Chapter 1—Introduction
NOTES CHAPTER 1—INTRODUCTION 1. See Juan Flores, “Rappin’, Writin’ & Breakin,’” Centro, no. 3 (1988): 34–41; Nelson George, Hip Hop America (New York: Viking, 1998); Steve Hager, Hip Hop: The Illustrated History of Breakdancing, Rapping and Graffiti (New York: St. Martin’s Press, 1984); Tricia Rose, Black Noise: Rap Music and Black Culture in Contemporary America (Hanover, NH: Wesleyan University Press, 1994); David Toop, The Rap Attack 2: African Rap to Global Hip Hop (London: Serpent’s Tail, 1991). 2. Edward Rodríguez, “Sunset Style,” The Ticker, March 6, 1996. 3. Carlito Rodríguez, “The Young Guns of Hip-Hop,” The Source 105 ( June 1998): 146–149. 4. Clyde Valentín, “Big Pun: Puerto Rock Style with a Twist of Black and I’m Proud,” Stress, issue 23 (2000): 48. 5. See Juan Flores, Divided Borders: Essays on Puerto Rican Identity (Hous- ton: Arte Público Press, 1993); Bonnie Urciuoli, Exposing Prejudice: Puerto Rican Experiences of Language, Race and Class (Boulder, CO: West- view Press, 1996). 6. See Manuel Alvarez Nazario, El elemento afronegroide en el español de Puerto Rico (San Juan: Instituto de Cultura Puertorriqueña,1974); Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness (Cam- bridge, MA: Harvard University Press, 1993); Marshall Stearns, The Story of Jazz (Oxford: Oxford University Press, 1958); Robert Farris Thompson, “Hip Hop 101,” in William Eric Perkins, ed., Droppin’ Sci- ence: Critical Essays on Rap Music and Hip Hop Culture (Philadelphia: Temple University Press, 1996), pp. 211–219; Carlos “Tato” Torres and Ti-Jan Francisco Mbumba Loango, “Cuando la bomba ñama...!:Reli- gious Elements of Afro-Puerto Rican Music,” manuscript 2001.
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