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To the Break of Dawn 155: Common's future rep would be as a ‘backpack’ rapper, a semi-underground artist who catered more to the tofu and patchouli crowd that than to the brew-swilling brothers.at backpack, adj.
To the Break of Dawn 155: Common's future rep would be as a ‘backpack’ rapper, a semi-underground artist who catered more to the tofu and patchouli crowd that than to the brew-swilling brothers. To the Break of Dawn 35: I pointed out earlier that the ‘Baaad Nigger’ of the blues tradition was reincarnated as the ‘Real Nigga’ of hip hop lore.at bad nigger (n.) under bad, adj.
To the Break of Dawn 77: The concept of the hip hop battle is the obvious extension of ‘the dozens,’ [. . .] the ritual insults of the black vernacular tradition.at battle, v.
To the Break of Dawn 108: [H]e had matured in the game from his days as a buckwild apprentice.at buck-wild, adj.
To the Break of Dawn 155: [A] love song on Resurrection, not any of the gonad-grabbing drive-bys he'd performed on Can I borrow a dollar?, generated his first conflict with another established artist.at drive-by, n.
To the Break of Dawn 60: [T]he ranks were deep. Listen, Guru, and the crew he ran with [...] rolled thick, like a host of ghetto potentates with diplomatic immunity.at deep, adv.
To the Break of Dawn 3: ‘Them Brooklyn cats had it in for the brothers from uptown; Bronx heads were constantly flexing on Brooklynites and nobody was feeling Queens’.at flex, v.
To the Break of Dawn 87: [B]y [...] 1986, the rhyme routines were on their way out. In their absence, the vocal inflection of the rapper (or his flow) could come to the fore. [...]. Flow has two basic characteristics: the division of syllables and the velocity at which they are spoken.at flow, n.1
To the Break of Dawn 17: From the gate, the ancestral b-boys created a new musical history.at from the gate (adv.) under gate, n.
To the Break of Dawn 13: ‘[W]e came here tonight to get y’all open’ [ibid.] 90: In the original proving grounds of the art form, the freestyle battle and the live on-the-street performance, the punchline was indispensable to getting a crowd open.at open, adj.
To the Break of Dawn 116: The stories are peopled by smoked-out slackers, heavy-gunned fugitives, and barrel-bellied cops.at smoked out, adj.
To the Break of Dawn 109: Ralph Ellison [...] placed the unnamed protagonist of Invisible Man in an unnamed municipality, painted him black, and then riffed on the nature of epidermal camouflage.at riff, v.
To the Break of Dawn 16: [T]he preacher's central task was to open his mouth and rip it the best way he saw fit as a confirmation of the collective existence.at rip, v.
To the Break of Dawn 7: The legions of mic-grabbing rhyme spitters in Germany, Japan, France and Amsterdam are no more contrary to the black roots of hip hop than Leontyne Price [...] to the Italian roots of opera.at spit, v.
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