{"title":"Music","description":null,"products":[{"product_id":"the-swing-era-the-development-of-jazz-1930-1945-9780195071405","title":"The Swing Era: The Development of Jazz, 1930-1945","description":"Here is the book jazz lovers have eagerly awaited, the second volume of Gunther Schuller's monumental The History of Jazz. When the first volume, Early Jazz, appeared two decades ago, it immediately established itself as one of the seminal works on American music. Nat Hentoff called it \"a remarkable breakthrough in musical analysis of jazz,\" and Frank Conroy, in The New York Times Book Review, praised it as \"definitive.... A remarkable book by any standard...unparalleled in the literature of jazz.\" It has been universally recognized as the basic musical analysis of jazz from its beginnings until 1933. \u003cbr\u003e The Swing Era focuses on that extraordinary period in American musical history--1933 to 1945--when jazz was synonymous with America's popular music, its social dances and musical entertainment. The book's thorough scholarship, critical perceptions, and great love and respect for jazz puts this well-remembered era of American music into new and revealing perspective. It examines how the arrangements of Fletcher Henderson and Eddie Sauter--whom Schuller equates with Richard Strauss as \"a master of harmonic modulation\"--contributed to Benny Goodman's finest work...how Duke Ellington used the highly individualistic trombone trio of Joe \"Tricky Sam\" Nanton, Juan Tizol, and Lawrence Brown to enrich his elegant compositions...how Billie Holiday developed her horn-like instrumental approach to singing...and how the seminal compositions and arrangements of the long-forgotten John Nesbitt helped shape Swing Era styles through their influence on Gene Gifford and the famous Casa Loma Orchestra. Schuller also provides serious reappraisals of such often neglected jazz figures as Cab Calloway, Henry \"Red\" Allen, Horace Henderson, Pee Wee Russell, and Joe Mooney.\u003cbr\u003e Much of the book's focus is on the famous swing bands of the time, which were the essence of the Swing Era. There are the great black bands--Duke Ellington, Count Basie, Jimmie Lunceford, Earl Hines, Andy Kirk, and the often superb but little known \"territory bands\"--and popular white bands like Benny Goodman, Tommy Dorsie, Artie Shaw, and Woody Herman, plus the first serious critical assessment of that most famous of Swing Era bandleaders, Glenn Miller. There are incisive portraits of the great musical soloists--such as Art Tatum, Teddy Wilson, Coleman Hawkins, Lester Young, Bunny Berigan, and Jack Teagarden--and such singers as Billie Holiday, Frank Sinatra, Peggy Lee, and Helen Forest.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBinding Type:\u003c\/b\u003e Paperback\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Schuller, Gunther\u003cbr\u003e\u003cb\u003ePublished:\u003c\/b\u003e 09\/01\/2005\u003cbr\u003e\u003cb\u003ePublisher:\u003c\/b\u003e Oxford University Press, USA\u003cbr\u003e\u003cb\u003eISBN:\u003c\/b\u003e 9780195071405\u003cbr\u003e\u003cb\u003ePages:\u003c\/b\u003e 944\u003cbr\u003e\u003cb\u003eWeight:\u003c\/b\u003e 2.85lbs\u003cbr\u003e\u003cb\u003eSize:\u003c\/b\u003e 9.28h x 6.20w x 1.74d","brand":"Gunther Schuller","offers":[{"title":"Default Title","offer_id":32709797740619,"sku":"9780195071405","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0021\/1697\/6715\/products\/img_da336131-e524-4bed-8b03-c78d3b358c57.jpg?v=1596723843"},{"product_id":"the-jazz-scene-an-informal-history-from-new-orleans-to-1990-9780195082708","title":"The Jazz Scene: An Informal History from New Orleans to 1990","description":"No one can tell us more about jazz than the musicians themselves. Unfortunately, most oral histories have limited scope--focusing on a particular era or style--and fail to capture the full, rich story of jazz. Now, in this vivid oral history, W. Royal Stokes presents nearly a century of jazz--its people, places, periods, and styles--as it was seen by the artists who created America's most distinctive music.\u003cbr\u003e Here, along with the author's enlightening commentary, are the words of musicians famous and little-known, veterans of the early years and pathbreakers of the present, telling us about their origins and adventures, about the places and performers they have known. We read of young artists learning their skills surrounded by poverty, going on to win fame around the world. We feel the excitement of jazz before the war (\"The music was all over the place,\" recalled Wild Bill Davison. \"It's just unbelievable how many bands there were in Chicago. You could go \u003cem\u003eanywhere\u003c\/em\u003e and there'd be a band.\"). And we glimpse the gritty, hard life hidden beneath the beauty of the notes they played: \"I remember not eating practically a month several times,\" said Mary Lou Williams. \"During the depression we played engagements and we knew we weren't going to get any money because Andy would scatch his face when he was walking toward the band and the trumpet player would pull out his horn and play the 'Weary Blues.' And we'd laugh about it. We hadn't eaten in a couple of days and nothing was said, because the music was our survival.\"\u003cbr\u003e Stokes not only uncovers the history of jazz in the major cities and regions--New Orleans, for instance, Chicago in the '20s and '30s, Kansas City, and California from the '50s to the present--but he goes on to bring us the story of the big bands, post-bebop developments, vocalists, jazz around the globe, and the contemporary scene (\"I was about eleven and my brother Mike started to bring home a lot of Miles Davis records from school and that \u003cem\u003edid\u003c\/em\u003e it for me,\" remembers Pat Metheny. \"First time I heard Miles playing 'My Funny Valentine, ' that whole record just destroyed me.\"). And he takes a close look at the rising place of women as instrumentalists in the last decade.\u003cbr\u003e Jazz is America's most original contribution to music, and--as the late Dexter Gordon lamented--America is the one country where it is little known. But W. 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Dale Chapman draws from political and critical theory, oral history, and the public and trade press, making this a persuasive and compelling work for scholars across music, industry, and cultural studies.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBinding Type:\u003c\/b\u003e Hardcover\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Chapman, Dale\u003cbr\u003e\u003cb\u003ePublished:\u003c\/b\u003e 03\/23\/2018\u003cbr\u003e\u003cb\u003ePublisher:\u003c\/b\u003e University of California Press\u003cbr\u003e\u003cb\u003eISBN:\u003c\/b\u003e 9780520279377\u003cbr\u003e\u003cb\u003ePages:\u003c\/b\u003e 296\u003cbr\u003e\u003cb\u003eWeight:\u003c\/b\u003e 1.10lbs\u003cbr\u003e\u003cb\u003eSize:\u003c\/b\u003e 9.00h x 6.20w x 1.20d","brand":"Dale Chapman","offers":[{"title":"Default Title","offer_id":32709824217163,"sku":"9780520279377","price":95.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0021\/1697\/6715\/products\/img_1fc73d22-303f-4af1-986f-4c22a2def5ef.jpg?v=1596724568"},{"product_id":"afro-colombian-hip-hop-globalization-transcultural-music-and-ethnic-identities-9780739150566","title":"Afro-Colombian Hip-Hop: Globalization, Transcultural Music, and Ethnic Identities","description":"Afro-Colombian Hip-Hop: Globalization, Transcultural Music, and Ethnic Identities, by Christopher Dennis, explores the impact that globalization and the transnational spread of U.S. popular culture-specifically hip-hop and rap-are having on the social identities of younger generations of black Colombians. Along with addressing why and how hip-hop has migrated so effectively to Colombia's black communities, Dennis introduces readers to some of the country's most renowned Afro-Colombian hip-hop artists, their musical innovations, and production and distribution practices. Above all, Dennis demonstrates how, through a mode of transculturation, today's young artists are transforming U.S. hip-hop into a more autonomous art form used for articulating oppositional social and political critiques, reworking ethnic identities, and actively contributing to the reimagining of the Colombian nation. 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The transcriptions are preceded by an introduction written by William Francis Allen, the chief editor of the collection, who provides his own explanation of the origin of the songs and the circumstances under which they were sung. One critic has noted that, like the editors' introductions to slave narratives, Allen's introduction seeks to lend to slave expressions the honor of white authority and approval. Gathered during and after the Civil War, the songs, most of which are religious, reflect the time of slavery, and their collectors worried that they were beginning to disappear. Allen declares the editors' purpose to be to preserve, while it is still possible... these relics of a state of society which has passed away. \u003cbr\u003e\u003cbr\u003eA DOCSOUTH BOOK. This collaboration between UNC Press and the University of North Carolina at Chapel Hill Library brings classic works from the digital library of Documenting the American South back into print. DocSouth Books uses the latest digital technologies to make these works available in paperback and e-book formats. Each book contains a short summary and is otherwise unaltered from the original publication. 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Not only did his prizewinning study \u003ci\u003eStomping the Blues\u003c\/i\u003e (1976) influence musicians far and wide, it was also a foundational text for Jazz at Lincoln Center, which he cofounded with Wynton Marsalis and others in 1987. \u003ci\u003eMurray Talks Music\u003c\/i\u003e brings together, for the first time, many of Murray's finest interviews and essays on music--most never before published--as well as rare liner notes and prefaces.\u003c\/p\u003e\u003cp\u003eFor those new to Murray, this book will be a perfect introduction, and those familiar with his work--even scholars--will be surprised, dazzled, and delighted. Highlights include Dizzy Gillespie's richly substantive 1985 conversation; an in-depth 1994 dialogue on jazz and culture between Murray and Wynton Marsalis; and a long 1989 discussion on Duke Ellington between Murray, Stanley Crouch, and Loren Schoenberg. Also interviewed by Murray are producer and impresario John Hammond and singer and bandleader Billy Eckstine. All of thse conversations were previously lost to history. A celebrated educator and raconteur, Murray engages with a variety of scholars and journalists while making insightful connections among music, literature, and other art forms--all with ample humor and from unforeseen angles.\u003c\/p\u003e\u003cp\u003eLeading Murray scholar Paul Devlin contextualizes the essays and interviews in an extensive introduction, which doubles as a major commentary on Murray's life and work. The volume also presents sixteen never-before-seen photographs of jazz greats taken by Murray.\u003c\/p\u003e\u003cp\u003eNo jazz collection will be complete without \u003ci\u003eMurray Talks Music\u003c\/i\u003e, which includes a foreword by Gary Giddins and an afterword by Greg Thomas.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBinding Type:\u003c\/b\u003e Hardcover\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Murray, Albert\u003cbr\u003e\u003cb\u003ePublished:\u003c\/b\u003e 05\/16\/2016\u003cbr\u003e\u003cb\u003ePublisher:\u003c\/b\u003e University of Minnesota Press\u003cbr\u003e\u003cb\u003eISBN:\u003c\/b\u003e 9780816699551\u003cbr\u003e\u003cb\u003ePages:\u003c\/b\u003e 280\u003cbr\u003e\u003cb\u003eWeight:\u003c\/b\u003e 1.30lbs\u003cbr\u003e\u003cb\u003eSize:\u003c\/b\u003e 9.20h x 6.20w x 1.10d","brand":"Albert Murray","offers":[{"title":"Default Title","offer_id":32709882609739,"sku":"9780816699551","price":25.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0021\/1697\/6715\/products\/img_cecaf3fd-e329-440f-8fc3-326ebfbe1bbf.jpg?v=1596725679"},{"product_id":"staging-the-blues-from-tent-shows-to-tourism-9780822357315","title":"Staging the Blues: From Tent Shows to Tourism","description":"Singing was just one element of blues performance in the early twentieth century. Ma Rainey, Bessie Smith, and other classic blues singers also tapped, joked, and flaunted extravagant costumes on tent show and black vaudeville stages. The press even described these women as \"actresses\" long before they achieved worldwide fame for their musical recordings. In \u003ci\u003eStaging the Blues\u003c\/i\u003e, Paige A. McGinley shows that even though folklorists, record producers, and festival promoters set the theatricality of early blues aside in favor of notions of authenticity, it remained creatively vibrant throughout the twentieth century. Highlighting performances by Rainey, Smith, Lead Belly, Sister Rosetta Tharpe, Sonny Terry, and Brownie McGhee in small Mississippi towns, Harlem theaters, and the industrial British North, this pioneering study foregrounds virtuoso blues artists who used the conventions of the theater, including dance, comedy, and costume, to stage black mobility, to challenge narratives of racial authenticity, and to fight for racial and economic justice.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBinding Type:\u003c\/b\u003e Hardcover\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e McGinley, Paige A.\u003cbr\u003e\u003cb\u003ePublished:\u003c\/b\u003e 09\/10\/2014\u003cbr\u003e\u003cb\u003ePublisher:\u003c\/b\u003e Duke University Press\u003cbr\u003e\u003cb\u003eISBN:\u003c\/b\u003e 9780822357315\u003cbr\u003e\u003cb\u003ePages:\u003c\/b\u003e 304\u003cbr\u003e\u003cb\u003eWeight:\u003c\/b\u003e 1.15lbs\u003cbr\u003e\u003cb\u003eSize:\u003c\/b\u003e 9.30h x 8.00w x 0.80d","brand":"Paige A. 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Herskovits, Katherine Dunham, and Asadata Dafora to Duke Ellington, D maso P rez Prado, and others who believed that linking black music and dance with Africa and nature would help realize modernity's promises of freedom in the face of fascism and racism in Europe and the Americas, colonialism in Africa, and the nuclear threat at the start of the Cold War. In analyzing their work, Garcia traces how such attempts to link black music and dance to Africa unintentionally reinforced the binary relationships between the West and Africa, white and black, the modern and the primitive, science and magic, and rural and urban. 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Work III, sociologist Lewis Wade Jones, and graduate student Samuel C. Adams Jr.--joined folklorist Alan Lomax of the Library of Congress on research trips to Coahoma County, Mississippi. Their mis­sion was \"to document adequately the cul­tural and social backgrounds for music in the community.\" Among the fruits of the project were the earliest recordings by the legendary blues singer and guitar­ist Muddy Waters. \u003cp\u003e\u003c\/p\u003e The hallmark of the study was to have been a joint publica­tion of its findings by Fisk and the Library of Congress. While this publication was never completed, \u003ci\u003eLost Delta Found \u003c\/i\u003eis com­posed of the writings, interviews, notes, and musical transcriptions produced by Work, Jones, and Adams in the Coahoma County study. 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With the growing global importance of orisha religion and music, the consequence of this deity's power for devotees continually reveals itself in new constellations of meaning as a sacred drum of Nigeria and Cuba finds new diasporas. \u003cp\u003e\u003c\/p\u003e Despite the growing volume of literature about the orishas, surprisingly little has been published about the ubiquitous Yor b  music spirit. Yet wherever one hears drumming for the orishas,  y n or A   is nearby. This groundbreaking collection addresses the gap in the research with contributions from a cross-section of prestigious musicians, scholars, and priests from Nigeria, the Americas, and Europe who have dedicated themselves to studying Yor b  sacred drums and the god sealed within. As well as offering multidisciplinary scholarly insights from transatlantic researchers, the volume includes compelling first-hand accounts from drummer-priests who were themselves history-makers in Nigerian and Cuban diasporas in the United States, Venezuela, and Brazil. 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It remains a testimony to the long-ignored encounter of radical African American music and French left-wing criticism. Carles and Comolli set out to defend a genre vilified by jazz critics on both sides of the Atlantic by exposing the new sound's ties to African American culture, history, and the political struggle that was raging in the early 1970s. The two offered a political and cultural history of black presence in the United States to shed more light on the dubious role played by jazz criticism in racial oppression. This analysis critiques the critics, building a work of cultural studies in a time and place where the practice was virtually unknown. The authors reached radical conclusions-free jazz was a revolutionary reaction against white domination, was the musical counterpart to the Black Power movement, and was a music that demanded a similar political commitment. The impact of this book is difficult to overstate, as it made readers reconsider their response to African American music. In some cases it changed the way musicians thought about and played jazz. Free Jazz\/Black Power remains indispensable to the study of the relation of American free jazz to European audiences, critics, and artists. Philippe Carles was editor-in-chief at Jazz Magazine from 1971 until 2006. He has coauthored several books on jazz, including Dictionnaire du jazz. Jean-Louis Comolli teaches at Universit  Paris-VIII, FEMIS, and Universitat Pompeu Fabra in Barcelona. He is a film critic, screenwriter, film director, and jazz author. Gr gory Pierrot is assistant professor of English at the University of Connecticut at Stamford.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBinding Type:\u003c\/b\u003e Hardcover\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Carles, Philippe\u003cbr\u003e\u003cb\u003ePublished:\u003c\/b\u003e 11\/21\/2014\u003cbr\u003e\u003cb\u003ePublisher:\u003c\/b\u003e University Press of Mississippi\u003cbr\u003e\u003cb\u003eISBN:\u003c\/b\u003e 9781628460391\u003cbr\u003e\u003cb\u003ePages:\u003c\/b\u003e 256\u003cbr\u003e\u003cb\u003eWeight:\u003c\/b\u003e 1.27lbs\u003cbr\u003e\u003cb\u003eSize:\u003c\/b\u003e 9.00h x 6.00w x 0.75d","brand":"Philippe Carles","offers":[{"title":"Default Title","offer_id":32710109888587,"sku":"9781628460391","price":110.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0021\/1697\/6715\/products\/img_4868ee2d-4b90-4bb5-88ee-6fcd44c3666c.jpg?v=1596729472"},{"product_id":"making-music-american-1917-and-the-transformation-of-culture-9780190872311","title":"Making Music American: 1917 and the Transformation of Culture","description":"The year 1917 was unlike any other in American history, or in the history of American music. The United States entered World War I, jazz burst onto the national scene, and the German musicians who dominated classical music were forced from the stage. As the year progressed, New Orleans natives Nick LaRocca and Freddie Keppard popularized the new genre of jazz, a style that suited the frantic mood of the era. African-American bandleader James Reese Europe accepted the challenge of making the band of the Fifteenth New York Infantry into the best military band in the country. Orchestral conductors Walter Damrosch and Karl Muck met the public demand for classical music while also responding to new calls for patriotic music. Violinist Fritz Kreisler, pianist Olga Samaroff, and contralto Ernestine Schumann-Heink gave American audiences the best of Old-World musical traditions while walking a tightrope of suspicion because of their German sympathies. Before the end of the year, the careers of these eight musicians would be upended, and music in America would never be the same. \u003cp\u003e\u003c\/p\u003e\u003cem\u003eMaking Music American \u003c\/em\u003erecounts the musical events of this tumultuous year month by month from New Year's Eve 1916 to New Year's Day 1918. As the story unfolds, the lives of these eight musicians intersect in surprising ways, illuminating the transformation of American attitudes toward music both European and American. In this unsettled time, no one was safe from suspicion, but America's passion for music made the rewards high for those who could balance musical skill with diplomatic savvy.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBinding Type:\u003c\/b\u003e Hardcover\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Bomberger, E. Douglas\u003cbr\u003e\u003cb\u003ePublished:\u003c\/b\u003e 12\/18\/2018\u003cbr\u003e\u003cb\u003ePublisher:\u003c\/b\u003e Oxford University Press, USA\u003cbr\u003e\u003cb\u003eISBN:\u003c\/b\u003e 9780190872311\u003cbr\u003e\u003cb\u003ePages:\u003c\/b\u003e 288\u003cbr\u003e\u003cb\u003eWeight:\u003c\/b\u003e 1.20lbs\u003cbr\u003e\u003cb\u003eSize:\u003c\/b\u003e 9.50h x 6.40w x 0.90d","brand":"E. 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But an equal number railed against it. Whites were shocked by its raw emotion and sexuality, and blacks considered it \"devil's music\" and criticized it for casting a negative light on the black community. \u003cbr\u003e In this illuminating work, Kathy Ogren places this controversy in the social and cultural context of 1920s America and sheds new light on jazz's impact on the nation as she traces its dissemination from the honky-tonks of New Orleans, New York, and Chicago, to the clubs and cabarets of such places as Kansas City and Los Angeles, and further to the airwaves. Ogren argues that certain characteristics of jazz, notably the participatory nature of the music, its unusual rhythms and emphasis, gave it a special resonance for a society undergoing rapid change. Those who resisted the changes criticized the new music; those who accepted them embraced jazz. 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For example, in speaking of his grandfather Omar, who died a slave as a young man, the jazz clarinetist Sidney Bechet said, \"Inside him he'd got the memory of all the wrong that's been done to my people. 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But in its unforgettable introduction, followed by his unaccompanied \"talking\" guitar passage and inserted calls and responses at key points in the musical narrative, Hendrix's performance of the national anthem also hearkened back to a tradition even older than the blues, a tradition rooted in the rings of dance, drum, and song shared by peoples across Africa. \u003cp\u003e\u003c\/p\u003e Bold and original, \u003cem\u003eThe Power of Black Music\u003c\/em\u003e offers a new way of listening to the music of black America, and appreciating its profound contribution to all American music. Striving to break down the barriers that remain between high art and low art, it brilliantly illuminates the centuries-old linkage between the music, myths and rituals of Africa and the continuing evolution and enduring vitality of African-American music. Inspired by the pioneering work of Sterling Stuckey and Henry Louis Gates, Jr., author Samuel A. 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A wide-ranging collection of essays and interviews featuring many of the most eminent figures in Black American music and jazz studies and performance --Tommy Lee Lott, Anthony Brown, Herman Gray, Emmett G. Price III, Tammy Kernodle, Salim Washington, Eric Jackson, TJ Anderson, Yusef Lateef, Billy Taylor, Olly Wilson, George Russell, and a never before published interview with Elvin Jones -- the book examines the full spectrum of Coltrane's legacy. 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Twenty years after his tragic death-he was shot by his father-his relevance persists because of the indelible mark his outsized talent left on American culture. A transcendent performer whose career spanned the history of rhythm and blues, from doo-wop to the sultriest of soul music, Gaye's artistic scope and emotional range set the soundtrack for America's tumultuous coming of age in the 1970s. Michael Eric Dyson's searching narrative illuminates Marvin Gaye's stellar ascendance-from a black church in Washington, D.C., to the artistic peak of What's Going On?-and charts his sobering personal decline. Dyson draws from interviews with those closest to Gaye to paint an intimate portrait of the tensions and themes that shaped contemporary urban America: racism, drug abuse, economic adversity, and the long legacy of hardship. 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Rap was considered the poetry of the street, and it was thought to breed in close quarters, the product of dilapidated tenements, crime-infested housing projects, and graffiti-covered subway cars. To many in the industry, LA was certainly not hard-edged and urban enough to generate authentic hip-hop; a new brand of black rebel music could never come from La-La Land.\u003c\/p\u003e\u003cp\u003eBut it did. In \u003ci\u003eTo Live and Defy in LA, \u003c\/i\u003e Felicia Viator tells the story of the young black men who built gangsta rap and changed LA and the world. She takes readers into South Central, Compton, Long Beach, and Watts two decades after the long hot summer of 1965. 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G. Ogbar celebrates hip-hop and confronts the cult of authenticity that defines its essential character--that dictates how performers walk, talk, and express themselves artistically and also influences the consumer market. \u003ci\u003eHip-Hop Revolution\u003c\/i\u003e is a balanced cultural history that looks past negative stereotypes of hip-hop as a monolith of hedonistic, unthinking noise to reveal its evolving positive role within American society. \u003cp\u003e\u003c\/p\u003eA writer who's personally encountered many of hip-hop's icons, Ogbar traces hip-hop's rise as a cultural juggernaut, focusing on how it negotiates its own sense of identity. 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