DOCSLIB.ORG

The Poetry of Music Handout 2020

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Poetry of Music Handout 2020 NICHOLE WILSON HOW CAN USING MUSIC IN THE CLASSROOM Nichole Wilson teaches ENCOURAGE STUDENTS TO ACTIVELY ENGAGE Advanced Placement English Literature and WITH THE ANALYSIS OF POETRY ? English 4 at William Mason High School. She is also the Grade 12 ELA Team Leader at Mason, and a Teacher Most students enter our AP English Literature classrooms Leader Liaison for the state lacking experience with poetry analysis. Even those that of Ohio. claim to enjoy and even write poetry are intimidated by the She is an AP English Literature Consultant, Mentor, prospect of an academic approach to the genre. The students’ and Exam Reader, and has spoken about best practices at a number of conferences, including the fear leads to resistance, which leads to halting and superficial Advanced Placement Annual Conference (2017, discussion, which makes our jobs as teachers all the more 2018, 2019) and the College Board's National Forum (2013, 2015, 2017). Through the J. William Fulbright challenging. However, most students LOVE music and feel program, Nichole taught Literature, Language, and comfortable discussing it. Ask a student to memorize a sonnet, Media Studies at East Norfolk Sixth Form College in England. She has also worked as a journalist for a forget it. But ask them to recite the entire catalog of Beyonce daily newspaper, and as a Public Relations Director lyrics? No problem. And there is poetry to be found in song and adjunct instructor at Mount Vernon Nazarene University. She is not a musician. lyrics: striking diction and imagery, inventive use of metaphor, playful assonance and consonance, and most importantly, complex human stories. BLAKE TAYLOR This provides us with an exciting opportunity. It is our duty to present our students with rich and challenging texts in order Blake Taylor teaches AP to train them to analyze complexity in both meaning and craft. English Literature and Creative Writing at Walnut In this session, Blake Taylor (Walnut Hills High School) and Hills High School in Nichole Wilson (William Mason High School), a musician, a 1 Cincinnati, Ohio. For nearly two decades, Blake’s music lover, and both veteran AP English Literature teachers professional focus has been and AP Readers, will offer classroom-ready activities that will C on better serving an let the lyrics of songs be a gateway to the skills that students I increasingly diverse S population of AP learners need for studying the complex craft of poetry. From Bessie U M in urban public schools and beyond. An AP Reader Smith to Taylor Swift, from Bob Dylan to Kendrick Lamar, the and trained AP Mentor, Blake has given numerous F O national and regional presentations (often with his poetry of music can lead students to the music of poetry. Y colleague, Nichole Wilson) on topics ranging from R the influx of technology in the classroom, to T innovations in writing instruction, to issues of E O access and equity. A lifelong musician, Blake still P performs live multiple times a month, he just E released a new album with his duo, 46 Long, and is H a sought after studio harmonica player. T "SALT IN MY WOUNDS" One last slow blues To close the show I watched you dance with her And, you know, it hurt me so Why would you bring A new love around, around so soon? Shemekia Copeland Why would you have to rub Salt in my wounds? Shemekia Copeland I ain't bitter or want to judge never holds back. Her instantly recognizable She won fair and square voice—capable of And I hold no grudge being sultry, assertive and roaring—delivers every song with Why would you bring a new love around so soon unparalleled honesty Why would you wanna rub and passion. Her wide- open vision of Salt in my wounds? contemporary Couldn't you wait till these healing hands of time Americana roots and Squeeze the pain, the pain from my heart? soul music showcases the evolution of a Couldn't you wait till my bruised and bitter pride passionate artist with Till it ain't, till it ain't torn apart an up-to-the-minute https://www.shemekia musical and lyrical copeland.com/ approach. Take your price now, and just walk away We can both live to love another day Questions Why would you bring a new love around so soon? Why would you wanna rub Describe the speaker. From whose point of Salt in my wounds? view is the song being sung? What do we Why would you wanna rub know about this character? What can we assume? Salt in my wounds? Make me feel low down Make me feel so bad Why would you have to bring a new love What situation does the song present? Is Around so soon there a setting? Is there a plot or story being told? Why would you have to hurt me Oh, made me feel so bad Rubbing salt in my wounds Yea yea yea yea What is the speaker's emotional attitude 2 toward the situation? Circle the words or phrases that convey this attitude. Does it C shift? I S U M Support your responses with phrases and F O words found in the lyrics. Y R T E O P E H T "SALT IN MY WOUNDS" One last slow blues To close the show I watched you dance with her And, you know, it hurt me so Why would you bring A new love around, around so soon? THE PROMPT Why would you have to rub Salt in my wounds? Carefully listen to Shemekia Copeland's song, "Salt in My Wounds." Then, in a well-written I ain't bitter or want to judge essay, analyze how Copeland uses literary elements and techniques to develop the She won fair and square complex attitude of the speaker/singer. And I hold no grudge DIRECTIONS Why would you bring a new love around so soon Why would you wanna rub Salt in my wounds? Identify the "big ideas" or abstract nouns. Couldn't you wait till these healing hands of time Squeeze the pain, the pain from my heart? Select the top three most prominent words. Identify Couldn't you wait till my bruised and bitter pride the binary opposites, either explicit or implicit. Till it ain't, till it ain't torn apart Take your price now, and just walk away We can both live to love another day Why would you bring a new love around so soon? Why would you wanna rub Salt in my wounds? Why would you wanna rub Salt in my wounds? Make me feel low down Make me feel so bad Why would you have to bring a new love Select one word. Write a thematic statement about Around so soon that concept. Why would you have to hurt me Oh, made me feel so bad Rubbing salt in my wounds Yea yea yea yea 3 C Using transitional words and phrases, write a I S thematic statement about the opposite word. U M F O Y R T E O P E H T HOW WILL YOU USE MUSIC TO ENGAGE STUDENTS & PRACTICE SKILLS? GETTING STARTED Write down the name of a song you feel would engage students, allow them to practice Poetry I skills, and would lend itself to multiple interpretations. Explain why this song would engage your students. List which skill or skills your students would be able to practice. How does the song lend itself to multiple interpretations? What might those interpretations be? 4 C I S U M F O Y R T E O P E H T NICHOLE'S "STUDIO" BLAKE'S "STUDIO" P E R S O N A L I Z E D L E A R N I N G I S A T T H E C O R E O F M U S I C I S T H E L E N S T H A T I C H O S E T O G R I N D F O R O U R C L A S S R O O M P R A C T I C E S A T W I L L I A M M Y S E L F T H R O U G H W H I C H I V I E W T H E W O R L D , S O M A S O N H I G H S C H O O L , S O I T M A K E S S E N S E T O I T M A K E S S E N S E T H A T I V I E W L I T E R A T U R E B E G I N A N D E N D T H E Y E A R W I T H S T U D E N T T H R O U G H T H A T L E N S , A S W E L L . T O N I M O R R I S O N , C H O I C E & V O I C E . N O T E T H A T A L L A C T I V I T I E S “ S H E H E A R S T H E M U S I C D I F F E R E N T L Y . ” J U S T A S A L S O I N C O R P O R A T E C E D S K I L L F I G 6 .
Load more

Recommended publications
  • Scratchthat Podcast Episode 12: Started from the Bottom
    ScratchThat Podcast Episode 12: Started From The Bottom Emily: Hey, I'm Emily Chenevert. CEO of the Austin Board of REALTORS®. Real estate is changing. Disruptors are flipping the script before most of us have even had our morning coffee, so we're taking it to the experts to peel back the layers on what you need to know. Scratch what you think you know about this business and listen up for a new version of an old industry. Ryan Rodenbeck isn't any broker committed to brand. He's grown his brokerage and personal brand appeal by sharing relevant and actionable content on a consistent basis. He's not afraid to share what's real about this business. His social media doesn't gleam with pictures of closing tables all day long because we all know that's not how it works when you're in it for the long haul. Join me in our first podcast featuring one of my very own from right here in Austin, Texas. I started by talking with Ryan about how he does content marketing and why it's working for him. Ryan: It's been working out good and I think where that came from was I was already doing that for Spyglass Realty, right? I did it for our spyglass Instagram and Emily: Spyglass is your brokerage? Ryan: Correct. Emily: Cause you're an indie broker? Ryan: Yep. Emily: Got it. Ryan: I realized that I wanted to get more into growing in our brand and there needed to be a figurehead of the, of the brand, which was a little bit hard for me to get over myself.
    [Show full text]
  • Permafrost Warming in the Tien Shan Mountains, Central Asia ⁎ S.S
    Global and Planetary Change 56 (2007) 311–327 www.elsevier.com/locate/gloplacha Permafrost warming in the Tien Shan Mountains, Central Asia ⁎ S.S. Marchenko a, , A.P. Gorbunov b, V.E. Romanovsky a a Geophysical Institute, University of Alaska Fairbanks, AK 99775-7320, USA b Institute of Geography, Almaty, Kazakhstan Received 11 May 2005; accepted 19 July 2006 Available online 5 October 2006 Abstract The general features of alpine permafrost such as spatial distribution, temperatures, ice content, permafrost and active-layer thickness within the Tien Shan Mountains, Central Asia are described. The modern thermal state of permafrost reflects climatic processes during the twentieth century when the average rise in mean annual air temperature was 0.006–0.032 °C/yr for the different parts of the Tien Shan. Geothermal observations during the last 30 yr indicate an increase in permafrost temperatures from 0.3 °C up to 0.6 °C. At the same time, the average active-layer thickness increased by 23% in comparison to the early 1970s. The long-term records of air temperature and snow cover from the Tien Shan's high-mountain weather stations allow reconstruction of the thermal state of permafrost dynamics during the last century. The modeling estimation shows that the altitudinal lower boundary of permafrost distribution has shifted by about 150–200 m upward during the twentieth century. During the same period, the area of permafrost distribution within two river basins in the Northern Tien Shan decreased approximately by 18%. Both geothermal observations and modeling indicate more favorable conditions for permafrost occurrences and preservation in the coarse blocky material, where the ice-rich permafrost could still be stable even when the mean annual air temperatures exceeds 0 °C.
    [Show full text]
  • Songs by Title Karaoke Night with the Patman
    Songs By Title Karaoke Night with the Patman Title Versions Title Versions 10 Years 3 Libras Wasteland SC Perfect Circle SI 10,000 Maniacs 3 Of Hearts Because The Night SC Love Is Enough SC Candy Everybody Wants DK 30 Seconds To Mars More Than This SC Kill SC These Are The Days SC 311 Trouble Me SC All Mixed Up SC 100 Proof Aged In Soul Don't Tread On Me SC Somebody's Been Sleeping SC Down SC 10CC Love Song SC I'm Not In Love DK You Wouldn't Believe SC Things We Do For Love SC 38 Special 112 Back Where You Belong SI Come See Me SC Caught Up In You SC Dance With Me SC Hold On Loosely AH It's Over Now SC If I'd Been The One SC Only You SC Rockin' Onto The Night SC Peaches And Cream SC Second Chance SC U Already Know SC Teacher, Teacher SC 12 Gauge Wild Eyed Southern Boys SC Dunkie Butt SC 3LW 1910 Fruitgum Co. No More (Baby I'm A Do Right) SC 1, 2, 3 Redlight SC 3T Simon Says DK Anything SC 1975 Tease Me SC The Sound SI 4 Non Blondes 2 Live Crew What's Up DK Doo Wah Diddy SC 4 P.M. Me So Horny SC Lay Down Your Love SC We Want Some Pussy SC Sukiyaki DK 2 Pac 4 Runner California Love (Original Version) SC Ripples SC Changes SC That Was Him SC Thugz Mansion SC 42nd Street 20 Fingers 42nd Street Song SC Short Dick Man SC We're In The Money SC 3 Doors Down 5 Seconds Of Summer Away From The Sun SC Amnesia SI Be Like That SC She Looks So Perfect SI Behind Those Eyes SC 5 Stairsteps Duck & Run SC Ooh Child SC Here By Me CB 50 Cent Here Without You CB Disco Inferno SC Kryptonite SC If I Can't SC Let Me Go SC In Da Club HT Live For Today SC P.I.M.P.
    [Show full text]
  • List of Lintenings
    • Iceberg Slim "Duriella DuFontaine" • Lightnin Hopkins "Dirty Dozens" • Lightnin' Rod/Jimi Hendrix "Duriella DuFontaine" • Watts Prophets "The Days The Hours" • Count Machuki and the Sound Dimension "More Scorcha" • Jimmy Castor "It's Just Begun" • Gil Scott-Heron "The Bottle" • Thin Lizzy "Johnny the Fox" • Harlem Underground Band "Cheeba Cheeba" • Cheryl Lynn "To Be Real" • Blowfly "Blowfly's Rap" • Incredible Bongo Band “Apache" • Fatback Band "King Tim III" • Sugarhill Gang "8th Wonder" • Funky 4 + 1 "That's the Joint" • Kurtis Blow "The Breaks" • Fearless Four "Rockin It" • Younger Generation "We Rap More Mellow" (actually Furious Five) • Sequence "Funk You Up" • Treacherous Three "Feel the Heartbeat" • Afrika Bambaataa "Death Mix" • Afrika Bambaataa "Jazzy Sensation" • Kraftwerk "Trans Europe Express” • Run DMC "Sucker MCs", TV performance (vs Kool Moe Dee/Special K on "Graffiti Rock") • Eric B and Rakim "My Melody" • Ultramagnetic MCs "Ego Trippin" • Juice Crew "The Symphony" • MC Shan "The Bridge" • Boogie Down Productions "The Bridge is Over" • LL Cool J "Rock the Bells" • Jody Watley "Friends" • Newcleus "Jam On It" • Salt N Pepa "Tramp" • De La Soul "Ring Ring Ring (Ha Ha Hey)" • A Tribe Called Quest "Description of a Fool" • Jungle Brothers "I'll House You” • Ed OG "Be a Father to Your Child" • JVC Force "Strong Island" • Main Source "Looking at the Front Door” • BDP "Criminal Minded" • Public Enemy "911 is a Joke" • Schoolly D "Saturday Night" • Schooly D "Black Enough For You" • NWA "Gangsta Gangsta" • NWA "Express Yourself" • JJ Fad "Supersonic" • DJ Quik "Tonight" • Geto Boys "Damn It Feels Good to be a Gangster" • The D.O.C.
    [Show full text]
  • Rock Music's Crusade of Authenticity
    ROCK MUSIC’S CRUSADE OF AUTHENTICITY by DANIEL BROMFIELD A THESIS Presented to the Department of Journalism and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2016 An Abstract of the Thesis of Daniel Bromfield for the degree of Bachelor of Arts in the School of Journalism and Communications to be taken June 2016 Title: Rock Music's Crusade Of Authenticity Prof. Thomas Wheeler This thesis attempts to define rock music's standards of authenticity and explore their origins. Included are comparison of rock's standards of authenticity to those of other genres and an exploration of how authenticity has been perceived throughout the history of rock music. This study argues that rock's standards of authenticity are unusual among pop music genres in that they entail artists both writing their own songs and playing their own instruments. This is in contrast to genres like hip hop, contemporary pop, and R&B, which have their own quite different standards of authenticity. Quotes from rock fans, critics, and musicians are used to provide insight into rock's standards of authenticity and how they developed over time. ii Acknowledgements I would like to first and foremost thank my father for introducing me to music. If not for his decision to turn me on to the Beatles one sunny day in June 2006, I would surely be pursuing a far more boring career – and thesis topic. And I would like to thank my mother for giving me a great life and being endlessly supportive.
    [Show full text]
  • Recorded Jazz in the 20Th Century
    Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
    [Show full text]
  • Song Title Artist Genre Hava Nagila Traditional Mood 24Kgoldn, Iann
    Song Title Artist Genre 1000 Miles Vanessa Carlton 2000s 24K Magic Bruno Mars Current Pop/Rock/Rap 500 Miles The Proclaimers 1990s 679 Fetty Wap Current Pop/Rock/Rap 99 Problems Jay Z 2000s Absolutely (Story of a Girl) 9 Days 1990s Africa Toto 1980s Ain't No Mountain High Enough Marvin Gaye & Tammi Terrell Oldies All I Do Is Win DJ Khaled Current Pop/Rock/Rap All My Loving The Beatles Oldies All Night Long Lionel Richie 1980s All Star Smash Mouth 1990s All The Small Things Blink 182 1990s Amazed Lonestar Slow Dance Songs American Girl Tom Petty & The Heart Breakers Oldies Another Night Real McCoy 1990s Another One Bites the Dust Queen Oldies Apache Sugarhill Gang 1980s Are You Gonna Be My Girl Jet Current Pop/Rock/Rap Ayy Ladies Travis Porter Current Pop/Rock/Rap Baby Got Back Sir Mixalot 1990s Back That A** Up Juvenile 1990s Bad Guy Billie Eilish Current Pop/Rock/Rap Bandz a Make Her Dance Juicy J &Lil Wayne Current Pop/Rock/Rap Bang Bang Jessie J, Ariana Grande, Nicki Minaj Current Pop/Rock/Rap Best Day Of My LIfe American Authors Current Pop/Rock/Rap Better Now Post Malone Current Pop/Rock/Rap Big Pimpin Jay Z 1990s Billie Jean Michael Jackson 1980s Blank Space Taylor Swift Current Pop/Rock/Rap Blinding Lights The Weeknd Current Pop/Rock/Rap Blue Eiffel 65 1990s Blurred Lines Robin Thicke Current Pop/Rock/Rap Body Like a Back Road Sam Hunt Country Boogie Shoes KC & The Sunshine Band Oldies Bottoms Up Trey Songz Current Pop/Rock/Rap Brown Eyed Girl Van Morrison Oldies Song Title Artist Genre Build Me Up Buttercup Foundations Oldies Bulls
    [Show full text]
  • 112 It's Over Now 112 Only You 311 All Mixed up 311 Down
    112 It's Over Now 112 Only You 311 All Mixed Up 311 Down 702 Where My Girls At 911 How Do You Want Me To Love You 911 Little Bit More, A 911 More Than A Woman 911 Party People (Friday Night) 911 Private Number 10,000 Maniacs More Than This 10,000 Maniacs These Are The Days 10CC Donna 10CC Dreadlock Holiday 10CC I'm Mandy 10CC I'm Not In Love 10CC Rubber Bullets 10CC Things We Do For Love, The 10CC Wall Street Shuffle 112 & Ludacris Hot & Wet 1910 Fruitgum Co. Simon Says 2 Evisa Oh La La La 2 Pac California Love 2 Pac Thugz Mansion 2 Unlimited No Limits 20 Fingers Short Dick Man 21st Century Girls 21st Century Girls 3 Doors Down Duck & Run 3 Doors Down Here Without You 3 Doors Down Its not my time 3 Doors Down Kryptonite 3 Doors Down Loser 3 Doors Down Road I'm On, The 3 Doors Down When I'm Gone 38 Special If I'd Been The One 38 Special Second Chance 3LW I Do (Wanna Get Close To You) 3LW No More 3LW No More (Baby I'm A Do Right) 3LW Playas Gon' Play 3rd Strike Redemption 3SL Take It Easy 3T Anything 3T Tease Me 3T & Michael Jackson Why 4 Non Blondes What's Up 5 Stairsteps Ooh Child 50 Cent Disco Inferno 50 Cent If I Can't 50 Cent In Da Club 50 Cent In Da Club 50 Cent P.I.M.P. (Radio Version) 50 Cent Wanksta 50 Cent & Eminem Patiently Waiting 50 Cent & Nate Dogg 21 Questions 5th Dimension Aquarius_Let the sunshine inB 5th Dimension One less Bell to answer 5th Dimension Stoned Soul Picnic 5th Dimension Up Up & Away 5th Dimension Wedding Blue Bells 5th Dimension, The Last Night I Didn't Get To Sleep At All 69 Boys Tootsie Roll 8 Stops 7 Question
    [Show full text]
  • Flowmeter Tests in Pak Kong Slope
    Flowmeter Tests in Pak Kong Slope (2nd draft) Dr Jimmy Jiao Department of Earth Sciences The University of Hong Kong September 13, 2007 Flowmeter Tests in Pak Kong Slope Contents 1. Introduction ................................................................................................................. 3 2. About the site and boreholes ....................................................................................... 3 3. Basics of a flowmeter test ........................................................................................... 5 3.1 Equipment .............................................................................................................. 5 3.2 Theory .................................................................................................................... 6 4. Test and results ........................................................................................................... 9 4.1. Tests in PH3 .......................................................................................................... 9 4.1.1 Field procedure ............................................................................................ 9 4.1.2 Data analysis .............................................................................................. 10 4.1.3 Estimation of K profile ............................................................................... 12 4.2 Tests in PH4 ......................................................................................................... 14 4.2.1 Field procedure
    [Show full text]
  • Does Typicality Drive Cultural Success?
    Does typicality drive Cultural Success? Grant Packard (Lazaridis) Jonah Berger (Wharton) Why do some cultural items succeed? Two possibilities #1: Success is random Even domain experts struggle predicting success1 Driven by unpredictable social drift2 1 Bielby & Bielby 1994; Hirsch 1972 2 Hahn & Bentley 2003; Salganik, Dodds & Watts 2006 #2: Individual level psychological processes shape collective outcomes Psychology Culture à CulturePsychology2 1 1 Markus & Kitayama 1991 2 Kashima 2008; Norenzayan et al 2006; Schaller & Crandall 2004 Cultural Selection Success depends on “fit” between item characteristics and shared human psychology (Heath, Bell & Sternberg 2001; Kashima 2008; Schaller & Crandall 2004) Cultural consumption driver? The stimulation of novelty1 1Flavell, Miller & Miller 2001; Zuckerman 1979 Cultural referents set the bounds Novelty depends on experience1 Differentiation is bounded, not infinite2 1 Lena & Peterson 2008 2 Boyer 1994; Norenzayan et al. 2006; Zuckerman 2016 Our prediction Cultural content that is more atypical, or differentiated from its category peers, will be more successful. Problem: How to quantify cultural content’s “fit”? Solution: natural language processing Data on thousands of songs Billboard/Nielsen digital sales • Individual preferences • Every 3 months for 3 years Seven major genres • Christian, Country, Dance, Pop, Rap, Rock and R&B Ranked songs by genre (1-50) • 4,200 song rankings • 1,879 unique songs Artist & radio airplay Complete song lyrics Method 1) Determine lyrical themes across songs, genres 2) Calculate lyrical differentiation 3) Test relationship of differentiation and success 1. Determine song & genre themes Latent Dirichlet allocation1 1. 2. 3. 4. Set # Word co-occurrence Words probabil. Songs are a probabil. of topics w/in & across songs appear in topics distribution of topics .52 Hello love .34 “…I’ve forgotten how it our .17 felt before the world felt .12 .43 fell at our feet.
    [Show full text]
  • Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy
    Illinois State University ISU ReD: Research and eData Theses and Dissertations 3-2-2017 On My Grind: Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy Evan Nave Illinois State University, [email protected] Follow this and additional works at: https://ir.library.illinoisstate.edu/etd Part of the African American Studies Commons, Creative Writing Commons, Curriculum and Instruction Commons, and the Educational Methods Commons Recommended Citation Nave, Evan, "On My Grind: Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy" (2017). Theses and Dissertations. 697. https://ir.library.illinoisstate.edu/etd/697 This Dissertation is brought to you for free and open access by ISU ReD: Research and eData. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. ON MY GRIND: FREESTYLE RAP PRACTICES IN EXPERIMENTAL CREATIVE WRITING AND COMPOSITION PEDAGOGY Evan Nave 312 Pages My work is always necessarily two-headed. Double-voiced. Call-and-response at once. Paranoid self-talk as dichotomous monologue to move the crowd. Part of this has to do with the deep cuts and scratches in my mind. Recorded and remixed across DNA double helixes. Structurally split. Generationally divided. A style and family history built on breaking down. Evidence of how ill I am. And then there’s the matter of skin. The material concerns of cultural cross-fertilization. Itching to plant seeds where the grass is always greener. Color collaborations and appropriations. Writing white/out with black art ink. Distinctions dangerously hidden behind backbeats or shamelessly displayed front and center for familiar-feeling consumption.
    [Show full text]
  • Axis-Parents-Guide-To-Drake.Pdf
    Drake “Drake is an interpreter, in other words, of the people he is trying to reach—an artist who can write lyrics that wide swaths of listeners will want to take ownership of and hooks that we will all want to sing to ourselves as we walk down the street. —Leon Neyfakh, “Peak Drake,” The FADER Does Drake have you in your feelings about how much your kids are listening to him? John Lennon famously said the Beatles were bigger than Jesus, but Aubrey Graham, aka Drake aka Drizzy, is now the best-selling solo male artist of all time. He has surpassed Elvis and Eminem, with over $218,000,000 in total record sales. Not only that, he was Billboard’s 2018 Top Artist and Spotify’s most-streamed artist, track, and album of 2018. Described by one writer as having “the Midas touch when it comes to making hits and singles,” it seems as though everything Drake does is successful. He appeals to those who like “harder” rap, but still excites a One Direction level of infatuation in young girls. Other rappers can take shots at his son and his parents [warning: strong language] without doing real damage to his career. He’s able to transform up-and-coming artists into superstars just by featuring them on his albums or being featured on theirs. With all of his influence on both his fans and the culture at large, it’s important to understand who Drake is, what he stands for, and what he’s teaching, both explicitly and implicitly, the people who listen to him.
    [Show full text]