September 1941) James Francis Cooke
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In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998). -
Jazz Record Buyer's Guide
Chicago youngsters who dug Oliver, Noone, a Middle Eastern flavor; Flamenco and All Schroeder, piano; Milt Hinton bass; Cliff I . cmu Panama Francis, drums. and Armstrong on the south side. Blues reflect ■ strong Ravel influence. Rating: + Ar + lhe two instrumentalists who seem to Flamenco and Freeloader are both blues, This is a new label stemming from stand out on these sides and whose plating but each is of a different mood and con Grand Award and commandeered bv for is good listening, regardless of the year, ception Sketches is in (i/8. which achieves mer commercial bandleader Enoch I ight. arc Russell and Freeman Otherwise, as a rolling, highly charged effect, while Free There is definite concentration on an effort Thomas Wolfe said, "you can't go home loader is more in the conventional blues to improve sound reproduction, sound again. ’ Even musically. l he jazz excite vein, l he presence of kellv on / rceloader fidelity is achieved with multiple tvpes of ment is gone unless vou coniine your in- mav account partly for the difference be- microphones, custom typing the mikes to terest statistically to a period, certain tween the two. the particular instruments. jazz soloists exclusively. And that is not Miles’ 'playing throughout thc album is Doolev is a well known Dixieland horn too rewarding. poignant, sensitive, and, at times, almost man around New \otk who has bis own the The thing that amazes is that in morose:. his linear concept never falters. band, lhe striking back feature apparent two pictures on the back of the album Coltrane has some interesting solos; his ly is a crack at such bands as the Dukes cover, Condon looks younger in 1959 than angrv solo on Freeloader is in marked con of Dixieland that have made n on sound he did in 1939. -
Hip-Hop Timeline 1973 – Kool Herc Deejays His First Party in the Bronx
Hip-hop Timeline ➢ 1973 – Kool Herc deejays his first party in the Bronx, where his blending of breaks is first exhibited. The break dancers in attendance began to discover their style and form. ➢ 1975 – Grandmaster Flash begins the early forms of Turntabilism by blending and mixing, while Grandwizard Theodore invents what we now know as scratching. The first Emcee crews are formed. ➢ 1979 – The Sugarhill Gang, under the guidance of record label owner and former vocalist Sylvia Robinson, release Rapper’s Delight, the first commercially recognized rap song. *There is much debate over the first recorded rap song, but it’s widely believed to have been done sometime in 1977 or 1978. ➢ 1980 – Kurtis Blow releases the first best selling hip-hop album, The Breaks, and becomes the first star in hip-hop music. ➢ 1983 – Herbie Hancock, in collaboration with pioneer DeeJay GrandMixer DST (now known as GrandMixer DXT), creates the Grammy Award-winning song Rockit, which is the first time the public ever hears a DeeJay scratching on record. Pioneer hip-hop duo Run DMC releases their first single Sucker Emcee’s. ➢ 1988 – This year is considered the first golden year in hip-hop music with releases such as Public Enemy’s It Takes A Nation of Millions to Hold Us Back, Big Daddy Kane’s Long Live The Kane, Slick Rick’s The Great Adventures of Slick Rick, Boogie Down Production’s By All Means Necessary, Eric B And Rakim’s Follow the Leader and the first highly regarded non-New York hip-hop record, N.W.A.’s Straight Outta Compton. -
Chris Dempsey
August 2007 Issue No. 150 13 Years Serving the Jazz Community 15TH ANNUAL ERIE ART MUSEUM JAZZERIE BLUES & JAZZ FESTIVAL MEMBERSHIP Saturday, August 4 and Sunday, August 5 -Its Time to Renew!!! Frontier Park - Noon til 10 p.m each day August is the month to renew your SCHEDULE Headliner for JazzErie membership, which will expire this day of jazz (8:00 on Sept. 1, 2007. You can return the Saturday, August 4 – Blues day – 10:00 PM) is the membership form on the back of this Rashied Ali Quintet. Newsletter, along with your check, to 12:00 noon – Family performance, the address shown. Or you can get a featuring the Erie African Dance Ali’s bio membership at the JazzErie booth at the Troupe Sylla Kundla describes him as Erie Art Museum Blues & Jazz Festival “A progenitor and this month. (If you renewed or joined 2:00 PM – Familiar Spirit Band leading exponent last month, ignore this notice.) of multidirectional 4:00 PM – Geoff Achison rhythms.polytonal You subscription to News Notes will percussion.” With a resume that includes continue through October, and possibly 6:00 PM – Lil’ Ed and the Blues creative excursions with such musical November, but will end then. You will Imperials free spirits as Don Cherry, Pharoah not be eligible for concert admission discounts after Sept. 1. 8:00 PM – Junior Brown Sanders, Paul Bley, Archie Shepp and Albert Ayler, who’s going to argue? Oh This is you annual opportunity Sunday, August 5 – Jazz day yes, and most especially there was an to refresh your support of Erie’s jazz extended stint with John Coltrane, joining community. -
The Idea of Prima Donna: IRASM 47 (2016) 2: 237-287 the History of a Very Special Opera’S Institution
V. Kotnik: The Idea of Prima Donna: IRASM 47 (2016) 2: 237-287 the History of a Very Special Opera’s Institution Vlado Kotnik Faculty of Humanities, Department of Media Studies University of Primorska The Idea of Prima Donna: KOPER, Slovenia E-mail: vlado.kotnik@guest. the History of a Very arnes.si Special Opera’s Institution UDC: 782 Received: March 8, 2016 Primljeno: 8. ožujka 2016. Accepted: October 10, 2016 Prihvaćeno: 10. listopada 2016. Abstract – Résumé This article examines the historical constitution and construction of prima donna, probably the most intrinsic Introduction institution of opera expand- ing from the end of the sixteenth century until today. Opera is a very complex system of different From the 16th to the 21st kinds of craft and artistry. However, throughout its century the opera’s prima donna has experienced entire history one craft in particular dominated the numerous cultural transfor- field, the craft of singers. Even now, at the beginning mations and commodifica- of the twenty-first century, singing seems to be the tions. Her idea was determined by paradigms lifeblood of opera while other elements, such as the and concepts of absence orchestra, acting, staging, setting, décor, costumes, and replaceability in the sixteenth and seventeenth etc., seem to be important but supplementary. The centuries, of human nature singing operatic voice, with all its idiosyncrasies, and body, sexuality and gender, character and charm, magnetic power, temper, theatricality, costume in the eighteenth seductiveness, drama, technique, virtuosity, century, of aura and fetish in pedantry, extravagance, mysteriousness, and artist- the nineteenth century, and of identity in the twentieth ry, drew and continues to draw people to the opera and twenty-first centuries. -
Here She Is ... Miss Bennett Move Not Only with New Many Artists Shy Away Firom Chilee’ Hailes Music but a New Look
NOVEMBER 4, 1993 • BENNETT BANNER • 3 D’CHERIPS MUSIC REVIEW Salt N' Pepa is back By D’Cherie Lofton platinum. Bennett Banner Salt N’ Pepa have been If you’re searching for in the rap scene since 1986 flavor, search no more. and maturity has encom Salt N* Pepa is serving passed an impact on all of mad flavor with their new them. release “Very Necessary.” ‘We have to be more The first single from the al serious about the future with bum “Shoop” is keeping the children. We have to think request lines hot. Along with about the future because you their all-star cut “Whatta have someone depending on man” which is a collabora you," Salt said. tion with the funky divas Their concern for the EnVouge, “VeryNecessary” future is evident by the pub- has all the makings of what Uc service announcements I call “phat jams,” from the included in their new album pulsing reggae groove of that deal with AIDS. (It's Salt N‘ Pepa is back on the scene with their new release "Shoop, Shoop, Shoop." “Groove Me” to “Somma performed by WEATOC, a Time Man” to “Bresdc of teen outreach/activism Dawn.” group from Boston.) The ladies are on the "It’s a subject than Here she is ... Miss Bennett move not only with new many artists shy away firom Chilee’ Hailes music but a new look. These when recording." ing." tured Tammi McCall, a se Banner Reporter three mothers, business Salt N’ Pepa are fac Penny Speas, chair nior communications major Splendor, elegance, women and performers are ing reahty and deeding with person of the English and who presented a dramatic beauty and grace are just a committed to having as it with the skit called “I’ve Foreign Language Depart reading of Nikki Giovanni’s few words that come to mind much control over their ca Got AIDS." ment, and Miss Bennett Col “Ego-Trippin." when one thinks of the Coro reers and their lives as pos Salt N’Pepa brought lege 1985-1986 said, “This One of the most touch nation of Miss Bennett Col sible. -
Bb King Solo Transcription
Bb King Solo Transcription Ruperto usually globe-trots wherefor or outputs tomorrow when ichthyophagous Tomkin popple elementally and digressively. Eliminative and interferometric Val freewheels, but Anders proscriptively upturn her epilogs. Engelbart misgovern northerly while extrovert Andres barbequed unpitifully or overglanced instrumentally. Download foundation hall of bb continued strengthening his solos as the transcriptions on the blues soloing lines and body should sound. Classic blues quite the guitar playing great man responsible for this page for saxophone music jazz orchestras, and can always different styles of all! The transcriptions archive? Guitar transcription i made by the transcriptions are a vocal chart table of king cole because it features a rock music? Pepper carries the blues, ibanez tube screamer, vocal chart jazz. Again in this is the pdf sheet music for the solo collection until the. Fancy a guitarist you download with the minor blues soloing with lyrics, handmade pieces by. The bb b b b flat blues rhythm tribute band at crafting interesting facts and bb king elements of the licks out learning. The solos by joseph kosma and soloing lines that jazz standards for accordion improvisation is a soloist, king line is. Handslide models are free. We solo transcription transcribed from congo to play basic chord. Sheet music transcriptions: kent hewitt transcription to be practice in bb king of these solos are committed to william tell you can sort by carles margarit. Unlike jazz transcriptions available to spot in bb king, solos by misc you. It for bb king solo transcriptions. Delbert mcclinton song, transcriptions on guitar soloing, johnny mercer in music? Advertising fees by. -
"Now I Ain't Sayin' She's a Gold Digger": African American Femininities in Rap Music Lyrics Jennifer M
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 "Now I Ain't Sayin' She's a Gold Digger": African American Femininities in Rap Music Lyrics Jennifer M. Pemberton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF SOCIAL SCIENCES “NOW I AIN’T SAYIN’ SHE’S A GOLD DIGGER”: AFRICAN AMERICAN FEMININITIES IN RAP MUSIC LYRICS By Jennifer M. Pemberton A Dissertation submitted to the Department of Sociology in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2008 The members of the Committee approve the dissertation of Jennifer M. Pemberton defended on March 18, 2008. ______________________________ Patricia Yancey Martin Professor Directing Dissertation ______________________________ Dennis Moore Outside Committee Member ______________________________ Jill Quadagno Committee Member ______________________________ Irene Padavic Committee Member Approved: ___________________________________ Irene Padavic, Chair, Department of Sociology ___________________________________ David Rasmussen, Dean, College of Social Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii For my mother, Debra Gore, whose tireless and often thankless dedication to the primary education of children who many in our society have already written off inspires me in ways that she will never know. Thank you for teaching me the importance of education, dedication, and compassion. For my father, Jeffrey Pemberton, whose long and difficult struggle with an unforgiving and cruel disease has helped me to overcome fear of uncertainty and pain. Thank you for instilling in me strength, courage, resilience, and fortitude. -
Lyric, Affect, and Ethics in British and Irish Elegy, 1960
DEATH MATTERS: LYRIC, AFFECT, AND ETHICS IN BRITISH AND IRISH ELEGY, 1960-2012 A Dissertation Submitted to the Graduate School of the University of Notre Dame in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Nathaniel Myers _________________________________ Romana Huk, Director Graduate Program in English Notre Dame, Indiana July 2015 © Copyright by NATHANIEL MYERS 2015 All rights reserved DEATH MATTERS: LYRIC, AFFECT, AND ETHICS IN BRITISH AND IRISH ELEGY, 1960-2012 Abstract by Nathaniel Myers The elegy is a poetic genre situated between personal and public spheres. The critical literature of the genre often privileges one sphere over the other, whether it be the personal work of mourning undertaken by the elegist in writing the poem, or the public and cultural work of memorialization that is fundamental to the genre. My project examines the work of five poets – Geoffrey Hill, Seamus Heaney, Paul Muldoon, Medbh McGuckian, and Denise Riley – whose elegies require a distinct critical apparatus, one that considers the personal and the public jointly because these poets’ elegies trouble the very distinction between the two. In the ethical concerns voiced by the poets – which range from the aestheticization of death and violence to the potential profit motives (artistic, commercial) of writing elegy – as well as in the formal techniques that can either mitigate these ethical concerns or, in some cases, generate them, these elegies betray the inextricability of private and cultural modes of grief. Nathaniel Myers In order to bring disparate parts together – the personal and the private, the ethical and the aesthetic – I implement a critical methodology that uses as its central tool the notion of “linguistic affect,” which I define (slightly modifying Riley’s own definition) as “the force of language on the body,” a force made possible through language’s historically rich materiality. -
Central Opera Service Bulletin
CENTRAL OPERA SERVICE BULLETIN VOLUME 18, NUMBER 4 INDEX NEW OPERAS AND PREMIERES 1 MORE BICENTENNIAL OPERAS 1 POSTPONEMENTS AND CANCELLATIONS 3 AMERICAN PREMIERES 3 FOREIGN PREMIERES 4 NEW COMPANIES 6 OPERA ECONOMICS 7 OPERA COMPANIES: DEVELOPMENTS 9 NEW ARTS CENTERS 10 COS INSIDE INFORMATION 11 TRANSLATIONS 11 SETS AND COSTUMES FOR RENT 12 PERFORMANCE LISTING, 1975-76 conk 14 PERFORMANCE LISTING, Summer 1976 25 FIRST PERFORMANCE LISTING, 1976-77 33 ADDENDA TO 1976 DIRECTORY 45 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center • Metropolitan Opera • New York, N.Y. 10023 • (212) 799-3467 Sponsored by the Metropolitan Opera National Council Central Opera .Service • Lincoln Center • Metropolitan Opera • New York, N.Y, 10023 • (212) 799-3467 CENTRAL OPERA SERVICE COMMITTEE Founder MRS. AUGUST BELMONT Honorary National Chairman ROBERT L. B. TOBIN National Chairman EUHU M. HYNDMAN National Co-Chairmen MRS. NORRIS DARRELL GEORGE HOWERTON Professional Committee KURT HERBERT ADLER DAVID GOCKLEY San Francisco Opera Houston Grand Opera PETER HERMAN ADLER BORIS GOLDOVSKY American Opera Center Goldovsky Opera Theatre VICTOR ALESSANDRO RICHARD KARP San Antonio Symphony Pittsburgh Opera ROBERT G. ANDERSON JOHN M. LUDWIG Tulsa Opera Spring Opera, San Francisco WILFRED C. BAIN GLADYS MATHEW Community Opera Indiana University RUSSELL D. PATTERSON GRANT BEGLARIAN Kansas City Lyric Theater University of So. California MRS. JOHN DEWITT PELTZ MORITZ BOMHARD Metropolitan Opera Kentucky Opera Association JAN POPPER SARAH CALDWELL University of California, L. A. Opera Company of Boston GLYNN ROSS TITO CAPOBIANCO Seattle Opera Association San Diego Opera JULIUS RUDEL ROBERT J. COLLINGE New York City Opera Baltimore Opera Company GEORGE SCHICK JOHN CROSBY Manhattan School of Music Santa Fe Opera MARK SCHUBART WALTER DUCLOUX Lincoln Center University of Texas ROGER L. -
TJEA NEWSLETTER May 2020.Pdf
Texas Jazz Educators Association Newsletter Highlighting Jazz Activities in the State of Texas May 2020 THE PRESIDENT’S . MESSAGE Dear TJEA Members, I hope this newsletter finds you well. It has been an honor and pleasure serving as TJEA President this past year. Since I joined TJEA as a general member I have witnessed growth every year in jazz education in our state. It has been inspiring to see accomplishments like adding the 2nd All-State Jazz Band, Invited HS & MS Jazz groups, TJEA Hall of Fame, and now, hosting our Symposium at TMEA. I'm excited to see what TJEA will do next! As I sit here and write this letter on International Jazz Day, I can't help but reflect on some of the giants we Sam Houston State University Jazz Ensemble’s latest CD. recently lost in the jazz community as well as those who are currently fighting for their lives. I hope you all have found some silver linings during these times INSIDE THIS EDITION and are taking the time to enjoy your families. We all know family time is precious in our profession. Essentially Ellington participants………………….p.2-3 Temple HS at JEN – New Orleans…………….….p. 3-6 I would like to thank and congratulate our President- Plano West – Downbeat awards…………....….…..p. 7 Elect Mark DeHertogh on organizing a fantastic Clear Lake HS online………………………………....pp. 7-8 Symposium this past February. All clinicians, Distance Learning-David Guidi…………………pp. 9-10 instrumental and vocal, were fantastic. Thank you to Angelina College……….…………….............…pp. 11-12 everyone who worked behind the scenes to make this TJEA – TMEA latest news………………………………p. -
Book Title Author Reading Level Approx. Grade Level
Approx. Reading Book Title Author Grade Level Level Anno's Counting Book Anno, Mitsumasa A 0.25 Count and See Hoban, Tana A 0.25 Dig, Dig Wood, Leslie A 0.25 Do You Want To Be My Friend? Carle, Eric A 0.25 Flowers Hoenecke, Karen A 0.25 Growing Colors McMillan, Bruce A 0.25 In My Garden McLean, Moria A 0.25 Look What I Can Do Aruego, Jose A 0.25 What Do Insects Do? Canizares, S.& Chanko,P A 0.25 What Has Wheels? Hoenecke, Karen A 0.25 Cat on the Mat Wildsmith, Brain B 0.5 Getting There Young B 0.5 Hats Around the World Charlesworth, Liza B 0.5 Have you Seen My Cat? Carle, Eric B 0.5 Have you seen my Duckling? Tafuri, Nancy/Greenwillow B 0.5 Here's Skipper Salem, Llynn & Stewart,J B 0.5 How Many Fish? Cohen, Caron Lee B 0.5 I Can Write, Can You? Stewart, J & Salem,L B 0.5 Look, Look, Look Hoban, Tana B 0.5 Mommy, Where are You? Ziefert & Boon B 0.5 Runaway Monkey Stewart, J & Salem,L B 0.5 So Can I Facklam, Margery B 0.5 Sunburn Prokopchak, Ann B 0.5 Two Points Kennedy,J. & Eaton,A B 0.5 Who Lives in a Tree? Canizares, Susan et al B 0.5 Who Lives in the Arctic? Canizares, Susan et al B 0.5 Apple Bird Wildsmith, Brain C 1 Apples Williams, Deborah C 1 Bears Kalman, Bobbie C 1 Big Long Animal Song Artwell, Mike C 1 Brown Bear, Brown Bear What Do You See? Martin, Bill C 1 Found online, 7/20/2012, http://home.comcast.net/~ngiansante/ Approx.