in many ways fueled the rise of hip-hop. Something of a budget-priced art book for rap fans, Move the Crowd gets over on the strength of its page-size photographs of Ice Cube, Flavor Flav, A Tribe Called Quest, and many more.
13. Edwards, Sally, and Edwards, Sarah. Blag.
London: Die Gestalten Verlag Press, 2000. (160Pgs.)
What does Hip Hop look like nowadays? What is street style and why do skateboards, grafitti and Black Culture influence Western lifestyle more and more. The answers lie in London-based Blag magazine, one of the most authentic and challenging projects in the field brought together by Sarah and Sally Edwards. This Blag book presents the best of the no longer available and most sought after issues as well as adding 80% of new and yet unreleased material such as interviews with the true innovators of Hip Hop like Redman, The Roots, EPMD, Jungle Brothers, etc. Blag presents a vivid and most complex culture with photos, fashion, lifestyle and, last but not least, top-class graphic design which is provided by Yacht Associates of London who are well-known for designing record sleeves for England's finest bands (Blur, Pulp, etc.).
14. Potter, Russell. Spectacular Vernaculars : Hip-Hop and the Politics of Postmodernism (Suny Series in Postmodern Culture). New York: State University of New York Press, 1995. (197Pgs.)
This book is used to explain to those within the “academic arena" why hip-hop poetry is, quite possibly, the most important development in literature. As the book is based in the lyrical flow of hip-hop's vernacular, it includes lyrics and analyses of lyrics from Public Enemy, Paris, The Coup, Queen Latifah, Salt 'n' Pepa, and KRS-One. The analysis of the lyrics lets the reader get a different perception about rappers than what is often portrayed in the mass media. If you care about hip-hop, about the future of African-American culture in this increasingly commercialized age, or about the future of poetry in general, then Potter's book is definitely one to read.
15. Rose, Tricia. Black Noise: Rap Music and Black Culture in Contemporary America (Music/Culture). Hartford: Wesleyan University Press, 1994. (258Pgs.)
Rap recordings are discussed almost everywhere today, from school yards and subways to the U.S. Senate and Supreme Court. Rose thoroughly analyzes several facets of the musical genre and provides an effective antidote to the severely flawed hip-hop coverage in mainstream media. She accurately traces rap's sonic history (proving thereby that music does not require conventional melody or harmony) and gives substantial information about the innovative rhythmic manipulations made possible by the techniques of sampling. She also makes clear the connections between rap's beginnings and the political turmoils that afflicted black and Latino urban neighborhoods throughout the 1970s and 1980s. In discussing what is probably rap's most controversial aspect--lyrics supposedly advocating "cop killing"--Rose vividly delineates the social conditions that bring about such fierce responses to real-life police brutality. Finally, she examines the often neglected role of women in rap in rewarding depth. Fans, scholars, and detractors alike stand to learn a great deal by studying Rose's commendable treatise.
16. Eric Dyson, Michael. Between God and Gangsta Rap : Bearing Witness to Black Culture. New York: Oxford University Press, 1997. (240Pgs.)
American culture is sharply divided racially, nowhere more than over "gangsta' rap" music, which appeals to young blacks and repels older blacks and whites who cite it as evidence of moral decay and devolution. But Dyson holds that "the vilification...is far out of proportion to the problem that gangsta' rap presents. The demonization of gangsta' rappers is often a convenient excuse for cultural and political elites to pounce on a group of artists who are easy prey." He says the older generation uses hip-hop as just a convenient way for society to avoid dealing with larger issues of race and class. Nervous parents, educators, and others with an interest in future generations and in racial and class hatred would do well to read his thoughtful assessments.
17. Shaw, Williams. Westside:Young Men and Hip-Hop in L.A. Los Angeles: Simon & Schuster, 2000. (336Pgs.)
This book chronicles the lives of seven young African American men struggling to make it in Southcentral, Los Angeles. The scene takes place in the late 80's when hip-hip was beginning to blow up in LA. Such topics in the book are about guns, sex, and life that's cheap and disposable. The men struggle for success and respect. They feel like their only way out of the ghetto is with hip-hop and they try to follow their heroes such as Tupac, Snoop Doggy Dog, and Dr. Dre. Hip-Hop becomes their main source of self-expression and their key to survival in the ghetto streets.
18. Flores, Juan. "Puerto Rican Invasion." From Bomba to Hip-Hop (Popular Cultures, Everyday Lives). New York: Columbia University Press, 2000. (Pgs. 172-194)
This chapter (Puerto Rican Invasion) in the book focuses on the Puerto Rican population in New York. It talks about their popular music styles and how many Latinos in the city struggle to find their true identity. Since hip-hop culture is very present New York City, many of the Latino youths attempt to adapt to the culture and try to act tough. Many of them join gangs to feel like they belong to something big. It allows them to feel like an important person who has a purpose. But being tough is not what hip-hop is all about. While there are more and more Latinos moving into the city year after year, Flores tries to provide an answer as to why more Latinos are looking to hip-hop for comfort.
19. Guru of Gangstar. "Crucial Conflicts: Is Hip-Hop Culture the New Jazz Culture?" 12 June. 1997. www.BET.com. Online. Internet. 22 Feb. 2001.
In this online article, Guru talks about the fusion of jazz and hip-hop. Hip-Hop started relatively the same time that Jazz was becoming very popular. Guru said that because of the time of its breakthrough, rap got a "feathery edge." He also talks about how many artists of today sample different beats from previous popular jazz songs to make their music sound better. Lots of times the sampling is done in what is called "remixing." Remixing a song is when you take a song and change the beat or some lyrics of it. In the end, Guru says that all music has a connection with each other. Whether it is rap or country, they both evolved from the same place. This perception is very true because though music is now in many different forms, it is still considered music.
20. Backstage. Dir. Chris Fiore. Perf. Jay-Z, DMX, Ja Rule, Memphis Bleek, DJ Clue, Amil, Redman, and Damon Dash. Dimension, 2000.
In this film documentary, it shows the life on the road with some of the most popular rap artists in today's music industry. There is constant excitement with occasional arguments between the artists here and there. Being a hip-hop star is not as glamorous as everything believes it to be. This video shows the time dedication and work ethic that needs to be done in order to put on a good show each night they step on the stage. The video also shows the rewards of being a hip-hop icon, as hundreds of fans camp outside of your hotel waiting for an autograph and the respect that you are shown everywhere you go. It also shows Damon Dash, the chief executive officer of Roc-a-fella Records, and how he runs the whole company. The documentary does an excellent job bringing hip-hop culture to the big screen.
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