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It Was Written

A White Man’s Look at Race and The Hip-Hop Industry

Tuesday, May 8, 2007

Other People's Property
“Other People’s Property” is a very good book that is at its best when its author acts like a DJ. But don’t get it twisted: [Jason] Tanz sees hip-hop as text more than as sonic phenomenon or, for that matter, stone groove. “Other People’s Property” is made up of nine journalistic pieces, each a mix of reportage and personal reflection about race and the industry of hip-hop. It’s freaky, equally in love with Western philosophers such as Jean Baudrillard and the classic albums from hip-hop’s golden era. In a very hip-hop effort to get his shine on, the author mashes up his prose, cutting in and out of reportage and confessional styles.

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It Was Shown

A Look Into ‘Infamy’

Tuesday, January 30, 2007

Cover of 'Infamy'
This cutting edge documentary not only unmasks the faces of seven individuals addicted to graffiti, but it exposes their thoughts, feelings, faults and fears — an avenue unrivaled by any graff film to date[…]”Graffiti is like the United Nations. There is a representative from all corners of the earth. Black, white and the many shades in between, man or woman.”

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And It Don’t Stop: The Best American Hip-Hop Journalism of the Last 25 Years

anditdontstop
By Raquel Cepeda

Hip-hop music not only gave birth to new directions in American culture, it also reformulated cultural journalism. In this collection of 29 articles and essays, editor Cepeda chronicles the growth of hip-hop music and journalism. The collection (which includes contributions by Nelson George, Cheo Hodari Coker, Joan Morgan, Toure, and Greg Tate) chronicles the early days of hip-hop culture in the South Bronx when break-dancers, graffiti artists, and deejays contributed to the atmospherics. The collection also examines the essential role of these writers (and their publications, including Vibe and Rap Sheet) in explaining and popularizing hip-hop, the strained relationships between writers and artists, the conflicts, and the occasional crossover. The book is divided into decades: the 1980s examines early efforts to report on hip-hop; the 1990s, when hip-hop journalism shifted to critical analysis while mainstream reporting focused on the “Benjamins”; and the 2000s, with widespread use of hip-hop music and images in everything from fashion to fast-food jingles. This is an important look at an energetic, inventive culture and the writers who have covered it. - Vanessa Bush

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