I've spent a long time craving the perfect history of hip-hop. In the Bronx, Herc’s time was passing.

Very historical, very political, very gut-wrenching. 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 created.
In his introduction to the book, Kool Herc is less humble about making demands of today’s hip-hop artists and fans.

The Weather Underground and the Young Lords Party crawled toward the final stages of violent implosion.

I feel bad about only giving it 3 stars, but this only really took off from about page 200 when it got into Public Enemy and beyond. It brought a new perspective to the music for me and had me digging for countless albums for weeks. Start by marking “Can't Stop Won't Stop: A History of the Hip-Hop Generation” as Want to Read: Error rating book. anyone interested in anything about hip hop, 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."

b-boys, b-girls, anyone who's just read the comments after the rodney king vid on youtube. Noting that “hip-hop is the voice of this generation”, Herc also points out that this is a role that comes with responsibility, a responsibility that many leading hip-hop artists are not taking seriously. If we decide one day to say that we’re not gonna kill somebody senselessly, everyone will follow…, “I don’t want to hear [rappers] saying that they don’t want to be role models. The new culture seemed to whirl backward and forward—a loop of history, history as loop—calling and responding, leaping, spinning, renewing.”, “Public Enemy’s theme was Black collectivity, the one thing that had been lost in the post–Civil Rights bourgeois individualist goldrush. 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. "[4] It was also criticized for leaving out key elements of hip-hop history - "if you want to read a long and unbelievably self-indulgent trawl through the internal politics of US hip-hop magazine The Source, then this is the place to do it. Bob Marley was in a foreign studio, recovering from an assassin’s ambush and singing: “Many more will have to suffer. Great review. SIX WORD REVIEW: Boom bap history, left of center. History behaved as if reset to year zero. 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. Don’t just be like a drug dealer, like another pusher. For many long-time hip-hop fans, that period of a few years when political rap was thriving is considered the ‘golden era’. I'm not kidding: sure, you might bemoan the bling-obsessed aggression and shallow sexuality that you hear in passing as you switch radio-channels in your car, but the best of these guys can rhyme circles around Bob Dylan, at least rhythmically, with multiple internal rhymes, rhymes running over or falling short of the line-break, oftentimes the line break not even observed, and all of it told in an urban patois that's as funny as it is street-smart.
The first half, chronicling the beginnings of hip-hop from early dub records to Grandmaster Flash and the first graffiti artists is great.

Regardless of the final third, it's still one of the best music books I have ever read. I realized I had to revisit my definition of "old school" when it took 200 pages just to get to Run DMC! LIBRARY. I wanted to know more about the hip hop itself and not about the context of segregation and crime and the other stuff that I read about all the time.


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