Dan Charnas: The Big Payback: The History of the Business of Hip-Hop

In December 2010, an NPR Staff writer wrote, “How Hip0Hop Became a Cash Machine” for the show, All Things Considered. Thirty years ago, hip-hop was background noise at small house parties in Harlem and the South Bronx. Now, it's a multibillion-dollar empire. A new book, The Big Payback: The History of the Business of Hip-Hop, tells the story of the genre's humble beginnings — from one person behind a few turntables and a microphone — and how it morphed into a way of life, with designer clothing lines, political movements and vast wealth. But in the early days of rap, a lot of the money stayed with the label owners, not with the musicians. Charnas notes that some hip-hop dignitaries railed against "how onerous recording contracts were and how tilted the relationship was between artists and record companies."

“Sometime in the middle to the end of the last decade, BusinessWeek estimated that the hip-hop business had grown to, on the music side, about $1 billion a year, and on the fashion side, $2 billion a year.”

- Dan Charnas, author of The Big Payback: The History of the Business of Hip-Hop

“For the first time, black artists were really not only embracing but insisting on their own self-worth.”

- Dan Charnas, author of The Big Payback: The History of the Business of Hip-Hop

In December 2010, Jim Farber wrote “'The Big Payback: The History of the Business of Hip-Hop' by Dan Charnas follows the money” for the New York Daily News. The story of hip hop has been told from many points of view, but never from those who've had the strongest power over its destiny. That would be the corporate backers and entrepreneurial enablers, those market forces that finessed a street trend from New York's most embattled neighborhoods into a global phenomenon. Dan Charnas has done a real service to pop history by following the money -- a pursuit which ultimately tells a far larger tale: In hip hop, it seems, cash isn't just a matter of bling. It's the currency that gave this once outsider art -- and by extension, a marginalized race -- a louder, clearer and more important voice all over the world.

“I think Sugar Hill saw themselves as riding out a fad. I don't think they had any particular belief that this was a powerful culture that had staying power. We'd just come off of the disco era, which turned out to be very, very short-lived, and I'm sure that a lot of people, including Sylvia and Joe Robinson, thought that the same would happen to this rap stuff. The difference was that Russell Simmons did not like the records that Sugar Hill was turning out because they didn't sound to him like the hip-hop that lived in the streets and the parks and the clubs, which was very raw, very beat-oriented, and didn't sound like disco at all. And so Russell Simmons' key innovation, when he made Run-D.M.C.'s first record, was to basically order his producer-partner Larry Smith to take out all the music. 'I just want to hear a beat,' he said.”

- Dan Charnas, author of The Big Payback: The History of the Business of Hip-Hop

W. J. T. Mitchell: Cloning Terror: The War of Images, 9/11 to the Present

From the University of Chicago Press: The phrase “War on Terror” has quietly been retired from official usage, but it persists in the American psyche, and our understanding of it is hardly complete. Nor will it be, W. J. T Mitchell argues, without a grasp of the images that it spawned, and that spawned it. Exploring the role of verbal and visual images in the War on Terror, Mitchell finds a conflict whose shaky metaphoric and imaginary conception has created its own reality. At the same time, Mitchell locates in the concept of clones and cloning an anxiety about new forms of image-making that has amplified the political effects of the War on Terror. Cloning and terror, he argues, share an uncanny structural resemblance, shuttling back and forth between imaginary and real, metaphoric and literal manifestations. In Mitchell’s startling analysis, cloning terror emerges as the inevitable metaphor for the way in which the War on Terror has not only helped recruit more fighters to the jihadist cause but undermined the American constitution with “faith-based” foreign and domestic policies. Bringing together the hooded prisoners of Abu Ghraib with the cloned stormtroopers of the Star Wars saga, Mitchell draws attention to the figures of faceless anonymity that stalk the ever-shifting and unlocatable “fronts” of the War on Terror. A striking new investigation of the role of images from our foremost scholar of iconology, Cloning Terror will expand our understanding of the visual legacy of a new kind of war and reframe our understanding of contemporary biopower and biopolitics.



From Wikipedia: William J. Thomas Mitchell (* 1942) is the Gaylord Donnelley Distinguished Service Professor of English and Art History at the University of Chicago. He is also the editor of Critical Inquiry, and contributes to the journal October. His monographs, Iconology (1986) and Picture Theory (1994), focus on media theory and visual culture. He draws on ideas from Sigmund Freud and Karl Marx to demonstrate that, essentially, we must consider pictures to be living things. His collection of essays What Do Pictures Want? (2005) won the Modern Language Association's prestigious James Russell Lowell Prize in 2006.





From the University of Chicago (faculty profile): W. J. T. Mitchell is Professor of English and Art History at the University of Chicago. He is editor of the interdisciplinary journal, Critical Inquiry, a quarterly devoted to critical theory in the arts and human sciences. A scholar and theorist of media, visual art, and literature, Mitchell is associated with the emergent fields of visual culture and iconology (the study of images across the media). He is known especially for his work on the relations of visual and verbal representations in the context of social and political issues. Under his editorship, Critical Inquiry has published special issues on public art, psychoanalysis, pluralism, feminism, the sociology of literature, canons, race and identity, narrative, the politics of interpretation, postcolonial theory, and many other topics. He has been the recipient of numerous awards including the Guggenheim Fellowship and the Morey Prize in art history given by the College Art Association of America. In 2003, he received the University of Chicago's prestigious Faculty Award for Excellence in Graduate Teaching. His publications include: "The Pictorial Turn," Artforum, March 1992; "What Do Pictures Want?" October, Summer 1996; What Do Pictures Want? (2005); The Last Dinosaur Book: The Life and Times of a Cultural Icon (1998); Picture Theory (1994); Art and the Public Sphere (1993); Landscape and Power (1992); Iconology (1987); The Language of Images (1980); On Narrative (1981); and The Politics of Interpretation (1984).

Nassim Nicholas Taleb: The Bed of Procrustes: Philosophical and Practical Aphorisms

In December, 2010, the Financial Times had this to say about the book:

The book’s title is taken from the Greek myth in which Procrustes fitted his guests to a bed – cutting to size those too tall and stretching those too short. Taleb’s crystalline nuggets of thought stand alone like esoteric poems, but together produce a sort of picture in reverse – the surrounding space shaded in to reveal the central subject: human knowledge and its limitations.

Find that Financial Times piece here. New York Magazine had this to say about the book:

We are here in this French café in Morningside Heights to talk about Socrates, Seneca, Averroës, Pascal, La Rochefoucauld, Chamfort, Nietzsche, Wittgenstein. These are his forebears in the art of the aphorism, a form he took up for several months earlier this year, resulting in his new book, The Bed of Procrustes, a compendium of Talebian witticisms and skeptical philosophizing: “You are rich if and only if money you refuse tastes better than money you accept.” “Education makes the wise slightly wiser, but it makes the fool vastly more dangerous.” “You are only secure if you can lose your fortune without the additional insult of having to become humble.” It is a work very different in format from The Black Swan and Fooled by Randomness, best sellers that predicted that the mathematical models Wall Street relied on to measure risk would help bring down the world economy. When the crash of 2008 came, it secured Taleb’s fame as the oracle of the Great Recession and made him, for a time, a ubiquitous cable-news presence, inveighing against the financial-policy elite.

Find that New Yorker Magazine article, here.

WNYC Radio's The Takeaway also had the author on their show, recently; listen to that podcast, just below.

Bill Carter and "The War for Late Night"

The New York Times introduces Bill Carter's new book this way:

[In] his new book, “The War for Late Night,” Bill Carter, a television reporter for The New York Times, demonstrates that the flanking maneuvers made by crucial warriors on the late-night battlefield were far more complicated and far less malevolent than onlookers assumed. Through exhaustive research and interviews with the major players in this battle Mr. Carter demonstrates that, while the usual oversize Hollywood egos were forming secret alliances and stockpiling armaments, it was NBC that fired the shots that sank the Lusitania. Even as Mr. Leno felt attacked and Mr. O’Brien felt betrayed, and an unruly army of handlers spit invective into their cellphones, the real problem was simple: Unable to decide between Mr. Leno or Mr. O’Brien and fearful of losing either to the competition, NBC executives made a series of short-term moves to try to keep them both.

Read that NYT review here. The New York Times talked with the author as well, in their book review segment. Listen to that podcast here. See also: The Late Shift: Letterman, Leno, and the Network Battle for the Night.

Predictor of Financial Crisis Dispenses Bite-Sized Wisdom from The Takeaway: Early Edition by feedback@thetakeaway.org (Public Radio International and WNYC Radio)

Nassim Taleb is the philosopher and former trader who correctly predicted that the mathematical models Wall Street used to measure risk would lead to a massive financial crisis. His new book, ‘The Bed of Procrustes,’ scrutinizes the economy, as well as human knowledge and values. The book features "practical and philosophical aphorisms," and includes fortune-cookie sized sentences that attempt to "expose self-delusions you have been living with but have never recognized." Taleb is the current Distinguished Professor of Risk Engineering at New York University. He is the author of 'Fooled by Randomness' and 'The Black Swan.'

Download the podcast here. See also: The Black Swan: Second Edition: The Impact of the Highly Improbable: With a new section: "On Robustness and Fragility", Fooled by Randomness: The Hidden Role of Chance in Life and in the Markets, Dynamic Hedging: Managing Vanilla and Exotic Options (Wiley Finance), Lecturing Birds on Flying: Can Mathematical Theories Destroy the Financial Markets?, The Volatility Surface: A Practitioner's Guide (Wiley Finance), by Nassim Nicholas Taleb The Black Swan, The Impact of the Highly Improbable 1 edition, The Black Swan: The Impact of the Highly Improbable (Hardcover)