Hiphop University: Working Bibliography

College campuses have become rich sites of hip-hop culture and knowledge production. Despite the attention that campus personnel and researchers have paid to student life, the field of higher education has often misunderstood the ways that hip-hop culture exists in college students' lives. Based upon in-depth interviews, observations of underground hip-hop spaces, and the author's own active roles in hop-hop communities, this book provides a rich portrait of how college students who create hip-hop-both male and female, and of multiple ethnicities-embody its principles and aesthetics on campuses across the United States. The book looks beyond rap music, school curricula, and urban adolescents to make the empirical argument that hip-hop has a deep cultural logic, habits of mind, and worldview components that students apply to teaching, learning, and living on campus.

Hip-Hop Culture in College Students' Lives provides critical insights for researchers and campus personnel working with college students, while pushing cultural observers to rethink the basic ways that people live hip-hop.

In association with Def Jam, a celebration of the first twenty-five years of the label that defined hip-hop music and culture, in the words and photographs of its founders and artists. This is the story of Def Jam in the words of its artists and top executives, taken from interviews and seamlessly told as a narrative of no-holds barred recollections and anecdotes, made even more compelling by the fact that Def Jam is one of the last great record labels to enjoy the widespread cultural influence that it does, in light of the increasing digitization of music. Def Jam celebrates a label that defined hip-hop and whose impact extends beyond its incredible roster of recording artists to all areas of culture--fashion, lifestyle, cinema, art--impacting the music business and pop culture forever. In 1984, Def Jam introduced a new kind of music and lifestyle--hip-hop--through aspiring record producer and punk-rocker Rick Rubin and party promoter/artist manager Russell Simmons. It has become the sound of young America, akin to Motown in the sixties. This is the first book to see the label whole: through an oral history woven from interviews (some exclusive) with its founders and artists such as LL Cool J, Beastie Boys, Jay-Z, Ludacris, Ja Rule, Rihanna, Ashanti, and Kanye West, as well as through rare memorabilia from personal archives of the label's movers and shakers: behind-the-scenes photos, flyers, advertisements, movie posters, album cover art, magazine covers, and press clips from around the world. It also showcases images from some of the best-known photographers of the era, including Albert Watson, Glen E. Friedman, Jonathan Mannion, and Annie Leibovitz. It is designed by Cey Adams, Def Jam’s founding creative director and is an insider's portrait of the last great record label.

In the aftermath of Hurricane Katrina, polls revealed that only 20 percent of African Americans believed that racial equality for blacks would be achieved in their lifetime. But following the election of Barack Obama, that number leaped to more than half. Did that dramatic shift in opinion really reflect a change in the vitality of black politics—and hope for improvement in the lives of African Americans? Or was it a onetime surge brought on by the euphoria of an extraordinary election?

With Not in Our Lifetimes, Michael C. Dawson shows definitively that it is the latter: for all the talk about a new post-racial America, the fundamental realities of American racism—and the problems facing black political movements—have not changed. He lays out a nuanced analysis of the persistence of racial inequality and structural disadvantages, and the ways that whites and blacks continue to see the same problems—the disastrous response to Katrina being a prime example—through completely different, race-inflected lenses. In fact, argues Dawson, the new era heralded by Obama’s election ist more racially complicated, as the widening class gap among African Americans and the hot-button issue of immigration have the potential to create new fissures for conservative and race-based exploitation. Bringing his account up to the present with a thoughtful account of the rise of the Tea Parties and the largely successful "blackening" of the president, Dawson ultimately argues that black politics remains weak—and that achieving the dream of racial and economic equality will require the sort of coalition-building and reaching across racial divides that have always marked successful political movements.

Polemical but clear-eyed, passionate but pragmatic, Not in Our Lifetimes will force us to rethink our easy assumptions about racial progress—and begin the hard work of creating real, lasting change.

1. The Overweight Lover's In The House

2. Mr. Big Stuff

3. Don't You Know

4. We Got Our Own Thang

5. Somebody For Me

6. Gyrlz They Love Me

7. Now That We Found Love (with Aaron Hall)

8. Is It Good To You

9. You Can't See What I See

10. Got Me Waiting

11. Nuttin' But Love

12. Black Coffee

13. Big Daddy

14. On Point

15. Just Coolin' (Levert featuring Heavy D)- Bonus Track

1. We Got Our Own Thang

2. You Ain't Heard Nuttin Yet

3. Somebody For Me

4. Mood For Love

5. EZ Duz It, Do It EZ

6. A Better Land

7. Gyrlz, They Love Me

8.More Bounce

9. Big Tyme

10. Flexin'

11. Here We Go Again, Y'all

12. Let It Flow