Excerpts of letters, quotes, and lyrics by Chuck D and excerpts of quotes by Sally Banes, Simon Reynolds, and Richard Goldstein are reprinted with permission. The principal line of attack that is constantly used is that rap music and hip hop, in general, promote crime, violence, and sexual oppression. His followers in the Black diaspora of the Caribbean, North and Central America, and Africa—which, at the peak of his powers, likely numbered in the millions—called him the Black Moses. Funding and support for radical music disappeared, and the big deals started going to those willing to promote misogyny and black-on-black violence. The debate, therefore, got bogged down on the issue of free expression.
This is one of the most urgent and passionate histories of popular music ever written. The Wasteland Here was the unreconstructed South—the South Bronx, a spectacular set of ruins, a mythical wasteland, an infectious disease, and, as Robert Jensen observed, a condition of poverty and social collapse, more than a geographical place. Who We Be: The Colorization of America, was released on St. They pulled global popular culture into the Third World. To Moses, the tower-in-a-park model was a blackboard equation that neatly solved thorny problems—open space in the urban grid, housing for the displaced poor—with a tidy cost-efficiency. There is no argument to the fact that even before Chang came out with his book, the conservative reaction towards hip hop and rap music has been one that is extremely prejudicial and critical. This culture was born in the ghetto.
Millions of people are watching us. The shot pulled back to reveal a block of 100-foot ghost-shell structures casting long afternoon shadows against each other on the desolate street. In the end, a Bronx resident convinced George to keep his Black business open. That particular night, one thing I noticed, a resident would later say, they were not hurting each other. The two sevens had clashed, they warned.
But that epic story has never been told with this kind of breadth, insight, and style. He believed that the gangs collected the fearful and the forgotten. They are interesting and necessary fictions because they allow claims to be staked around ideas. We have been the Baby Boom Echo. Is Baby Boom Narcissus in the house? Forged in the fires of the Bronx and Kingston, Jamaica, hip-hop became the Esperanto of youth rebellion and a generation-defining movement. There is nothing more ancient than telling stories about generational difference. As one fireman described the cycle: It starts with fires in the vacant apartments.
You were then at the point that it all started to go downhill. All these were attributed to the artistic talents of exceptional Afro-Americans. There are lot of people who are doing something positive, who are doing hip-hop the way it was meant to be done. But it was his arrogance that finally turned them. The labels, on the other hand, merely insisted that the First Amendment allows them to produce and promote such works. Gonna Work It Out: Peace and Rebellion in Los Angeles 17.
The gap between rich and poor, and between people of colour and whites, was growing at an incredible rate, as was the prison population. ¹³ Bad Numbers Here was the new math: the South Bronx had lost 600,000 manufacturing jobs; 40 percent of the sector disappeared. How will we help the community? Groups of organized thieves, some of them strung out on heroin, plundered the burned buildings for valuable copper pipes, fixtures, and hardware. But the Dodgers were like a red Corvette in a Malibu morning, a team perpetually speeding into the future. Do we realize how much power hip-hop has? Robert Moses, the most powerful modern urban builder of all time, led the white exodus out of the Bronx.
Here is a powerful cultural and social history of the end of the American century, and a provocative look into the new world that the hip-hop generation created. The most damaging indicators cannot be measured in numbers, the report concluded. Long before many of his contemporaries, Seaga understood that Jamaica was the kind of place where it was hard to tell where the politics ended and the music began. Bulldozers rolled in behind the police, flattening the shanties. The new culture seemed to whirl backward and forward—a loop of history, history as loop—calling and responding, leaping, spinning, renewing. The year of the snake.
We were born here to die. I ought to kick your fucking ass! This happened despite the fact that many rappers and hip hop artists did not write and perform music with such content although gangsta rap, which particularly developed first in west coast, was gradually gaining acceptance as an alternative and popular sub-genre. In under 500 pages, Jeff Chang has managed to give a detailed, fascinating and relevant history of hip-hop culture, covering almost every important aspect: the social conditions that gave rise to it, the stories of the people and communities that pioneered it and moved it forward, its transformation from a primarily party-oriented movement to a culture of resistance, its re-transformation to a culture of individualism and consumerism, and a peek into its future. In many ways, although it is not directly about hip-hop, this is the most important section of the book, as this history gives some important clues as to what makes hip-hop so special, so important. Athanasius school baseball team, South Bronx Photo © Mel Rosenthal 1. They have a right to speak on it the way they see it coming up.