In Black Noise: Rap Music and Black Culture in Contemporary America, Tricia Rose, described by the New York Times as a "hip hop theorist," takes a comprehensive look at the lyrics, music, cultures, themes, and styles of this highly rhythmic, rhymed storytelling and grapples with the most salient issues and debates that surround it.Assistant Professor of Africana Studies and History at New York University, Tricia Rose sorts through rap's multiple voices by exploring its underlying urban cultural politics, particularly the influential New York City rap scene, and discusses rap as a unique musical form in which traditional African-based oral traditions fuse with cutting-edge music technologies. Next she takes up rap's racial politics, its sharp criticisms of the police and the government, and the responses of those institutions. Finally, she explores the complex sexual politics of rap, including questions of misogyny, sexual domination, and female rappers' critiques of men.But these debates do not overshadow rappers' own words and thoughts. Rose also closely examines the lyrics and videos for songs by artists such as Public Enemy, KRS-One, Salt N' Pepa, MC Lyte, and L. L. Cool J. and draws on candid interviews with Queen Latifah, music producer Eric "Vietnam" Sadler, dancer Crazy Legs, and others to paint the full range of rap's political and aesthetic spectrum. In the end, Rose observes, rap music remains a vibrant force with its own aesthetic, "a noisy and powerful element of contemporary American popular culture which continues to draw a great deal of attention to itself."

    At the pizzeria where he worked as a kid, he learned to substitute pork for veal in cutlets—which came in handy later when the bankroll was low. At thirteen, he got his first percentage from a local deli—that lost business when he started supplying the neighborhood wiseguys with his own heroes. And what great heroes they were… Once he entered Witness Protection, though, Hill found himself in places where prosciutto was impossible to get and gravy was something you put on mashed potatoes. So he learned to fake it when necessary (for example, Romano with white pepper took the place of real pecorino-siciliano cheese), and wherever he found himself, Hill managed to keep good Italian food on the table. He still brings this flair for improvisation to his cooking. No recipe is set in stone. And substitutions are listed in case you need them. Now, in his inimitable style, Hill tells some spicy stories of his life in the Mob and shows you how to whip up his favorite dishes, Sicilian style—even when you’re cooking on the run....