Nearly thirty years ago, Ernie Paniccioli, considered by many to be the James Van Der Zee of the hiphop generation, began photographing graffiti art throughout New York City as well as the young people creating it. Armed with a 35-millimeter camera, Paniccioli literally recorded the beginning salvos of hiphop, today the most dominant youth culture on the planet. Be it Grandmaster Flash at the Roxy, a summer block party in the Bronx, the fresh faces of Jay-Z and Will Smith, the cocksure personas of Tupac Shakur, The Notorious B.I.G., and Eminem, or the regal grace of Lauryn Hill, Ernie Paniccioli has been there to showcase hiphop’s emerging talent. With more than 200 photographs that have been culled from a vast archive, Who Shot Ya? is the first major pictorial history of hiphop culture.

Snitching is the new side hustle. Unfortunately for the Wests, the alphabet boys are always hiring: no experience is needed. After the melee on the Westside of Manhattan, the government is no longer playing fair. The FBI and DEA compete to ensnare the West organization into a trap blurring the boundaries of what's legal, moral, and ethical. And with the once tight-knit family bifurcated, their power weakened by dissension; the cartel mobilizes to finally end the Wests reign at the top. Meyer, not ready to put his temper on pause, has a lot of scores to settle. However, a significant blow to their empire has him handcuffed and wondering how to process his new normal. With the losses adding up and bodies piling up, will the West family realize that all they have is each other?

Filled with more than 250 images of artists including Ice Cube, The Notorious B.I.G., LL Cool J, Naughty by Nature, Public Enemy, 50 Cent, N.W.A, Snoop Dogg, Lil' Kim, Flavor Flav, Lauren Hill, Queen Latifah, TLC, many that have never before been published, this book is set to become the new hip-hop photography bible With exclusive, behind-the-scenes access, preeminent photographer Brother Ernie captures the last four decades of the evolution of hip-hop--the styles that grew from it, and the artists who shaped it. Complete with Brother Ernie's personal anecdotes of time spent with subjects, and stories behind the photographs, Hip-Hop at the End of the World shares intimate moments from the most important era of hip-hop. After picking up a camera in the 1973 to document the graffiti art that dominated New York City, Ernest Paniccioli started his journey of whole-heartedly capturing the scene during the most fertile years of hip-hop. Always armed with a 35mm camera, he successfully photographed nearly every rapper of note since the genre's inception, making him the go-to photographer for magazines like Word Up and Rap Masters. Hip Hop at the End of the World is a carefully curated selection of photographs from Brother Ernie's extensive archives, celebrating over 40 years of swag in one of the most complete records of the most crucial movements in American music.

ASSATA's life has been a rollercoaster of bullets, blood, and heartbreaking losses. Somehow, he's managed to navigate the tragedies and remain solid to the core. But monumental trouble is on the horizon, and it will test what the man is truly made of. Will his principles remain intact? Or will he become an unprincipled animal who's willing to do anything to survive? Assata craves that which may cause him more trouble than it's worth. With his heart fixated on guilty pleasures, can he withstand the war he's about to face? His gangsta is unquestioned. But everyone in his inner circle isn't as loyal as they pretend to be. Assata is in a deadly race against time to find out who the serpent might be. In WHO SHOT YA 3, the snake will be exposed and the terror will reach it's zenith. Hold your breath!

More than two hundred spectacular photographs, sensual, luminous, frenzied, true, from 1955 to the present, that catch and define the energy, intoxication, rebellion, and magic of rock and roll; the first book to explore the photographs and the photographers who captured rock’s message of freedom and personal reinvention—and to examine the effect of their pictures on the musicians, the fans, and the culture itself. The only music photographers whose names are well known are those who themselves have become celebrities. But many of the images that have shaped our consciousness and desire were made by photographers whose names are unfamiliar. Here are Elvis in 1956—not yet mythic but beautiful, tender, vulnerable, sexy, photographed by Alfred Wertheimer . . . Bob Dylan and his girlfriend on a snowy Greenwich Village street, by Don Hunstein . . . John Lennon in a sleeveless New York City T-shirt, by Bob Gruen . . . Jimi Hendrix, by Gered Mankowitz, a photograph that became a poster and was hung on the walls of millions of bedrooms and college dorms . . . For the first time, the work of these talented men and women is brought into the pantheon; we see the musicians they photographed and how the images gave rock and roll its visual identity. To bring together these images, Gail Buckland, acclaimed photographic editor, curator, and scholar, looked through the archives of one hundred photographers, selecting pictures not on the basis of the usual suspects, but on the power of the images themselves, often picking an image a photographer didn’t even remember he or she had taken. Buckland writes about the photographers, their influences, their relationships with their subjects, how they took the images, how they saw what they saw and captured what they captured: the spirit and essence of rock. A revelation of an art form whose iconic images changed the world as we knew it.

The lives of both Tupac Shakur (2pac) and Christopher Wallace (The Notorious B.I.G.) are as similar as they are different paradoxically. And they will forever be intertwined especially, when both their stories will continue to be sold and told dually together throughout the rest of history and eternity. And they can only be described as the proverbial yin and yang to one another. They were both raised by strong black mothers. Tupac was raised by the very wise and intelligent Afeni Shakur, while Christopher (Biggie Smalls) was reared by the very loving and affectionate Violetta Wallace. Both of their mothers were intricate and central parts of their lives, upbringings, and musical careers. And Afeni and Voletta were both left behind to pick up the pieces of their son’s musical businesses, careers, as well as their legacies, after they were tragically murdered in the streets by their assailants. Afeni and Voletta are two more grieving mothers of young black men who were victims of high-profile murders that both have yet to be solved as closed cold cases, and also in the court of public opinion. 2Pac and Biggie Smalls both grew up in poverty situations. Biggie had it a little bit better being that his mother was well-educated, and she ending up becoming a school teacher. 2pac experienced a very different struggle growing up and being raised in the Black Panther community. Although they were poor Afeni and 2pac were both well-educated and highly intelligent beings. The music industry can turn best friends into enemies. Sadly, 2pac and Biggie didn't get the chance or opportunity to get things right between the two of them before both of their untimely deaths, destructions, and demises. Neither one of them had their fathers in their lives to teach them how to be men and settle their differences and opinions like gentlemen. BIG did have the chance and opportunity to experience fatherhood for himself and if he had some more time, I believe that him and Tupac would have eventually squashed their media-driven and musical industry differences. They are both hip-hop legends and they will both continue to inspire and influence the masses as well as the rap music industry, culture, future, and community. 2pac and Biggie Smalls both believed that they would suffer untimely deaths and demises at a very young age. And both of their predictions, projections, and prophetic intuitions ended up becoming a very tragic reality.