DOCSLIB.ORG

An Autoethnography of Scottish Hip-Hop: Identity, Locality, Outsiderdom and Social Commentary

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

View metadata, citation and similar papers at core.ac.uk

brought to you by

CORE

provided by Repository@Napier

An autoethnography of Scottish hip-hop: identity, locality, outsiderdom and social commentary

Dave Hook

A thesis submitted in partial fulfilment of the requirements of
Edinburgh Napier University, for the award of
Doctor of Philosophy

June 2018

Declaration

This critical appraisal is the result of my own work and includes nothing that is the outcome of work done in collaboration except where specifically indicated in the text. It has not been previously submitted, in part or whole, to any university or institution for any degree, diploma, or other qualification.

Signed:_________________________________________________________ Date:______5th June 2018 ________________________________________ Dave Hook BA PGCert FHEA Edinburgh

i

Abstract

The published works that form the basis of this PhD are a selection of hip-hop songs written over a period of six years between 2010 and 2015. The lyrics for these pieces are all written by the author and performed with hip-hop group Stanley Odd. The songs have been recorded and commercially released by a number of independent record labels (Circular Records, Handsome Tramp Records and A Modern Way Recordings) with worldwide digital distribution licensed to Fine Tunes, and physical sales through Proper Music Distribution. Considering the poetics of Scottish hip-hop, the accompanying critical reflection is an autoethnographic study, focused on rap lyricism, identity and performance. The significance of the writing lies in how the pieces collectively explore notions of identity, ‘outsiderdom’, politics and society in a Scottish context. Further to this, the pieces are noteworthy in their interpretation of US hip-hop frameworks and structures, adapted and reworked through Scottish culture, dialect and perspective. Reflecting the multi-disciplinary nature of hip-hop studies, an autoethnographic framework (Monaco, 2010; Munro 2011) is combined with poetic analysis, musicological discussion and social and cultural studies to examine the pieces that comprise the published works. Through a consideration of poetics, linguistics, sociological issues and cultural considerations, a schematic emerges, describing a construct of lyrical techniques, signifying practices, social interactions and outsider narratives that speak to (re)imagining, (re)creating and (re)constructing local culture by expressing it through hip-hop and vice versa. This study demonstrates new knowledge regarding global and local intersections in Scottish hip-hop, identity construction and negotiation, and creative approaches to rap storytelling.

ii

Acknowledgments

Thank-you to Professor Chris Atton, Dr Haftor Medbøe and Dr Justin Williams for their knowledge, support and time, given freely and with enthusiasm. Thankyou also to Professor Alistair McCleery and Sam Boyce for setting me on this path in the first place. Thank-you to Dr Anne Schwan and to Professor Fergus McNeill for giving their time and insight, both very much appreciated. Thanks to Dr Paul Ferguson and Rune Lilledal Hansen for words of encouragement throughout. Finally, a million thank-yous to my wife Stella for putting up with even more of a hip-hop obsession than has become the norm.

iii

Table of Contents

Introduction.............................................................................................................. 1

Research Themes .............................................................................................................. 2 Structure........................................................................................................................... 3 Methodological Approach ................................................................................................. 4

Chapter 1 – Hip-Hop Rules and Techniques, Global and Local .................................... 8

Introduction...................................................................................................................... 8 Global to Local .................................................................................................................. 9 Frameworks and Perspectives ........................................................................................... 9 Rap vs Hip-Hop................................................................................................................ 10 Technical Writing and Lyrical Devices .............................................................................. 11 Flow: The Evolution of Rhythm and Rhyme ..................................................................... 12 ‘Multis’ – Compound Rhyme in Rap................................................................................. 16 Punchlines....................................................................................................................... 19 Quotation ....................................................................................................................... 20 Quotation in My Work .................................................................................................... 22 Topics and Themes.......................................................................................................... 24 Braggadocio .................................................................................................................... 25 Social Commentary ......................................................................................................... 26 Conclusion ...................................................................................................................... 28

Chapter 2 – Identity and Authenticity, Global and Local .......................................... 30

Introduction.................................................................................................................... 30 Identity in Society and Music........................................................................................... 31 Authentic Identity ........................................................................................................... 33 Authenticity and Fluid Identity........................................................................................ 35 Please Allow Me to Introduce Myself: A Rap Introduction............................................... 39 Connecting the Global and the Local ............................................................................... 40 Scots Accent and Language in Music................................................................................ 45 Constructing Spaces, Creating Identities.......................................................................... 50 Musical Identity .............................................................................................................. 52 Identity Crisis: Mixed Musical Messages.......................................................................... 54 Live Performance of Authenticity .................................................................................... 57 Music Constructing Authenticity...................................................................................... 58 Reception Constructing Identity ...................................................................................... 60 My Identity Analysed ...................................................................................................... 61

iv

Close Reading: First Verse of “The Numbness” (2009)...................................................... 63 Conclusion ...................................................................................................................... 67

Chapter 3 – An outsider in a genre of misfits ........................................................... 69

Introduction.................................................................................................................... 69 What is Outsiderdom? .................................................................................................... 70 Outsiderdom in Hip-Hop ................................................................................................. 72 Inside Outsiderdom – A Personal Account....................................................................... 74 An Informal Study of Lyric Writing (1994 – 2004)............................................................. 78 Analysis Part 1: Signifying outsiderdom........................................................................... 80 Close Reading: “Will the Last One Out Please Turn Off the Light” (2012) ......................... 81 Analysis Part 2: Lyrical Portraiture................................................................................... 86 Close Reading: “Draw Yir Own Conclusions” (2014)......................................................... 87 Conclusion ...................................................................................................................... 93

Chapter 4 – Rap Essays on Independence and National Identity .............................. 95

Introduction.................................................................................................................... 95 Hip-Hop as Social Commentary ....................................................................................... 95 Discussion: The Scottish Independence Debate ............................................................... 96 The Journey from Winter… to Son................................................................................... 98 “Winter of Discontent” (2011)......................................................................................... 98 “Antiheroics” (2012)...................................................................................................... 100 “Marriage Counselling” (2012) ...................................................................................... 103 “Son, I Voted Yes” (2014) .............................................................................................. 106 Post-Indyref Postscript.................................................................................................. 110 Conclusion .................................................................................................................... 116

Chapter 5 – Growing Up and Getting Personal....................................................... 121

Introduction.................................................................................................................. 121 Navigating Hyper-Masculinity in a Genre That Won’t Acknowledge Vulnerability.......... 123 Rap Strategies for Expressing Emotion .......................................................................... 124 Topic One: Love, “Day 3” (2012) .................................................................................... 126 Topic Two: Parenthood, “Put Your Roots Down” (2014) ................................................ 130 Topic Three: ‘Getting mad wae it’: Scottish Drinking Culture, “Carry Me Home” (2012). 136 Conclusion .................................................................................................................... 145

Conclusion............................................................................................................. 147

Global and Local Intersections in Scottish Hip-Hop ........................................................ 147

v

Identity Construction and Negotiation .......................................................................... 149 Approaches to Rap Storytelling: Social Commentary and Outsiderdom ......................... 150 Areas for Further Study ................................................................................................. 151

Bibliography.......................................................................................................... 155

Discography .................................................................................................................. 167 Filmography .................................................................................................................. 170

Appendices ........................................................................................................... 170

Appendix A................................................................................................................... 172

vi

List of Figures

FIGURE 1: RHYTHMICAL ANALYSIS OF RUN DMC’S “KING OF ROCK” OPENING LINES..............................13 FIGURE 2: STANLEY ODD “LET MA BRAIN BREATHE”, FIRST FOUR BARS, NOTATION OF DELIVERY ..........15 FIGURE 3: RHYTHMICAL COMPARISON BETWEEN FIRST LINES FROM BROTHER ALI “UNCLE SAM
GODDAMN” AND STANLEY ODD “WHO AM I?” .............................................................................114
FIGURE 4: 6/8, 4/4 AND RHYME SCHEME RELATIONSHIPS IN STANLEY ODD, “DAY, 3” ..........................127 FIGURE 5: STANLEY ODD, "PUT YOUR ROOTS DOWN", MUSICAL MOTIF................................................131

vii

List of Appendices

Appendix A: A reflection on the literary mechanics of the first verse of “Let Ma Brain Breathe”

viii

Songs Submitted as Thesis

The thesis comprises the following pieces (in order of appearance in the text):

Chapter One

Let Ma Brain Breathe (2014), Stanley Odd Pan Breed (2013), Louie x Solareye x Scatabrainz *

Chapter Two

The Pageant (2012), Solareye * Chase Yirsel (2014), Stanley Odd Ten to One (2010), Stanley Odd By Way of Explanation (2011), Stanley Odd The Numbness (2010), Stanley Odd

Chapter Three

Ten to One (2010), Stanley Odd Will the Last One Out Please Turn Off the Light (2012), Stanley Odd Draw Yir Own Conclusions (2014), Stanley Odd

Chapter Four

Winter of Discontent (2011), Stanley Odd Antiheroics (2012), Stanley Odd Marriage Counselling (2012), Stanley Odd Son, I Voted Yes (2014), Stanley Odd The Man with Many Names (2013), Stanley Odd * Princes on the Pavement (2014), Stanley Odd * Who Am I? (2014), Stanley Odd To Be This Good Takes Stages (2014), Stanley Odd

Chapter Five

Day 3 (2012), Stanley Odd Put Your Roots Down (2014), Stanley Odd Carry Me Home (2012), Stanley Odd

The audio for these songs is available on the following Stanley Odd albums included in CD format with this submission*:

Oddio (2010) Pure Antihero Material (2011) The Day I Went Deaf (2011) Reject (2012) Chase Yirsel (2014) A Thing Brand New (2014)

The songs can also be downloaded from the following link: http://bit.ly/DHSongsForThesis

* Songs marked with an asterisk (*) are only available via download

ix

Introduction

Scottish hip-hop is, for some, a contradiction in terms, an oxymoron (with emphasis on the ‘moron’), a laughing stock, an impossibility, at best a novelty. Those that do chronicle its output have regularly observed the tendency of the general public to condescend and ridicule, while making assumptions about its creators’ social, economic and cultural backgrounds (Gallogly-Swan, 2016). Concurrently, Scottish hip-hop has seen an increase in visibility and credibility in recent years, that disproves these assumptions while challenging lazy stereotypes regarding its content and cultural worth (Rimmer, 2016). During this process, what becomes apparent are the unique ways that hip-hop artists in Scotland interpret and adapt global hip-hop culture, making it compatible with Scottish culture and believable in Scottish society, while still representing global hip-hop values. Hip-hop exists within a set of contradictions and dualities (Rose, 1994). It operates as mass culture that critiques and parodies mass culture. It is a mainstream, global culture that also allows for stories to be told from the margins. In Scotland, it is simultaneously a mainstream musical genre (US hiphop) and a marginalised subculture (Scottish hip-hop).

This critical appraisal for PhD by Published Works is an autoethnographic study, focused on rap lyricism, identity and performance, considering how I, as an individual, interpret global hip-hop and filter it through local culture to create something original, believable and authentic. This is a study of the poetics of Scottish hip-hop from a personal perspective; of how the local, global and individual intersect to “devise unique ways of communicating thoughts, emotions and everyday realities” (Alim, 2003: 62). Furthermore, the critical appraisal also considers how Scottish cultural attributes create alternative strategies in expressing established hip-hop formats, contributing to new remixes and hybrids of cultural interpretation.

As primary songwriter, mixer and producer with hip-hop group Stanley Odd, I provide comment regarding the musical elements of the songs that comprise the thesis where appropriate and useful. For example, during a discussion on how music contributes to identity and authenticity it makes sense to consider the musical aesthetics and production. However, the main focus of this critical

1appraisal is the lyrics, and the poetics involved in writing and performing them. Through a consideration of poetics, linguistics, sociological issues and cultural considerations, I describe a framework of lyrical techniques, signifying practices, social interactions and outsider narratives that speak to (re)imagining, (re)creating and (re)constructing local culture by expressing it through hip-hop and vice versa. This work is concerned with the spaces and places where boundaries and intersections in society meet boundaries and intersections of genre.

The published works that form the thesis are a selection of hip-hop songs written over a period of five years between 2010 and 2014. The critical appraisal takes the form of a retrospective reflective and analytical review of creative practice, placed in the context of academic frameworks, to reveal the knowledge that can be extracted from the artefacts. The original contribution to knowledge can be found in how the pieces collectively explore notions of identity, ‘outsiderdom’, politics and society in a Scottish context. The pieces are also noteworthy in their interpretation of US hip-hop frameworks and structures, adapted and reworked through Scottish culture, dialect and perspective.

Research Themes

From initial analysis of the thesis materials and review of current literature, research themes were formed around the following questions:

How is global hip-hop interpreted and translated (localised) through Scottish culture?

What is the process of constructing a rap identity in Scotland? What creative approaches can be applied to expressing outsiderdom in Scottish hip-hop?

How did Scottish hip-hop and my work in particular reflect and shape discussions around Scottish independence 2011-2014?

How does one mature, show emotional sensitivity or weakness within a genre known for its hyper-masculinity?

These questions form the basis of the five chapters that make up this document. There follows a brief summary of each chapter’s content and thematic approach.
2

Structure

Chapter one is focused on identifying key terms and techniques in hip-hop lyric writing. Through discussion of academic writing and practical examples I present these techniques and demonstrate my continuation and extension of the musical practice through local filters. Chapter two is concerned with identity construction and authenticity. Analysis is carried out regarding various factors contributing to identity and authenticity and how these intersect with Scottish culture. Consideration is given as to how these factors converge with the techniques and devices discussed in chapter one. Combined, chapters one and two provide a suitable lexicon for addressing the content in chapters three to five. Chapter three addresses themes of marginalisation and ‘outsiderdom’ in my work, discussing how images and people from outside of the mainstream are represented. The chapter reflects on how outsiderdom is represented in hiphop in the US and how it manifests when localised in Scotland. The second section of this chapter comprises the close reading of two pieces of my own work that demonstrate different approaches to expressing or narrating outsiderdom in rap. Chapter four chronicles and dissects a creative engagement with Scottish politics and the 2014 independence referendum over the period from 2011 – 2014. Considering hip-hop as social commentary, this chapter examines how Scottish hip-hop has embodied the social and political elements of hip-hop culture and traces a line through my creative output from early 2011 until the end of 2014 regarding political and cultural commentary relating to the Scottish independence referendum. Chapter five is about how to frame creative reflective practice and aging within existing generic structure; the idea of going from growing up with hip-hop to growing up in hip-hop. Taking examples from my writing that involve personal, reflexive commentary as opposed to cultural or social commentary, the chapter analyses my approaches to expressing universal themes such as love and fatherhood within the established confines of a genre. Consideration is also given to pervading issues of hyper-masculinity and how to negotiate these restrictions while trying to be honest, original and maintain authenticity.

Recommended publications
  • Meter of Classical Arabic Poetry

    Meter of Classical Arabic Poetry

    Pegs, Cords, and Ghuls: Meter of Classical Arabic Poetry Hazel Scott Haverford College Department of Linguistics, Swarthmore College Fall 2009 There are many reasons to read poetry, filled with heroics and folly, sweeping metaphors and engaging rhymes. It can reveal much about a shared cultural history and the depths of the human soul; for linguists, it also provides insights into the nature of language itself. As a particular subset of a language, poetry is one case study for understanding the use of a language and the underlying rules that govern it. This paper explores the metrical system of classical Arabic poetry and its theoretical representations. The prevailing classification is from the 8th century C.E., based on the work of the scholar al-Khaliil, and I evaluate modern attempts to situate the meters within a more universal theory. I analyze the meter of two early Arabic poems, and observe the descriptive accuracy of al-Khaliil’s system, and then provide an analysis of the major alternative accounts. By incorporating linguistic concepts such as binarity and prosodic constraints, the newer models improve on the general accessibility of their theories with greater explanatory potential. The use of this analysis to identify and account for the four most commonly used meters, for example, highlights the significance of these models over al-Khaliil’s basic enumerations. The study is situated within a discussion of cultural history and the modern application of these meters, and a reflection on the oral nature of these poems. The opportunities created for easier cross-linguistic comparisons are crucial for a broader understanding of poetry, enhanced by Arabic’s complex levels of metrical patterns, and with conclusions that can inform wider linguistic study.* Introduction Classical Arabic poetry is traditionally characterized by its use of one of the sixteen * I would like to thank my advisor, Professor K.
  • Sal Capone – Intro for Schools

    Sal Capone – Intro for Schools

    Introduction to Sal Capone: The Lamentable Tragedy Of for teachers and students From the playwright, Omari Newton: I hope this story makes you all think, laugh and feel inspired to create your own art. Sal Capone is a story about people your age chasing their dreams and fighting to survive some of the pressure associated with growing up. It's also a love letter to Hip Hop culture. I hope you enjoy our show. From the director, Diane Roberts: Theatre is a tactile medium. You feel things as much as you hear and see them. Sal Capone’s characters are ordinary people caught up in extraordinary circumstances. I hope you will be moved by how all of the elements of drama, music, video and movement come together to make you feel the triumphs and tragedies of these potent characters. What is the play about? Sal Capone: The Lamentable Tragedy Of (let’s call it Sal from here-on for short) is about many things and we hope, in watching the play, you will find meanings and themes that we haven’t yet realized are there. In particular, we hope that you will find something about you in the play. The story follows the journeys of a group of friends and Hip Hop crew who are dealing with the fatal police shooting of their friend; a talented but troubled young DJ (inspired by true events that have occurred in Montreal, Toronto, New York, San Francisco and London, UK in recent years and many others that don’t reach mass media – see links in “Resources” section).
  • Blu & Exile Give Me My Flowers While I Can Still Smell

    Blu & Exile Give Me My Flowers While I Can Still Smell

    Blu & Exile Give Me My Flowers While I Can Still Smell Them mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Give Me My Flowers While I Can Still Smell Them Country: US Released: 2012 MP3 version RAR size: 1943 mb FLAC version RAR size: 1719 mb WMA version RAR size: 1650 mb Rating: 4.4 Votes: 414 Other Formats: MP2 AUD WMA AAC AA RA AIFF Tracklist Hide Credits 1 A Letter 1:36 Ease Your Mind 2 4:29 Featuring – Andy AlloMixed By – KenBts. Maybe One Day 3 3:56 Featuring – Black SpadeKeyboards – I, Ced I Am Jean 4 3:14 Flute – Randall FisherHorns – Randall Fisher O Heaven 5 3:20 Keyboards – I, Ced More Out Of Life 6 3:54 Vocals [Additional] – J. Mitchell The Only One 7 3:35 Flute – Randall FisherVocals [Additional] – Jimetta Rose 8 Money 2:49 Mask Your Soul 9 1:54 Flute – Randall Fisher 10 Good Morning Neighbor 2:05 Growing Pains 11 4:09 Featuring – Johaz of Dag Savage*, Fashawn Don't Be Jelly 12 3:33 Keyboards – Mike Bergen*Keyboards [Solo] – Exile 13 Berries And Juices 2:10 The Great Escape 14 3:16 Featuring – ADAD*, Homeboy Sandman 15 Seasons 2:41 A Man 16 4:31 Arranged By [Instruments] – I, CedKeyboards – I, CedVocals [Additional] – I, Ced 17 Cent From Heaven 3:12 Credits Mastered By – Exile Mixed By – Exile , KenBts. (tracks: 2) Producer – Exile Barcode and Other Identifiers Barcode: 659123515627 Other versions Category Artist Title (Format) Label Category Country Year Blu & Give Me My Flowers While I none Dirty Science none US 2013 Exile Can Still Smell Them (Cass) Give Me My Flowers While I Dirty none, Blu & none, Can
  • Poetry-II-Teacher-Sample-3Rd-Ed.Pdf

    Poetry-II-Teacher-Sample-3Rd-Ed.Pdf

    Contents Contents How to Use This Study Guide with the Text & Literature Notebook ......5 Notes & Instructions to Teacher ....................................................................7 Taking With Us What Matters .......................................................................9 Four Stages to the Central One Idea ............................................................13 How to Mark a Book ......................................................................................18 THE ENGLISH RENAISSANCE PERIOD Introduction ................................................................................................... 22 Basic Features & Background ....................................................................... 24 Queen Elizabeth On Monsieur’s Departure ............................................................................. 30 Speech to the Troops at Tilbury ..................................................................... 33 Edmund Spenser – from The Faerie Queene, Canto I ..............................................37 Christopher Marlowe – The Passionate Shepherd to His Love ...............................47 Sir Walter Raleigh – The Nymph’s Reply to the Shepherd .......................................50 Sir Philip Sidney – Sonnet 31 ...............................................................................................54 George Peele – A Farewell to Arms .....................................................................................57 Robert Southwell – The Burning Babe .............................................................................60
  • John Zorn Artax David Cross Gourds + More J Discorder

    John Zorn Artax David Cross Gourds + More J Discorder

    John zorn artax david cross gourds + more J DiSCORDER Arrax by Natalie Vermeer p. 13 David Cross by Chris Eng p. 14 Gourds by Val Cormier p.l 5 John Zorn by Nou Dadoun p. 16 Hip Hop Migration by Shawn Condon p. 19 Parallela Tuesdays by Steve DiPo p.20 Colin the Mole by Tobias V p.21 Music Sucks p& Over My Shoulder p.7 Riff Raff p.8 RadioFree Press p.9 Road Worn and Weary p.9 Bucking Fullshit p.10 Panarticon p.10 Under Review p^2 Real Live Action p24 Charts pJ27 On the Dial p.28 Kickaround p.29 Datebook p!30 Yeah, it's pink. Pink and blue.You got a problem with that? Andrea Nunes made it and she drew it all pretty, so if you have a problem with that then you just come on over and we'll show you some more of her artwork until you agree that it kicks ass, sucka. © "DiSCORDER" 2002 by the Student Radio Society of the Un versify of British Columbia. All rights reserved. Circulation 17,500. Subscriptions, payable in advance to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN ilsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money ordei payable to DiSCORDER Magazine, DEADLINES: Copy deadline for the December issue is Noven ber 13th. Ad space is available until November 27th and can be booked by calling Steve at 604.822 3017 ext. 3. Our rates are available upon request.
  • BLOCKHEAD Funeral Balloons

    BLOCKHEAD Funeral Balloons

    BLOCKHEAD Funeral Balloons KEY SELLING POINTS • Blockhead has released albums with Ninja Tune and produced for artists such as Aesop Rock, Open Mike Eagle and Billy Woods over the course of his nearly two decade long career • Blockhead’s evolution as a producer is on full display, exploring different avenues and sounds with every new release and continuing to forge his own lane between the worlds of hip-hop and electronic music DESCRIPTION ARTIST: Blockhead Funeral Balloons is the new album from acclaimed producer & NYC TITLE: Funeral Balloons fixture Blockhead [real name; Tony Simon]. Funeral Balloons is as bold CATALOG: l-BWZ747 / cd-BWZ747 and irreverent as the title suggests; from the uplifting and energetic mood LABEL: Backwoodz Studioz of “Bad Case of the Sundays” to the spaced out airy grooves found on GENRE: Hip-Hop/Instrumental BARCODE: 616822028315 / 616892517146 “UFMOG” all the way to the 1970s car chase anthem like “Escape from FORMAT: 2XLP / CD NY”, the songs never stop in one place. HOME MARKET: New York RELEASE: 9/8/2017 While, at its core, Funeral Balloons doesn’t stray far from the kind of LIST PRICE: $25.98 / FA / $13.98 / AM music Blockhead has been making since his debut Music by Cavelight, his evolution as a producer is on full display, exploring different avenues TRACKLISTING (Click Tracks In Blue To Preview Audio) and sounds with every new release and continuing to forge his own lane 1. The Chuckles between the worlds of hip-hop and electronic music. 2. Bad case of the Sundays 3. UFOMG 4. Zip It 5.
  • 3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (Guest Post)*

    3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (Guest Post)*

    “3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (guest post)* De La Soul For hip-hop, the late 1980’s was a tinderbox of possibility. The music had already raised its voice over tensions stemming from the “crack epidemic,” from Reagan-era politics, and an inner city community hit hard by failing policies of policing and an underfunded education system--a general energy rife with tension and desperation. From coast to coast, groundbreaking albums from Public Enemy’s “It Takes a Nation of Millions to Hold Us Back” to N.W.A.’s “Straight Outta Compton” were expressing an unprecedented line of fire into American musical and political norms. The line was drawn and now the stage was set for an unparalleled time of creativity, righteousness and possibility in hip-hop. Enter De La Soul. De La Soul didn’t just open the door to the possibility of being different. They kicked it in. If the preceding generation took hip-hop from the park jams and revolutionary commentary to lay the foundation of a burgeoning hip-hop music industry, De La Soul was going to take that foundation and flip it. The kids on the outside who were a little different, dressed different and had a sense of humor and experimentation for days. In 1987, a trio from Long Island, NY--Kelvin “Posdnous” Mercer, Dave “Trugoy the Dove” Jolicoeur, and Vincent “Maseo, P.A. Pasemaster Mase and Plug Three” Mason—were classmates at Amityville Memorial High in the “black belt” enclave of Long Island were dusting off their parents’ record collections and digging into the possibilities of rhyming over breaks like the Honey Drippers’ “Impeach the President” all the while immersing themselves in the imperfections and dust-laden loops and interludes of early funk and soul albums.
  • Hip-Hop's Diversity and Misperceptions

    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.
  • YASIIN BEY Formerly Known As “Mos Def”

    YASIIN BEY Formerly Known As “Mos Def”

    The Apollo Theater and the Kennedy Center Present Final U.S. Performances for Hip-Hop Legend YASIIN BEY Formerly Known as “Mos Def” The Apollo Theater Tuesday, December 21st, 2016 The Kennedy Center New Year’s Eve Celebration at the Kennedy Center Concert Hall Saturday, December 31st, 2016 – Monday, January 2, 2017 (Harlem, NY) – The Apollo Theater and The John F. Kennedy Center for the Performing Arts announced today that they will present the final U.S. performances of one of hip hop’s most influential artists - Yasiin Bey (formerly known as Mos Def). These special engagements follow Bey’s announcement earlier this year of his retirement from the music business and will kick-off at the Apollo Theater on Tuesday, December 21st, culminating at The Kennedy Center from Saturday, December 31st through Sunday, January 2, 2017. Every show will offer a unique musical experience for audiences with Bey performing songs from a different album each night including The New Danger, True Magic, The Ecstatic, and Black on Both Sides, alongside new material. He will also be joined by surprise special guests for each performance. Additionally, The Kennedy Center shows will serve as a New Years Eve celebration and will feature a post-show party in the Grand Foyer. Yasin Bey has appeared at both the Apollo Theater and Kennedy Center multiple times throughout his career. “We are so excited to collaborate with the Kennedy Center on what will be a milestone moment in not only hip-hop history but also in popular culture. The Apollo is the epicenter of African American culture and has always been a nurturer and supporter of innovation and artistic brilliance, so it is only fitting that Yasiin Bey have his final U.S.
  • Rap in the Context of African-American Cultural Memory Levern G

    Rap in the Context of African-American Cultural Memory Levern G

    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Empowerment and Enslavement: Rap in the Context of African-American Cultural Memory Levern G. Rollins-Haynes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES EMPOWERMENT AND ENSLAVEMENT: RAP IN THE CONTEXT OF AFRICAN-AMERICAN CULTURAL MEMORY By LEVERN G. ROLLINS-HAYNES A Dissertation submitted to the Interdisciplinary Program in the Humanities (IPH) in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2006 The members of the Committee approve the Dissertation of Levern G. Rollins- Haynes defended on June 16, 2006 _____________________________________ Charles Brewer Professor Directing Dissertation _____________________________________ Xiuwen Liu Outside Committee Member _____________________________________ Maricarmen Martinez Committee Member _____________________________________ Frank Gunderson Committee Member Approved: __________________________________________ David Johnson, Chair, Humanities Department __________________________________________ Joseph Travis, Dean, College of Arts and Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is dedicated to my husband, Keith; my mother, Richardine; and my belated sister, Deloris. iii ACKNOWLEDGEMENTS Very special thanks and love to
  • BBC WEEK 31 Programme Information Saturday 27 July – Friday 2 August 2019  BBC One Scotland  BBC Scotland  BBC Radio Scotland

    BBC WEEK 31 Programme Information Saturday 27 July – Friday 2 August 2019  BBC One Scotland  BBC Scotland  BBC Radio Scotland

    BBC WEEK 31 Programme Information Saturday 27 July – Friday 2 August 2019 BBC One Scotland BBC Scotland BBC Radio Scotland Hilda McLean Jim Gough Julie Whiteside BBC Alba – Isabelle Salter THIS WEEK’S HIGHLIGHTS TELEVISION & RADIO / BBC WEEK 31 _____________________________________________________________________________________________________ TUESDAY 30 JULY The Fort NEW BBC Scotland WEDNESDAY 31 JULY 2014 and Beyond: Scotland’s Commonwealth Heroes NEW BBC Scotland FRIDAY 2 AUGUST Still Game, Ep6/6 – Over The Hill TV HIGHLIGHT BBC One Sportscene: Friday Night Football TV HIGHLIGHT BBC Scotland _____________________________________________________________________________ BBC Scotland EPG positions for viewers in Scotland: Freeview & YouView 115 HD / 9 SD Sky 115 Freesat 106 Virgin Media 108 BBC Scotland, BBC One Scotland and BBC ALBA are available on the BBC iPlayer bbc.co.uk/iplayer BBC Radio Scotland is also available on BBC Sounds bbc.co.uk/sounds EDITORIAL 2019 / BBC WEEK 31 _____________________________________________________________________________________________________ BBC Scotland at the Edinburgh Festivals For its inaugural year at the capital’s August festivals, new channel BBC Scotland is announcing a new TV outing for Janice Forsyth and Grant Stott, a special entertainment series from Susan Calman, and festival programming through its arts strand, Loop. Building on the success of The Afternoon Show’s BBC Radio Scotland coverage from the festival, Janice and Grant will also be doing a TV version this year entitled The Edinburgh Show. Across three weeks, the duo will bring their mix of art, music and mirth from the festival on BBC Radio Scotland four days a week. And on the BBC Scotland television channel, across the same period, they will have hourly episodes, broadcasting three times a week (Tues-Thurs).
  • Volume 1 Full Text Update Order

    Volume 1 Full Text Update Order

    FORESEEABLE PAUL LEVINSON They sometimes call bathrooms washrooms, right? Anyway, I went into the bathroom – the men's room – in Saggio's just to wash my hands and face. It was a hot July day in the city, I'd walked from the train at 181st Street, and I wanted to be as fresh as possible for Jenny. We'd known each other for a while, ever since the Psych Class we’d taken at NYU almost a year ago, but this was just our second date, and I very much wanted everything to go right. I got back to our table. I’d arrived at the restaurant about ten minutes early – unusual for me – and kept my eye on the door for Jenny. I realized I couldn't see that clearly--Of course not, stupid me, I’d left my glasses in the washroom. I got up and rushed back in. Ah, there they were! Right on the nice marbled sink, where I'd left them. I had a pair of black horn-rimmed glasses – what can I tell you – and they were right there. I picked them up and knew that they weren't mine a split second later. A little heavier, the black was a subtler shade, I don't know. But they weren't mine. I dashed out of the washroom and looked around the restaurant. It wasn't that big. Most of the tables were filled. A few guys had on glasses, but none were even remotely like mine. Several were wire rimmed. One was like Buddy Holly's, black, but otherwise not like mine.