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If you are searching for a book, which will enlighten you about the most relevant ambassadors of hip hop music, I guess this is not the right one for you then For many of us who used to listen to hip hop and still do , this book probably lacks a good deal of references essentially valuable to most genuine fans Just like any other music, hip hop has an enormous emotional impact on the listeners beyond racial and cultural scope Was the focus shifted to its musical values, this story would be certainly completely different.Is this a book, which deals with hip hop music as a movement within essential historical and social changes in the US Absolutely Therefore, Can t Stop, Won t Stop is an in depth analysis of American society rather than the story about music style If you are longing for a detailed chronicle about the process of development and expansion of hip hop, you should definitely read it The narrative is loaded with details, which regard the post civil rights generation the poster children of post , the leftovers in the dirty kitchen of yesterday feast in various social aspects Seethed hip hop generation was facing as many challenges as the society itself, often unsuccessful in redeeming itself by dealing with the same social, racial and financial issues that basically established hip hop as a music style From the condition of no work, hip hop emerged as a backlash against old values, unambiguous racial intolerance, and benign neglect alongside the additional historical absence of public responsibility South Bronx was nothing less than a Necropolis a city of death.Chang is successfully contrasting silk jacketed, doo wop singing gangs of the late 50s or the Boogaloo generation who had danced their nights away in the 60s with the paroxysms of a new generation which possessed an insatiable hunger for success as a provenance of global cultural and financial shift in the music industry Another aspect of the book is the tension between culture and commerce, a perpetual inspiration to the hip hop generation On the streets, which spoke loudly , graffiti art played a significant role in the history of hip hop movement together with LA riots, constant gang battles and corporate order of the commercial business, which welcomed hip hop leading edge figures generating accordingly billions in revenues.Basically, the crucial aspects of activism that accompany hip hop movement are the following literacy, school attendance, voter registration and community investments As cultural vanguards, hip hop artists were challenged by the gender crisis, feminism, sexism and aggressive masculine pride Perhaps this new confusion about race and class, underground and mainstream, keeping it real and making it big was the ultimate price of the media bum rush The preeminence of hip hop has definitely indicated various global changes whose fundamentals are muchcomprehensive with this book. I ve spent a long time craving the perfect history of hip hop Watched a few documentaries here, read a few books there but never quite satisfied that desire to put it all in context as the sociopolitical movement it s always felt like to me Until now, that is Can t Stop Won t Stop is a dense little volume, telling the story of hip hop alongside the stories of polarizing housing and economic reforms, police brutality, drug trafficking, and the fight inner city communities have put up to survive and create meaning via popular cultural movements music, dance, the visual arts It s not a quick or easy read, with Chang packing in as much history and context as each page can possibly hold He has an encyclopedic knowledge of the cultural and political events that birthed hip hop, and in Can t Stop Won t Stop he gifts that knowledge to us, taking us from 1960s Jamaica to 1990s L.A., with a twenty year stop in New York on the way.Chang does skip major artists in his history, which might disappoint some hip hop fans, but I thought it was a great move in the context of this book LL Cool J, Biggie, Wu Tang they re not really represented here, Chang having opted instead to showcase key artists in depth to emphasize sociopolitical conditions in inner city communities Afrika Bambaataa, Public Enemy, Ice Cube And rather than deifying these hip hop icons, which could be awfully tempting, Chang offers up a muchcomplex view of their work, putting it in dialogue with feminists and other activists who ve often clashed with their views along the way.One of my favorite chapters is about Ice Cube s Death Warrant, the uber macho gangster rap album that Chang first made me appreciate by showing how it evolved out of the race politics that defined L.A during the Rodney King era of police brutality But then, turn the page, and there s a transcript of Ice Cube in conversation with a prominent black feminist who questions his portrayal of women on the album This is why I loved reading Chang he puts it all in context, but without oversimplifying He both celebrates the art form and dissects the politics, giving us layers upon layers to unravel. So I m biased cuz this was written by a friend of mine But not so biased not to recognize when a seminal book on the historical and political context of hip hop cultures and its generations since the late 1960s emerges that finds fans in academia, arts spaces, and all middle high schools alike The writing is accessible, with wily turns of phrases and references that embrace the high low, the mass popular artistic aesthetic, the mainstream the underground alike I m a history buff and to see my own popular and personal experience as one from this generation tho not a hip hop head, per se laid out end to end on a chronology with acomprehensive context, to lay it bare so I could make deeper connections, start to understand such divergent yet sometimes inherently cogent energies, was a reading journey I deeply appreciated A great read and absorbing narrative Loved the allusion to DeLillo s great prologue from UNDERWORLD at the start Longing on a large scale is what makes history it had me at Generations are fictions then kept me for good with It was a bad night for baseball in the South Bronx academic tomes on hip hop have a sobering tendency to come from artifice, revisionist histories written by out of touch scholars eager to stamp their name on uncharted territory they pick landmarks and artists who, perhaps, are emblematic of the genre, but do not come from the perspective of a fan that s where jeff chang s can t stop won t stop is so successful.i d say it s one of the first times i ve read something scholarly about the genesis of arguably one of the world s most potent cultural forces that is actually written by a child of hip hop he comes with an appreciation and understanding about what it is to be an MC chang delves into the socioeconomic conditions surrounding the music s advent, ranging from the political unrest that held jamaica stricken in poverty, to the unruly youth gangs of 1970 s new york city he finds time to interview everybody, piecing together a history that explains and appeals to even casual listeners of the music. Panoramic biography of hip hop its birth, flourishing, and growing pains Tough read, but worth the struggle Why tough 1 Text is dense Chang packs paragraphs with obscure names and pithy phrases, so unless you re both hip hop guru and literary genius, you must slow down to unravel the language First few chapters are a doozy, but keep going The storytelling gets better 2 Storylines are many and non linear Chang jumps between decades and locales, skipping around in time and constantly introducing new subplots He zooms in and out between biographical close ups and big picture trends All this can make you dizzy.Narrative threads don t neatly cohere into a broad theme but this reflects the nature of the subject a complex, evolving culture And Chang tells its story in a smart, passionate voice, bringing to life its creative genius and political drama with deep knowledge and comprehensive research He doesn t slow down to spell things out, though, so theprior knowledge you bring to this book, theyou ll appreciate it. I found this a bit disappointing to be honest, but that s in large part because I was expecting something different Chang doesn t really get into music graffiti lyrics dancing very much at all he does, though, do a great job of explaining the social context in which all that art was produced So keep in mind that that s what you re getting a history of gang culture, youth politics and most impressively urban geography at the end of the twentieth century and you ll probably enjoy the book That said, there are major flaws, starting with the fact that it s hard to read Not because Chang doesn t write clearly, because he does It s just literally hard to read the font s a couple of pixels better than Comic Sans Who in their right mind sets a book in a sans serif font Are the publishers trying to send a whole generation of readers blind More importantly, Chang s incredible research really, amazing is undermined by an overly simplistic political frame, which you could pretty much describe as Fuck the Man Sometimes the Man has it coming Sometimes whoever it is that isn t the man has to take some of the blame But you d never know that from this book here it s always the Man s fault and His alone So there s a weird 90s vibe to the whole thing In the Prelude Chang writes that Hip Hop Generation describes, among other things, the turn from politics to culture I have no idea what he was thinking when he wrote that, because his book is almost entirely about politics, activism, in particular That makes the book tendentious chapters on Public Enemy and mid period Ice Cube, but nothing on ATCQ or any of the other late 80s early 90s geniuses A chapter on The Source, but nothing on the indies that emerged after that magazine imploded And, weirdest of all, chapters on the Million Man March and anti Globalization protests, but only a passing mention of the incredible music of that time Wu Tang, for instance, is mentioned only as an antagonist of The Source s editorial crew, and in one line about nineties paranoia Obviously this isn t because he doesn t know his stuff he s forgottenabout hip hop than I ll ever know seriously, the man co founded SoleSides He knows his stuff It s just that the book turns out to bea history of many raced activists, and has very little to say about music Here s hoping he brings his writing style and impeccable research skills to a book about the music, graf, and dancing. Insightful.. *DOWNLOAD EBOOK ☠ Can't Stop Won't Stop: A History of the Hip-Hop Generation ↳ Can T Stop Won T Stop 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 CreatedForged 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 StyleBased 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 TheS Into The New Millennium The book is dated, but what do I know Outside the Beastie Boys and the maybe not quite Hip Hop Red Hot Chili Peppers, I kind of missed this whole thing Chang, currently the executive director the Institute for Diversity in the Arts, at Stanford University, writes an incomplete selective history of Hip Hip and the cultures it came from He s both fascinating and frustrating, butthe former than the later He presents an elaborate narrative from the Jamaica of Bob Marley, to the Jamaica immigrant driven street Hip Hop scene in the black and latino New York inner and suburban neighborhoods, to the take off of Hip Hop in the mainstream culture and arts He picks places to focus on, especially Marley, DJ Kool Herc who wrote the introduction , Grandmaster Flash, graffiti artists like the Fab 5, to Public Enemy, to, when the book finally leaves New York for LA about 3 4 s in , Ice Cube, and NWA, and finally a long take on the magazine The Source And he ties it all in, mostly, the Jamaican politics, a painfully detailed and confusion history of certain aspects of the New York gangs, police violence against blacks, over and over, andandhorrifying, to Watts, Compton and the Rodney King Riots But the book has some narrative issue at this point Did the LA riots in 1992 really impact Hip Hop I couldn t tell from this, because Chang changes course attacking the music industry for it s failure to identify that Hip Hop was the about the fastest growing music market in the 1990 s, and then attacking US policy for allowing Clear Channel to sterilize American radio on a national scale That s a lot, and wanders off in way too much detail on a lot of this stuff, which is maybe ok But there are gaping holes, and, as far as I can tell, he didn t interview anyone He just quotes news articles and published sources While reading it I looked up some YouTube videos on the early history of Hip Hop and found a world of characters and names and voices he barely indicates exists Most of these people are still around and they want to talk about the era, the technology tricks, the personalities, the crowds and cultural feedback There is so much rich information, so much not here It s a major oddball flaw, and one he never expresses You get his summaries defined as complete They re not.Still, a good experience, and I m glad I listened I have a lot of music to explore 50 Can t Stop Won t Stop A History of the Hip Hop Generation by Jeff ChangIntroduction DJ Kool Hercreader Mirron Willispublished 2005 2016 on audio format 19 33 Libby audiobook 560 pages in hardcover acquired Librarylistened Aug 20 31, Sep 11 25rating 3 i just heard an interview with KRS where he criticized Jeff Chang and this book saying it was a little too fan boy and didn t compile contradicting sources and sort it out, just if kool herc said it, it s true he s right in some ways, and i don t think that really interfers with the book he s definitely not too much of a oozing gushing kiss ass sometimes he s obviously excited by a record and at other times he s obviously taking an overly academic approach to the music In terms of it being one sided, it s a side i hadn t heard so i think it s a great place to start and it will without a doubt keep you searching and scrambling forinformation to fill in the blanks or compound the meaning of events seriously, a super super read, starts with Jamaican Dj ing and goes into the 70 s latino gangs of NYC and then through all the old school NY rap, gangsta rap, up to the present day particularly the first half you don t even have to know about the music or records to get a feel for what s happening after that it s pretty musical in it s context so you may have to start getting some records to keep up, but you ll be thankful.