Set in the format of the Christian Bible, this 800-plus-page opus is a life-guide manual for members of Hip Hop Kulture that combines classic philosophy with faith and practical knowledge for a fascinating, in-depth exploration of Hip Hop as a life path. Known as “The Teacha,” KRS ONE developed his unique outlook as a homeless teen in Brooklyn, New York, engaging his philosophy of self-creation to become one of the most respected emcees in Hip Hop history. Respected as Hip Hop’s true steward, KRS ONE painstakingly details the development of the culture and the ways in which we, as “Hiphoppas,” can and should preserve its future. "The Teacha" also discusses the origination of Hip Hop Kulture and relays specific instances in history wherein one can discover the same spirit and ideas that are at the core of Hip Hop’s current manifestation. He explains Hip Hop down to the actual meaning and linguistic history of the words “hip” and “hop,” and describes the ways in which "Hiphoppas" can change their current circumstances to create a future that incorporates Health, Love, Awareness, and Wealth (H-LAW). Committed to fervently promoting self-reliance, dedicated study, peace, unity, and truth, The "Teacha" has drawn both criticism and worship from within and from outside of Hip Hop Kulture. In this beautifully written, inspiring book, KRS ONE shines the light of truth, from his own empirical research over a 14-year period, into the fascinating world of Hip Hop.

    Weaving these texts together, Peck brilliantly imagines the book that Baldwin never wrote. In his final years, Baldwin had envisioned a book about his three assassinated friends, Medgar Evers, Malcolm X, and Martin Luther King. His deeply personal notes for the project have never been published before. Peck s film uses them to jump through time, juxtaposing Baldwin s private words with his public statements, in a blazing examination of the tragic history of race in America.

    Eurocentrism. Caribbean Studies. British Studies. To the forces of cultural nationalism hunkered down in their camps, this bold hook sounds a liberating call. There is, Paul Gilroy tells us, a culture that is not specifically African, American, Caribbean, or British, but all of these at once, a black Atlantic culture whose themes and techniques transcend ethnicity and nationality to produce something new and, until now, unremarked. Challenging the practices and assumptions of cultural studies, "The Black Atlantic" also complicates and enriches our understanding of modernism.Debates about postmodernism have cast an unfashionable pall over questions of historical periodization. Gilroy bucks this trend by arguing that the development of black culture in the Americas arid Europe is a historical experience which can be called modern for a number of clear and specific reasons. For Hegel, the dialectic of master and slave was integral to modernity, and Gilroy considers the implications of this idea for a transatlantic culture. In search of a poetics reflecting the politics and history of this culture, he takes us on a transatlantic tour of the music that, for centuries, has transmitted racial messages and feeling around the world, from the Jubilee Singers in the nineteenth century to Jimi Hendrix to rap. He also explores this internationalism as it is manifested in black writing from the "double consciousness" of W. E. B. Du Bois to the "double vision" of Richard Wright to the compelling voice of Toni Morrison.In a final tour de force, Gilroy exposes the shared contours of black and Jewish concepts of diaspora in order both to establish a theoretical basis for healing rifts between blacks and Jews in contemporary culture and to further define the central theme of his book: that blacks have shaped a nationalism, if not a nation, within the shared culture of the black Atlantic.

    Terms and phrases such as "the global village" and "the medium is the message" are now part of the lexicon, and McLuhan's theories continue to challenge our sensibilities and our assumptions about how and what we communicate.There has been a notable resurgence of interest in McLuhan's work in the last few years, fueled by the recent and continuing conjunctions between the cable companies and the regional phone companies, the appearance of magazines such as WiRed, and the development of new media models and information ecologies, many of which were spawned from MIT's Media Lab. In effect, media now begs to be redefined. In a new introduction to this edition of Understanding Media, Harper's editor Lewis Lapham reevaluates McLuhan's work in the light of the technological as well as the political and social changes that have occurred in the last part of this century.

    Slavery produced centuries of physical, psychological and spiritual injury. Post Traumatic Slave Syndrome: America's Legacy of Enduring Injury and Healing lays the groundwork for understanding how the past has influenced the present, and opens up the discussion of how we can use the strengths we have gained to heal.

    She shows how contemporary surveillance technologies and practices are informed by the long history of racial formation and by the methods of policing black life under slavery, such as branding, runaway slave notices, and lantern laws. Placing surveillance studies into conversation with the archive of transatlantic slavery and its afterlife, Browne draws from black feminist theory, sociology, and cultural studies to analyze texts as diverse as the methods of surveilling blackness she discusses: from the design of the eighteenth-century slave ship Brooks, Jeremy Bentham's Panopticon, and The Book of Negroes, to contemporary art, literature, biometrics, and post-9/11 airport security practices. Surveillance, Browne asserts, is both a discursive and material practice that reifies boundaries, borders, and bodies around racial lines, so much so that the surveillance of blackness has long been, and continues to be, a social and political norm.

    What unravels for Tracy D. Sharpley-Whiting is a new, and problematic, politics of gender. In this fascinating and forceful book, Sharpley-Whiting, a feminist writer who is a member of the hip hop generation, interrogates the complexities of young black women's engagement with a culture that is masculinist, misogynistic, and frequently mystifying.Beyond their portrayal in rap lyrics, the display of black women in music videos, television, film, fashion, and on the Internet is indispensable to the mass media engineered appeal of hip hop culture, the author argues. And the commercial trafficking in the images and behaviors associated with hip hop has made them appear normal, acceptable, and entertaining - both in the U.S. and around the world.Sharpley-Whiting questions the impacts of hip hop's increasing alliance with the sex industry, the rise of groupie culture in the hip hop world, the impact of hip hop's compulsory heterosexual culture on young black women, and the permeation of the hip hop ethos into young black women's conceptions of love and romance.The author knows her subject from the inside. Coming of age in the midst of hip hop's evolution in the late 1980s, she mixed her graduate studies with work as a runway and print model in the 1990s. Her book features interviews with exotic dancers, black hip hop groupies, and hip hop generation members Jacklyn "Diva" Bush, rapper Trina, and filmmaker Aishah Simmons, along with the voices of many "everyday" young women.Pimps Up, Ho's Down turns down the volume and amplifies the substance of discussions about hip hop culture and to provide a space for young black women to be heard.2007 Popular Culture Association/American Culture Association Emily Toth Award

    We spin fantasies. We devour novels, films, and plays. Even sporting events and criminal trials unfold as narratives. Yet the world of story has long remained an undiscovered and unmapped country. It’s easy to say that humans are “wired” for story, but why?In this delightful and original book, Jonathan Gottschall offers the first unified theory of storytelling. He argues that stories help us navigate life’s complex social problems—just as flight simulators prepare pilots for difficult situations. Storytelling has evolved, like other behaviors, to ensure our survival.Drawing on the latest research in neuroscience, psychology, and evolutionary biology, Gottschall tells us what it means to be a storytelling animal. Did you know that the more absorbed you are in a story, the more it changes your behavior? That all children act out the same kinds of stories, whether they grow up in a slum or a suburb? That people who read more fiction are more empathetic?Of course, our story instinct has a darker side. It makes us vulnerable to conspiracy theories, advertisements, and narratives about ourselves that are more “truthy” than true. National myths can also be terribly dangerous: Hitler’s ambitions were partly fueled by a story.But as Gottschall shows in this remarkable book, stories can also change the world for the better. Most successful stories are moral—they teach us how to live, whether explicitly or implicitly, and bind us together around common values. We know we are master shapers of story. The Storytelling Animal finally reveals how stories shape us.

    On this four-decade-long journey from the studios where the first rap records were made to the boardrooms where the big deals were inked, The Big Payback tallies the list of who lost and who won. Read the secret histories of the early long-shot successes of Sugar Hill Records and Grandmaster Flash, Run DMC's crossover breakthrough on MTV, the marketing of gangsta rap, and the rise of artist/ entrepreneurs like Jay-Z and Sean "Diddy" Combs. 300 industry veterans-well-known giants like Rick Rubin and Russell Simmons, the founders of Def Jam, and key insiders like Gerald Levin, the embattled former Time Warner chief-gave their stories to renowned hip-hop journalist Dan Charnas, who provides a compelling, never-before seen, myth-debunking view into the victories, defeats, corporate clashes, and street battles along the 40-year road to hip-hop's dominance.

    In this unparalleled book, Marshall Berman takes account of the social changes that swept millions of people into the capitalist world and the impact of modernism on art, literature and architecture. This new edition contains an updated preface addressing the critical role the onset of modernism played in popular democratic upheavals in the late 1920s.

    Led by a man named Allah, the Five Percenters taught the city’s black youth that they were gods. From their marginalized beginnings, the movement’s history has been charged with drama, spanning the war between Malcolm X and Elijah Muhammad, the Attica prison revolt, Brooklyn turf gangs and 1980s crack empires. Now counting several hip hop stars amongst their ranks, including RZA, GZA, Rakin, and Lord Jamar, the Five Percenter’s profile is arguably greater than their parent organization, the Nation of Islam. With a cast of characters ranging from Malcolm X to rap stars 50 Cent and the Wu-Tang Clan, Knight’s exciting work is the first detailed account of the organization inextricably linked with black rights, Islam, New York and hip hop. The first serious treatment of the Five Percenters as a legitimate value system and culture with its own traditions, Knight investigates the community’s icons and history, examining its appeal in youth culture. Also covering the status of women and non-blacks within the movement, he explores why the organization has often been greeted with negative publicity. With unrivalled insider access to the movement’s elders, oral tradition and community literature, Knight reveals the hidden reality behind the myths, rumours and hearsay, and explores the origins and development of this misunderstood community. Fast-paced and compelling, The Five Percenters will captivate anyone with an interest in hip-hop, intrigue or Urban American sub-culture. Michael Muhammad Knight converted to Islam at 16 after reading the Autobiography of Malcolm X, and at 17 traveled to Islamabad, Pakistan to study at Faisal Mosque. His debut novel, The Taqwacores, is credited with influencing the American Muslim woman-led prayer movement and has also inspired a nascent Islamic punk rock scene.

    Part chronicle of an extraordinary life and part spiritual and philosophical discourse, The Tao of Wu is a nonfiction Siddhartha for the hip-hop generation-an engaging, seeking book that will enlighten, entertain, and inspire.The legions of Wu-Tang fans are accustomed to this heady mix-their obsession with the band's puzzlelike lyrics and elaborate mythology has propelled the group through fifteen years of dazzling, multiplatform success. In his 2005 bestseller The Wu-Tang Manual, the RZA provided the barest glimpse of how that mythology worked. In The Tao of Wu, he takes us deep inside the complex sense of wisdom and spirituality that has been at the core of his commercial and creative success.The book is built around major moments in the RZA's life when he was faced with a dramatic turning point, either bad (a potential prison sentence) or good (a record deal that could pull his family out of poverty), and the lessons he took from each experience. His points of view are always surprising and provocative, and reveal a profound, genuine, and abiding wisdom-consistently tempered with humor and peppered with unique, colloquial phraseology. It is a spiritual memoir as the world has never seen before, and will never see again.

    From the sci-fi literature of Samuel Delany, Octavia Butler, and N. K. Jemisin to the musical cosmos of Sun Ra, George Clinton, and the Black Eyed Peas’ will.i.am, to the visual and multimedia artists inspired by African Dogon myths and Egyptian deities, the book’s topics range from the “alien” experience of blacks in America to the “wake up” cry that peppers sci-fi literature, sermons, and activism. With a twofold aim to entertain and enlighten, Afrofuturists strive to break down racial, ethnic, and social limitations to empower and free individuals to be themselves.

    An examination of the structure of the thought of primitive' peoples, and has contributed significantly to our understanding of the way the human mind works.

     Hardcore music emerged just after the first wave of punk rock in the late 1970s. American punk kids who loved the speed and attitude of punk took hold of its spirit, got rid of the “live fast, die young” mind-set and made a brilliant revision: hardcore. The dividing line between punk and hardcore music was in the delivery: less pretense, less melody, and more aggression. This urgency seeped its way from the music into the look of hardcore. There wasn’t time to mold your liberty spikes or shine your Docs, it was jeans and T-shirts, Chuck Taylors and Vans. The skull and safety-pin punk costume was replaced by hi-tops and hooded sweatshirts. Jamie Reid’s ransom note record cover aesthetic gave way to black-and-white photographs of packed shows accompanied by bold and simple typography declaring things like: "The Kids Will Have Their Say", and "You’re Only Young Once." Radio Silence documents the ignored space between the Ramones and Nirvana through the words and images of the pre-Internet era where this community built on do-it-yourself ethics thrived. Authors Nathan Nedorostek and Anthony Pappalardo have cataloged private collections of unseen images, personal letters, original artwork, and various ephemera from the hardcore scene circa 1978-1993. Unseen photos lay next to hand-made t-shirts and original artwork brought to life by the words of their creators and fans. Radio Silence includes over 500 images of unseen photographs, illustrations, rare records, t-shirts, and fanzines presented in a manner that abandons the aesthetic clichés normally employed to depict the genre and lets the subject matter speak for itself. Contributions by Jeff Nelson, Dave Smalley, Walter Schreifels, Cynthia Connolly, Pat Dubar, Gus Peña, Rusty Moore, and Gavin Ogelsby with an essay by Mark Owens.