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Williams, Hipness, Hybridity, and Neo-Bohemian Hip-Hop
HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Maxwell Lewis Williams August 2020 © 2020 Maxwell Lewis Williams HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA Maxwell Lewis Williams Cornell University 2020 This dissertation theorizes a contemporary hip-hop genre that I call “neo-bohemian,” typified by rapper Kendrick Lamar and his collective, Black Hippy. I argue that, by reclaiming the origins of hipness as a set of hybridizing Black cultural responses to the experience of modernity, neo- bohemian rappers imagine and live out liberating ways of being beyond the West’s objectification and dehumanization of Blackness. In turn, I situate neo-bohemian hip-hop within a history of Black musical expression in the United States, Senegal, Mali, and South Africa to locate an “aesthetics of existence” in the African diaspora. By centering this aesthetics as a unifying component of these musical practices, I challenge top-down models of essential diasporic interconnection. Instead, I present diaspora as emerging primarily through comparable responses to experiences of paradigmatic racial violence, through which to imagine radical alternatives to our anti-Black global society. Overall, by rethinking the heuristic value of hipness as a musical and lived Black aesthetic, the project develops an innovative method for connecting the aesthetic and the social in music studies and Black studies, while offering original historical and musicological insights into Black metaphysics and studies of the African diaspora. -
Oh Happy Day
PART 4: Activities & Resources: Music in Honor of Dr. Martin Luther King, Jr. Meet the Sounds of Blackness, 2015 WITNESS Guest Artists One: Meet the Artists . 81 Two: Listen and Respond to Music by Sounds of Blackness . 82 Student Reading: Meet the Sounds of Blackness . 85 Graphic Organizer: A Bio Wheel for Sounds of Blackness . 87 Musical Roots of Spirituals, Gospel and Rhythm & Blues (R&B) One: Listen and “Respond to Ubuntu” . 89 Two: African Roots of American Music . 93 Student Reading: “The Roots of African American Music” . 96 Reading for Teachers and Older Students: “Characteristics of West African Music” . 98 Poem: “Origins” by Toyomi Igus from I See the Rhythm . 99 78 Three: Spirituals . 100 Reading for Teachers & Older Students: “About Spirituals” . 102 Listening Log for Oh, Freedom . 104 Sheet Music: Oh, Freedom . 105 Four: Becoming Aware of Gospel Music . 106 Student Reading: Gospel Music in the U .S .A . 108 Student Handout: Listening Map for March Song Medley . 109 Five: Gospel Music . 110 Student Handout: Lyrics for Oh Happy Day . 109 Six: Rhythm & Blues . 114 Student Reading: Rhythm & Blues . 117 WITNESS 79 Sound of Blackness: Guest Artists for the 2015 WITNESS Young People’s Concert Introduction The guest artists for the 2015 WITNESS the theme and focus of the 2015 WITNESS Young People’s Concert is the Minnesota- Young People’s Concert, and hearing the music based ensemble, Sounds of Blackness. The will ignite their interest in hearing the live activities in this lesson will introduce students performance. to the ensemble and their music. Students will If this is your first WITNESS lesson, provide read a biography, view a PowerPoint, and listen folders for each student to collect handouts, to a piece from the WITNESS Companion materials, and their own work related to the CD. -
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. -
Saints of Hysteria a Half-Century of Collaborative American Poetry Edited by Denise Duhamel, Maureen Seaton & David Trinidad
Saints of Hysteria A Half-Century of Collaborative American Poetry Edited by Denise Duhamel, Maureen Seaton & David Trinidad Saints of Hysteria A Half-Century of Collaborative American Poetry Edited by Denise Duhamel, Maureen Seaton & David Trinidad Soft Skull Press Brooklyn, NY 2007 Contents Denise Duhamel, Maureen Seaton & David Trinidad i Introduction Charles Henri Ford et al. International Chainpoem 1 Neal Cassady, Allen Ginsberg & Jack Kerouac Pull My Daisy 3 Copyright © 2007 by Denise Duhamel, Maureen Seaton & David Trinidad Jack Kerouac & Lew Welch Masterpiece 5 Cover art: Good’n Fruity Madonna © 1968 Joe Brainard John Ashbery & Kenneth Koch Used by permission of the Estate of Joe Brainard. A Postcard to Popeye 7 Crone Rhapsody 9 Credits & acknowledgments for the poems begin on page 389. Jane Freilicher & Kenneth Koch The Car 12 Soft Skull project editor & book designer: Shanna Compton Bill Berkson & Frank O’Hara St. Bridget’s Neighborhood 13 A note on the text: Because the poems in this anthology were created over seven decades Song Heard Around St. Bridget’s 16 by more than 200 authors, certain idiosyncrasies of style, orthography, and form St. Bridget’s Efficacy 17 have been preserved in order to present the works as their authors intended. These Reverdy 19 variations are characteristic textural effects of the collaborative process Bill Berkson, Michael Brownstein & Ron Padgett and should not be interpreted as errors. Waves of Particles 21 Ron Padgett & James Schuyler Soft Skull Press Within the Dome 22 55 Washington Street -
Savatage Handful of Rain Mp3, Flac, Wma
Savatage Handful Of Rain mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Handful Of Rain Country: US Released: 1994 Style: Prog Rock, Heavy Metal MP3 version RAR size: 1782 mb FLAC version RAR size: 1945 mb WMA version RAR size: 1444 mb Rating: 4.2 Votes: 499 Other Formats: MMF DMF MOD WAV MP1 AIFF AHX Tracklist 1 Taunting Cobras 3:21 2 Handful Of Rain 5:00 3 Chance 7:49 4 Stare Into The Sun 4:42 5 Castles Burning 4:38 6 Visions (Instrumental) 1:25 7 Watching You Fall 5:20 8 Nothing Going On 4:08 9 Symmetry 5:03 10 Alone You Breathe 7:29 Companies, etc. Manufactured For – BMG Direct Marketing, Inc. – D 105856 Licensed To – BMG Direct Marketing, Inc. Phonographic Copyright (p) – Atlantic Recording Corporation Copyright (c) – Atlantic Recording Corporation Record Company – Time Warner Recorded At – Morrisound Studios Mastered At – Masterdisk Published By – Warner Chappell Music Made By – WEA Manufacturing Inc. Pressed By – Specialty Records Corporation Credits Artwork [Front Cover] – Gary Smith Bass – Johnny Lee Middleton Booking – Pinnacle Ent.* Booking [For Pinnacle Ent.] – John Dittmar Design – Eric Altenburger Drums – Steve Wacholz Engineer – James Morris* Engineer [Additional Assistant] – Brian Benscotter*, Dave Wehner, Jeff MacDonald Engineer [Additional] – Judd Packer, Mark Prator, Tom Morris Engineer [Assistant] – Steve Heritage Engineer [Keyboard] – Howard Helm Engineer [Pre-Production] – Bob Kinkle* Guitar – Alex Skolnick Keyboards [Additional], Co-producer – Jon Oliva Legal [Attorney] – Nicholas C. Ferrara* Management – Crash Management Management [For Crash Management] – Jon Goldwater Mastered By – Andy Van Dette* Producer – Paul O'Neill Technician [Drum and More] – Paul Andre Technician [Guitar Extraordinaire] – Dan Campbell Vocals – Zachary Stevens* Written-By – Oliva*, O'Neill* Notes ℗ © 1994 Atlantic Recording Corporation. -
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. -
October 2015
October 13, 2015 - Producer Reinvention In The New Music Economy NEWSLETTER A n E n t e r t a i n m e n t I n d u s t r y O r g a n i z a t i on Big Jim Wright Does It Good: An Interview With Big Jim Wright By Soul Jones Around the mid-nineties, at the Flyte Tyme building in Minneapolis, The President’s Corner whenever owner Jimmy Jam - one half of mega-platinum production duo Jam & Lewis – would take a new superstar client on a tour of the “Happy Birthday.” We know the song, we’ve all sung it but who studio he would make the following introduction. “And in here we owns the rights? Most members of the public didn’t realize Warner/ have Big Jim Wright, he’s one of our writer/producers here at Flyte Chappell was claiming the copyright on this iconic song, although Tyme and he just happens to sing.” Jam would then nod his we in the music business did. Who would have thought one of the trademark trilby towards the young vocalist. “Say Big Jim … just most recognizable songs in the world would not be PD? There has give ‘em a little something.” It would be at that point that he’d mosey been much confusion as to ownership and rights since the recent over to the nearest keyboard. Just so happens that Big Jim Wright, ruling, but what does it all really mean? CCC past President Steve speaking from a phone at his home in Los Angeles California, is sat Winogradsky is here to discuss this important copyright update. -
Planet Earth R Eco.R Din Gs
$4.95 (U.S.), $5.95 (CAN.), £3.95 (U.K.) IN THE NEWS ******** 3 -DIGIT 908 1B)WCCVR 0685 000 New Gallup Charts Tap 1GEE4EM740M09907411 002 BI MAR 2396 1 03 MON1 Y GREENLY U.K. Indie Dealers ELM AVE APT A 3740 PAGE LONG BEACH, CA 90807 -3402 8 Gangsta Lyric Ratings Discussed At Senate Hearing On Rap PAGE 10 THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO AND HOME ENTERTAINMENT MARCH 5, 1994 ADVERTISEMENTS MVG's Clawfinger Grammy Nominations Spur Publicity Blitz Digs Into Europe Labels Get Aggressive With Pre Award Ads BY THOM DUFFY BY DEBORAH RUSSELL Clapton, and k.d. lang experienced draw some visibility to your artists." major sales surges following Gram- A &M launched a major television STOCKHOLM -The musical LOS ANGELES -As the impact of my wins, but labels aren't waiting for advertising campaign in late Febru- rage of Clawfinger, a rock-rap the Grammys on record sales has be- the trophies anymore. Several compa- ary to promote Sting's "Ten Sum- band hailing from Sweden, has come more evident nies have kicked off aggressive ad- moner's Tales," (Continued on page 88) in recent years, vertising and promotional campaigns which first ap- nominations, as touting their nominees for the March peared on The Bill- well as victories, 1 awards. board 200 nearly a have become valu- Says A &M senior VP of sales and year ago. Sting is able marketing distribution Richie Gallo, "It would the top- nominated evil oplriin tools for record seem that people are being more ag- artist in the 36th companies. -
Db:Scanner (Band)"Stephan O'mallie"@En"Maurycy "Mauser" Stefanowicz"@En "Wildeþrýð"@En Db:Nihilist (Band) "Dave Edwards"@En "Ashish Kumar"@Endb:Krieg (Band) "W.D
db:Amalie_Bruun "Dominik Immler"@en "Frater D."@en * Gunnar* Egill Þór* Birkir* Hafþór* Næturfrost "Simon O'Laoghaire"@en db:Kimmo_Heikkinen "Uri Zelcha"@en db:1349_(band) db:Dan-Ola_Persson "Itzik Levy"@en db:The_Kovenant "Zorugelion"@en "Derek MacAmhlaigh"@en db:Lord_Morbivod db:Zonata "Goran Paleka"@en "Johan Elving"@en "Damir Adžić"@en "Ines Tančeva"@en db:Alan_Averill "Elvorn"@en "Enrique Zúñiga Gomez"@en "Nick Oakes"@en db:Marcela_Bovio "Frank Calleja"@en "Miroslav Branković"@en "Maxime Aneca - Guitar"@en "*Lex Icon*Pzy-Clone*Hellhammer*Angel*Sverd"@en db:Alejandro_Mill%C3%A1n Ines Tan?eva "Cremator , Fermentor"@en Alejandro Díaz "MasterMike"@en "Maria "Tristessa" Kolokouri"@en "Martijn Peters"@en "Ivan Vasić"@en "Filip Letinić"@en "Eduardo Falaschi"@en A. db:Viathyn Bart Teetaert - Vocals "Lior Mizrachi"@en "Nikola Mijić"@en "Loke Svarteld"@en "Koen De Croo - Bass"@en "Chris Brincat"@en "Duke"@en db:The_Kovenant "Demian Tiguez"@en "*Tomislav Crnkovic*Dave Crnkovic*Jacob Wright*Alex Kot"@en "Fermentor Cremator , Fermentor"@en db:Lori_Linstruth Ivan Kutija "César Talarico"@en "Eden Rabin"@en db:Alex_Losbäck "Artyom"@en "Sami Bachar"@en "Marchozelos"@en "Morten"@en "* Wagner Lamounier* Roberto Raffan* Jairo Guedz* Max Cavalera* Igor Cavalera* Jean Dolabella"@en Lazar Zec - Guitar "Dave Hampton"@en "Wellu Koskinen"@en "VnoM"@en db:Sabbat_(Japanese_band) "* Christofer Johnsson* Thomas Vikström* Johan Koleberg* Nalle "Grizzly" Påhlsson* Christian Vidal* Lori Lewis"@en db:Arjen_Anthony_Lucassen "Mića Kovačević"@en "Roberto Raffan"@en db:Memnock db:Henrik_Carlsson db:Throllmas "Lazar Zec - Guitar"@en "Chris Calavrias"@enEric Hazebroek "Mathias"* PauloSchlegl"@en Jr.* Andreas Kisser* Derrick Green* Eloy Casagrande"@en"Yatziv Caspi"@en "Erkki Silvennoinen"@en "Gaahnt, Nattulv, Bahznar, Dermorh"@en "Marco Cecconi"@en Antti Kilpi "Gezol"@en Koen De Croo - Bass Elizabeth Toriser "Ze'ev Tananboim"@en db:Jukka_Kolehmainen J. -
The Weekly Arts and Entertainment Supplement to the Daily Nexus Ous
The Weekly Arts and Entertainment Supplement to the Daily Nexus a t j o e (a k a FJ: It’s definitely with me, Raekwon, who want the real. Peo less and wild. Runnin’ (laughs) Lord Finesse, Joey Crack and more lyrical. It’s more Ghost Face, Nas, AZ ple who can look at Fat around spending mo featuring O .C . a n d F Fat Joe Da creative. It’s much and Mobb Deep. That Joe in the video and tell ney, having fun, cause KRS-One. That shit is Gangsta) is quickly be- tighter. You can hear will be the cream tour. that he really went even then he was still hot. Whoa! Boom Bam! coming a regular the whole thing and not AW: What do you through what he is say number one. I just loved I got the slammin’ tape, amongst New York’s have to fast-forward think of live hip-hop ing. I like the worst peo him. He represented me B. Niggas can’t fuck most elite emcees. Fat through songs. That’s shows? ple. I like the baddest and represented the with my tape right now. Joe’s new album, Jeal the problem with a lot FJ: There are certain people to enjoy my Bronx. I remember go Maybe I should take ous One’s Envy, is an of rappers today, they people who get busy. music. I want every ing to junior high you to the old school for impeccably produced, just think that they are Hip-hop shows have body to enjoy my music, school and everybody the last joint I’d play lyrically solid album, going to have three vid definitely gotten less but definitely the scum, was like “KRS! KRS!” I “The Vapors” by Biz with guest spots by eos — let’s make three creative in these stages the lowlifes. -
Lop40* with SHADOE STEVENS
,.,~llt~(f·,~l *lOP40* WITH SHADOE STEVENS PLBASB AUDITION EACH Dl:SC IHMBDIA'l'BLY. :IF YOU HAVB ANY QUESTIONS, PLEASE CONTAC~ OS TOLL FREE AT 1-800-695-2221. ***COMPACT DISC 11, TRACK iO, HAS 1KHz REFERENCE TONE*** TOPICI<L PROMOS TOPICAL PROMOS FOR SHOW #23 ARE LOCATED ON DISC 4. TRACKS 6. 7 & 8. DO NOT USE AFTER SHOW #23. AT40 ACTUALIDES ARE LOCATED ON PISC 4. TRACKS 9. 10 & 11. IMMEPIATELY FOLLOWING TOPICAL PROMOS 1. HIGHEST PEBUJ IN AT40 HISTORY!! :36 Hi, Shadoe Stevens, AT 40. Every week we count down hit history as it happens and last week we had the highest debut in AT 40 history!! It was the biggest debut in 21 years, not since Isaac Huyes came in at #9 with "Theme From Shaft" back in 1971. Imagine a new song so hot it hits our entire chart up at #4!! That's exactly what Mariah Carey did with her new song, a remake of the Jackson Five #1 hit from 1970 "I'll Re There". Will Mariah repeat t~1at hit history and skyrocket to #1 this week? Only one way ~-:. :~;--;,_: ou:, "~~i;: 'vr.~ .:!~".~{, -r.~lit llti.i, ,-;~ •. ;· !'",oi·c;,, -~~-·i·•'•J"cl': C,H, .i~o• ....... , ~\;~ -+: .• \~V~AL ~~ iUJ 2. BURN IN' UP THE CHART :40 Hey, Shadoe Stevens, looking at hot acts just burnin' up the Billboard chart. There are two first timers now in the top ten, Sophie B. Hawkins from New York with "Damn, I Wish I Was Your Lover" and The Red Hot Chilli Peppers out of L.A. -
"Most Likely to Succeed
Country's Tim McGraw "Most Likely To Succeed Fan Fair '94 Edition 0 82791 19359 . ) VOL, LVII, NO. 39 JUNE 11,1994 STAFF GEORGE ALBERT President and Publisher KEITH ALBERT Executive Vice President/ General Manager EDDIE KRITZER Executive Vice President/ Marketing (LA MARK WAGNER Director, Nashville Operations RICH NIECIECKI Managing Editor MARKETING/ADVERTISING DONALD SMITH (LA) MATTHEW SAVALAS (LA) MAXIA L. BANE (LA) INSIDE THE BOX STAN LEWIS (NY) RAFAEL A. CHARRES (Latin, NY) COVER STORY EDITORIAL Los Angeles TROY J AUGUSTO MICHAEL MARTINEZ Country’s “Most Likely To Succeed” JOHN GOFF Nashville RICHARD McVEY Liberty’s John Berry, Curb’s Bros.' Faith Hill, Rick Tim McGraw, Warner Columbia’s Trevino. RCA’s GARY KEPUNGER New York Lari White and Capricorn’s Kenny Chesney are among this year’s class of rising new artists that are RAFAEL A CHARRES. Latin Editor TED WILLIAMS “most likely to succeed.’’ Cash Box's Richard McVey profiles each of these talented newcomers. CHART RESEARCH Los Angeles —see pages 6 & 7 DANI FRIEDMAN NICOLA RAE RONCO GIL BANDEL Nashville Readies For Fan Fair TRENICE KEYES Nashville GARY KEPUNGER Country music fans who want the opportunity to get upclose and personal with their favorite stars at this Chicago year’s Fan Fair can do so with a special one-day ticket or attend the entire week’s schedule, June 6-12, CAMILLE COMPASIO Director. Coin Machine Operations PRODUCTION at the Tennessee State Fairgrounds. SHARON CHAMBUSS-TRAYLOR see page 15 — CIRCULATION NINA TREGUB, Manager Industry Buzz PASHA SANTOSO PUBLICATION OFFICES NEW YORK East Coast: Francis Dunnery lias evolved from recording and touring as a guitarist for Robert Plant to 345 W 5Sh Street Suite 15W New York, NY 10019 his own Atlantic debut Fearless.