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Can't Stop Won't Stop: A History of the Hip-Hop Generation [NOOK Book]

Overview

Forged in the fires of the Bronx and Kingston, Jamaica, hip-hop became the Esperanto of youth rebellion and a generation-defining movement. In a post-civil rights era defined by deindustrialization and globalization, hip-hop crystallized a multiracial, polycultural generation's worldview, and transformed American politics and culture. But that epic story has never been told with this kind of breadth, insight, and style.

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Can't Stop Won't Stop: A History of the Hip-Hop Generation

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Overview

Forged in the fires of the Bronx and Kingston, Jamaica, hip-hop became the Esperanto of youth rebellion and a generation-defining movement. In a post-civil rights era defined by deindustrialization and globalization, hip-hop crystallized a multiracial, polycultural generation's worldview, and transformed American politics and culture. But that epic story has never been told with this kind of breadth, insight, and style.

Based on original interviews with DJs, b-boys, rappers, graffiti writers, activists, and gang members, with unforgettable portraits of many of hip-hop's forebears, founders, and mavericks, including DJ Kool Herc, Afrika Bambaataa, Chuck D, and Ice Cube, Can't Stop Won't Stop chronicles the events, the ideas, the music, and the art that marked the hip-hop generation's rise from the ashes of the 60's into the new millennium. Here is a powerful cultural and social history of the end of the American century, and a provocative look into the new world that the hip-hop generation created.
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Editorial Reviews

The New Yorker
The birth of hip-hop out of the ruin of the South Bronx is a story that has been told many times, but never with the cinematic scope and the analytic force that Chang brings to it. Robert Moses unleashes the destructive juggernaut of the Cross-Bronx Expressway; landlords set fire to worthless tenements; police stand by and do nothing; and, against a backdrop of gang warfare, peacemaking d.j.s lay down the heavy beats and spidery loops around which a rapping, dancing, graffiti-painting culture grows. This is one of the most urgent and passionate histories of popular music ever written. Chang is blind to no one’s greed or viciousness, but he retains an idealistic view of a music that speaks the truth about the alternately stultifying and horrifying urban landscapes that the parents who hate hip-hop have made.
School Library Journal
Adult/High School-This isn't a musical history, but rather an urban social history. While learning about those who originated hip-hop, readers are informed of the social conditions that led to its creation in the Bronx and its expanding popularity. In the '70s, the borough was in the throes of an urban-development scheme that left it cut off from the rest of New York City by major highway construction, as illustrated by two small maps. With crushing poverty and little to do, teens turned to gangs, but also to house parties, break dancing, and graffiti. Soon, Lower East Side art dealers and club owners discovered the scene and brought it to the mainstream. But hip-hop wasn't destined to be a fad, and suburban Long Island's Public Enemy appeared, followed a few years later by the Los Angeles scene, led by NWA and Ice Cube. The contrast between the Bronx gangs of the '70s and the Crips and Bloods of the '90s shows how rap lyrics-and the daily lives of rappers-got more violent. This is an extremely well-researched, heavily footnoted, thoroughly indexed book that, although lengthy, isn't the dry scholarly read it might appear to be. Chang wears his left-leaning sensibilities on his sleeve, and artists who tried to advance the art form are given more attention, to the detriment of those who were shallower but just as popular. The conclusion the book draws is its real strength-hip-hop is the culture of youth, and teens today have never known a world without it.-Jamie Watson, Harford County Public Library, MD Copyright 2005 Reed Business Information.
From the Publisher
"His scope is operatic, sprawling, and concerns itself with the people, places, and politics that drove hip-hop from its infancy. . . . It is essentially a people's history . . . perhaps Jeff Chang is hip-hop America's Howard Zinn."—Salon.com

"The birth of hip-hop out of the ruin of the South Bronx is a story that has been told many times, but never with the cinematic scope and the analytic force that Jeff Chang brings to it. . . . This is one of the most urgent and passionate histories of popular music ever written."—The New Yorker

"When Hip-Hop 101 becomes a requirement, Jeff Chang's history of the turmoil that begat this beloved culture will be the go-to textbook."—Vibe magazine

"The most important new genre of the last quarter century finally has a sweeping historical overview as powerful as the music with Can't Stop Won't Stop . . . the best-argued, most thoroughly researched case for hip-hop as a complete and truly American culture."—Chicago Sun-Times

"Chang tells these stories beautifully . . . provocative."—The New York Times Book Review

"Jeff Chang's new and necessary book . . . delivers a vivid account of the last third of the American twentieth century. . . . The book is as much a cultural history as a music history."—The Atlanta Journal-Constitution

"This is a book that should be on the shelves of every high school and college library, an engaging and entertaining full-blown excursion into American inner-city culture's rapid proliferation into every nook and cranny of culture at large."—Los Angeles Weekly

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Product Details

  • ISBN-13: 9781429902694
  • Publisher: St. Martin's Press
  • Publication date: 4/1/2007
  • Sold by: Macmillan
  • Format: eBook
  • Edition description: First Edition
  • Edition number: 1
  • Pages: 560
  • Sales rank: 243,674
  • File size: 3 MB

Meet the Author

Jeff Chang has been a hip-hop journalist for more than a decade and has written for The San Francisco Chronicle, The Village Voice, Vibe, The Nation, URB, Rap Pages, Spin, and Mother Jones. He was a founding editor of Colorlines Magazine, senior editor at Russell Simmons's 360hiphop.com, and cofounder of the influential hip-hip label SoleSides, now Quannum Projects. He lives in California.

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Read an Excerpt


Prelude

Generations are fictions.

The act of determining a group of people by imposing a beginning and ending date around them is a way to impose a narrative. They are interesting and necessary fictions because they allow claims to be staked around ideas. But generations are fictions nonetheless, often created simply to suit the needs of demographers, journalists, futurists, and marketers.

In 1990, Neil Howe and William Strauss both baby boomers and self-described social forecasters set forth 'a neatly parsed theory of American generations in their book, Generations: The History of America's Future, 1584 to 2069. They named their own generation "Prophets," idealists who came of age during a period of "Awakening," and their children's generation "Heroes," who, nurtured by their spiritually attuned parents, would restore America to a "High" era. In between were "Nomads" inhabiting a present they described as an "Unraveling." What Howe and Strauss's self flattering theory lacked in explanatory power, it made up for with the luck of good timing. The release of Generations intersected with the media's discovery of "Generation X," a name taken from the title of a book by Douglas Coupland that seemed to sum up for boomers the mystery of the emerging cohort.

Howe and Strauss's book was pitched as a peek into the future. Cycles of history, they argued, proceed from generational cycles, giving them the power to prophesize the future. Certainly history loops. But generations are fictions used in larger struggles over power.

There is nothing more ancient than telling stories about generational difference. A generation is usually named and framed first by the one immediately preceding it. The story is written in the words of shock and outrage that accompany two revelations: "Whoa, I'm getting old," and, "Damn, who are these kids?"

Boomers seem to have had great difficulty imagining what could come after themselves. It was a boomer who invented that unfortunate formulation: "the end of history." By comparison, everything that came after would appear as a decline, a simplification, a corruption.

Up until recently, our generation has mainly been defined by the prefix "post ." We have been post civil rights, postmodern, poststructural, postfeminist, postBlack, post soul. We're the poster children of "post," the leftovers in the dirty kitchen of yesterday's feast. We have been the Baby Boom Echo. (Is Baby Boom Narcissus in the house?) We have been Generation X. Now they even talk about Generation Y. And why? Probably because Y comes after X.

And so, by the mid 1990s, many young writers sick of what Howe and Strauss and their peers had wrought took to calling themselves "the Hip Hop Generation." In 2002, in an important book, The Hip Hop Generation: Young Blacks and The Crisis in African American Culture, Bakari Kitwana forged a narrow definition African Americans born between 1965 and 1984 a period bracketed by the passage of the Civil Rights Act and the assassination of Malcolm X on one end and hip hop's global takeover during the peak of the Reagan/Bush era at the other.

Kitwana grappled with the implications of the gap between Blacks who came of age during the Civil Rights and Black Power movements and those who came of age with hip hop. His point was simple: a community cannot have a useful discussion about racial progress without first taking account of the facts of change.

Folks got bogged down once again in the details. How could one accept a definition of a Hip Hop Generation which excluded the culture's pioneers, like Kool Herc and Afrika Bombaataa, for being born too early? Or one that excluded those who had come to claim and transform hip hop culture, but were not Black or born in America? Exactly when a Hip Hop Generation began and whom it includes remains, quite appropriately, a contested question.

My own feeling is that the idea of the Hip Hop Generation brings together time and race, place and polyculturalism, hot beats and hybridity. It describes the turn from politics to culture, the process of entropy and reconstruction. It captures the collective hopes and nightmares, ambitions and failures of those who would otherwise be described as "post this" or "post that."

So, you ask, when does the Hip Hop Generation begin? After DJ Kool Herc and Afrika Bambaataa. Whom does it include? Anyone who is down. When does it end? When the next generation tells us it's over.

This is a nonfiction history of a fiction a history, some mystery and certainly no prophecy. It's but one version, this dub history a gift from those who have illuminated and inspired, all defects of which are my own.

There are many more versions to be heard. May they all be.

Jeff Chang
Brooklyn and Berkeley
January 1998 to March 2004


Copyright 2005 by Jeff Chang
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Table of Contents

Introduction 1
Loop 1 Babylon is burning : 1968-1977
1 Necropolis : the Bronx and the politics of abandonment 7
2 Sipple out deh : Jamaica's roots generation and the cultural turn 21
3 Blood and fire, with occasional music : the gangs of the Bronx 41
4 Making a name : how D. J. Kool Herc lost his accent and started hip-hop 67
Loop 2 Planet rock : 1975-1986
5 Soul salvation : the mystery and faith of Afrika Bambaataa 89
6 Furious styles : the evolution of style in the seven-mile world 109
7 The world is ours : the survival and transformation of Bronx style 127
8 Zulus on a time bomb : hip-hop meets the rockers downtown 141
9 1982 : rapture in Reagan's America 167
10 End of innocence : the fall of the old school 189
Loop 3 The message : 1984-1992
11 Things fall apart : the rise of the post-civil rights era 215
12 What we got to say : black suburbia, segregation and utopia in the late 1980s 231
13 Follow for now : the question of post-civil rights black leadership 263
14 The culture assassins : geography, generation and gangsta rap 299
15 The real enemy : the cultural riot of Ice Cube's Death certificate 331
Loop 4 Stakes is high : 1992-2001
16 Gonna work it out : peace and rebellion in Los Angeles 357
17 All in the same gang : the war on youth and the quest for unity 381
18 Becoming the hip-hop generation : the source, the industry and the big crossover 407
19 New world order : globalization, containment and counterculture at the end of the century 437
App Words, images and sounds : a selected resource guide 469
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First Chapter

Prelude

Generations are fictions.

The act of determining a group of people by imposing a beginning and ending date around them is a way to impose a narrative. They are interesting and necessary fictions because they allow claims to be staked around ideas. But generations are fictions nonetheless, often created simply to suit the needs of demographers, journalists, futurists, and marketers.

In 1990, Neil Howe and William Strauss both baby boomers and self-described social forecasters set forth 'a neatly parsed theory of American generations in their book, Generations: The History of America's Future, 1584 to 2069. They named their own generation "Prophets," idealists who came of age during a period of "Awakening," and their children's generation "Heroes," who, nurtured by their spiritually attuned parents, would restore America to a "High" era. In between were "Nomads" inhabiting a present they described as an "Unraveling." What Howe and Strauss's self flattering theory lacked in explanatory power, it made up for with the luck of good timing. The release of Generations intersected with the media's discovery of "Generation X," a name taken from the title of a book by Douglas Coupland that seemed to sum up for boomers the mystery of the emerging cohort.

Howe and Strauss's book was pitched as a peek into the future. Cycles of history, they argued, proceed from generational cycles, giving them the power to prophesize the future. Certainly history loops. But generations are fictions used in larger struggles over power.

There is nothing more ancient than telling stories about generational difference. A generation is usually named and framed first bythe one immediately preceding it. The story is written in the words of shock and outrage that accompany two revelations: "Whoa, I'm getting old," and, "Damn, who are these kids?"

Boomers seem to have had great difficulty imagining what could come after themselves. It was a boomer who invented that unfortunate formulation: "the end of history." By comparison, everything that came after would appear as a decline, a simplification, a corruption.

Up until recently, our generation has mainly been defined by the prefix "post ." We have been post civil rights, postmodern, poststructural, postfeminist, postBlack, post soul. We're the poster children of "post," the leftovers in the dirty kitchen of yesterday's feast. We have been the Baby Boom Echo. (Is Baby Boom Narcissus in the house?) We have been Generation X. Now they even talk about Generation Y. And why? Probably because Y comes after X.

And so, by the mid 1990s, many young writers sick of what Howe and Strauss and their peers had wrought took to calling themselves "the Hip Hop Generation." In 2002, in an important book, The Hip Hop Generation: Young Blacks and The Crisis in African American Culture, Bakari Kitwana forged a narrow definition African Americans born between 1965 and 1984 a period bracketed by the passage of the Civil Rights Act and the assassination of Malcolm X on one end and hip hop's global takeover during the peak of the Reagan/Bush era at the other.

Kitwana grappled with the implications of the gap between Blacks who came of age during the Civil Rights and Black Power movements and those who came of age with hip hop. His point was simple: a community cannot have a useful discussion about racial progress without first taking account of the facts of change.

Folks got bogged down once again in the details. How could one accept a definition of a Hip Hop Generation which excluded the culture's pioneers, like Kool Herc and Afrika Bombaataa, for being born too early? Or one that excluded those who had come to claim and transform hip hop culture, but were not Black or born in America? Exactly when a Hip Hop Generation began and whom it includes remains, quite appropriately, a contested question.

My own feeling is that the idea of the Hip Hop Generation brings together time and race, place and polyculturalism, hot beats and hybridity. It describes the turn from politics to culture, the process of entropy and reconstruction. It captures the collective hopes and nightmares, ambitions and failures of those who would otherwise be described as "post this" or "post that."

So, you ask, when does the Hip Hop Generation begin? After DJ Kool Herc and Afrika Bambaataa. Whom does it include? Anyone who is down. When does it end? When the next generation tells us it's over.

This is a nonfiction history of a fiction a history, some mystery and certainly no prophecy. It's but one version, this dub history a gift from those who have illuminated and inspired, all defects of which are my own.

There are many more versions to be heard. May they all be.

Jeff Chang
Brooklyn and Berkeley
January 1998 to March 2004


Copyright 2005 by Jeff Chang
Read More Show Less

Customer Reviews

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  • Posted February 4, 2010

    Written by a Hip Hop head, a passionate author... But terribly inaccurate.

    Nothing can be taken away from Jeff Chang's passion on the topic. The book itself is very well written and inspiring. The historical portion, however, was not up to par. I grew up in the area of hip hop's birth, I passed out tapes from my backpack. I shook hands with music pioneers. I know the history of it's origin.
    Hip Hop's MCing subculture was preceeded by African American's toasting tradition. A tradition that can be well understood by a quick search of the album "Hustlers Convention", which inspired Kool Herc to start rhyming at his events. His parties and famous breaks that were inspired by those who danced over the breaks of funk records... NOT DUB MUSIC.

    I cringed when I had to read of what Chang thought the Bronx concieved Hip Hop from. Chang claimed that Kool Herc came to the Bronx as a DJ and continued on Jamaican musical traditions to create hip hop.. It is a well known fact(various interviews with Kool Herc) that when Clive Campbell(Kool Herc) came to America, he was 12. And did not begin DJing until 6 years later! Clive even noted that what influenced hip hop was James Brown and the Hustlers Convention album.
    When Clive was asked about how Jamaica influenced him in his DJing, he replied "..I would never try to take anything away from it...But [Hip Hop] didn't have nothin to do with Jamaica!". Clive Campbell also admitted that while in Jamaica, he was "too young" to appreciate the Jamaican music.
    Also, if (as Chang suggests) dub music was what inspired Hip Hop, then why did Kool Herc already give his infamous (hip hop starting) party before Dub music had officially come to the limelight?

    Chang's passion being focused to such a bogus theory on Hip Hop's origin is downright embarassin. If you want a better book on Hip Hop Culture, look elsewhere.

    1 out of 1 people found this review helpful.

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    Posted May 19, 2014

    Brenda

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