Issue 16.Indd

Total Page:16

File Type:pdf, Size:1020Kb

Issue 16.Indd The Lewis-Clark State College Student Newspaper Thursday LCSC holds Branting Zoom What to New Center for online watch during Arts and History April 23, 2020 presentation Issue 16 graduation quarantine building Page 6 Volume 130 Page 3 Page 4 Page 9 The Pathfi nder is hiring! The Pathfi nder is looking for a business manager for next year! The position pays $2,425/school year, and allows up to 15% commission off of ad sales! This position is a great one for business or accounting emphasis students, and would look great on resumes! The position requirements are handling payroll for the staff of The Pathfi nder, attending meetings, and HELP WANTED reaching out to local or global businesses to buy ads! You will also have access to your own offi ce, computer, and printer for the entire school year! If you are interested, please contact us at thepathfi [email protected]! Or, when school re- opens next year, stop by the offi ce in SUB 228! 2 April 23, 2020 North Central Idaho SBDC at LC State off ers help to small business owners during pandemic By LC State News Idaho Region 2 business owners with and then the blue Register button. information and answer questions Registration also is being accepted of LCSC about federal disaster loans and through email at [email protected], other resources. or by phone at 208-792-2465 and The North Central Idaho Small The May 1 webinar, entitled leave a message. Business Development Center at “30 Steps to Evaluate and Improve Small business owners can request Lewis-Clark State College remains Your Website Action,” will be held free consulting help online from the busy helping Region 2 small business at 9-11:30 a.m. There is a $25 fee North Central Idaho SBDC. They owners access federal resources and the instructor will be Barbara can also get disaster updates and during the coronavirus (COVID- Leachman, director of the North learn about resources available on 19) pandemic and will be off ering a Central Idaho SBDC. The webinar the SBDC website. webinar on May 1 on evaluating and will show how to optimize a website To see a list of the various Idaho improving website action. for search engines and customers. Free Disaster Capital and Federal Offi cials at the North Central Pre-registration is required. To pre- SBA Loan Option webinars, visit Idaho SBDC have received training register, visit the website www. https://idahosbdc.org/covid-19- from the U.S. Small Business lcsc.edu/sbdc and click on the red business-resources/covid-19- KXLY Administration so they can help box that says Workshop Schedule trainings-and-webinars The Pathfi nder Policies The Pathfi nder is the offi cial to visit and share comments and Deadlines for The Pathfi nder are as follows: student publication of Lewis- ideas. If you would like to make an Ads — 5 p.m. Friday (for Thursday release, unless Clark State College, and operates appointment to meet with the editor by prior arrangement) under authority granted by the Letters to the editor — 5 p.m. Friday LCSC Communications Board. or any staff member, please email Press releases and public service announcements Responsibilities for establishing thepathfi [email protected]. — 5 p.m. Saturday news and advertising policies and Staff meetings are held every Articles, columns, opinion, profi les, stories — deciding issues related to content Monday at 6 p.m. outisde of room 228. Saturday at midnight rest solely on the student staff . The Sports stories and reviews — Saturday at midnight Students interested in writing or views expressed in commentaries Submissions via email attachment are preferred. and letters are those of the individual layout, or anyone on campus who is authors, and not necessarily the just plain curious about what goes Letters to the editor, press releases and public service views of The Pathfi nderstaff . on at The Pathfi nder may attend. The announcements are run on a fi rst come, fi rst served basis as space permits. Items relevant to the campus The Pathfi nder’s offi ces are Pathfi nder’s staff may be contacted at located on the LCSC campus in community are given preference. thepathfi [email protected] with room 228 of the Student Union Building. All members of the the staff member’s name in the campus community are invited subject line. April 23, 2020 The Pathfi nder 3 LC State to hold virtual commencement ceremony By LC State News same as actually walking across the stage, but we are going to do our best of LCSC to honor this year’s graduating class and I hope the entire Warrior family Lewis-Clark State College President Cynthia Pemberton has will join us virtually to cheer them announced the college will hold a on.” virtual commencement ceremony on May 15 at 2 p.m. The ceremony will The virtual ceremony will feature premiere on LC State’s Facebook messages from Gov. Brad Little and page: www.facebook.com/ the Idaho State Board of Education, lewisclarkstate, and faculty, staff , students, parents, alumni and friends an address by Pemberton from the are welcome and encouraged to join Silverthorne Theatre, and a video together virtually in recognizing and presentation displaying photos of all congratulating this year’s graduating class. of this year’s graduates. “We have incredible graduates More details surrounding who have overcome innumerable challenges, including a spring commencement will be available semester fi lled with obstacles, and soon at www.lcsc.edu. we want to do everything we can As previously announced, 2020 to recognize and celebrate their success,” Pemberton said. “I know graduates are still invited to take part a virtual ceremony will never be the in the 2021 ceremony as well. LCSC LC State’s Canfi eld is appointed NVWT state coordinator put up 250 historic roadside markers since the fall of 2008. Her courses non-profi t organizations and state By LC State News nationally. Currently, there are more on U.S. history focus on women’s board and councils, including the of LCSC than 1,000 sites on the Trail that history, American Indian history, Lewiston Civic Theater and Idaho tell the untold stories of suff rage for and public history. She is the Humanities Council. She is also a all women that extends beyond the advisor to the Women In Lasting Lewis-Clark State College history member of the Idaho Historic Sites professor Amy Canfi eld has been passage of the 19th amendment in Leadership Club, and organizer of Review Board. appointed as the state coordinator 1920. Women’s History Month activities Canfi eld holds a bachelor’s degree for the National Votes for Women The organization has 44 state on campus. in history and women’s studies Trail (NVWT), offi cials from The coordinators. Canfi eld will be Canfi eld encourages her students from Idaho State University and a National Collaborative for Women’s working with historians and to be active in civic engagement and volunteers throughout Idaho to to get involved with issues they are master’s in U.S. history and a Ph.D. History Sites have announced. document specifi c suff rage sites and passionate about. During the past The NVWT’s mission is to in U.S. and public history, both from establish historic markers at those four years, Canfi eld has facilitated recognize and celebrate the enormous Washington State University. sites. Currently, the Trail’s digital or held re-enactments of historical In 2019, Canfi eld was honored diversity of people and groups active map does not contain a site in Idaho. signifi cance on civil and women’s with the Idaho Brightest Stars Award in the struggle for women’s suff rage Canfi eld will also have a student rights on the LC State campus. for a Teacher/Professor in the state. in the United States. To do this, it uses research assistant, Meghan Castle, The topics were researched and a Trail, which consists of two parts: help her. Castle is a junior at LC State developed by her students. The award honors those who actively (1) a database with a digital map of majoring in history with a minor in Canfi eld is involved with many volunteer in their communities. She Amy Canfi eld the U.S. and (2) working with the women’s and general studies. community organizations, serving also was a 2019 recipient of the LC William G. Pomeroy Foundation to Canfi eld has worked at LC State on the board of directors of local State Women’s Leadership Award. 4 April 23, 2020 Branting to give Zoom presentation on Normal Hill area on April 29 The presentation is free and open virtual walking tour of Normal Hill Branting will show pictures he has to the public, but preregistration is from the 1870s to the mid-1930s, obtained through the years during By Bert Sahlberg required. To preregister, visit the showing vintage images of homes, his presentation, and there will be a of LCSC LC State alumni website www. businesses, schools, churches, and lcsc.edu/alumni/events and scroll the infl uential people of the time. chat function where participants can down to the red register bar for the Normal Hill was surveyed in 1874 ask questions. Lewis-Clark State College event. Once registered, an event as part of the original Lewiston link and password will be mailed to The event is sponsored by the LC Institutional Historian Steven township, whose southern boundary the participant so they can join the was what is now 11th Avenue. The State Alumni offi ce.
Recommended publications
  • Sujm 2016 Final Proof[1]
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals online Sydney Undergraduate Journal of Musicology Vol. 6, December 2016 “I Remember You Was Conflicted”: Reinterpreting Kendrick Lamar’s To Pimp a Butterfly JOHN LAWRIE You can take the boy out the hood, but you can’t take the hood out the homie – The Comrads, 19971 The individual cannot be removed from their cultural context, nor can these contexts exist without the individual. This we consider self-evident. Yet in discussing art of subjugated cultures, specifically African American music, these two spheres are often wrongly separated. This has cultivated a divide in which personal exploration through music has been decoupled from the artist’s greater comments on their cultural struggle. These works are necessarily grounded in the context to which they speak, however this greater context must acknowledge the experience of the individual. This essay aims to pursue a methodology centred on the relationship between the personal and the cultural, with a case study of Kendrick Lamar’s 2015 album To Pimp a Butterfly.2 Lamar straddles this divide. His personal difficulty with removal from the Compton community is inextricably linked with the struggle of African Americans in the wake of the Ferguson unrest. Lamar is in the optimal position to comment on this cultural struggle, however his fame and celebrity has partially removed him from the issues he attempts to articulate. As Lamar examines the relationship between himself and his community and context throughout To Pimp a Butterfly, he gives authenticity to his voice despite its fallibility.
    [Show full text]
  • Hip-Hop's Diversity and Misperceptions
    The University of Maine DigitalCommons@UMaine Honors College Summer 8-2020 Hip-Hop's Diversity and Misperceptions Andrew Cashman Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Music Commons, and the Social and Cultural Anthropology Commons This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. HIP-HOP’S DIVERSITY AND MISPERCEPTIONS by Andrew Cashman A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Anthropology) The Honors College University of Maine August 2020 Advisory Committee: Joline Blais, Associate Professor of New Media, Advisor Kreg Ettenger, Associate Professor of Anthropology Christine Beitl, Associate Professor of Anthropology Sharon Tisher, Lecturer, School of Economics and Honors Stuart Marrs, Professor of Music 2020 Andrew Cashman All Rights Reserved ABSTRACT The misperception that hip-hop is a single entity that glorifies wealth and the selling of drugs, and promotes misogynistic attitudes towards women, as well as advocating gang violence is one that supports a mainstream perspective towards the marginalized.1 The prevalence of drug dealing and drug use is not a picture of inherent actions of members in the hip-hop community, but a reflection of economic opportunities that those in poverty see as a means towards living well. Some artists may glorify that, but other artists either decry it or offer it as a tragic reality. In hip-hop trends build off of music and music builds off of trends in a cyclical manner.
    [Show full text]
  • The Legacy of Jazz Poetry in Contemporary Rap: Langston Hughes, Gil Scott-Heron, and Kendrick Lamar
    Brigham Young University BYU ScholarsArchive Undergraduate Honors Theses 2020-07-31 The Legacy of Jazz Poetry in Contemporary Rap: Langston Hughes, Gil Scott-Heron, and Kendrick Lamar Madison Brasher Follow this and additional works at: https://scholarsarchive.byu.edu/studentpub_uht BYU ScholarsArchive Citation Brasher, Madison, "The Legacy of Jazz Poetry in Contemporary Rap: Langston Hughes, Gil Scott-Heron, and Kendrick Lamar" (2020). Undergraduate Honors Theses. 149. https://scholarsarchive.byu.edu/studentpub_uht/149 This Honors Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Honors Thesis THE LEGACY OF JAZZ POETRY IN CONTEMPORARY RAP: LANGSTON HUGHES, GIL SCOTT-HERON, AND KENDRICK LAMAR by Madison Hailes Brasher Submitted to Brigham Young University in partial fulfillment of graduation requirements for University Honors English Department Brigham Young University August 2020 Advisor: Greg Clark Honors Coordinator: John Talbot ii ABSTRACT THE LEGACY OF JAZZ POETRY IN CONTEMPORARY RAP: LANGSTON HUGHES, GIL SCOTT-HERON, AND KENDRICK LAMAR Madison Brasher English Department Bachelor of Arts Langston Hughes wrote in “Jazz as Communication that: “Jazz is a great big sea. It washes up all kinds of fish and shells and spume and waves with a steady old beat, or off-beat.” In this paper I assert that the rap music of Kendrick Lamar contains the steady off-beat of jazz and carries out the rhetorical legacy of Hughes’ jazz poetry. By marking the key elements of jazz poetry and tracing their presence in rap music, I will show how these elements create a powerful aesthetic experience for audiences that primes them for the rhetorical messages of the artist.
    [Show full text]
  • Graduates Prepare to Walk the Stage See Page 4 2 the Gazette | May 7, 2015 Voices
    the Gazette VOL. 77, NO. 12 STUDENT VOICE OF LANGSTON UNIVERSITY THURSDAY, MAY 7, 2015 Graduates prepare to walk the stage See Page 4 2 The Gazette | May 7, 2015 Voices The Gazette is produced What is beauty? within the Department of Communication at Langston University. It serves as a teaching tool Professor says it's 'in the eye of the beholder' and public relations vehicle. The newspaper is As a junior at Langston ciety today, ranging from solo album “The Miseduca- published bimonthly and University, I enrolled in the the color of our skin to our tion of Lauryn Hill” in order is dispersed across campus Black Authors in American physical weight to our own to acquire the self-love and every other Thursday, Literature course, in which value system. self-worth she lacks and to except during we read several different Pecola represents a butter- overcome the existential examinations, holidays and texts. fly pimped by the system— angst from which she is suf- extended school breaks. One particular text that a system that oppresses fering. had an impact on me was minorities of all kinds and Society dictates what Toni Morrison’s debut novel constantly tells us all that beauty is and is not. But Adviser/Manager “The Bluest Eye,” published we are not beautiful if we do beauty is a subjective ex- Nicole Turner in 1970. not have blonde hair or blue perience—that is, a mental I enjoyed reading this nov- eyes or even a skinny phy- phenomenon that differs Editor el because it explores themes Wright sique.
    [Show full text]
  • Afro-Pessimism, Black Life, and Classical Hip Hop As Counter-Performance Kevin Eubanks
    Eubanks: After Blackness, Then Blackness: Afro-Pessimism, Black Life, and JOURNAL OF HIP HOP STUDIES . After Blackness, Then Blackness: Afro-Pessimism, Black Life, and Classical Hip Hop as Counter-Performance Kevin Eubanks Just as Frank Wilderson cites the propensity of the black performance to obscure and evade black life and reality and calls for a more “direct reflection” on the “ghosts and grammar” that haunt the enactment of black subjectivity, Jared Sexton’s critique of Fred Moten’s optimism lies in the latter’s emphasis on the “fugitive ontology” of blackness, an ontology that has the black always on the run from the structures that govern a priori the anti-black world into which it would pretend to escape. Consequently, the challenge of afro-pessimism is to imagine, amidst the afro-pessimist negation, a black movement that is not or other than performative, something more than a “narrative strategy hoping to slip the noose of a life shaped by slavery,” but instead a more visceral apprehension of and engagement with the structural violence against blackness as “a grammar of emergence and being.” The question I would like to answer here is whether in Hip Hop one can discern just such a movement and apprehension. Black life is not lived in the world that the world lives in […]. That’s the whole point of the enterprise at some level. It is all about the implications of this agreed-upon point where arguments (should) begin, but they cannot (yet) proceed. — Jared Sexton, “The Social Life of Social Death” (2011) I know the price of life.
    [Show full text]
  • Week 10, June 3 First, a Bunch of Review, Starting at the End of Lecture 7
    Week 10, June 3 First, a bunch of review, starting at the end of lecture 7. "Today": 1. Trap and Drill 2. Fashion 3. Dance 4. Storytelling revisited 5. SD At some point today: Pick one song we've heard, and make a connection to a theme in the history of Hip Hop as we've encountered it. themes like: the dozens, diss tracks, humor, vulgarity, political engagement, relationship to commerce, race, etc. What is the relationship? Why is it interesting? After 2004 • Full scale collapse of the music industry ◦ Napster, suit with RIAA, rise of legal streaming (Spotify) ◦ How did the collapse effect Hip Hop, which had, by now, become the dominant popular form? • Questions about Hip Hop over the last 10 years ◦ Have the demographics of music changed? ◦ What's the relationship, now, between Hip Hop and mainstream culture? ◦ Is the music more politicized now than 10 years ago? Adjustments in the Hip Hop market in the last 10 years • Mixtapes • Shifting relationship to street culture • The internet • Local scenes, local dance • Decline of radio (1996 Telecom Act) • Increased corporate relationships with high fashion, other mass commodidies Mixtapes • Originally, promotional tools for DJs • Became a useful career-building tool for many artists, providing black market revenue, street credibility and exposure • Also a primary venue for experimentation and dispute: a much faster moving medium than official albums, served theole r that live performance might serve in other genres • Relationship between the music business and mixtape scene has always been complicated. • Strictly speaking, they're illegal, but the industry usually turns a blind eye, and even uses them as promotional materials sometimes.
    [Show full text]
  • Kendrick Lamar's Criticism of Racism and The
    ‘We Gon’ Be Alright’: Kendrick Lamar’s Criticism of Racism and the Potential for Social Change Through Love by Courtney Julia Heffernan B.A. Hons., University of Western Ontario, 2014 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate and Postdoctoral Studies (English) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) March 2016 © Courtney Julia Heffernan, 2016 Abstract This thesis explores Kendrick Lamar’s criticism of institutionalized racism in America and its damaging effects on African-American subjectivity on his albums Section.80, Good Kid M.A.A.D City and To Pimp a Butterfly. The albums address the social implications of racism in the present day, throughout Lamar’s life and throughout the lives of his ancestors. In my analysis of Lamar’s albums, I address the history of American chattel slavery and its aftermath as a social system that privileges white over black. On the basis of my interpretation of the penultimate track on To Pimp a Butterfly, “i,” I propose a love ethic as a means through which the American social order can be changed. I take the term love ethic from Cornel West and bell hooks. A love ethic is a means through which individual bodies hurt by racism can be recognized and revalorized. Through the course of his three studio albums Lamar offers a narrative remediation of America’s discriminatory social order. In so doing, Lamar enacts the social change he wishes to see in America. ii Preface This thesis is original, unpublished, independent work by the author, Courtney Heffernan.
    [Show full text]
  • The Evolution of Masculinity and Mental Health Narratives in Rap Music
    Man Down: The Evolution of Masculinity and Mental Health Narratives in Rap Music Rachel Hart,[1] Department of English, University of Bristol Abstract This article explores how one of the most typically hyper-masculine cultural arenas in Britain and America has evolved over the past 30 years, as rap artists decide to reject the stoicism of toxic masculinity in favour of promoting healthier conversations surrounding men’s mental health and associated coping mechanisms. Though rap has always been vocal about mental distress, its dominant narratives have evolved over the past 30 years to talk more specifically and positively about mental health issues. Over time rap has begun promoting therapy, medication, self-care and treatment, rather than self-medication via drugs and alcohol, or violence against the self or others. This is symbiotically informing and being informed by society’s changing ideas about masculinity and the construct of gender. In order to explore the evolution in discussions around men’s mental health from the 1990s to the present day, this article is split into three sections, each focusing on a different decade. I closely analyse the lyrics of one rap song in each chapter, which has been selected to represent rap’s general trends regarding discussions of mental health from that decade. I also briefly explore other songs that prove the decade’s trends. This article draws upon academic research as well as personal interviews undertaken with Solomon OB (2016’s National Poetry Slam champion), and Elias Williams, founder of MANDEM.com (an online media platform engaging with social issues and shining a light on young men of colour).
    [Show full text]
  • Kendrick Lamar's Collapsing of Hip Hop Realness and Christian Identity
    Linder: Kendrick Lamar’s Collapsing of Hip Hop Realness and Christian Ide Kendrick Lamar’s Collapsing of Hip Hop Realness and Christian Identity Matthew Linder Abstract In Danielle S. Macon’s “To Pimp a Caterpillar: Hip Hop as Vehicle to Spiritual Liberation through the Decolonization of European Ideology” about Kendrick Lamar’s To Pimp a Butterfly, she identifies Kendrick’s three-step process of liberation for African-Americans through spirituality: exhibition, revelation, and community orientation. I seek to place her analysis of Kendrick’s music within the context of Daniel White Hodge’s exploration of the neo-sacred secular in Hip Hop, a theological concept containing three elements: a belief that God is in all things, viewing life as having good and bad elements, and a rejection of religionism as the only way to God. Firstly, I will explore how Kendrick takes on himself the tropes of Hip Hop and African-American Street life, not to promote their virtues but to subvert them. Secondly, framing Kendrick’s presentation of an alternative identity built on his reframing of two Christian theological concepts: imago dei and identity as found in person and work of Jesus. Lastly, the process through which he bridges the gap between life in poor African-American urban spaces and Christianity to reconstruct Hip Hop realness in terms of sincerity and a common humanity, instead of the artificially-created litmus tests of Hip Hop authenticity. These three elements are then oriented in Kendrick’s music as the spiritual processes through which he strives to liberate himself, Compton, and his African-American community.
    [Show full text]
  • Cultural and Musical Implications of Live-Instrumental Hip-Hop" (2016)
    University of Vermont ScholarWorks @ UVM UVM College of Arts and Sciences College Honors Theses Undergraduate Theses 2016 From The Ground Up: Cultural and Musical Implications of Live- Instrumental Hip-Hop Jonah Ullman Follow this and additional works at: https://scholarworks.uvm.edu/castheses Recommended Citation Ullman, Jonah, "From The Ground Up: Cultural and Musical Implications of Live-Instrumental Hip-Hop" (2016). UVM College of Arts and Sciences College Honors Theses. 28. https://scholarworks.uvm.edu/castheses/28 This Undergraduate Thesis is brought to you for free and open access by the Undergraduate Theses at ScholarWorks @ UVM. It has been accepted for inclusion in UVM College of Arts and Sciences College Honors Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. From The Ground Up: Cultural and Musical Implications of Live­Instrumental Hip­Hop A thesis submitted by Jonah Ullman In fulfillment of the requirements for College Honors UNIVERSITY OF VERMONT College of Arts and Sciences May, 2016 ADVISER: Alex Stewart ii ABSTRACT Traditional live instruments have played an important role in hip­hop production in various capacities since the earliest stages of the genre’s development. The dominant historical narrative often omits the frequency with which live instruments have been used in hip­hop. The authenticity of their use has been a point of contention in the discourse of hip­hop producers, consumers, critics and scholars. When used in accordance with hip­hop’s aesthetic sensibilities, however, they become a vehicle for innovative and authentic hip­hop. Tasteful use of live instruments opens up a range of possibilities in the realms of arrangement techniques and compositional freedom.
    [Show full text]
  • Sing About Me: Kendrick Lamar in Posterity Brandon Apol Cedarville University, [email protected]
    Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2016 yS mposium Apr 20th, 3:20 PM - 3:40 PM Sing About Me: Kendrick Lamar in Posterity Brandon Apol Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Composition Commons Apol, Brandon, "Sing About Me: Kendrick Lamar in Posterity" (2016). The Research and Scholarship Symposium. 16. http://digitalcommons.cedarville.edu/research_scholarship_symposium/2016/podium_presentations/16 This Podium Presentation is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Promise That You Will Sing About Me: Kendrick Lamar and Posterity Sometimes it would seem that the quietest moments turn out to have the loudest repercussions. This would certainly seem to be a consistent case for twenty eight-year old Kendrick Lamar, whose career has been defined by surprise and unannounced publications of music that shortly afterward are spun wildly into massively respected works of art. With an album that no one anticipated going to the 2013 Grammy awards, an album that leaked a week ahead of schedule (and brought Kendrick 5 Grammys), and an album that was released with almost no warning whatsoever, Kendrick Lamar Duckworth makes headlines with his art; of this there is no doubt. The question, however, as posed by Kendrick himself, is this: “And I hope that at least one of you sing about me when I’m gone; Am I worth it? Did I put enough work in?”1 I would like to argue that Kendrick Lamar belongs in music history textbooks of the future because of his performance abilities, intellectual and lyrical content (particularly relative to his peers), musical push within the rap genre, and his position with critics and fans alike.
    [Show full text]
  • Uncle Tom”’S of Our New Media
    The new ”Uncle Tom”’s of Our New Media. Camille Akmut To cite this version: Camille Akmut. The new ”Uncle Tom”’s of Our New Media.. 2019. hal-02099288 HAL Id: hal-02099288 https://hal.archives-ouvertes.fr/hal-02099288 Preprint submitted on 14 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. The new \Uncle Tom"'s of Our New Media. Camille Akmut Working paper. Abstract In his unfinished manuscript, James Baldwin created what can be considered the premise of a complete and general theory of the re- lationship between our new media, popular culture particularly, and the structures of our domination. According to Marx, they who have power control ideas. Because, our times are not theirs, though many parallels can be found, we must turn to them, who, poison our minds, and make all of our lives unlike they should be. We must turn to them in all areas : no matter if \false intellectuals", or the false idols of our times. In the times that are ours, and we cannot escape, unfortunately, but they remain at all times the best times, we must bring ourselves to confront what our days offer, and have to offer.
    [Show full text]