March 24th, 2010 | 
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- ISBN13: 9780819566966
- Condition: NEW
- Notes: Brand New from Publisher. No Remainder Mark.
Product Description
Despite having created one of the most important musical cultures of the last fifty years, hip-hop composers who use digital sampling are rarely taken seriously as artists. But hip-hop deejays and producers have collectively developed an artistic system that features a complex aesthetic, a detailed array of social protocols, a rigorous set of ethical expectations and a rich historical consciousness.
Based on ten years of research among hip-hop producers, Making Beats is the first work of scholarship to explore the goals, methods and values of this surprisingly insular community. Focusing on a variety of subjects–from hip-hop artists’ pedagogical methods to the Afro-diasporic roots of the sampling process to the social significance of “digging” for rare records–Joseph G. Schloss examines the way hip-hop artists have managed to create a form of expression that reflects their creative aspirations, moral beliefs, political values and cultural realities.
Making Beats: The Art of Sample-Based Hip-Hop
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Usually I’m pretty skeptical of books written on hip-hop by authors with doctorates. Mostly, they do not understand. They are not fans of hip hop, although they may have some CDs. Mike Dyson, Tricia Rose, et cetera.
I think this book is good.
But the title of this book is misleading . This is not a practical book on making hip-hop beats.
This is an ethnographic study on hip hop producers, most of which are underground / managers of college radio hip hop.
So chances are most of Amazon customers are not familiar with the names of producers, or even be able to recognize any of their songs.
But if you are familiar names like Paul C, Diamond D, Showbiz, Pete Rock, Premier, Dilla, Marley Marl, supreme, Soulman, Dj Muro – this book is really good.
There are many issues that initiated the producers talk to each other, but never really get into the main discussion, hip hop, and therefore has no chance to start in the mainstream .
Joe decides to examine the producers and ask these questions. He interviewed people like DJ Kool Akiem (the Micranauts), vitamin D, Domino hieroglyphics, and it raises questions as
– Why do you need to try, why not replay the sample?
– What’s the big deal with reprints?
– Producers who did not start out as DJ’s
– You can sample from a rap record ?
If you’re just a head of hip-hop, quotes producers are probably the most interesting part of the book. You really get a look in 1 school of thought on how to make beats.
If you’re an academic, he has a lot of notes, and much support for his ideas. ” ; br />
For me, I think the best part of the book was the review of the literature. He looks at many of the greatest books on the subject of hip-hop and divide them to explain why they did not make sense.
The only problem I really see with the book is that it focuses on a certain type of producer. Based on samples, means sampled from vinyl. You will not find a “range” producers. You will not find producers who are type g rap beats. (Mannie Fresh type of producer). It is very biased towards a basement side is good old 89-93 era aesthetic. Who is the more interesting since it is based on the West Coast.
Rating: 5 / 5
As a producer and music fan, I was inspired by this book. This is an academic study, but unlike other such work is also a page-turner. The author does a great job of mixing data with empirical data that comes from his fieldwork, and the result reads like a historical narrative well organized.
Can be my favorite aspect of this book is that it denies all the nonsense that other writers have said hip-hop use of sampling that as an ironic way of referencing the past. This book puts forward instead the idea that I agree with a producer of music, the sounds are chosen because they simply pleasing sound when combined with one another. In this regard, the sample of hip-hop is not really different from many types of electronic music compositions are constructed by introducing sounds into the mix that works well with what already exists, and this process continues until you have some sort of groove or atmosphere created. All these tricks and condescending producing Hip-hop all the philosophers of the street being in the school of hard knocks has to stop. The truth is that they are composers like the rest of us, and they dig stuff that sounds good in their tracks. Thus, I highly recommend this book to anyone interested in learning more about the nature of the sample-based hip-hop as a genre rather than as a simple method of re-contextualize the past to pay a certain mystical tribute to those who preceded us. A refreshing, realistic book that gives respect and validity appropriate to a genre that is too often misunderstood and marginalized.
Rating: 5 / 5
Interesting exploration of producing underground hip-hop. A low diversity of respondents hampers its usefulness – I was incredibly upset when one interviewee said, unchallenged, that the use of live instruments “was not real hip-hop.” Otherwise, a Interestingly, although travel shortsighted.
Rating: 3 / 5
Quality materials. . . . . . . . . . . . . . . . . . . . . . . . . . . .
If I have to say that what is missing, I would say a few example photos. . But not much. . .
Ethics sampling are GREAT !!!!!!!!!!!!!!!!< br />
L ‘Diggin info is also good !!!!!!!!!!!!!!!!!< br />
DJ History / Info is KOOL !!!!!!! !!!!!!!!!!< br />
A very well spent $ 20 —–< br />
Trust That! !!!!!!!!!!!!!!!!
Rating: 4 / 5
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Rating: 4 / 5