THANK YOU FOR READING MY LIFE STORY. THERE AREN'T MANY OF US LEFT TO TELL THE TALE OF THE "INVISIBLE LEGENDS OF HIP-HOP" A BRONX B-BOY/M. C. LEGEND GANGSTALLY YOURS, M. C. EL BEE PERCEPTION OF LOVE Poem written by M. C. EL BEE They say that love isn't supposed to hurt, but passive love never corrected anybody from the ghetto. The sign of true love's face comes to a world who has gone astray from its moral self. She rides high on the planes of open-mindedness; it makes excuses for its way wood ways, resisting anyone who offers true love, for true love in the eyes of way woodiness often appears harsh, cruel, painful, sorrowful. Only the immoral sees love as passive to its corrupt self.

THANK YOU FOR READING MY LIFE STORY. THERE ARENT MANY OF US LEFT TO TELL THE TALE OF THE INVISIBLE LEGENDS OF HIP-HOP A BRONX B-BOY/M. C. LEGEND GANGSTALLY YOURS, M. C. EL BEE PERCEPTION OF LOVE Poem written by M. C. EL BEE They say that love isnt supposed to hurt, but passive love never corrected anybody from the ghetto. The sign of true loves face comes to a world who has gone astray from its moral self. She rides high on the planes of open-mindedness; it makes excuses for its way wood ways, resisting anyone who offers true love, for true love in the eyes of way woodiness often appears harsh, cruel, painful, sorrowful. Only the immoral sees love as passive to its corrupt self.

THANK YOU FOR READING MY LIFE STORY. THERE AREN'T MANY OF US LEFT TO TELL THE TALE OF THE "INVISIBLE LEGENDS OF HIP-HOP" A BRONX B-BOY/M. C. LEGEND GANGSTALLY YOURS, M. C. EL BEE PERCEPTION OF LOVE Poem written by M. C. EL BEE They say that love isn't supposed to hurt, but passive love never corrected anybody from the ghetto. The sign of true love's face comes to a world who has gone astray from its moral self. She rides high on the planes of open-mindedness; it makes excuses for its way wood ways, resisting anyone who offers true love, for true love in the eyes of way woodiness often appears harsh, cruel, painful, sorrowful. Only the immoral sees love as passive to its corrupt self.

This book examines the post-1960s era of popular music in the Anglo-Black Atlantic through the prism of historical theory and methods. By using a series of case studies, this book mobilizes historical theory and methods to underline different expressions of alternative music functioning within a mainstream musical industry. Each chapter highlights a particular theory or method while simultaneously weaving it through a genre of music expressing a notion of alternativity—an explicit positioning of one’s expression outside and counter to the mainstream. Historical Theory and Methods through Popular Music seeks to fill a gap in current scholarship by offering a collection written specifically for the pedagogical and theoretical needs of those interested in the topic.

Journalist Soren Baker’sThe History of Gangster Rap takes a deep dive into this fascinating music subgenre. Foreword by Xzibit Sixteen detailed chapters, organized chronologically, examine the evolution of gangster rap, its main players, and the culture that created this revolutionary music. From still-swirling conspiracy theories about the murders of Biggie and Tupac to the release of the film Straight Outta Compton, the era of gangster rap is one that fascinates music junkies and remains at the forefront of pop culture. Filled with interviews with key players such as Snoop Dogg, Ice-T, and dozens more, as well as sidebars, breakout bios of notorious characters, lists, charts, and beyond, The History of Gangster Rap is the be-all-end-all book that contextualizes the importance of gangster rap as a cultural phenomenon. “History has so often been written by the victors, that you very rarely ever get the real story behind anything. So it’s really important to hear from the people that were there, which is exactly what Soren Baker shares in this book. He writes about it and he’s honest about it.” —The D.O.C.

As hip-hop artists constantly struggle to "keep it real," this fascinating study examines the debates over the core codes of hip-hop authenticity--as it reflects and reacts to problematic black images in popular culture--placing hip-hop in its proper cultural, political, and social contexts.

How gangsta rap shocked America, made millions, and pulled back the curtain on an urban crisis. How is it that gangsta rap—so dystopian that it struck aspiring Brooklyn rapper and future superstar Jay-Z as “over the top”—was born in Los Angeles, the home of Hollywood, surf, and sun? In the Reagan era, hip-hop was understood to be the music of the inner city and, with rare exception, of New York. Rap was considered the poetry of the street, and it was thought to breed in close quarters, the product of dilapidated tenements, crime-infested housing projects, and graffiti-covered subway cars. To many in the industry, LA was certainly not hard-edged and urban enough to generate authentic hip-hop; a new brand of black rebel music could never come from La-La Land. But it did. In To Live and Defy in LA, Felicia Viator tells the story of the young black men who built gangsta rap and changed LA and the world. She takes readers into South Central, Compton, Long Beach, and Watts two decades after the long hot summer of 1965. This was the world of crack cocaine, street gangs, and Daryl Gates, and it was the environment in which rappers such as Ice Cube, Dr. Dre, and Eazy-E came of age. By the end of the 1980s, these self-styled “ghetto reporters” had fought their way onto the nation’s radio and TV stations and thus into America’s consciousness, mocking law-and-order crusaders, exposing police brutality, outraging both feminists and traditionalists with their often retrograde treatment of sex and gender, and demanding that America confront an urban crisis too often ignored.