DOCSLIB.ORG

Local Embeddedness Matters: a Study of Hip-Hop Artists' Interaction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Local Embeddedness Matters: a Study of Hip-Hop Artists' Interaction Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2017 Local Embeddedness Matters: A Study of Hip-Hop Artists' Interaction With Their Local Community Castel Vette Sweet Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Sociology Commons Recommended Citation Sweet, Castel Vette, "Local Embeddedness Matters: A Study of Hip-Hop Artists' Interaction With Their Local Community" (2017). LSU Doctoral Dissertations. 4406. https://digitalcommons.lsu.edu/gradschool_dissertations/4406 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. LOCAL EMBEDDEDNESS MATTERS: A STUDY OF HIP HOP ARTISTS’ INTERACTION WITH THEIR COMMUNITY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctoral of Philosophy in The Department of Sociology by Castel Sweet B.S., Hampton University, 2012 M.A., Louisiana State University, 2014 August 2017 ACKNOWLEDGEMENTS Sigh…just when I thought I was done writing. But anything about hip-hop wouldn’t be complete without shout-outs, right? So, in true fashion, I would like to thank God because without Him none of this would be possible. From getting this started for my master’s thesis to finishing this dissertation, it was just as much of a commitment for my chair, Dr. Sarah Becker, as it was for me. She had no idea when she agreed to chair my research, that I would decide to move half way across the world to the Middle East my last year. No matter how distracted I become with other interest and activities, she still supported me as I worked at my own pace. Dr. Lori Martin and Dr. Bryan McCann were also along for the ride from masters to doctorate, and devotedly provided constructive feedback and advice whenever I needed it. Once Dr. Susan Weinstein agreed to join the bunch as a dean’s rep, the dynamic of the committee helped ease the stress of defenses and oral exams as they gradually morphed into engaging discussions of hip-hop, culture, community, and race (let’s hope I can still say the same after this last one). Of course, there would not be a study without the artists who willingly responded to possibly obscure flyers for research participants, and those who agreed based on recommendations from friends. I probably wouldn’t have had the courage to pick up the flyer and call, so the fact they were willing to meet, talk to, and be recorded by a totally random stranger and ask for nothing in return is deeply appreciated. For the few that I knew personally, even though they were kinda obligated to participate, I still appreciate them lending their voices. To my PhD sister-friends, Melinda, Dari, and Tiffani. You guys encouraged me sooooooo much. Just having someone there to do academia with made a world of a difference! Moving to a completely new place that I had no prior connections to and being able to find not one, but THREE amazing women who would push and encouraged me throughout the process was invaluable. I learned something different from each you, and I honestly can’t imagine going through this without y’all. And my homie Tim – my G! Bruh, I can’t tell you how much you motivate me. Anytime we talk, he pushes and encourages me to keep going. I have had so many conversation with him where at the end I walk away feel like a million bucks. Just watching him grow and follow his dreams over the years seriously encourages me to find my passion and chase after it with all I have. During this time I also had the honor of finding my own poet laureate. Clem, he is someone who motivated me and encouraged me to be the best me I could be. Watching him find his groove and thrive in it really makes me want to do the same. And when I would have breakdowns, that I didn’t know were breakdowns, and times when I was stressed, and didn’t know I was stressed, he did everything he could to pick me back up and help me get back on track. Your energy was felt from miles away. Then I had the brilliant idea that moving 8025.41 miles away from my department, friends, family, and anything that remotely resembled home, would help me focus on getting this dissertation finished. I was in for a rude awakening. Yes, I would be further away from distractions, but for every distraction I left in the States I found two more in the UAE. In addition, I would then loose the ease of access to my professor and committee that I benefited from while on campus. But then one eventful Thursday night I went to a Game Night, and I am so grateful I did. I met Rod who would be there to cheer me on every step of the way until I reached my goal of finishing. When I needed a welcoming distraction, he was there, and when I needed someone to remind me to get it done, he was there, and he never let me forget to “enjoy the process”. Rod and my other globe-trotting scholars Bianca and Tierra helped me to balance work, dissertation, living abroad, and to live my best life while doing it. Lastly, my family, the ones who have been on this long education journey with me. I’m sure they have given more than I know so I could accomplish the things I have and to pursue my many interests. Support means nothing when trying to describe their role and contribution in my life. And my 908 girls, Imani and Raine, I think you’ve put up with me long enough to be considered family (we’ve stood at an alter together so I think that makes it official). Imani, I’m sure I have racked up a nice bill through your editing services and counseling session, and Raine, your positivity and radiance always seem to find me on the most needed days. There are also a multitude of others who have helped push me along the way. As 3 Stakes said, “No man is an island, peninsula maybe.” So, to all of you who collectively reached out a hand and grabbed hold of the Island of Castel to ensure that I didn’t drift away at sea, I thank you. I appreciate you, I value you, I admire you, I cherish you, and I celebrate you. This is an ode to you. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS ........................................................................................................... ii ABSTRACT ................................................................................................................................... v CHAPTER 1: INTRODUCTION .................................................................................................. 1 Historical and Social Context of Hip-Hop Music .....................................................................................2 Hip-Hop in The Academy .........................................................................................................................4 Hip-Hop Artists’ Embeddedness in Community/ies .................................................................................6 The Significance of Cultural Capital in Black Communities ....................................................................7 Synopses and Chapter Outline ...................................................................................................................8 References ...............................................................................................................................................10 CHAPTER 2: METHODOLOGY ................................................................................................ 20 References ...............................................................................................................................................25 CHAPTER 3: DOES MY MESSAGE DEFINE MY ROLE?: HOW HIP-HOP ARTISTS’ EMPHASIS ON THEIR MUSIC’S MESSAGE SHAPES THEIR INTERPRETATION OF HAVING A ROLE IN THEIR COMMUNITY ........................................................................... 28 Introduction .............................................................................................................................................28 Methods ...................................................................................................................................................31 Findings ...................................................................................................................................................32 Discussion/Conclusion ............................................................................................................................37 References ...............................................................................................................................................38 CHAPTER 4: COMMERCE OR COMMUNITY?: HIP-HOP ARTISTS’ MOTIVATIONS FOR PURSING CAREER ASPRITATIONS IN HIP-HOP MUSIC ................................................... 44 Introduction .............................................................................................................................................44 Methods ...................................................................................................................................................48 Findings ...................................................................................................................................................49 Discussion/Conclusion
Load more

Recommended publications
  • In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
    In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998).
    [Show full text]
  • Investigating Hip-Hop's Emergence in the Spaces of Late Capitalism
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2008 Re-Taking it to the Streets: Investigating Hip-Hop's Emergence in the Spaces of Late Capitalism Kevin Waide Kosanovich College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, American Studies Commons, and the Music Commons Recommended Citation Kosanovich, Kevin Waide, "Re-Taking it to the Streets: Investigating Hip-Hop's Emergence in the Spaces of Late Capitalism" (2008). Dissertations, Theses, and Masters Projects. Paper 1539626547. https://dx.doi.org/doi:10.21220/s2-zyvx-b686 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Re-Taking it to the Streets: Investigating Hip-Hop’s Emergence in the Spaces of Late Capitalism Kevin Waide Kosanovich Saginaw, Michigan Bachelor of Arts, University of Michigan, 2003 A Thesis presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Master of Arts American Studies Program The College of William and Mary August, 2008 APPROVAL PAGE This Thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts aide KosanovichKej Approved,by the Committee, May, 2008 imittee Chair Associate Pro rn, The College of William & Mary Associate Professor A lege of William & Mary Assistant P ressor John Gamber, The College of William & Mary ABSTRACT PAGE Much of the scholarship focusing on rap and hip-hop argues that these cultural forms represent instances of African American cultural resistance.
    [Show full text]
  • Recording Artist and Entrepreneur, Jeezy, Collaborates with Oasis Digital Studios to Offer a Custom-Designed NFT Featuring His Iconic Snowman Logo
    Recording Artist and Entrepreneur, Jeezy, Collaborates with Oasis Digital Studios to Offer a Custom-Designed NFT Featuring his Iconic Snowman Logo Jeezy’s Snowman Logo Has Been His Signature Piece Since his Major Label Debut Album “Let’s Get It: Thug Motivation 101,” was Released in 2005 Toronto / Vancouver, Canada / Erie PA / New York, NY – April 12, 2021 –Liquid Avatar Technologies Inc. (CSE: LQID / OTC:TRWRF / FRA:4T51) Liquid Avatar Technologies, a global blockchain, digital identity and fintech solutions company together with ImagineAR Inc. (CSE:IP / OTCQB:IPNFF), an Augmented Reality platform company, and DreamView Studios, have announced that Liquid Avatar’s Oasis Digital Studios (“Oasis”) has partnered with American rapper and successful entrepreneur, Jeezy, to create an animated NFT of his iconic snowman logo. The NFT will be available starting late April 2021. A pre-sale waiting list is available for prospective purchasers and collectors on the Oasis website as of today. In the first of many offerings to come, Oasis is helping Jeezy utilize NFT technology as a new way reach his extensive fanbase. Through their collaboration, Jeezy is taking NFTs to a new level by embracing 3D and augmented reality (AR) technology in the production of his art. Starting off his career in the music industry under the name Young Jeezy, Jeezy has now transformed into an entrepreneurial success. In addition to his custom clothing, podcasting and artwork, Jeezy has a line of fitness water called Defiance Fuel, a restauranteur partnership with American Cut Steakhouse and an ongoing incentivized partnership with Tequila Avion. Jeezy also began hosting his own talk show, “Worth a Conversation with Jay “Jeezy” Jenkins” on FOX Soul in October of 2020.
    [Show full text]
  • Young Jeezy Bottles up Free Download Young Jeezy Bottles up Free Download
    young jeezy bottles up free download Young jeezy bottles up free download. Follow The Beat On Twitter: The forecast is calling for snow. Jeezy’s been quiet since last year’s Trap Or Die… "Thanks Obama" mixes funk, soul, hip-hop, R&B, jazz from the contemporary to the classic. Everybody who is anybody was there. Whatever happens in Vegas, stays in Vegas according to the Snow Man. Jeez wants it all and with a bunch… The Snow Man takes it to South Beach for his latest visual. Rolling around in his Rolls-Royce, the #1 Trapper lets… Jeezy drops the latest visual off his Trap or Die 3. The Snowman is staying pretty busy this week. The other day he hit the stage on ‘The Wendy Williams Show’… The #1 Trapper drops another new record. This time featuring Tunechi. Trap or Die 3drops October 28. If you’re bout that life,… Jerzy’s back with his new video featuring the late Bankroll Fresh. Trap or Die 3 coming soon. Get ready for Jeezy’s new album, Trap or Die 3…Check out his brand new single below: Between Us While Monica prays for Akon’s safe return home, Jeezy now adds an opening verse and a few ad-libs… Jeezy checked in with Don Lemon on CNN this afternoon from Atlanta. During their discussion, Jeezy spoke on the Black Lives Movement,… Before going back to church, Jeezy revisits It’s Tha World and hits the night spot in his star-studded video featuring cameos from Pusha… Fabolous tweeted something that alluded to a possible mixtape in collaboration with Young Jeezy! Is it true? Click on the audio player to… There Goes Snow Another day, another video from Jeezy.
    [Show full text]
  • Green the Green Book
    Book # 1 THE GREEN BOOK Universal Zulu Nation Infinity Lessons Archive 1973 - 2000 FOR THE MASSES Compiled By : King Mark Luv & Malika Saphire Table of Contents Myths and Misconceptions ..................................................................................................................................................... 2 Laws and Regulations of the Universal Zulu Nation Part 1 (1 – 20) ........................................................................................ 4 Laws and Regulations of the Universal Zulu Nation Part 2 (21 – 46) ...................................................................................... 5 INFINITY LESSON ONE ............................................................................................................................................................. 6 ABOUT ZULU NATION ......................................................................................................................................................... 6 Message to the People........................................................................................................................................................ 7 INFINITY LESSON TWO ............................................................................................................................................................ 8 THE HISTORY OF AFRIKA BAMBAATAA ............................................................................................................................... 8 INFINITY LESSON THREE .......................................................................................................................................................
    [Show full text]
  • An Ethnography of Youth Aging out of the Child Welfare System
    CORE Metadata, citation and similar papers at core.ac.uk Provided by D-Scholarship@Pitt “SOME TYPE OF WAY”: AN ETHNOGRAPHY OF YOUTH AGING OUT OF THE CHILD WELFARE SYSTEM by Lisa Ann Schelbe Bachelor of Arts, Washington University in St. Louis, 1998 Master of Social Work, Washington University in St. Louis, 2002 Submitted to the Graduate Faculty of School of Social Work in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Social Work University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH SCHOOL OF SOCIAL WORK This dissertation was presented by Lisa Ann Schelbe It was defended on June 3, 2013 and approved by John Wallace, Ph.D., Associate Professor, Philip Hallen Chair in Community Health and Social Justice, School of Social Sara Goodkind, Ph.D., MSW, Assistant Professor, School of Social Work Mary Beth Rauktis, Ph.D., M.Ed., Research Assistant Professor, School of Social Work Martha Ann Terry, Ph.D., Assistant Professor, Graduate School of Public Health Dissertation Advisor: Jeffrey Shook, Ph.D., J.D., Associate Professor, School of Social Work ii Copyright © by Lisa Ann Schelbe 2013 iii “SOME TYPE OF WAY”: AN ETHNOGRAPHY OF YOUTH AGING OUT OF THE CHILD WELFARE SYSTEM Lisa Ann Schelbe, Ph.D., MSW University of Pittsburgh, 2013 In the United States, the average 18-year-old is not expected to live without support and resources from his or her family. However, in many states, youth leave the child welfare system because at their age they are no longer eligible to receive services. In many states this is at age 18.
    [Show full text]
  • DJ Xstac Ecstasy Thangs Vol.9〜Melow Groove〜 Mp3, Flac, Wma
    DJ XstaC Ecstasy Thangs Vol.9〜Melow Groove〜 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Ecstasy Thangs Vol.9〜Melow Groove〜 Country: Japan Released: 2016 MP3 version RAR size: 1314 mb FLAC version RAR size: 1233 mb WMA version RAR size: 1388 mb Rating: 4.9 Votes: 266 Other Formats: VQF MP2 ASF VOC DTS AAC ADX Tracklist Hide Credits Kalifornia Intro 1 –Disko Featuring – Diamond Ortiz Goldenstate Of Mind 2 –Disko Featuring – Diamond Ortiz, Nipsey Hussle I Still Luv Her 3 –Shade Sheist Featuring – Don Dolla, Scoe Indian Blue 4 –A1 Featuring – Latoiya Williams Do It To Ya 5 –YG Featuring – TeeFLii Do 4 Love 6 –2pac Featuring – Eric Bellinger Blowin' Me Up 7 –Meaku Featuring – Yung 8 –Wiz Khalifa Roll Up 9 –Jhené Aiko The Worst Goin Crazy 10 –TeeCee4800 Featuring – Reem Ritches 11 –Dubb Get No Love Alright X Anything 12 –IAmSu Featuring – P-Lo , Skipper Fully Loaded 13 –Verse Simmonds Featuring – Young Jeezy 14 –Kusta West Coast Lovin Awkward 15 –Eric Bellinger Featuring – The Game Los Angeles 16 –Foxx West Featuring – Glasses Malone 17 –Chris Brown & Tyga Westside Episode 18 –E-40 Featuring – Chris Brown , TI 2AM 19 –Adrian Marcel Featuring – Problem, Sage The Gemini Loveless 20 –Anjali World Featuring – IAmSu 21 –Jonn Hart Cuz I Only Fed Up 22 –Jonn Hart Featuring – Eric Bellinger, Rayven Justice, Rossib So 2x Crazy 23 –2pac Featuring – Netta Brielle The Fix 24 –Nelly Featuring – Jeremih 25 –Disko The Teem Can't Be Friends 26 –Milla Featuring – Molia Saved 27 –Ty$ Featuring – E-40 Ain't My Fault 28 –Yesi Ortiz Featuring
    [Show full text]
  • The Gothic Trespass in the Life and Songwriting of Tennessee Blues Musician Ray Cashman
    DESOLATION BLUES: THE GOTHIC TRESPASS IN THE LIFE AND SONGWRITING OF TENNESSEE BLUES MUSICIAN RAY CASHMAN Victor Bouvéron A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Folklore in the American Studies Department. Chapel Hill 2017 Approved by: William Ferris Glenn Hinson Crystal O’Leary-Davidson © 2017 Victor Bouvéron ALL RIGHTS RESERVED ii ABSTRACT Victor Bouvéron: Desolation blues: The Gothic trespass in the life and songwriting of Tennessee blues musician Ray Cashman (Under the direction of William Ferris) This thesis explores the pervading feeling of the Gothic in the life and songwriting of Tennessee blues musician Ray Cashman. I argue that Cashman emotionally responds to the South through the framework of the Gothic to assert his identity as a white southern working- class male. As a reader, writer and performer, he trespasses the lines of race and class. The ethnographic fieldwork I conducted in Tennessee, Georgia and North Carolina between 2015 and 2017 led me to reflect on the intriguing relationship between blues, southern Gothic literature and white working-class culture in the South. The songs written by Cashman often express a feeling of desolation, bleakness and decay, invoke a sense of nostalgia for a bygone time, or describe eerie landscapes and supernatural presences. Cashman also retells southern Gothic stories, like “Snake Feast,” inspired by Harry Crews’s A Feast of Snakes. iii ACKNOWLEDGEMENTS This project started the day I met Bill Ferris in Lille, France, in 2013. Bill encouraged me to apply to UNC-Chapel Hill and introduced me to the field of folklore.
    [Show full text]
  • Williams, Justin A. (2010) Musical Borrowing in Hip-Hop Music: Theoretical Frameworks and Case Studies
    Williams, Justin A. (2010) Musical borrowing in hip-hop music: theoretical frameworks and case studies. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11081/1/JustinWilliams_PhDfinal.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A.
    [Show full text]
  • 8123 Songs, 21 Days, 63.83 GB
    Page 1 of 247 Music 8123 songs, 21 days, 63.83 GB Name Artist The A Team Ed Sheeran A-List (Radio Edit) XMIXR Sisqo feat. Waka Flocka Flame A.D.I.D.A.S. (Clean Edit) Killer Mike ft Big Boi Aaroma (Bonus Version) Pru About A Girl The Academy Is... About The Money (Radio Edit) XMIXR T.I. feat. Young Thug About The Money (Remix) (Radio Edit) XMIXR T.I. feat. Young Thug, Lil Wayne & Jeezy About Us [Pop Edit] Brooke Hogan ft. Paul Wall Absolute Zero (Radio Edit) XMIXR Stone Sour Absolutely (Story Of A Girl) Ninedays Absolution Calling (Radio Edit) XMIXR Incubus Acapella Karmin Acapella Kelis Acapella (Radio Edit) XMIXR Karmin Accidentally in Love Counting Crows According To You (Top 40 Edit) Orianthi Act Right (Promo Only Clean Edit) Yo Gotti Feat. Young Jeezy & YG Act Right (Radio Edit) XMIXR Yo Gotti ft Jeezy & YG Actin Crazy (Radio Edit) XMIXR Action Bronson Actin' Up (Clean) Wale & Meek Mill f./French Montana Actin' Up (Radio Edit) XMIXR Wale & Meek Mill ft French Montana Action Man Hafdís Huld Addicted Ace Young Addicted Enrique Iglsias Addicted Saving abel Addicted Simple Plan Addicted To Bass Puretone Addicted To Pain (Radio Edit) XMIXR Alter Bridge Addicted To You (Radio Edit) XMIXR Avicii Addiction Ryan Leslie Feat. Cassie & Fabolous Music Page 2 of 247 Name Artist Addresses (Radio Edit) XMIXR T.I. Adore You (Radio Edit) XMIXR Miley Cyrus Adorn Miguel Adorn Miguel Adorn (Radio Edit) XMIXR Miguel Adorn (Remix) Miguel f./Wiz Khalifa Adorn (Remix) (Radio Edit) XMIXR Miguel ft Wiz Khalifa Adrenaline (Radio Edit) XMIXR Shinedown Adrienne Calling, The Adult Swim (Radio Edit) XMIXR DJ Spinking feat.
    [Show full text]
  • Westminsterresearch Synth Sonics As
    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-Skool’ to Trap Exarchos, M. This is an electronic version of a paper presented at the 2nd Annual Synthposium, Melbourne, Australia, 14 November 2016. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 2nd Annual Synthposium Synthesisers: Meaning though Sonics Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-School’ to Trap Michail Exarchos (a.k.a. Stereo Mike), London College of Music, University of West London Intro-thesis The literature on synthesisers ranges from textbooks on usage and historiogra- phy1 to scholarly analysis of their technological development under musicological and sociotechnical perspectives2. Most of these approaches, in one form or another, ac- knowledge the impact of synthesisers on musical culture, either by celebrating their role in powering avant-garde eras of sonic experimentation and composition, or by mapping the relationship between manufacturing trends and stylistic divergences in popular mu- sic. The availability of affordable, portable and approachable synthesiser designs has been highlighted as a catalyst for their crossover from academic to popular spheres, while a number of authors have dealt with the transition from analogue to digital tech- nologies and their effect on the stylisation of performance and production approaches3.
    [Show full text]
  • A History of Hip Hop in Halifax: 1985 - 1998
    HOW THE EAST COAST ROCKS: A HISTORY OF HIP HOP IN HALIFAX: 1985 - 1998 by Michael McGuire Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia August 2011 © Copyright by Michael McGuire, 2011 DALHOUSIE UNIVERSITY DEPARTMENT OF HISTORY The undersigned hereby certify that they have read and recommend to the Faculty of Graduate Studies for acceptance a thesis entitled “HOW THE EAST COAST ROCKS: A HISTORY OF HIP HOP IN HALIFAX: 1985 - 1998” by Michael McGuire in partial fulfilment of the requirements for the degree of Master of Arts. Dated: August 18, 2011 Supervisor: _________________________________ Readers: _________________________________ _________________________________ ii DALHOUSIE UNIVERSITY DATE: August 18, 2011 AUTHOR: Michael McGuire TITLE: How the East Coast Rocks: A History Of Hip Hop In Halifax: 1985 - 1998 DEPARTMENT OR SCHOOL: Department of History DEGREE: MA CONVOCATION: October YEAR: 2011 Permission is herewith granted to Dalhousie University to circulate and to have copied for non-commercial purposes, at its discretion, the above title upon the request of individuals or institutions. I understand that my thesis will be electronically available to the public. The author reserves other publication rights, and neither the thesis nor extensive extracts from it may be printed or otherwise reproduced without the author’s written permission. The author attests that permission has been obtained for the use of any copyrighted material appearing in the
    [Show full text]