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Investigating Hip-Hop's Emergence in the Spaces of Late Capitalism
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2008 Re-Taking it to the Streets: Investigating Hip-Hop's Emergence in the Spaces of Late Capitalism Kevin Waide Kosanovich College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, American Studies Commons, and the Music Commons Recommended Citation Kosanovich, Kevin Waide, "Re-Taking it to the Streets: Investigating Hip-Hop's Emergence in the Spaces of Late Capitalism" (2008). Dissertations, Theses, and Masters Projects. Paper 1539626547. https://dx.doi.org/doi:10.21220/s2-zyvx-b686 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Re-Taking it to the Streets: Investigating Hip-Hop’s Emergence in the Spaces of Late Capitalism Kevin Waide Kosanovich Saginaw, Michigan Bachelor of Arts, University of Michigan, 2003 A Thesis presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Master of Arts American Studies Program The College of William and Mary August, 2008 APPROVAL PAGE This Thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts aide KosanovichKej Approved,by the Committee, May, 2008 imittee Chair Associate Pro rn, The College of William & Mary Associate Professor A lege of William & Mary Assistant P ressor John Gamber, The College of William & Mary ABSTRACT PAGE Much of the scholarship focusing on rap and hip-hop argues that these cultural forms represent instances of African American cultural resistance. -
What Is the Meaning of All This? a Unit on Existential Thought in Literature
Craig 1 What is The Meaning of All This? A Unit on Existential Thought in Literature By Kevin Craig Dr. Peter Smagorinsky LLED 7408 The University of Georgia Rationale Craig 2 All great deeds and all great thoughts have a ridiculous beginning. -Albert Camus No matter what one’s social, ethnic, or religious status may be, we must all agree that adolescence is one of the more confusing times in life. Between a newly developing sense of personal identity and the inevitable, indecipherable hormonal changes taking place, students of high school age undergo transformations unlike any others they will ever experience. Because they occur as students enter the beginnings of adulthood, these changes may well inform, if not dictate, the rest of students’ lives. It is incumbent on the teachers of adolescents to stimulate young brains and transmit useful material that students may later use, but it is imperative that we help guide students through a time in their lives when they are just discovering their identities. The goal of this unit is not to assign everyone a new, more mature identity; rather, it is to provide students with an appropriate framework through which they may begin forming their own identities and continue to do so long after they graduate. In Bob Fecho’s words, I aim to provide students with “ample opportunities for students to use writing to explore who they are becoming and how they relate to the larger culture around them” (2011). Existentialism is a philosophical movement with many sub-movements, but the main question it asks is “Who am I in relation to the universe?” On existentialism, Raymond C. -
ENG 350 Summer12
ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog. -
Boogie Down Productions Edutainment Mp3, Flac, Wma
Boogie Down Productions Edutainment mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Edutainment Country: Germany Released: 1994 MP3 version RAR size: 1788 mb FLAC version RAR size: 1500 mb WMA version RAR size: 1682 mb Rating: 4.6 Votes: 270 Other Formats: WMA AUD MPC MP1 AU VQF MP3 Tracklist Hide Credits 1 Exhibit A 1:40 2 Blackman In Effect 4:40 3 Ya Know The Rules 3:49 4 Exhibit B 0:51 5 Beef 2:30 6 House Nigga's 4:32 7 Exhibit C 0:14 Love's Gonna Get'cha (Material Love) 8 Performer [Love's Gonna Get You Baby Sample] – Jocelyn BrownWritten-by 6:40 [Love's Gonna Get You Baby Sample] – T. Coleandreo* 100 Guns 9 3:57 Keyboards – Sidney Mills Ya Strugglin' 10 3:13 Featuring – Kwame Touré* 11 Breath Control II 3:55 12 Exhibit D 0:40 13 Edutainment 3:04 14 The Homeless 2:24 15 Exhibit E 0:38 16 The Kenny Parker Show 5:29 Original Lyrics 17 4:03 Featuring – Special "K"* 18 The Racist 3:22 Bonus Tracks: 19 7 Dee Jays 9:18 20 30 Cops Or More 4:03 21 Exhibit F 0:55 Companies, etc. Pressed By – Sonopress – I-3527 Credits Design – ZombArt NG* Engineer – D-Square (tracks: 1 to 3, 5 to 13, 15 to 21), Mike Nuceeder* (tracks: 14), Rebekeh Foster* (tracks: 6, 20) Mastered By – Tom Coyne Photography By – Gary Spector Producer – D-Nice (tracks: 2, 10), Decadent Dub Team (tracks: 19, 20), KRS-One (tracks: 1 to 7, 9 to 21), Pal Joey (tracks: 8), Sidney Mills (tracks: 19, 20) Scratches – DJ Kenny Parker* Written-By, Directed By, Mixed By – KRS-One Notes Recorded and mixed at Power Play Studio, L.I.C., NY and Battery Studios, NYC. -
The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap
Open Cultural Studies 2018; 2: 122–135 Research Article Adam de Paor-Evans* The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap https://doi.org/10.1515/culture-2018-0012 Received January 27, 2018; accepted June 2, 2018 Abstract: In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and socio- political presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society. Keywords: dromosphere, dromology, Afrofuturism, electro-rap, thirdspace, fantasy, Newcleus, Strange U Introduction During the mid-1970s, the language of New York City’s pioneering hip hop practitioners brought them fame amongst their peers, yet the methods of its musical production brought heavy criticism from established musicians. -
Hood, My Street: Ghetto Spaces in American Hip-Hop Music
Pobrane z czasopisma New Horizons in English Studies http://newhorizons.umcs.pl Data: 22/08/2019 20:22:20 New Horizons in English Studies 2/2017 CULTURE & MEDIA • Lidia Kniaź Maria Curie-SkłodowSka univerSity (uMCS) in LubLin [email protected] My City, My ‘Hood, My Street: Ghetto Spaces in American Hip-Hop Music Abstract: As a subculture created by black and Latino men and women in the late 1970s in the United States, hip-hop from the very beginning was closely related to urban environment. Undoubtedly, space has various functions in hip-hop music, among which its potential to express the group identity seems to be of the utmost importance. The goal of this paper is to examine selected rap lyrics which are rooted in the urban landscape: “N.Y. State of Mind” by Nas, “H.O.O.D” by Masta Ace, and “Street Struck,” in order to elaborate on the significance of space in hip-hop music. Interestingly, spaces such as the city as a whole, a neighborhood, and a particular street or even block which are referred to in the rap lyrics mentioned above express oneUMCS and the same broader category of urban environment, thus, words con- nected to urban spaces are often employed interchangeably. Keywords: hip-hop, space, urbanscape. Music has always been deeply rooted in everyday life of African American commu- nities, and from the very beginning it has been connected with certain spaces. If one takes into account slave songs chanted in the fields (often considered the first examples of rapping), or Jazz Era during which most blacks no longer worked on the plantations but in big cities, it seems that music and place were not only inseparable but also nat- urally harmonized. -
A Hip-Hop Copying Paradigm for All of Us
Pace University DigitalCommons@Pace Pace Law Faculty Publications School of Law 2011 No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson Jr. Elisabeth Haub School of Law at Pace University Follow this and additional works at: https://digitalcommons.pace.edu/lawfaculty Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Horace E. Anderson, Jr., No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us, 20 Tex. Intell. Prop. L.J. 115 (2011), http://digitalcommons.pace.edu/lawfaculty/818/. This Article is brought to you for free and open access by the School of Law at DigitalCommons@Pace. It has been accepted for inclusion in Pace Law Faculty Publications by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. No Bitin' Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson, Jr: I. History and Purpose of Copyright Act's Regulation of Copying ..................................................................................... 119 II. Impact of Technology ................................................................... 126 A. The Act of Copying and Attitudes Toward Copying ........... 126 B. Suggestions from the Literature for Bridging the Gap ......... 127 III. Potential Influence of Norms-Based Approaches to Regulation of Copying ................................................................. 129 IV. The Hip-Hop Imitation Paradigm ............................................... -
Exploring and Understanding the Practices, Behaviors, and Identities of Hip-Hop Based Educators in Urban Public High School English/Language Arts Classrooms
EXPLORING AND UNDERSTANDING THE PRACTICES, BEHAVIORS, AND IDENTITIES OF HIP-HOP BASED EDUCATORS IN URBAN PUBLIC HIGH SCHOOL ENGLISH/LANGUAGE ARTS CLASSROOMS ________________________________________________________________________ A Dissertation Submitted to the Temple University Graduate Board ________________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ________________________________________________________________________ by H. Bernard Hall August 2012 Examining Committee Members: Marc Lamont Hill, Advisory Chair, Teachers College, Columbia University Erin McNamara Horvat, Department of Teaching and Learning Wanda Brooks, Department of Teaching and Learning James Earl Davis, Department of Psychological, Organizational and Leadership Studies Emery Petchauer, External Member, Oakland University © Copyright by H. Bernard Hall 2012 ii ABSTRACT Exploring and Understanding the Practices, Behaviors, and Identities of Hip-hop Based Educators in Urban Public High School English/language arts Classrooms H. Bernard Hall Grounded in theories of culturally relevant and hip-hop pedagogies, this ethnographic study of a demographically diverse “community nominated” cohort of urban public high school teachers who integrate hip-hop pedagogies into their English/language arts classrooms responds to the methodological and theoretical shortcomings of a burgeoning body of research known as “hip-hop based education” (HHBE). HHBE has argued that curriculum and pedagogy -
Literatura Y Otras Artes: Hip Hop, Eminem and His Multiple Identities »
TRABAJO DE FIN DE GRADO « Literatura y otras artes: Hip Hop, Eminem and his multiple identities » Autor: Juan Muñoz De Palacio Tutor: Rafael Vélez Núñez GRADO EN ESTUDIOS INGLESES Curso Académico 2014-2015 Fecha de presentación 9/09/2015 FACULTAD DE FILOSOFÍA Y LETRAS UNIVERSIDAD DE CÁDIZ INDEX INDEX ................................................................................................................................ 3 SUMMARIES AND KEY WORDS ........................................................................................... 4 INTRODUCTION ................................................................................................................. 5 1. HIP HOP ................................................................................................................... 8 1.1. THE 4 ELEMENTS ................................................................................................................ 8 1.2. HISTORICAL BACKGROUND ................................................................................................. 10 1.3. WORLDWIDE RAP ............................................................................................................. 21 2. EMINEM ................................................................................................................. 25 2.1. BIOGRAPHICAL KEY FEATURES ............................................................................................. 25 2.2 RACE AND GENDER CONFLICTS ........................................................................................... -
Confessions of a Black Female Rapper: an Autoethnographic Study on Navigating Selfhood and the Music Industry
Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-8-2020 Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry Chinwe Salisa Maponya-Cook Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation Maponya-Cook, Chinwe Salisa, "Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry." Thesis, Georgia State University, 2020. https://scholarworks.gsu.edu/aas_theses/66 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CONFESSIONS OF A BLACK FEMALE RAPPER: AN AUTOETHNOGRAPHIC STUDY ON NAVIGATING SELFHOOD AND THE MUSIC INDUSTRY by CHINWE MAPONYA-COOK Under the DireCtion of Jonathan Gayles, PhD ABSTRACT The following research explores the ways in whiCh a BlaCk female rapper navigates her selfhood and traditional expeCtations of the musiC industry. By examining four overarching themes in the literature review - Hip-Hop, raCe, gender and agency - the author used observations of prominent BlaCk female rappers spanning over five deCades, as well as personal experiences, to detail an autoethnographiC aCCount of self-development alongside pursuing a musiC career. MethodologiCally, the author wrote journal entries to detail her experiences, as well as wrote and performed an aCCompanying original mixtape entitled The Thesis (available on all streaming platforms), as a creative addition to the research. -
Capturing Hip Hop Histories
capturing hip hop histories SOUTH-WEST HEADZ Master Blast Roadshow poster by Raz (Kilo), 1986. Photograph: Kilo. First published 2021 2021 Adam de Paor-Evans Cover graff by Remser Remser started writing in 1997 after seeing dubs and pieces by Sceo, Fixer, Teach, and G-Sane at the M5 pillar spot in Exeter. His school bus used to loop around Sannerville Way and the pieces could be seen from the road as well as the train. A couple of years prior to this, Remser’s mum randomly bought him a copy of Spraycan Art, and he knew straight away that it was something he wanted to be part of. In early 2000 he moved to London and hooked up with the DNK/CWR boys, they were way better than him and super-active but this experience pushed him to develop his style and learn about all aspects of graffiti writing. Respect and love to all of the South-West writers and hip hop headz, too many to mention but you know who you are! DNK CWR Waxnerds forever... Approved for free Cultural Works Creative Commons Licence Attribution 4.0 International Published by Squagle House, United Kingdom Printed in Great Britain Although every precaution has been taken in the preparation of this publication, the publisher and author assume no responsibility for errors or omissions. Neither is any liability assumed for damages resulting from the use of information contained herein. RHYTHM•obscura: revealing hidden histories through ethnomusicology and cultural theory is a long-term research venture that explores the relationships of the non-obvious and regional-rural phenomena within music cultures. -
Man Depends on Former Wife for Everyday Needs
6A RECORDS/A DVICE TEXARKANA GAZETTE ✯ MONDAY, JULY 19, 2021 5-DAY LOCAL WEATHER FORECAST DEATHS Man depends on former TODAY TUESDAY WEDNESDAY EUGENE CROCKETT JR. Eugene “Ollie” Crockett Jr., 69, of Ogden, AR, died Wednesday, July 14, 2021, in wife for everyday needs Ogden, AR. High-Upper 80s High-Upper 80s Mr. Dear Abby: I have been with my boy- but not yet. Low-Near 70 Low-Lower 70s Crockett was friend, “John,” for a year and a half. He had When people see me do things that are born May been divorced for two years after a 20-year considered hard work, they presume I need 19, 1952, in marriage when we got together. He told help. For instance, today I bought 30 cement THURSDAY FRIDAY Dierks, AR. He was a Car me he and his ex, “Jessica,” blocks to start building a wall. Several men Detailer. He Dear Abby were still good friends. I asked if I needed help. I refused politely as was preced- thought it was OK since I always do, saying they were thoughtful to Jeanne Phillips High-Upper 80s ed in death they were co-parenting offer but I didn’t need help. They replied, by his par- Low-Lower 70s High-Lower 90s High-Lower 90s their kid. I have children of “No problem.” Low-Lower 70s Low-Mid-70s ents, Bernice my own, and I understand. A short time later it started raining. A and Eugene Crockett Sr.; one I gave up everything and woman walked by carrying an umbrella sister, Bertha Lee Crockett; moved two hours away to and offered to help, and I responded just thunderstorms.