September 19, 1996
Total Page:16
File Type:pdf, Size:1020Kb
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). -
ENG 350 Summer12
ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog. -
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. -
Article on Conscious Hip Hop
Article on Conscious Hip Hop Excerpt From De La Soul Article By Sheryl Garret, Sunday Times (London), July 1996 In 1989, De La Soul's debut album Three Feet High And Rising was hailed by New York's Village Voice as "the Sergeant Pepper of hip hop". The 24 short but sweet tracks rapped about everything from dandruff to their so-called Daisy Age philosophy, but the quirky humour and catchy hooks hid a more serious intent that may have got lost in the face of the album's massive commercial success. Along with the Jungle Brothers and A Tribe Called Quest, De La Soul were part of a loose organisation called Native Tongues, a hip hop collective based around zany humour, eclectic samples and, most of all, positive vibes. Hip hop meanwhile became dominated by the West Coast sound known as gangsta rap – a verbal cocktail of violence, sexism, guns, drugs and money. On the phone from the US, De La Soul's main spokesman Pos (Kelvin Mercer) says they're reluctant to be seen as a kind of "hip hop police", but admits they took a back-to-basics approach this time because "there are a lot of messages that we wanted to put across to the people, and if you want to teach something, you can't present eleventh- or twelfth-grade material to ninth-grade students". The problem, [Pos] points out, is that … one man's poetry is another's obscenity. If it were left to politicians, many would favour silencing all rap as an inconvenient articulation of black experience. -
REM Part Lies Part Heart Part Truth Part Garbage 1982
R.E.M. Part Lies Part Heart Part Truth Part Garbage 1982 - 2011 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Part Lies Part Heart Part Truth Part Garbage 1982 - 2011 Country: Europe Released: 2011 Style: Alternative Rock MP3 version RAR size: 1785 mb FLAC version RAR size: 1200 mb WMA version RAR size: 1748 mb Rating: 4.6 Votes: 209 Other Formats: DTS VQF WMA MIDI MMF XM TTA Tracklist Hide Credits Gardening At Night 1-1 3:30 Producer – Mitch Easter, R.E.M. Radio Free Europe 1-2 4:05 Producer – Don Dixon, Mitch Easter Talk About The Passion 1-3 3:24 Producer – Don Dixon, Mitch Easter Sitting Still 1-4 3:19 Producer – Don Dixon, Mitch Easter So. Central Rain 1-5 3:16 Producer – Don Dixon, Mitch Easter (Don't Go Back To) Rockville 1-6 4:33 Producer – Don Dixon, Mitch Easter Driver 8 1-7 3:24 Producer – Joe Boyd Life And How To Live It 1-8 4:08 Producer – Joe Boyd Begin The Begin 1-9 3:28 Producer – Don Gehman Fall On Me 1-10 2:51 Producer – Don Gehman Finest Worksong 1-11 3:50 Producer – R.E.M., Scott Litt It's The End Of The World As We Know It (And I Feel Fine) 1-12 4:07 Producer – R.E.M., Scott Litt The One I Love 1-13 3:17 Producer – R.E.M., Scott Litt Stand 1-14 3:13 Producer – R.E.M., Scott Litt Pop Song 89 1-15 3:05 Producer – R.E.M., Scott Litt Get Up 1-16 2:42 Producer – R.E.M., Scott Litt Orange Crush 1-17 3:52 Producer – R.E.M., Scott Litt Losing My Religion 1-18 4:29 Producer – R.E.M., Scott Litt Country Feedback 1-19 4:10 Producer – R.E.M., Scott Litt Shiny Happy People 1-20 3:46 Producer – R.E.M., Scott Litt The Sidewinder Sleeps Tonite 1-21 4:09 Producer – R.E.M., Scott Litt Everybody Hurts 2-1 5:20 Producer – R.E.M., Scott Litt Man On The Moon 2-2 5:14 Producer – R.E.M., Scott Litt Nightswimming 2-3 4:18 Producer – R.E.M., Scott Litt What's The Frequency, Kenneth? 2-4 4:00 Producer – R.E.M., Scott Litt New Test Leper 2-5 5:27 Producer – R.E.M., Scott Litt Electrolite 2-6 4:05 Producer – R.E.M., Scott Litt At My Most Beautiful 2-7 3:35 Producer – Pat McCarthy, R.E.M. -
Kenyon Collegian College Archives
Digital Kenyon: Research, Scholarship, and Creative Exchange The Kenyon Collegian College Archives 9-13-1996 Kenyon Collegian - September 19, 1996 Follow this and additional works at: https://digital.kenyon.edu/collegian Recommended Citation "Kenyon Collegian - September 19, 1996" (1996). The Kenyon Collegian. 504. https://digital.kenyon.edu/collegian/504 This News Article is brought to you for free and open access by the College Archives at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in The Kenyon Collegian by an authorized administrator of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. Volume CXXIV, Number 2 Established 1856 Thursday, September 19, 1996 Capital campaign to raise $100 million by 2001 Oden hopeful for 'most ambitious fund-rasin- g campaign in Kenyon history' By Ari Rothman an administrator, a staff member sor of English and chair of the fac- Senior Staff Reporter and a parent. ulty, said "Right now Kcnyon's According to the committee's endowment limits us. Enlarging ENDOWMENT The Capital Campaign Plan- report, it sought to "develop recom- Kenyon' s endowment will make For Financial Aid $35 million ning Committee released its plans to mendations that would reflect the us less tuition-dependent- ." For Professorships $1 8 million initiate Kenyon' s fundraising efforts current sense, both on campus and President Robert A. Oden Jr. For Research $ 5 million last week. The capital campaign, off, of what the College requires to added: "I am convinced that raising Other $13 million to $ 100 mil- maintain and enhance its plant, its our endowment is of highest sig- which hopes raise over TOTAL $71 million lion, will run from 1996 to 2001. -
In This Issue
wwwhe Miam, hurricane.miami.edui Hurricane/ Volume 74T, Number 5 University of Miami Tuesday September 17, 1996 Compliments outweigh complaints By CRISTINA ORTEGA Staff Writer It has been eight months since the George A. Smathers Wellness Center opened its doors and already it is evolving and changing. For one thing, the influence ofthe Wellness Center caused Campus Sports and Recreation, the center's administrative body, to change its name to the Department of Wellness and Recreation. The word "wellness" better describes the func tions sponsored by the center, said Patty Swift, the Wellness Center's assistant director of business and marketing. "But the name-change was just a technical change. Most of the concrete changes have been done in response to the complaints and suggestions of the people who use the facil ity," Swift said. "We are constantly trying to make the cen ter better." Patty Pujals, who works at the Wellness Center's front desk and pro shop, said she hears people compliment the facility all the time. "The alumni are always asking 'why didn't they have this when I was here?' Most people are very impressed when they first see the center," Pujals said. "People say it's like no other fitness facility they've ever seen." PUMPING UP: Dave Celfman, senior, obviously thinks the Wellness Center's worth it, as he lifts weights on Sunday night. SUN* WOODS/Photo Editor But, Pujals also hears plenty of complaints. "People don't like the music selection, they don't want to p«> VJn« entra. fees for aerobiCS Classes and tot \«sNe>.\ ser vice," Pujals said. -
Hip Hop –Komppeja Rumpusetille
Eliel Viitala Hip hop –komppeja rumpusetille Lähtökohtana A Tribe Called Questin rumpukompit Metropolia Ammattikorkeakoulu Musiikkipedagogi (AMK) Pop/jazz-musiikin koulutusohjelma Opinnäytetyö 19.5.2013 Tiivistelmä Tekijä Eliel Viitala Otsikko Hip hop –komppeja rumpusetille Sivumäärä 35 sivua + 2 liitettä Aika 19.5.2013 Tutkinto Musiikkipedagogi (AMK) Koulutusohjelma Pop/jazz-musiikin koulutusohjelma Suuntautumisvaihtoehto Soitonopettaja, rummut Ohjaaja(t) Lehtori Jukka Väisänen Lehtori Tomi Salesvuo Opinnäytetyön tarkoituksena on selvittää, miten hip hop –musiikkia soitetaan rumpusetillä. Työn lähtökohtana on käytetty legendaarisen hip hop -yhtye A Tribe Called Questin rum- pukomppeja, joiden pohjalta on laadittu myös harjoituksia rumpusetille. Kuunteluanalyysin lisäksi työssä on käytetty apuna alan kirjallisuutta, rumpujensoiton oppi- kirjoja, dokumenttielokuvia ja internetistä löytyviä videoita sekä alaan liittyviä lehti- ja inter- net-julkaisuja. Tutkimuskysymykset olivat: 1) Minkälaisia rumpukomppeja A Tribe Called Questin äänit- teillä on ja voiko niitä soittaa rumpusetillä? 2) Minkälaisia rumpusoundeja A Tribe Called Questin äänitteillä on ja voiko niitä toteuttaa rumpusetillä? 3) Mikä on olennaista hip hop – musiikin soittamisessa? 4) Minkälaisten harjoitteiden avulla voi harjoitella hip hop – komppien soittamista? Transkriptioista johdetut harjoitukset keskittyvät bassorummun, virvelirummun ja hi-hat – symbaalien monipuoliseen hallintaan. Harjoitukset etenevät rumpusetin osa kerrallaan. Lopuksi osakokonaisuuksia on tarkoitus yhdistää toisiinsa. Harjoituksista on laadittu myös ääninäytteitä. Avainsanat Hip hop, Rummut, A Tribe Called Quest Abstract Author Eliel Viitala Title Hip Hop Beats for Drumset Number of Pages 35 pages + 2 appendices Date 19 May 2013 Degree Bachelor of Music Education Degree Programme Pop & Jazz Music Specialisation option Music pedagogy, drums Instructor(s) Jukka Väisänen, MMus. Tomi Salesvuo, MMus. The purpose of my thesis is to explore how hip hop music is played on a drum set. -
Ellis Stagg-Neal
Catch up Sessions: Ellis Stagg-Neal One of East London’s most innovative young music producers, discusses his career so far. A week ago I had the pleasure of catching up with Ellis Stagg Neal, an up and coming hip-hop producer from East London. We met in Stoke Newington, his birthplace and coincidentally, mine too. Despite living so close, arranging an interview proved to be quite difficult, it took a few weeks for him to find a slot to come and speak to me. As he strolls in to meet me at The Prince of Wales pub, he is wearing navy blue trousers, a harrington jacket and classic all black air max 90’s, and he has a surprisingly relaxed persona for someone who seems to be quite so busy, ‘you have to try and stay calm no matter how hectic things are getting, stressing gets you nowhere, I like to just get on with my shit as soon as it’s given to me, whether it’s coursework or music projects out of college”. “There is no secret, it’s just trial and error” We immediately start talking about genres the music scene is being dominated by. He admits his style ‘isn’t accessible to everyone,’ but this obviously doesn’t stop him from making his skippy yet soulful hip hop beats. It’s clear his inspirations aren’t entirely from our generation, he reminisced about when he first listened to D’Angelo and J Dilla, and how at that point something in his brain clicked, he said to himself “that’s what I wanna do.” It wasn’t too long before we got on to the topic of trap. -
Yerba Buena Center for the Arts and Undercover Present a Tribute to a Tribe Called Quest’S Midnight Marauders
FOR IMMEDIATE RELEASE Media Contacts Voleine Amilcar: 415.321.8687; [email protected] Harley Wong: 415.321.1349; [email protected] Yerba Buena Center for the Arts and UnderCover Present A Tribute to A Tribe Called Quest’s Midnight Marauders Featuring over 13 local Bay Area bands, UnderCover returns to YBCA to pay tribute to one of the most influential hip-hop albums of all time Image courtesy Rich Black May 16–18, 2019 | 7:30pm YBCA Forum, 701 Mission Street, San Francisco SAN FRANCISCO (April 23, 2019)—Yerba Buena Center for the Arts (YBCA) is pleased to announce A Tribute to A Tribe Called Quest’s Midnight Marauders with UnderCover Presents. In celebration of Midnight Marauders’ and YBCA’s twenty-fifth anniversaries, UnderCover has invited local acts to re-interpret the classic album that bridged the gap between hip-hop and jazz. A Tribute to A Tribe Called Quest’s Midnight Marauders takes place May 16–18, 2019, at the YBCA Forum. YBCA and UnderCover aim to reflect the spirit of Midnight Marauders by collaborating with GRAMMY-nominated music producer Starita, who has worked with Phife Dawg and A Tribe Called Quest in the past. The show incorporates elements from all four pillars of hip-hop: DJing, MCing, writing (graffiti), and B-Boying (breakdancing), along with the minimalism and free-form nature of jazz instrumentation. Through this tribute, YBCA and UnderCover invite the audience to think about how hip-hop can break down barriers to foster equality and unity. The concept is simple, one distinctive band per song reinterpreting an entire classic album from start to finish. -
Schooltime Performance Series Beats, Rhymes and Tap Shoes
teacher resource guide schooltime performance series beats, rhymes and tap shoes with Maurice Chestnut about the performance Explosive, rhythmic, soulful, and beautiful. Lincoln Center’s Jazz for Young People (JFYP) program. and Midnight Marauders. ATCQ’s debut was heralded Beats, Rhymes and Tap Shoes with Maurice Chestnut is For Lincoln Center’s JALCYO (Jazz at Lincoln Center as groundbreaking and revolutionary. They brought an innovative journey through tap dance, celebrating Youth Orchestra) programs, he is an instructor and a laid-back, playful element to rap while widening the the music of the seminal rap group A Tribe Called Quest. ensemble leader. For Jazz House Kids, a New Jersey vocabulary and emotional landscape that rappers Created by Newark, New Jersey native and dance community arts organization dedicated to educating could inhabit. They did not have a tough-guy image impresario Maurice Chestnut, and with musical direction children through jazz, he is also a drum instructor and compared to other groups and hip-hop artists at the by Jerome Jennings, this interactive performance highlights ensemble leader. At NJPAC, Jennings is a teen mentor, time. The group was having fun and didn’t seem to the jazz sampling that is part of A Tribe Called Quest’s ensemble coach and drum instructor. take themselves too seriously in songs like “I Left DNA. The performance by tap dancers and a live band As a drummer, he has performed at every major jazz My Wallet in El Segundo.” The group also brought will also explore the social issues of today, which are club in the New York City area: the Village Vanguard, in samples from jazz, R&B, and rock artists—like Lou present in the songs of this classic hip-hop unit. -
Teachers' Views and Uses of Hip Hop Culture Andrew Herman Mannheimer
Florida State University Libraries 2016 Teachers' Views and Uses of Hip Hop Culture Andrew Herman Mannheimer Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF SOCIAL SCIENCES AND PUBLIC POLICY TEACHERS’ VIEWS AND USES OF HIP HOP CULTURE By ANDREW MANNHEIMER A Dissertation submitted to the Department of Sociology in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2016 Andrew Mannheimer defended this dissertation on June 27, 2016. The members of the supervisory committee were: John Reynolds Professor Directing Dissertation Robert Schwartz University Representative Irene Padavic Committee Member Daniel Tope Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I would like to thank God for all of your many blessings and for giving me the strength to complete this project. I pray that I may glorify your holy name in all that I do. I would also like to thank my family. To my parents, Doug and Cricket, thank you for providing me with love and support throughout my life and especially during this process. I would not be a sociologist had it not been for the values you instilled in me. To George, thank you for being the best brother anyone could ask for, helping me look on the bright side of all situations. I would also like to give sincere gratitude to the Florida State University Department of Sociology.