Urban Art Legends, by Ket, 2015. (Captures a
“Markski” tag in rollcall by Hex One, TGO, in the Loomit chapter, p.82).

About the Author
KET is a world-renowned graffiti artist based in New York, as well as a writer, lecturer, graffiti historian, producer, publisher and painter. His photos and graffiti have been published and exhibited internationally.
Product Details
• Publisher ‏ : ‎ LOM Art (February 1, 2016)
• Hardcover ‏ : ‎ 128 pages
• ISBN-10 ‏ : ‎ 1910552054
• ISBN-13 ‏ : ‎ 978-1910552056

Mascots & Mugs: The Characters and
Cartoons of Subway Graffiti by David Villorente & Todd James, 2007.
(Interview with Mark Bodé mentions a 90’s UTI “Bode Wars”
production that Markski was a part of, p.80).

 

Description
The first book to provide an in-depth exploration of figurative elements in graffiti art
In the graffiti world it’s the name that brings the fame, but what about the figural components of this urban typography? Some of the most iconic pieces in the history of graffiti have earned their place in the street art pantheon with the help of masterfully rendered figures that lend additional presence to these works. Mascots & Mugs, brought to you by the publisher of the best-selling sneaker encyclopedia Where’d You Get Those? is the first book to examine figurative elements in graffiti art: It traces the history of key characters from the earliest examples by writers such as Stay High, Cliff 170 and Blade, to those of later masters like Mode 2, Doze and Tack. Drawing inspiration from Saturday-morning television, printed comic strips and the dense urban landscape itself, graffiti writers created characters free from the constraints of their usual letterforms. The result is a host of outlandish visual sidekicks that, over time, have become so prevalent that any would-be king needs at least a few in his artistic arsenal. Filled with never-before-published photographs and rare artist interviews, this chronologically sequenced graffiti bible is a must-have reference work for anyone interested in cartoons, comics, graphic design or the myriad ways in which this self-taught urban street art has influenced today’s contemporary art landscape. Also available in a deluxe, clothbound, slipcased limited edition with a signed screenprint of a classic “mug” from graffiti legend Doc TC5.

Product Details
• Publisher ‏ : ‎ Testify Books; Illustrated edition (October 1, 2007)
• Hardcover ‏ : ‎ 288 pages
• ISBN-10 ‏ : ‎ 0972592040
• ISBN-13 ‏ : ‎ 978-0972592048

The Encyclopedia of Native Music: More
Than a Century of Recordings from Wax Cylinder to the Internet
by Brian Wright-McLeod (Author), April 1, 2005.
(Mentions Markski directly in Section 3: Contemporary Music, p.121)

 

Description
Want the word on Buffy Sainte-Marie? Looking for the best powwow recordings? Wondering what else Jim Pepper cut besides “Witchi Tai To”? This book will answer those questions and more as it opens up the world of Native American music. In addition to the widely heard sounds of Carlos Nakai’s flute, Native music embraces a wide range of forms: country and folk, jazz and swing, reggae and rap. Brian Wright-McLeod, producer/host of Canada’s longest-running Native radio program, has gathered the musicians and their music into this comprehensive reference, an authoritative source for biographies and discographies of hundreds of Native artists. The Encyclopedia of Native Music recognizes the multifaceted contributions made by Native recording artists by tracing the history of their commercially released music. It provides an overview of the surprising abundance of recorded Native music while underlining its historical value, organized by genre for quick reference: – music of the artic/circumpolar region – chicken scratch – contemporary music – flute music – peyote ritual music – powwow music – traditional/archival music With almost 1,800 entries spanning over 100 years, this book leads readers from early performers of traditional songs like William Horncloud to artists of the new millennium such as Zotigh. Along the way, it includes entries for jazz and blues artists never widely acknowledged for their Native roots–Oscar Pettiford, Mildred Bailey, and Keely Smith–and traces the recording histories of contemporary performers like Rita Coolidge and Jimmy Carl Black, “the Indian of the group” in the original Mothers of Invention. It also includes film soundtracks and compilation albums that have been instrumental in bringing many artists to popular attention. In addition to music, it lists spoken word recordings including audio books, comedy, interviews, poetry, and more. With this unprecedented breadth of coverage and extensively cross-referenced, The Encyclopedia of Native Music is an essential guide for enthusiasts and collectors. More than that, it is a gateway to the authentic music of North America–music of the people who have known this land from time immemorial and continue to celebrate it in sound.

Editorial Reviews
“I cannot say enough good things about this book.. The author, whose twenty years as a Native radio host and Native music columnist provide him an insider’s knowledge, has written a truly encyclopedic volume that combines discography, biographical sketches, and the history and cultural backgrounds of the many categories of Native music that now exist”—Parabola

About the Author
Brian Wright-McLeod (Dakota-Anishnabe) began working as a music journalist in 1979. His column Dirty Words and Thoughts about Music appears bimonthly in News from Indian Country; he is also a contributor to Native Peoples magazine and the Smithsonian’s National Museum of the American Indian quarterly publication American Indian. His activist work in Native rights took him to the airwaves on CKLN 88.1 FM in Toronto in 1985, where he continues to produce and host Renegade Radio, a live two-hour weekly music and issues program.

Product Details
• Publisher ‏ : ‎ University of Arizona Press (April 1, 2005)
• Hardcover ‏ : ‎ 464 pages
• ISBN-10 ‏ : ‎ 0816524475
• ISBN-13 ‏ : ‎ 978-0816524471

 

 

New York Ricans from the Hip Hop Zone First Edition
by R. Rivera (Author), 2003.
(Mentions Markski directly in Chapter 4: Whose Hip Hop, The Late 1980s and Early 1990s, p.94)

Description
New York Puerto Ricans have been an integral part of hip hop culture since day one: from 1970s pioneers like Rock Steady Crew’s Jo-Jo, to recent rap mega-stars Big Punisher (R.I.P.) and Angie Martinez. Yet, Puerto Rican participation and contributions to hip hop have often been downplayed and even completely ignored. And when their presence has been acknowledged, it has frequently been misinterpreted as a defection from Puerto Rican culture and identity, into the African American camp. But nothing could be further from the truth. Through hip hop, Puerto Ricans have simply stretched the boundaries of Puerto Ricanness and latinidad.

Editorial Reviews
“In this brief, scholarly book, freelance journalist Rivera acknowledges Puerto Ricans for their contributions to hip-hop music over the past 30 years. It’s debatable just how much credit is deserved, considering Rivera comes up with only a handful of recognizable players who predate the culture-wide ‘Latino boom’ of the past few years-Fat Joe, Angie Martinez and the late Big Punisher, the biggest-selling Latino rapper of all time. But she still crafts a persuasive revisionist history through painstaking research and original reporting. She points out that while Puerto Ricans and African-Americans collaborated to create hip-hop in the early 1970s South Bronx and shared a ghetto-based entitlement, Puerto Ricans had to ‘step lightly through the identity minefield.’ For much of the 1980s and ’90s, Puerto Ricans’ ‘participation and entitlement’ were questioned as hip-hop became more exclusively African American. Many Puerto Rican performers further alienated themselves from the hip-hop center by embracing Latino culture and rapping in Spanish, while others identified more strongly with African Americans and downplayed their Caribbean roots. Since the mid-’90s, of course, hip-hop has begun to embrace Latino culture (such as J. Lo) for better or worse; Rivera is troubled by rap’s Latino stereotypes of sexy ‘Butta Pecan Ricans’ and ‘tough-guy papi chulos.’ The only serious difficulty with this useful book is in navigating Rivera’s oft-impenetrable academese (‘Behind inclusion lies the specter of subsumption and dismissal’). Then again, Rivera, who has a doctorate in sociology, may have intended this work for a liberal arts classroom: it’s clearly not for the b-boys and b-girls.
Copyright 2003 Reed Business Information, Inc. – Publishers Weekly

Review
‘…painstaking research and original reporting.’ – Publishers Weekly
‘Rivera’s style, craft, and depth make this pioneering yet thoroughly accessible work a commendable addition…’ – Bill Pierarski, Library Journal
‘Author Raquel Rivera explains the significance of Nuyorican and Latin influences throughout the history of hip-hop music and culture.’ – The Source
‘…explains and delineates the cross-fertilization of one of America’s most controversial and dynamic music forms…’ – Norman Kelley, New York Press
‘…Rivera shines a light on the lesser-known but just as vital hip hop artists…New York Ricans.’ – Teresa Talerico, Tinta Latina
‘…explores the identity dynamics of New York’s Puerto Ricans, struggling to find their rightful place…’ – Dinorah Nieves, Urban Latino
‘…makes a noteworthy statement in the chapters of the Nuyorican Diaspora.’ – Aurora Flores, VIVA Magazine / New York Daily News

About the Author
RAQUEL RIVERA is a freelance journalist and has a Ph.D. in Sociology from CUNY. Her articles have appeared in a number of diverse publications both regionally and nationally, from Mambo Montage: The Latinization of New York, a book of essays published by Columbia University Press, to newspapers like El Diario/La Prensa and Hoy in New York; El Nuevo Día, The San Juan Star and Claridad in Puerto Rico, and in magazines like Critícas, New York Latino, In the House and Stress.
Product details
• Publisher ‏ : ‎ Palgrave Macmillan; First Edition (January 18, 2003)
• Paperback ‏ : ‎ 293 pages
• ISBN-10 ‏ : ‎ 9781403960443
• ISBN-13 ‏ : ‎ 978-1403960443

Mambo Montage: The Latinization of New York,<br> by Agustín Laó-Montes & Arlene Dávila (Authors), July 15, 2001. (Mentions Markski directly in Chapter 8: Hip Hop, Puerto Ricans, and Ethnoracial Identities in New York, p.246)

Description
New York is the capital of mambo and a global factory of latinidad. This book covers the topic in all its multifaceted aspects, from Jim Crow baseball in the first half of the twentieth century to hip hop and ethno-racial politics, from Latinas and labor unions to advertising and Latino culture, from Cuban cuisine to the language of signs in New York City.

Together the articles map out the main conceptions of Latino identity as well as the historical process of Latinization of New York. Mambo Montage is both a way of imagining latinidad and an angle of vision on the city.

Editorial Reviews
Needless to say, this collection will find a respectable place within the booming cultural studies industry. ― The Bloomsbury Review

The anthology is very good, and recommended for academic readers at most levels. ― Choice

About the Authors
Agustín Laó-Montes is an assistant professor of sociology at the University of Massachusetts, Amherst.

Arlene Dávila is an assistant professor of anthropology at New York University. She is the author of Sponsored Identities: Cultural Politics in Puerto Rico.

Product Details
• Publisher ‏ : ‎ Columbia University Press; (July 15, 2001)
• Paperback ‏ : ‎ 448 pages
• ISBN-10 ‏ : ‎ 0231112750
• ISBN-13 ‏ : ‎ 978-0231112758