Perhaps the first book of Raps published by a rapper. Included in this 2nd edition is an essay commisioned & featured on acrossthemargin.com concerning the context of the raps within. These raps are a mix of monologues, memoirs, Op?ras, conjure-songs & plays written, recorded, transcribed & preformed by Malik Ameer Crumpler during 2000-2018. All of the raps & albums within are available for purchase, listening & watching via www.malikameer.com

Hip-hop as survivor testimony? Rhymes as critical text? Drawing on her own experiences as a lifelong hip-hop head and philosophy professor, Lissa Skitolsky reveals the existential power of hip-hop to affect our sensibility and understanding of race and anti-black racism. Hip-Hop as Philosophical Text and Testimony: Can I Get a Witness? examines how the exclusion of hip-hop from academic discourse around knowledge, racism, white supremacy, genocide, white nationalism, and trauma reflects the very neoliberal sensibility that hip-hop exposes and opposes. At this critical moment in history, in the midst of a long overdue global reckoning with systemic anti-black racism, Skitolsky shows how it is more important than ever for white people to realize that our failure to see this system—and take hip-hop seriously—has been essential to its reproduction. In this book, she illustrates the unique power of underground hip-hop to interrupt our neoliberal and post-racial sensibility of current events.

The neighborhoods of Fifth Ward, Fourth Ward, Third Ward, and the Southside of Houston, Texas, gave birth to Houston rap, a vibrant music scene that has produced globally recognized artists such as Geto Boys, DJ Screw, Pimp C and Bun B of UGK, Fat Pat, Big Moe, Z-Ro, Lil’ Troy, and Paul Wall. Lance Scott Walker and photographer Peter Beste spent a decade documenting Houston’s scene, interviewing and photographing the people—rappers, DJs, producers, promoters, record label owners—and places that give rap music from the Bayou City its distinctive character. Their collaboration produced the books Houston Rap and Houston Rap Tapes. This second edition of Houston Rap Tapes amplifies the city’s hip-hop history through new interviews with Scarface, Slim Thug, Lez Moné, B L A C K I E, Lil’ Keke, and Sire Jukebox of the original Ghetto Boys. Walker groups the interviews into sections that track the different eras and movements in Houston rap, with new photographs and album art that reveal the evolution of the scene from the 1970s to today’s hip-hop generation. The interviews range from the specifics of making music to the passions, regrets, memories, and hopes that give it life. While offering a view from some of Houston’s most marginalized areas, these intimate conversations lay out universal struggles and feelings. As Willie D of Geto Boys writes in the foreword, “Houston Rap Tapes flows more like a bunch of fellows who haven’t seen each other for ages, hanging out on the block reminiscing, rather than a calculated literary guide to Houston’s history.”

This open access book offers an interdisciplinary perspective and presents various case studies on music as ICH, highlighting the importance and functionality of music to stimulating social innovation and entrepreneurship., Intangible Cultural Heritage (ICH) covers the traditions or living expressions proposed by the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage in five areas, including music. To understand the relationship between immaterial and material uses and inherent cultural landscapes, this open access book analyzes the symbolic, political, and economic dimensions of music. The authors highlight the continuity and current functionality of these artistic forms of expression as well as their lively and changing character in continuous transformation. Topics include the economic value and impact of music, strategies for social innovation in the music sector, music management, and public policies to promote cultural and creative industries. [Resumen de la editorial]

The Houston, Texas, neighborhoods of Fifth Ward, Third Ward and South Park have grown to be hallowed ground for modern rap culture, populated with celebrities, entrepreneurs, support networks and a micro-economy of their own. Photographer Peter Beste (photographer of True Norwegian Black Metal) and writer Lance Scott Walker spent nine years documenting the most influential style in twenty-first-century hip hop and the vibrant inner city culture from which it stems. Houston Rap, edited by Johan Kugelberg, profiles noted artists such as Bun B of UGK, Z-Ro, Big Mike, K-Rino, Willie D of the Geto Boys, Lil’ Troy and Paul Wall, alongside reflections on the lives of departed legends such as DJ Screw, Pimp C and Big Hawk. The book also features community leaders, rappers, producers, businessmen and family members, all providing an astonishing and important insight into a great American cultural narrative. In addition to featuring Beste’s previously unseen images of the contemporary Houston rap scene, Houston Rapincludes a detailed timeline charting the growth of rap music in Houston from its origins to the present.

This set covers all aspects of international hip hop as expressed through music, art, fashion, dance, and political activity. Hip hop music has gone from being a marginalized genre in the late 1980s to the predominant style of music in America, the UK, Nigeria, South Africa, and other countries around the world. Hip Hop around the World includes more than 450 entries on global hip hop culture as it includes music, art, fashion, dance, social and cultural movements, organizations, and styles of hip hop. Virtually every country is represented in the text. Most of the entries focus on music styles and notable musicians and are unique in that they discuss the sound of various hip hop styles and musical artists' lyrical content, vocal delivery, vocal ranges, and more. Many additional entries deal with dance styles, such as breakdancing or b-boying/b-girling, popping/locking, clowning, and krumping, and cultural movements, such as black nationalism, Nation of Islam, Five Percent Nation, and Universal Zulu Nation. Country entries take into account politics, history, language, authenticity, and personal and community identification. Special care is taken to draw relationships between people and entities such as mentor-apprentice, producer-musician, and more.

A comprehensive collection of the writings of Mark Fisher (1968-2017), whose work defined critical writing for a generation. This comprehensive collection brings together the work of acclaimed blogger, writer, political activist and lecturer Mark Fisher (aka k-punk). Covering the period 2004 - 2016, the collection will include some of the best writings from his seminal blog k-punk; a selection of his brilliantly insightful film, television and music reviews; his key writings on politics, activism, precarity, hauntology, mental health and popular modernism for numerous websites and magazines; his final unfinished introduction to his planned work on "Acid Communism"; and a number of important interviews from the last decade. Edited by Darren Ambrose and with a foreword by Simon Reynolds.

"An utterly satisfying examination of the business of popular music." —Nathaniel Rich, The Atlantic There’s a reason today’s ubiquitous pop hits are so hard to ignore—they’re designed that way. The Song Machine goes behind the scenes to offer an insider’s look at the global hit factories manufacturing the songs that have everyone hooked. Full of vivid, unexpected characters—alongside industry heavy-hitters like Katy Perry, Rihanna, Max Martin, and Ester Dean—this fascinating journey into the strange world of pop music reveals how a new approach to crafting smash hits is transforming marketing, technology, and even listeners’ brains. You’ll never think about music the same way again. A Wall Street Journal Best Business Book

In the twenty-first century, Senegalese hip hop--"Rap Galsen"--has reverberated throughout the world as an exemplar of hip hop resistance in its mobilization against government corruption during a series of tumultuous presidential elections. Yet Senegalese hip hop's story goes beyond resistance; it is a story of globalization, of diasporic movement and memory, of imagined African pasts and contemporary African realities, and of urbanization and the banality of socio-economic struggle. At particular moments in Rap Galsen's history, origin narratives linked hip hop to a mythologized Africa through the sounds of indigenous oralities. At other times, contrasting narratives highlighted hip hop's equally mythologized roots in the postindustrial U.S. inner city and African American experience. As Senegalese youth engage these globally circulating narratives, hip hop performance and its stories negotiate their place in a rapidly changing world. In Hip Hop Time explores this relationship between popular music and social change, framing Senegalese hip hop as a musical movement deeply tied to both indigenous performance practices and changing social norms in urban Africa. Author Catherine Appert takes us from Senegalese hip hop's beginnings among cosmopolitan youth in Dakar's affluent neighborhoods in the 1980s, to its spread throughout the city's ghettoized working class neighborhoods in the mid- to late-'90s, and into the present day, where political activism and hip hop musicality vie for position in local and global arenas. An ethnography of the inextricability of musical and social meaning in hip hop practice, In Hip Hop Time charts new intellectual territory in the scholarship of African and global hip hop.

In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.