The South Bronx Renaissance
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Policing at the Nexus of Race and Mental Health Camille A
Fordham Urban Law Journal Volume 43 Number 3 Mental Health, the Law, & the Urban Article 4 Environment 2016 Frontlines: Policing at the Nexus of Race and Mental Health Camille A. Nelson Follow this and additional works at: https://ir.lawnet.fordham.edu/ulj Recommended Citation Camille A. Nelson, Frontlines: Policing at the Nexus of Race and Mental Health, 43 Fordham Urb. L.J. 615 (2016). Available at: https://ir.lawnet.fordham.edu/ulj/vol43/iss3/4 This Article is brought to you for free and open access by FLASH: The orF dham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Urban Law Journal by an authorized editor of FLASH: The orF dham Law Archive of Scholarship and History. For more information, please contact [email protected]. FRONTLINES: POLICING AT THE NEXUS OF RACE AND MENTAL HEALTH Camille A. Nelson* ABSTRACT The last several years have rendered issues at the intersection of race, mental health, and policing more acute. The frequency and violent, often lethal, nature of these incidents is forcing a national conversation about matters which many people would rather cast aside as volatile, controversial, or as simply irrelevant to conversations about the justice system. It seems that neither civil rights activists engaged in the work of advancing racial equality nor disability rights activists recognize the potent combination of negative racialization and mental illness at this nexus that bring policing practices into sharp focus. As such, the compounding dynamics and effects of racism, mental health, and policing remain underexplored and will be the foci of this Article. -
Mike Epps Slated As Host for This Year's BET HIP HOP AWARDS
Mike Epps Slated As Host For This Year's BET HIP HOP AWARDS G.O.O.D. MUSIC'S KANYE WEST LEADS WITH 17 IMPRESSIVE NOMINATIONS; 2CHAINZ FOLLOWS WITH 13 AND DRAKE ROUNDS THINGS OUT WITH 11 NODS SIX CYPHERS TO BE INCLUDED IN THIS YEAR'S AWARDS TAPING AT THE BOISFEUILLET JONES ATLANTA CIVIC CENTER IN ATLANTA ON SATURDAY, SEPTEMBER 29, 2012; NETWORK PREMIERE ON TUESDAY, OCTOBER 9, 2012 AT 8:00 PM* NEW YORK, Sept. 12, 2012 /PRNewswire/ -- BET Networks' flagship music variety program, "106 & PARK," officially announced the nominees for the BET HIP HOP AWARDS (#HIPHOPAWARDS). Actor and comedian Mike Epps (@THEREALMIKEEPPS) will once again host this year's festivities from the Boisfeuillet Jones Atlanta Civic Center in Atlanta on Saturday, September 29, 2012 with the network premiere on Tuesday, October 9, 2012 at 8:00 pm*. Mike Epps completely took-over "106 & PARK" today to mark the special occasion and revealed some of the notable nominees with help from A$AP Rocky, Ca$h Out, DJ Envy and DJ Drama. Hip Hop Awards nominated artists A$AP Rocky and Ca$h Out performed their hits "Goldie" and "Cashin Out" while nominated deejay's DJ Envy and DJ Drama spun for the crowd. The BET HIP HOP AWARDS Voting Academy is comprised of a select assembly of music and entertainment executives, media and industry influencers. Celebrating the biggest names in the game, newcomers on the scene, and shining a light on the community, the BET HIP HOP AWARDS is ready to salute the very best in hip hop culture. -
There's No Shortcut to Longevity: a Study of the Different Levels of Hip
Running head: There’s No Shortcut to Longevity 1 This thesis has been approved by The Honors Tutorial College and the College of Business at Ohio University __________________________ Dr. Akil Houston Associate Professor, African American Studies Thesis Adviser ___________________________ Dr. Raymond Frost Director of Studies, Business Administration ___________________________ Cary Roberts Frith Interim Dean, Honors Tutorial College There’s No Shortcut to Longevity 2 THERE’S NO SHORTCUT TO LONGEVITY: A STUDY OF THE DIFFERENT LEVELS OF HIP-HOP SUCCESS AND THE MARKETING DECISIONS BEHIND THEM ____________________________________ A Thesis Presented to The Honors Tutorial College Ohio University _______________________________________ In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Business Administration ______________________________________ by Jacob Wernick April 2019 There’s No Shortcut to Longevity 3 Table of Contents List of Tables and Figures……………………………………………………………………….4 Abstract…………………………………………………………………………………………...5 Introduction…………………………………………………………………………………..6-11 Parameters of Study……………………………………………………………..6 Limitations of Study…………………………………………………………...6-7 Preface…………………………………………………………………………7-11 Literary Review……………………………………………………………………………..12-32 Methodology………………………………………………………………………………....33-55 Jay-Z Case Study……………………………………………………………..34-41 Kendrick Lamar Case Study………………………………………………...41-44 Soulja Boy Case Study………………………………………………………..45-47 Rapsody Case Study………………………………………………………….47-48 -
Musical Genres – Hip Hop
Musical Genres – Hip Hop On August 11, 1973, an 18-year-old, Jamaican-American DJ who went by the name of Kool Herc threw a back-to-school jam (party) at 1520 Sedgwick Avenue in the Bronx, New York. During his set, he decided to do something different. Instead of playing the songs in full, he played only their instrumental sections, or “breaks” - sections where he noticed the crowd went wild. During these “breaks” his friend Coke La Rock hyped up the crowd with a microphone. This was the start of hip hop music which started off with DJ’s using turntables and an MC using a mic to get the crowd involved. DJ’s used to move the vinyl (record) on the turntable to create break beats within the tracks. This was to get the audience’s attention. The instrumental sections repeat to make the track easier to dance to. A new form of dancing DJ means Disc Jockey MC means Master of Ceremonies called break dancing emerged. DJ’s also used to move the records back and forth on the turntable quickly which is called scratching. A slipmat was used underneath the vinyl to create a surface suitable for scratching. As hip hop developed, artists began to MC over the beats and this then led to rapping. Rapping is a spoken rhyme over a usually repetitive beat. Rapping was not the first way of speaking over music, however. In Jamaica in the 1960’s, DJ’s used to speak over the music and this was known as ‘toasting’. -
The Dead Emcee Scrolls: the Lost Teachings of Hip Hop Pdf, Epub, Ebook
THE DEAD EMCEE SCROLLS: THE LOST TEACHINGS OF HIP HOP PDF, EPUB, EBOOK Saul Williams | 192 pages | 02 Mar 2006 | SIMON & SCHUSTER | 9781416516323 | English | New York, United States The Dead Emcee Scrolls: The Lost Teachings of Hip Hop PDF Book However, it's now part of a larger mix of hip-hop dancing. But most importantly, The Chronic was instrumental in the commercialization of gangsta rap by introducing the G-Funk style of hip-hop to the mainstream. Dre's groundbreaking solo debut also served as a podium for bourgeoning west coast rappers including Lady of Rage, Kurupt, Daz, and Snoop Dogg. Depending on how old you are, when someone says "hip-hop dance," you could picture the boogaloo, locking, popping, freestyle, uprocking, floor- or downrocking, grinding, the running man, gangsta walking, krumping, the Harlem shake or chicken noodle soup. DJing and MCing and eventually rapping started the hip-hop movement, with dance and style following closely thereafter. According to Kool Herc, a b-boy isn't just a dancer -- he can be anyone with that "Yo, I'm ready to break on somebody" attitude. If you'd like to see the moves firsthand, you can check out "Rize," David LaChapelle's "musical documentary. It's hard out there for a hip- hop artist at the Oscars. The label-heavy trend remains today. Meanwhile, the kids learn to rap about vegetables and gardening. Breakdancing in the 80s. Several migrated from the African-American community to the Caucasian community, including:. As gangsta rap gained widespread popularity, the original hope of hip-hop's message got lost in the mix. -
32 - Bmm2020 the Get- Down Part
32 - BMM2020 THE GET- DOWN PART By Miles Marshall Lewis to hear the story and 2Pac. But their points of view underlined that “ YOU LOV E again and again,” hip-hop culture now stretches long enough (nearly said the legend- five decades) for different generations to have their ary MC Shan, “of how it all got started way back own “OK boomer” views about who’s hot and who’s when.” Back when the hip-hop holy trinity of DJs not in rap history. The almost 50-year passage of Kool Herc, Afrika Bambaataa and Grandmaster time since its beginnings at public-park jams in the Flash appeared together on the cover of The Source South Bronx also means that the genre spans from magazine in late 1993, only the hardcore adherents the mature dad rap of 4:44-era Jay-Z to the so-called of rap music knew its history in intimately famil- SoundCloud rhymes of the late Juice WRLD. iar terms. Things like the 1520 Sedgwick Avenue Still, even an outsider like Australian director Pictured above: address of Kool Herc or crews like the Universal Baz Luhrmann felt comfortable enough creat- DJs Afrika Bambaataa, Zulu Nation—of which DJ Jazzy Jay was an early ing the fictive world of The Get Down, a scripted Grandmaster Flash member—were largely unfamiliar outside of the Netflix series set in the mise-en-scène of hip-hop’s and Kool Herc. Bronx. As hip-hop developed throughout the years formative years in the ’70s. From the American into the pop music of the world, spawning docu- Book Award-winning Can’t Stop Won’t Stop to the mentaries and historical biographies, rap’s origin Peabody-winning docuseries Hip-Hop Evolution, story has become as well-known to music lovers as many have laid bare the origins of rap music for the Beatles’ roots in Liverpool. -
State of the News Media Report for 2016
1 PEW RESEARCH CENTER NUMBERS, FACTS AND TRENDS SHAPING THE WORLD FOR RELEASE JUNE 15, 2016 FOR MEDIA OR OTHER INQUIRIES: Amy Mitchell, Director of Journalism Research Jesse Holcomb, Associate Director of Research Rachel Weisel, Communications Associate 202.419.4372 www.pewresearch.org RECOMMENDED CITATION: Pew Research Center, June, 2016, “State of the News Media 2016” 2 PEW RESEARCH CENTER Table of Contents About Pew Research Center 3 State of the News Media 2016 4 Newspapers: Fact Sheet 9 Cable News: Fact Sheet 22 Local TV News: Fact Sheet 28 Network News: Fact Sheet 37 Digital News – Audience: Fact Sheet 44 Digital News – Revenue: Fact Sheet 51 Podcasting: Fact Sheet 61 Audio: Fact Sheet 68 Hispanic News Media: Fact Sheet 73 African American News Media: Fact Sheet 80 News Magazines: Fact Sheet 87 Alternative Weeklies: Fact Sheet 95 Public Broadcasting: Fact Sheet 97 Acknowledgments 108 Methodology 110 www.pewresearch.org 3 PEW RESEARCH CENTER About Pew Research Center Pew Research Center is a nonpartisan fact tank that informs the public about the issues, attitudes and trends shaping America and the world. It does not take policy positions. The Center conducts public opinion polling, demographic research, content analysis and other data-driven social science research. It studies U.S. politics and policy; journalism and media; internet, science and technology; religion and public life; Hispanic trends; global attitudes and trends; and U.S. social and demographic trends. All of the Center’s reports are available at www.pewresearch.org. Pew Research Center is a subsidiary of The Pew Charitable Trusts, its primary funder. -
DJ Kool Herc
Backstrom 1 Annalise Backstrom Professor Melisa Riviere Anth 3980 4 March 2011 Essay #1: Biography of a Hip-Hop Pioneer DJ Kool Herc It all started during the last week in August of 1973 at 1520 Sedgwick in the Bronx, New York. This is where hip-hop was born. Although Clive Campbell and his sister Cindy knew that they were onto something with the “back-to-school” party they decided to throw, they had no idea what they had really just started (Chang 70; 76). Clive Campbell, otherwise known as DJ Kool Herc, is considered to be the father of hip- hop. He “unearthed” the musical sound of hip-hop through the breaks in soul and funk records and was the first to start “break-beat-Deejaying” (Chang; jahsonic.com). Without the creativity and talent of DJ Kool Herc, the hip-hop culture would never have evolved into what it has become. Clive Campbell was the foundation of the movement (Gonzales 140). Clive Campbell was born on April 16, 1955, to Keith and Nettie Campbell. He was the oldest of six (jahsonic.com; Chang 70). Campbell spent his younger years in Kingston, Jamaica, before moving to New York City with his mother in November of 1967, at the age of twelve. Due to political unrest in Jamaica, many native Jamaicans were moving to the United States in search of better lives. Campbell’s mother moved to Manhattan in the early 1960s in order to work and study nursing. Clive was the first to join her in New York, but the rest of the family followed a short time later (Chang 70-72). -
Hip Hop in American Culture
Katedra anglistiky a amerikanistiky Filozofická fakulta Univerzity Palackého Hip hop in American Culture Bakalářská práce Autor: Olga Jírová (Anglická – Německá filologie) Vedoucí práce: Mgr. Jiří Flajšar, Ph.D. Olomouc 2012 Prohlášení Prohlašuji, že jsem tuto práci vypracovala samostatně a uvedla úplný seznam použité a citované literatury. V Olomouci dne 30. Listopadu 2012 ……………………………… Poděkování Ráda bych poděkovala Mgr. Jiřímu Flajšarovi, Ph.D. za vedení mé bakalářské práce a poskytnutí informací a rad souvisejících s její tvorbou. Content 1. Introduction ......................................................................................................... 1 2. What is Hip Hop? ................................................................................................ 3 2.1 Characteristics of Hip Hop Culture ........................................................... 4 2.1.1 DJing ...................................................................................................... 4 2.1.2 MCing .................................................................................................... 5 2.1.3 B-boying ................................................................................................. 6 2.1.4 Graffiti .................................................................................................... 9 2.1.5. Additional Elements ............................................................................ 12 3. History of Hip Hop .......................................................................................... -
Release Notes for NBAR2 Protocol Pack 14.0.0 for Cisco Wireless Controllers
Release Notes for NBAR2 Protocol Pack 14.0.0 for Cisco Wireless Controllers • Supported Platforms, on page 2 • New Protocols in NBAR2 Protocol Pack 14.0.0, on page 3 • Updated Protocols in NBAR2 Protocol Pack 14.0.0, on page 12 • Deprecated Protocols in NBAR2 Protocol Pack 14.0.0, on page 13 • Caveats in NBAR2 Protocol Pack 14.0.0, on page 14 • Restrictions and Limitations in NBAR2 Protocol Pack 14.0.0, on page 15 • Recommended Configurations, on page 16 Release Notes for NBAR2 Protocol Pack 14.0.0 for Cisco Wireless Controllers 1 Release Notes for NBAR2 Protocol Pack 14.0.0 for Cisco Wireless Controllers Supported Platforms Supported Platforms Network-Based Application Recognition (NBAR2) Protocol Pack 14.0.0 support is provided for Cisco Wireless LAN Controller platforms, starting with the 8.2 release. NBAR2 Protocol Pack 14.0.0 is supported on the following Cisco Wireless LAN Controller platforms: • Cisco 5508 Wireless Controller • Cisco 5520 Wireles Controller • Cisco Flex 7500 Series Wireless Controllers • Cisco 8510 Wireless Controller • Cisco 8540 wireless Controller • Cisco Wireless Services Module 2 (WiSM2) Note • Cisco Wireless LAN Controller software release 8.2, uses NBAR engine 23, and contains NBAR2 Protocol Pack 14.0.0 built-in. For more information on software releases and compatible protocol packs, seeWorking with Protocol Packs . • Though the NBAR2 protocol library and the protocol signatures support IPv6 traffic classification, Cisco Wireless LAN Controller platforms currently support only IPv4 traffic classification. • The Cisco 2504 Wireless Controller supports Application Visibility and Control, but supports only built-in protocol packs present in Wireless LAN Controller software releases. -
Copyright by Michael Aaron Pascual 2013
Copyright by Michael Aaron Pascual 2013 The Thesis Committee for Michael Aaron Pascual Certifies that this is the approved version of the following thesis: Exceptional Feelings, Ordinary Violence APPROVED BY SUPERVISING COMMITTEE: Supervisor: Ann Cvetkovich Katherine Arens Exceptional Feelings, Ordinary Violence by Michael Aaron Pascual, B.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Masters of Arts The University of Texas at Austin May 2013 Dedication This thesis is dedicated to my mother who, I feel, would be proud. Acknowledgements Writing this thesis was harder than I thought, but somehow I did it. There are a number of people that helped me through the process who I need to thank here. First I would like to acknowledge Ann Cvetkovich, my advisor, for her guidance. If it weren’t for her patience, sensitivity, and thoughts, my thesis would not have been possible. I’m deeply indebted to her work and most of all inspired by her as a person. Next I would like to thank my reader, Katie Arens, whose intellect, generosity and support provided me with the necessary critical tools to approach a problem as immense as an enduring history of violence in the U.S. I could not ask for better women to be a part of my thesis committee. During my two years at the University of Texas, I had the privilege to study under a number of wonderful professors who all deserve to be mentioned. Professors Kris Hogan, Mary Celeste Kearney, Peter Rehberg, Michael Johnson, and Joy James have all made significant impacts on my thinking and have shown me what kind of amazing work can be done in the academy by those invested in social justice and radical thought. -
WHAT IS HIP HOP? the Four Elements of Hip Hop Hip Hop Is Music — and a Culture, Encompassing Speech, Styles of Dress, Art
WHAT IS HIP HOP? The Four Elements of Hip Hop Hip hop is music — and a culture, encompassing speech, styles of dress, art, poetry and dancing, as well as "rapping." Purists have narrowed the major components of the culture into four loosely defined categories: deejaying, emceeing, breaking and graffiti art. Deejaying Jamaican immigrant Kool Herc, inspired by the “dubbing” and “toasting” from his native home, is credited with introducing deejaying to New York. Early New York DJs improvised, using a pair of turntables as a makeshift instrument when funding for school music programs were cut. Later Afrika Bambataa evolved the art of deejaying. MCing, or Emceeing MCs have become a centralized figure in hip hop. Commercially, MCs are known as rappers. During hip hop’s early days, MCs played a supporting role, accompanying the deejay and carrying crates of records. They used a microphone to talk over breakbeats and publicize their own neighborhoods while the deejay spun records. As competition for this position increased, MCs engaged in one-upmanship, boasting of their greatness in the face of inner city economic despair. Breaking Also known as b-boying, the dances that accompany the music have many influences. Kids in diverse New York neighborhoods were exposed to Eastern martial arts, tap dancing, gymnastics, salsa, Afro-Cuban and Native American dances. In the late ‘90’s b-boys and b- girls integrated moves from capoeira, a 16th century fighting dance developed by Brazilian slaves preparing for resistance. Graffiti Urban graffiti, using spray cans to create stylized murals and “tags” to create art in public spaces, gave kids a means of self-expression and a chance to spread political messages.