Yes Yes Y'all: The Experience Music Project Oral History Of Hip-hop's First Decade Paperback – Oct 24 2002
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From Publishers Weekly
Based on the "Hip-Hop Nation" exhibit at Seattle's Experience Music Project and the project's ongoing Oral History Program, this history of the beginnings of hip-hop in 1970s New York City is a lavishly illustrated and lovingly compiled homage to the many artists who contributed to the birth of what soon became and remains today, more than 25 years later a worldwide cultural institution. Editors Fricke and Ahearn (director of the hip-hop film Wild Style) weave the insights and attitudes of nearly 100 of the key players into a multihued and multiracial tapestry that illustrates what the excitement of that era and its music was all about. Since the hip-hop style was first developed in the Bronx borough of New York City as a dance-floor alternative to the then-prominent "disco" sound, the oral narrative is dominated by the voices of well-known DJs: Kool Herc, Afrika Bambaataa and Grandmaster Flash. But much of the success of the book is derived from its exploration of the roots of other related hip-hop trends: how the massive new styles of graffiti were both a response to urban violence as well as a way to provoke the interest of downtown New York avant-garde artists; how the competitive world of break dancing was rooted in the rapidly changing and fading gang culture of the Bronx; and how many women were far more active and influential in all types of hip-hop styles than was obvious or recognized at the time. This is an excellent documentation of how early hip-hop expressed "a balance between pain and the celebration of music and movements."
Copyright 2002 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
About the Author
<B>Jim Fricke</B> is Senior Curator at the Experience Music Project (EMP) in Seattle, Washington. He was curator of the Hip-Hop Nation exhibit, and has been active in the Northwest music scene for more than twenty-five years. He lives in Seattle.<B>Charlie Ahearn</B> is a filmmaker whose 1982 landmark film Wild Style has become a hip-hop classic. He lives in New York City.
Inside This Book(Learn More)
Top Customer Reviews
The book starts by panting a picture of New Yorkï¿½s inner city in the early 1970ï¿½s to the mid 80ï¿½s. Each chapter focuses on all four elements of Hip-Hop, such as: d.j-ing, brake dancing, emceeing/rhyming or raping, and graffiti art. Looking at some of the old photos of B-boys and girls break dancing, the airbrushed clothing, party flyers, and old record jackets was very nostalgic.
The book highlights the fact that the whole subculture came out of unequal systematic conditions in the late 1970ï¿½s into the 80ï¿½s. This is a real honest approach to the history of the newest, and highly co-modified cultures. Itï¿½s filled with first hand accounts, stories of back stage antics, tours, emcee battles, dance battles, club fights, and groupies.
In chapter two titled, ï¿½The Forefathersï¿½, many people interviewed gave his or her respects to the godfather of Hip-Hop (d.j Kool Herc).Read more ›
The early portion shows how DJ sound-system battles emerged in the early to mid '70s against the backdrop of a decaying Bronx, attracting youths to more or less impromptu parties in parks, streets, and playgrounds. Competition was fierce as to who had the loudest sound system and the best records, and tough security (gang members) was a necessity. One thing that gets disappointingly glossed over is how this copied what happened in Kingston, Jamaica ten years earlier. It was exactly the same: competing street sound systems, with competing DJs who would take the labels off records so spies couldn't find out what they were playing, gangs, violence-all the same. DJ Kool Herc, who lived in Jamaica until 1967, makes a fleeting reference to it, but that's all.
For the first few years, the DJs were the "stars" of the scene, offering an alternative to disco music. But as DJs started to learn how to manipulate their turntables to extend the "beats" from a song, eventually MCing started to become more vibrant. What had initially only been calls to the crowd to keep the party's energy up evolved into more and more sophisticated catchphrases, freestyle rhymes, and soon MCs were writing and memorizing lines.Read more ›
Most recent customer reviews
Anyone into Hip Hop must own this book. It's a seminal work. Like Toop's The Rap Attack or Nelson George's Hip Hop America...it must be owned. Read morePublished on Nov. 29 2003 by British Commentator
Sit on your buff
And read this stuff
Cuz you'll never know what you'll miss
If you don't read this;)
eye opener for all those who think oldskool hiphop only stops at Run-dmc, or the Furious 5, recognize the forefathers who layed down the foundation of the Hip-Hop culture and what... Read morePublished on April 28 2003 by 1st generation Filipino
This book is SWEEEEEEEEET yo!
Amazing pix and stories.
H H I PPPPP
HHHH I P P
H H I PPPPP
H H I P
This is a the first book that gives a perspective of Hip-Hop from the perspective of its founders. It features interviews with Kool DJ Herc, Africa Bambataa, Grandmaster Caz, Sha... Read morePublished on Nov. 23 2002 by rodog63jr
For those of us who were teenagers and into hip hop in it's embryonic stage, reading this will be like fondly looking through a high school yearbook. Read morePublished on Nov. 21 2002 by Andre M.
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