Tag Archives: HipHop

Jun. 13.

Da Capo Best Music Writing 2005: The Year’s Finest Writing on Rock, Hip-Hop, Jazz, Pop, Country, & More [Kindle Edition]

Da Capo Best Music Writing 2005: The Year's Finest Writing on Rock, Hip-Hop, Jazz, Pop, Country, & More

From Booklist

This year’s package of bite-size think pieces about pop music continues the fine tradition of previous editions. Subjects and contributors include Robert Christgau on “postmodern minstrelsy” and why studying it matters, Robert Hilburn on Bob Dylan as “rock’s enigmatic poet,” and Chris Norris on the continuing cult-icon status of Saint [sic] Kurt Cobain. Greil Marcus kicks in on Buddy Holly, and two other contributors take on punk’s legacy: Is it dead, or does it just smell funny? Nicole White and Evelyn McDonnell bring news that cautious fans and musicians can use in their timely “Police Secretly Watching Hip-hop Artists,” and again this year, an Onion article, “Heartbreaking Country Ballad Paralyzes Trucking Industry” (a story that, factual or not, had to be told), peacefully coexists with the verifiable stuff. Ben Yagoda explores a subject that will grab catalogers and other metadata enthusiasts, “reflexivity” (fancy for self-referential lyrics and criti (more…)

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Jun. 13.

Da Capo Best Music Writing 2005: The Year’s Finest Writing on Rock, Hip-Hop, Jazz, Pop, Country, & More [Bargain Price] [Paperback]

Da Capo Best Music Writing 2005: The Year's Finest Writing on Rock, Hip-Hop, Jazz, Pop, Country, & More

From Booklist

This year’s package of bite-size think pieces about pop music continues the fine tradition of previous editions. Subjects and contributors include Robert Christgau on “postmodern minstrelsy” and why studying it matters, Robert Hilburn on Bob Dylan as “rock’s enigmatic poet,” and Chris Norris on the continuing cult-icon status of Saint [sic] Kurt Cobain. Greil Marcus kicks in on Buddy Holly, and two other contributors take on punk’s legacy: Is it dead, or does it just smell funny? Nicole White and Evelyn McDonnell bring news that cautious fans and musicians can use in their timely “Police Secretly Watching Hip-hop Artists,” and again this year, an Onion article, “Heartbreaking Country Ballad Paralyzes Trucking Industry” (a story that, factual or not, had to be told), peacefully coexists with the verifiable stuff. Ben Yagoda explores a subject that will grab catalogers and other metadata enthusiasts, “reflexivity” (fancy for self-referential lyrics and criti (more…)

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Jun. 13.

Da Capo Best Music Writing 2006: The Year’s Finest Writing on Rock, Hip-Hop, Jazz, Pop, Country, & More (Kindle Edition)

Da Capo Best Music Writing 2006: The Year's Finest Writing on Rock, Hip-Hop, Jazz, Pop, Country, & More

From Booklist

Guest editor Mary Gaitskill says she put together this edition of Da Capo’s annual to be “like a mix tape of sounds a person might hear in life,” some of which “enter your imagination and take strange dream-shapes.” Manifesting strangeness are Kevin Whitehead’s disquisition on the “hidden affinity” between the music of Art Tatum and that of Thelonious Monk, Raquel Cepeda’s thoughts on the rise of “reggaeton,” and David Thorpe’s biting commentary on R. Kelly’s notorious sexcapades. Moustafa Bayoumi reports on American use of music in the war on terror: “usually heavy metal or hip-hop but sometimes . . . Barney the Dinosaur” is “pumped at detainees with such brutality [as] to unravel them” without leaving the telltale marks of bodily violence. Of particular interest to classic-rock fans and aging boomers is Tom Ewing’s remembrance of August 1966, when the Beatles’ two-hit single, Eleanor Rigby/Yellow Submarine, topped the charts. Terrorism, sexual misconduct (more…)

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Jun. 13.

Da Capo Best Music Writing 2006: The Year’s Finest Writing on Rock, Hip-Hop, Jazz, Pop, Country, & More [Paperback]

Da Capo Best Music Writing 2006: The Year's Finest Writing on Rock, Hip-Hop, Jazz, Pop, Country, & More

From Booklist

Guest editor Mary Gaitskill says she put together this edition of Da Capo’s annual to be “like a mix tape of sounds a person might hear in life,” some of which “enter your imagination and take strange dream-shapes.” Manifesting strangeness are Kevin Whitehead’s disquisition on the “hidden affinity” between the music of Art Tatum and that of Thelonious Monk, Raquel Cepeda’s thoughts on the rise of “reggaeton,” and David Thorpe’s biting commentary on R. Kelly’s notorious sexcapades. Moustafa Bayoumi reports on American use of music in the war on terror: “usually heavy metal or hip-hop but sometimes . . . Barney the Dinosaur” is “pumped at detainees with such brutality [as] to unravel them” without leaving the telltale marks of bodily violence. Of particular interest to classic-rock fans and aging boomers is Tom Ewing’s remembrance of August 1966, when the Beatles’ two-hit single, Eleanor Rigby/Yellow Submarine, topped the charts. Terrorism, sexual misconduct (more…)

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Jun. 13.

Math Series: Multiplication Rap & Hip-hop Music CD [Single, Enhanced]

Math Series: Multiplication Rap & Hip-hop Music CD

Finally master Multiplication strategies. Make learning multiplication strategies cool and fun with these authentic rap and hip hop style songs. Comprehend the Just Think Of Doubles concept, the Order Property strategy and more. This award-winning album includes drills for facts 0-12 both with and without the answers.

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Jun. 13.

Race Music: Black Cultures from Bebop to Hip-Hop (Music of the African Diaspora) [Paperback]

Race Music: Black Cultures from Bebop to Hip-Hop (Music of the African Diaspora)

From Publishers Weekly

This is a challenging and fascinating look at various ways in which popular music from the 1940s to the 1990s represented “anchor moments in the cultural, social and political realms of twentieth-century African American history.” Ramsay, an assistant professor of music at the University of Pennsylvania, notes that this “is not a comprehensive, strictly chronological study”; he also uses a wide range of source material including family narratives, recordings, live concerts and films. But his sophisticated understanding of current ethnological, musicological, literary and historical theories-as well as a clear and engaging writing style remarkably free of theoretical jargon-explores a central theme: the “subjective understanding of black music as shaped continually by community sensibilities.” Through nuanced looks at such musical artists as Dinah Washington and Dizzy Gillespie, Ramsay shows not only that their work displays a wide range of express (more…)

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