Young, Black, Rich, and Famous: The Rise of the NBA, the Hip Hop Invasion, and the Transformation of American Culture | 
 enlarge | Creator: Todd Boyd
Publisher: Bison Books
Category: Book
List Price: $16.95
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Avg. Customer Rating:  10 reviews
Sales Rank: 63298
Media: Paperback
Number Of Items: 1
Pages: 216
Shipping Weight (lbs): 0.7
Dimensions (in): 8.8 x 5.9 x 0.6
ISBN: 0803216750
Dewey Decimal Number: 796.323640973
EAN: 9780803216754
ASIN: 0803216750
Publication Date: March 1, 2008
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Product Description
In Young, Black, Rich, and Famous, Todd Boyd chronicles how basketball and hip hop have gone from being reviled by the American mainstream in the 1970s to being embraced and imitated globally today. For young black men, he argues, they represent a new version of the American dream, one embodying the hopes and desires of those excluded from the original version. Shedding light on both perception and reality, Boyd shows that the NBA has been at the forefront of recognizing and incorporating cultural shifts—from the initial image of 1970s basketball players as overpaid black drug addicts, to Michael Jordan’s spectacular rise as a universally admired icon, to the 1990s, when the hip hop aesthetic (for example, Allen Iverson’s cornrows, multiple tattoos, and defiant, in-your-face attitude) appeared on the basketball court. Hip hop lyrics, with their emphasis on “keepin’ it real” and marked by a colossal indifference to mainstream taste, became an equally powerful influence on young black men. These two influences have created a brand-new, brand-name generation that refuses to assimilate but is nonetheless an important part of mainstream American culture. This Bison Books edition includes a new introduction by the author.
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| Customer Reviews: Read 5 more reviews...
 Skywalker: Head and Shoulders Above the Typical Sports Book January 7, 2007
5 out of 5 found this review helpful
At first glace, I was ready to dismiss this book. The author's picture shows a heavy set 30-something man with a goatee, granny sunglasses, and what appears to be... an ASCOT!! ("No diggity," I thought. "I could take Poindexter to the rack! Boo-ya!"). In his intro, the author mentions his PhD (a lot -- okay, we *get it*) and street-cred hybrid, saying he's "Einstein plus Shaft"! But alas, his saving grace is his name -- Todd Boyd. There's no "Dr." or middle names or initials. Todd Boyd -- Tight!
The writing isn't professor-foggy or professor-take-10-pages-to-make-a-one sentance-point; the words are sharp and clear. There are no big words in quotations, no use of "so-called" and -- I was looking for it -- only one "indeed"! And while the writing style doesn't convey the speed and aggression of b-ball, or the inside game (Pat Riley and Phil Jackson's books have more sweat and sneaker squeaks), Boyd has the objective distance and big picture theories of a cultural historian.
Boyd covers basketball since the 1970's. And I'll just kick it freestlye with some of his points:
- Kareem exemplified the 70's stars' stoicism. He played basketball -- he was not there to entertain the white man. Boyd compares these types of players to jazz greats who were not looking for popular approval. (Like Miles Davis, who would turn his back to the audience while he played).
- The ABA allowed "street ball" play, while the NBA of the 70's was more conservative. When the ABA folded/merged with the NBA, street style was injected into the NBA. And today, street style is *the* style.
- In the late 70's, the image of the NBA was of lazy cocaine users. Boyd notes that the NBA was no more coked up than other sectors of the entertainment industry. Boyd does not mention that ballers are athletes worshipped by kids. (And Boyd doesn't mention that Magic, Bird, *and Commissioner David Stern* all came into the league in the same year and upgraded the league's image).
- Magic redefined "position" by playing all five spots to win the championship his rookie year. This helped break the limitations of position -- players could roam all over -- and furthered the street style. (For example, Jordan or Kobe can bring the ball up the court and create his own shot and/or take it to the hole... formerly a point guard had to set, say, Dr. J up. The Dr. was dangerous on the wing, if he got the ball... Jordan was dangerous always).
- Magic smiled a lot, which was a break from the Jabbar stoic style. Magic makes it okay to entertain without seeming minstrel. Boyd claims that it was demeaning that Magic was always mentioned in the same breath as Bird. I say Bird was the second-best all-around player, and they elevated each other. I think Magic would agree. (And the *only* possible knock on Jordan was that he never had a nemesis - a Bird, a Joe Frazier - that took him to an even higher level. Of course, he had no nemesis because he was too good :-).
- The Celtics and Duke University teams were whiter by design. It's no accident. (I'd add the Utah Jazz).
- The Detroit Pistons were viewed as Bad Boys because they - and Detroit - were so black. (Plus Lambier :-). Boyd claims they were hated for the same physical play of the whiter Celts. I say the Pistons played nastier.
- Iverson is Boyd's poster boy for hip-hop style in basketball. He does what he wants, and f*%& 'em. Boyd doesn't seem to have a problem with Iverson showing up late or missing practices. Hey, f#*^ 'em. Uh, those are his teammates he's f&$%ing!
- Boyd likes that high schoolers can and do jump straight to the pros. And he doesn't think high schoolers should have to pass a test to play college ball. He claims that it's NCAA affirmative action for whites. (Chris Rock voice here....) Too many black players? Give the ghetto kids a test! If you have $200, how many pairs of duck shoes can you buy at Land's End, and still have enough to buy a jar of mayonaisse?
- The NBA is increasingly non-white, and the whites are increasingly foreigners. The college game is whiter, as it's more controlled, and the best players - who are also black - go from high school to the pros... or stay in college for a year or two before going pro.
- And Boyd weaves Bill Cosby, Eddie Murphy, Richard Pryor, and of course hip-hop into the mix.
- Plus a lot, lot, more. (For example, my review title "Skywalker" references David Thompson, the most electrifying player of his era. He literally took the air game to a whole new level. His career was cut short (you could say his was the promise that Jordan later delivered on), and I'm very glad Boyd told his story).
- A couple things Boyd does not mention, that my creative license allows: 1) In the 1920's, Dr. Funkenstein was the first "black" player in the league. A white man who wore blackface, Funkenstein dazzled the crowd by dribbling between his legs, passing behind his back, and doing a "jump shot". (I find the whole concept offensive: Could you imagine Allen Iverson in white face, high striped socks and short shorts while shooting set-shots and being lauded because "he doesn't have much natural talent, but he plays with a lot of HEART!"). 2) If you look closely at Kevin McHale, you can see the scars on his neck from where they took the bolts out. Was he created in a lab as part of a honky Boston conspiracy?
Go Lakers!
 Critical Theory meets the NBA November 17, 2004
3 out of 4 found this review helpful
Using the tools of a critical theorist, Todd Boyd sets out to analyze the quest for freedom of expression and existence, as it is played out on the basketball court and within the Black cultural renaissance of Hip-Hop music. American basketball, as it is played and lived by young African American men and Hip-Hop culture both resist being co-opted by mainstream America. They have both moved from the purlieus of the larger American popular cultural purview to occupy a unique space at the vortex of the American global marketing machine. Within this framework, America and the world, are live witnesses of the creative expression of black culture as it is lived and informed by black rather than white norms and of the global representation of American popular culture, in the face of black rather than white men. Such an analysis requires that one is able to navigate seamlessly between the theoretical constructs of critical theory, the lyrical genius of the Notorious B.I.G. and the choreographic grace of his Airness, Michael Jordan, all the while "keeping it real" as only a Black man can do. Boyd is successful in his methodological approach as he delivers with stunning detail the nuances of what it means to be young, black, rich and famous in America.
Boyd's expertise as a critical theorist is evident as he lays out the theoretical framework for the book and adeptly situates his theory within the venue of the National Basketball Association where Hip-Hop music has become the new national anthem. In addition, his background as a journalist and sports enthusiast gives him a solid foundation from which he recounts more than thirty years of basketball history. As an African American man and scholar, Boyd brings lived as well as critical experience to the understanding of the emergence of Hip-Hop culture as a counter hegemonic movement on the American landscape.
Boyd identifies the creative genius of the African American style of basketball at the center of a transformation that has taken place in the NBA. It is basketball, with its low equipment cost, ability to be played in small places, and its capacity to be played alone, that is uniquely suited for the African American urban reality. Basketball provides African American "ballers" the creative canvass on which portraits of individualized representations of freedom may be painted.
Reminiscent of the aesthetic rhythm of a Magic Johnson assist to James Worthy, Boyd show how the lyrics, the style of dress and the overall attitude of Hip-Hop has informed a new generation "Hip-Hop ballers" in the NBA. Boyd connects the freestyle of play in this new generation of ballers to the freedom of style and expression that is epitomized in Hip-Hop culture.
The connection between Hip-Hop and how it influences the rise of freestyle play in the NBA, and the uncompromising and unassimilated attitude of the young, black, rich and famous NBA stars is critical to Boyd's central theme. Boyd does an outstanding job in developing his thesis along the lines of the transformation of the NBA through these new school players. However, he fails to do justice to the emergence and the development of Hip-Hop as a cultural phenomenon. The book focuses on the transformation of the NBA and Hip-Hop is used primarily as the background music throughout the process. Boyd also neglects the significance of the WNBA as a creative context for African American woman, or perhaps as a restrictive platform for a black female cultural contribution. Finally, Boyd leaves important questions unanswered: Does the power to maintain one's personal freedom and individual creativity only lend itself to the "rich and famous"? If so, how should we address the simply "young and black"?
Overall, the work makes a significant contribution to the growing body of literature that concerns itself with the radical reconstruction of race and representation in a global society. Students and academicians of critical theory, critical race theory, and cultural anthropology will find the examination of the NBA and Hip-Hop as fascinating contexts in which to study race representations and the indigenous creation of cultural norms. In addition, the book provides for the sports enthusiast, a tremendous insight into the evolution of the game of basketball as it distinguishes itself from baseball and football, as the only major professional sport in which individual creativity has transformed the sport, and in doing so transformed the culture.
In the end Boyd makes a shocking revelation that shows that as the NBA gains global popularity as an American cultural commodity, the global spokesperson for American culture is increasingly a black man.
Gave it to 'em raw July 28, 2004
3 out of 3 found this review helpful
Dr. Boyd hits it on the head with this piece about basketball and hip-hop. The only way a book like this can be written the way it was is if you are a part of the culture yourself, because if not, it will not be easy to understand. I, for one, love it because he uses teams from the 80's, such as the Georgetown Hoyas, the early 90's with the Fab Five of the Michigan Wolverines, and other teams, players, and events in the game which took me back in time. When he speaks about these things, you can see the connection with hip-hop, such as Allen Iverson's influence, and others lack thereof. He uses lyrics from some of the hip-hop's greats, but like I mentioned before, you must be a part of the culture or at least familiar with it to see what he is trying to say. He keeps it real throughout the book and gives credit where it is due while being critical at the same time. 'Ball and hip-hop have a unique bond, and the significance of it cannot be ignored.
Whoys Balliny Now? June 23, 2004
2 out of 3 found this review helpful
Todd Boyd takes the notion of the hip-hop industry and basketball being synonymous to an entirely new level. With fluid and memorable references to the similarities of how hip-hop came from the streets, to the formation of how basketball is now the newest form of hip-hop, Boyd captures the essence of the sport like no other. Using references of how both dominate the streets and how the world of basketball has been changed thereafter, Boyd highlights the game and its glitches, from racism down to the money-making formula that has taken hold today. With no stone unturned, readers are carried through moments of fame, glory and the challenges that former and current NBA players face, including dealings within the drug game and how money-making opportunities being offered today are very similar in nature. Although basketball used to be a quiet and unnoticed, it has now emerged as a dominant and lucrative force in the professional sports arena. With unparalleled style, YOUNG BLACK RICH & FAMOUS details the life that almost every young black man dreams of. The NBA, its lucrative deals and opportunities have transformed the way everyone looks at young black males and the actual sport today. Actually, it's quite obvious that basketball has emerged as the new "American" sport. They said it couldn't be done and couldn't happen - next question: Who's Ballin' Now? Reviewed by T. Belinda Williams
of The RAWSISTAZ Reviewers
 Pretty Good Book June 19, 2004
I dig whenever Todd Boyd is on a Project because He has a way with words.this Book puts alot into Perspective&Bridges many a gap.I was hoping for more Pulling together of Hip-Hop with the NBA a bit more but overall this Book makes for a Pretty Good read.
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