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Yes Yes Y'All: Oral History of Hip-Hop's First Decade (Anglais) Relié – 25 novembre 2002

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Descriptions du produit

Book by Fricke Jim Ahearn Charlie George Nelson

Détails sur le produit

  • Relié: 368 pages
  • Editeur : Da Capo Press Inc (25 novembre 2002)
  • Langue : Anglais
  • ISBN-10: 0306811847
  • ISBN-13: 978-0306811845
  • Dimensions du produit: 24,3 x 19,9 x 2,9 cm
  • Moyenne des commentaires client : 5.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
  • Classement des meilleures ventes d'Amazon: 815.621 en Livres anglais et étrangers (Voir les 100 premiers en Livres anglais et étrangers)
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The street gangs which rose up in New York in the late '50s and '60s seemed to explode in numbers. Lire la première page
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Couverture | Copyright | Table des matières | Extrait | Index | Quatrième de couverture
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Format: Broché
Très bon livre pour tous ceux qui s'intéressent aux origines du hip hop, passionnant.Voyage dans les années 80 avec des entretiens des fondateurs du mouvement : graffeurs, breakers, djs, rappers et tous ceux qui ont donné vie au dernier grand mouvement musical du siècle dernier.
Ecrit en anglais mais il n'est vraiment pas difficile à comprendre.
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Amazon.com: 18 commentaires
23 internautes sur 24 ont trouvé ce commentaire utile 
Real Nice 16 mai 2003
Par A. Ross - Publié sur Amazon.com
Format: Broché
This beautiful book attempts to trace the formation of hip-hop culture through interviews with those who were around for the first ten years. Fricke (a curator at the Experience Music Project museum) and Ahearn (photographer and director of the seminal hop-hop film Wild Style), attempt to document the New York City scene from about 1974-84 (right up to the formation of DefJam and Run-DMC) through photos, original party flyers, and the words of the DJs, MCs, b-boys (breakdancers), graffiti artists, and promoters who were there.
The early portion shows how DJ sound-system battles emerged in the early to mid '70s against the backdrop of a decaying Bronx, attracting youths to more or less impromptu parties in parks, streets, and playgrounds. Competition was fierce as to who had the loudest sound system and the best records, and tough security (gang members) was a necessity. One thing that gets disappointingly glossed over is how this copied what happened in Kingston, Jamaica ten years earlier. It was exactly the same: competing street sound systems, with competing DJs who would take the labels off records so spies couldn't find out what they were playing, gangs, violence-all the same. DJ Kool Herc, who lived in Jamaica until 1967, makes a fleeting reference to it, but that's all.
For the first few years, the DJs were the "stars" of the scene, offering an alternative to disco music. But as DJs started to learn how to manipulate their turntables to extend the "beats" from a song, eventually MCing started to become more vibrant. What had initially only been calls to the crowd to keep the party's energy up evolved into more and more sophisticated catchphrases, freestyle rhymes, and soon MCs were writing and memorizing lines. Again, it's a bit puzzling that no mention is made of Jamaican"toasting" which emerged in the mid to late '60s. This was the practice of DJs who would talk and rhyme over the records they played, and soon progressed to a point where they would have instrumental versions of popular songs laid down for them to rhyme over-often in a boasting style, talking about how they were the "#1", "champion", and so on. Sounds familiar, doesn't it?
The other two legs of hip-hop culture are given somewhat less space. The material on breakdancing (aka "b-boying" to the true old-schoolers) seems to indicate that the "b-boy " crews filled a kind of competitive void left by the waning of street gang culture. And while there was some of this dancing at the parties, music was the focus, rather than the dancing-which didn't get big until the early '80s. Graffiti, on the other hand, was clearly a prominent feature of the NYC landscape from the early '70s on. But, what's most interesting here is that while the graffiti artists often went to parties and knew some of the music people, the idea that graffiti was part of a larger hip-cop culture didn't emerge until late in the game. It wasn't until the downtown Manhattan art scene started getting interested that the music, breakin', and graffiti were packaged-by the white art scene-a unified "street" culture.
The book is lavishly put together, with tons to look at-however, the oral history structure isn't the greatest. From a historical perspective, it's great to hear all these unknown voices from the past telling about their roles, but at times it does get tedious. Especially when it comes to details on how so and so met so and so and that led the the formation of this or that. Even more so late in the book, when record companies get in the mix, and then all kinds of resentments come pouring out. There could have been a little more editing, as well as a little more context to fill in some of the gaps. For example, there are a lot of references to gangs being involved in the early scene, and shootings, and violence, but there's never any unified discussion of it. The same for the role of drugs in the scene, at one point someone (I think Spoonie Gee) talks about how everyone was totally coked up all the time, and that's something that could have been explored a little more. In any event, it's still a great book for anyone with an interest in the days of hip-hop, giving proper space and voice to all the unknowns who deserve to be known.
7 internautes sur 8 ont trouvé ce commentaire utile 
Straight from the source's mouth !! 21 octobre 2002
Par mister_fusspot - Publié sur Amazon.com
Format: Relié Achat vérifié
Yes Yes Y'all is the [the best] -- a must read for everyone living through the hip-hop cultural revolution. That means you, hoss. Stemming from the ground-breaking hip-hop exhibit at Experience Music Project, Yes Yes Y'all embodies countless oral histories, photographs and artifacts that bring to life the rich history of MCs, DJs, B-Boys & Girls, and Graffiti artists. This publication is lavishly illustrated and lovingly crafted. It's a classic right outta the gate!
8 internautes sur 10 ont trouvé ce commentaire utile 
the coolest book 13 août 2003
Par Chuck Mays - Publié sur Amazon.com
Format: Broché
I got the coolest book this passed Christmas, entitled �Yes! Yes! Yall! The Experience Music Project Oral History of Hip-Hop�s First Decade � by Jim Fricke. This book focuses on Hip-Hop, and Black culture in America through oral history. Black urban culture gave birth to hip-hop and is the source of influence for today�s American culture. �Yes! Yes! Yall!� is a true period piece focusing on the growth of a new artistic movement. The book is very clear and is written as if you�re really listening to someone talk about Hip-Hop�s old school beginnings. This was a relaxing book to read, and very simplistic in form. As I was reading I felt as if I was sitting in a recreation center or classroom listening to the forefathers, and mothers of this great Black music culture.
The book starts by panting a picture of New York�s inner city in the early 1970�s to the mid 80�s. Each chapter focuses on all four elements of Hip-Hop, such as: d.j-ing, brake dancing, emceeing/rhyming or raping, and graffiti art. Looking at some of the old photos of B-boys and girls break dancing, the airbrushed clothing, party flyers, and old record jackets was very nostalgic.
The book highlights the fact that the whole subculture came out of unequal systematic conditions in the late 1970�s into the 80�s. This is a real honest approach to the history of the newest, and highly co-modified cultures. It�s filled with first hand accounts, stories of back stage antics, tours, emcee battles, dance battles, club fights, and groupies.
In chapter two titled, �The Forefathers�, many people interviewed gave his or her respects to the godfather of Hip-Hop (d.j Kool Herc). They would talk about how d.j Kool Herc would play all the best brake beats at that time. D.j Kool Herc was Jamaica borne and his homeland would be the source that inspired his d.jing style.
Kool Herc was the one who coined the term B-boy/B-girl, because boys and girls that would dance to brakes of different songs. The brake was the favorite part of the song, it was known as the get down part of the record. The other reason for calling the party people B-boys and girls was because they were all from Brooklyn also known as the �Boogie Down Bronx�.
Kool Hrec changed and revolutionized the whole music form, once he started toasting, what we call rapping or rhyming today. Toasting started in the Jamaican dance halls, or yard parties. The Selecta or D.j would chant out two or three bare rhymes to get the crowd hyped. Herc added the style toasting from his homeland, and the New York street style of d.jing, to cerate his own style. Thus giving birth to a new sound and genre of music.
�Yes! Yes! Yall!� lastly focuses on the gangs, graffiti, emceeing, and brake dancing and how they intertwine within hip-hop and black culture. I highly recommend this book to anyone interested in finding more information on the history of Hip-Hop and how it stems from Black culture.
1 internautes sur 1 ont trouvé ce commentaire utile 
Par ashRock - Publié sur Amazon.com
Format: Broché
This is a beautiful book with great information, but...


I understand its a man's world and hip-hop as a reflection of society has been a man's game. but women also had a hand in the development of this culture. women always do. seldom does their labor or talents get acknowledged in the same way. its unfortunate, but its the way it is. very few women are mentioned in this book and i'm appalled that Lady Pink got no love. she is legendary. she is part of the Feminine Foundation of Hip-Hop. i think this book needs to be updated with HER INCLUDED and maybe a few other women while its in revision. otherwise, its just one side of the story, an impartial document, in my humble opinion.

Girls need heros too! Cultural Legends to look up to, to help guide them. I wish Jim and Charlie would have been more aware of that when telling this important story on the birth of a culture that now has the whole world's attention, women and men alike!

with that being said, i would still give this book as a gift to any hip-hop enthusiast in my life, but only after adding a few extra pages of my own. :)
1 internautes sur 1 ont trouvé ce commentaire utile 
Essential History of Hip Hop's Beginning 22 janvier 2011
Par G. Jerome - Publié sur Amazon.com
Format: Broché Achat vérifié
I got into hip hop in 1987 living in New York when Chuck Chillout, Red Alert and Mr Magic owned the city's airwaves. I've been a fan of "golden age" hip hop for over twenty years now and I find it amazing that until I read this book, I had no idea about the roots of this culture, something so important to me.

At first I was skeptical about the style of the book, composed by quotes from the actual participants of the culture's creation. But it was put together very well and told a cohesive story. I found this history completely consuming.

I was always aware of how exciting the hip hop rap scene was in '89 in New York. It would launch rap into a global phenomenon. But I can now see that the energy and excitement up in the South Bronx in the mid to late '70's may have been even more... mind blowing.

If you haven't already bought the essential music (Cold Crush Brothers, Fantastic 5, Busy B, Crash Crew, Afrika Bambaataa) you will after you read the book.
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