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Aint Gonna Study War No More / Down by the Riverside
The Danish Peace Academy 1 Holger Terp: Aint gonna study war no more Ain't gonna study war no more By Holger Terp American gospel, workers- and peace song. Author: Text: Unknown, after 1917. Music: John J. Nolan 1902. Alternative titles: “Ain' go'n' to study war no mo'”, “Ain't gonna grieve my Lord no more”, “Ain't Gwine to Study War No More”, “Down by de Ribberside”, “Down by the River”, “Down by the Riverside”, “Going to Pull My War-Clothes” and “Study war no more” A very old spiritual that was originally known as Study War No More. It started out as a song associated with the slaves’ struggle for freedom, but after the American Civil War (1861-65) it became a very high-spirited peace song for people who were fed up with fighting.1 And the folk singer Pete Seeger notes on the record “Waist Deep in the Big Muddy and Other Love Songs”, that: "'Down by the Riverside' is, of course, one of the oldest of the Negro spirituals, coming out of the South in the years following the Civil War."2 But is the song as we know it today really as old as it is claimed without any sources? The earliest printed version of “Ain't gonna study war no more” is from 1918; while the notes to the song were published in 1902 as music to a love song by John J. Nolan.3 1 http://myweb.tiscali.co.uk/grovemusic/spirituals,_hymns,_gospel_songs.htm 2 Thanks to Ulf Sandberg, Sweden, for the Pete Seeger quote. -
Unions Show Tim* 111 10:4S P.M—Slid 11:41 Ia Dancing for Reservation* CLUB E Ee«F Ittlo C*A*«T EL—SINO Far Raaarratiaiks Call 17)0 St
Eddie Vinson Puts f" DETROIT TRIBUNE SAT., JANUARY 15, 1949 15 | Big Town I tmphasis.On Youth By JAMES L. HICKS WALLS Around .NEW YORK | —— NEW YOR/K, N. Y. Eddit Vinson, the blues YORK (NNPA) Jackie Robinson, the By Jay and V. Franklin Wall NEW Dodger jErfl pinging, saxaphone playing maestro, may have started > star, who is a teetotaler, although he broadcasts I for wine company, pearl left for a year's study in Africa of na- trend in bigtime music circles with his new “kid” a ankled into a Harlem hotspot one Primus anew Sunday night squiring his Mrs. and women. tive art and dancing under a Julius Uosenwald Fellow* two other ' ! band. i 1 HI Dorothy Calaway | . featuring With the air of a gentleman, he summoned waiter and ship . Well’s Music Bar Aside from the leader, there is not a single member a gave him the order for his party. When the waiter re- who is makinsr her New York debut a* a popular singer. of the sensational new combo , put together by Mr. turned with drinks for all, including a tall, long glass of Miss Calawav was trained for the concert stage. who is more than twenty-four years of age. deadhead. something for Jackie, newsmen immediately buttonholed Nellie Lutcher’s sister, Vydah emphasize* youth Airlines is considering hiring cnk waiter. * Lutcher. is a very sweet and I Vinson decided to emphasize New Yjrk the present at ored girls as stewardesses as a after a recent road * shy person. She was aspect of things “Looks like Jackie has decid- M V*' a of Melvin the vouth sev- tour he disbanded the combina- i**' the fare .veil party (one of many [ result >f suggestion ago. -
The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap
Open Cultural Studies 2018; 2: 122–135 Research Article Adam de Paor-Evans* The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap https://doi.org/10.1515/culture-2018-0012 Received January 27, 2018; accepted June 2, 2018 Abstract: In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and socio- political presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society. Keywords: dromosphere, dromology, Afrofuturism, electro-rap, thirdspace, fantasy, Newcleus, Strange U Introduction During the mid-1970s, the language of New York City’s pioneering hip hop practitioners brought them fame amongst their peers, yet the methods of its musical production brought heavy criticism from established musicians. -
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. -
“Rapper's Delight”
1 “Rapper’s Delight” From Genre-less to New Genre I was approached in ’77. A gentleman walked up to me and said, “We can put what you’re doing on a record.” I would have to admit that I was blind. I didn’t think that somebody else would want to hear a record re-recorded onto another record with talking on it. I didn’t think it would reach the masses like that. I didn’t see it. I knew of all the crews that had any sort of juice and power, or that was drawing crowds. So here it is two years later and I hear, “To the hip-hop, to the bang to the boogie,” and it’s not Bam, Herc, Breakout, AJ. Who is this?1 DJ Grandmaster Flash I did not think it was conceivable that there would be such thing as a hip-hop record. I could not see it. I’m like, record? Fuck, how you gon’ put hip-hop onto a record? ’Cause it was a whole gig, you know? How you gon’ put three hours on a record? Bam! They made “Rapper’s Delight.” And the ironic twist is not how long that record was, but how short it was. I’m thinking, “Man, they cut that shit down to fifteen minutes?” It was a miracle.2 MC Chuck D [“Rapper’s Delight”] is a disco record with rapping on it. So we could do that. We were trying to make a buck.3 Richard Taninbaum (percussion) As early as May of 1979, Billboard magazine noted the growing popularity of “rapping DJs” performing live for clubgoers at New York City’s black discos.4 But it was not until September of the same year that the trend gar- nered widespread attention, with the release of the Sugarhill Gang’s “Rapper’s Delight,” a fifteen-minute track powered by humorous party rhymes and a relentlessly funky bass line that took the country by storm and introduced a national audience to rap. -
Outsiders' Music: Progressive Country, Reggae
CHAPTER TWELVE: OUTSIDERS’ MUSIC: PROGRESSIVE COUNTRY, REGGAE, SALSA, PUNK, FUNK, AND RAP, 1970s Chapter Outline I. The Outlaws: Progressive Country Music A. During the late 1960s and early 1970s, mainstream country music was dominated by: 1. the slick Nashville sound, 2. hardcore country (Merle Haggard), and 3. blends of country and pop promoted on AM radio. B. A new generation of country artists was embracing music and attitudes that grew out of the 1960s counterculture; this movement was called progressive country. 1. Inspired by honky-tonk and rockabilly mix of Bakersfield country music, singer-songwriters (Bob Dylan), and country rock (Gram Parsons) 2. Progressive country performers wrote songs that were more intellectual and liberal in outlook than their contemporaries’ songs. 3. Artists were more concerned with testing the limits of the country music tradition than with scoring hits. 4. The movement’s key artists included CHAPTER TWELVE: OUTSIDERS’ MUSIC: PROGRESSIVE COUNTRY, REGGAE, SALSA, PUNK, FUNK, AND RAP, 1970s a) Willie Nelson, b) Kris Kristopherson, c) Tom T. Hall, and d) Townes Van Zandt. 5. These artists were not polished singers by conventional standards, but they wrote distinctive, individualist songs and had compelling voices. 6. They developed a cult following, and progressive country began to inch its way into the mainstream (usually in the form of cover versions). a) “Harper Valley PTA” (1) Original by Tom T. Hall (2) Cover version by Jeannie C. Riley; Number One pop and country (1968) b) “Help Me Make It through the Night” (1) Original by Kris Kristofferson (2) Cover version by Sammi Smith (1971) C. -
Jazz Album Picks
Jazz Series Pilot TOP 407* LBUMS Taped At CBS, L.A. LOS ANGELES — “Stars of Jazz — Nostalgia & New Sounds," a proposed new Weeks Weeks television series showcasing mainstream On un Chart as well as younger jazz artists, its 3/25 Chari 3/25 taped pilot Feb. 19 at CBS-TV studios here. 1 WEEKEND IN L.A. GEORGE BENSON 21 EASY LIVING The first one-hour program was hosted SONNY ROLLINS (Milestone M-9080) 23 9 (Warner Bros. 2WB 3139) 1 9 by Bobby Troup and featured perfor- THE BIJOU 22 MULTIPLICATION mances by Hadley Caliman, Sarah 2 LIVE AT 14 16 GROVER WASHINGTON JR. ERIC GALE (Columbia JC 34938) Vaughan, the Billy May Band and theTeddy (Kudu KUX-3637 MZ) 2 15 Buckner Band. 23 RUBY, RUBY (A&M SP 19 24 3 RAINBOW SEEKER GATO BARBIERI 4655) According to executive producer JOE SAMPLE (ABC AA-1050) 3 8 LAWS AT THE PAVILLION — Columbia Charles Allen, negotiations are now un- 24 SAY IT WITH SILENCE — recording artist Hubert Laws was con- derway for a series sponsor. 4 HOLD ON HUBERT LAWS (Columbia JC 35022) 1 NOEL POINTER gratulated at a reception in his honor after The series is produced by James Carlton (United Artists UA-LA 848H) 4 8 25 HAVANA CANDY his recent performance at the Dorothy Baker and directed by Mark Massair. Music PATTI AUSTIN (CTI 7-5006) 24 20 Chandler Pavillion. Pictered (l-r) are: Dr. coordinator is Don Bagely, in conjunction 5 FEELS SO GOOD CHUCK MANGIONE (A&M SP 4658) 5 22 26 TIGHTROPE George Butler, vice president jazz & with consultant Bobby Knight. -
Understanding the White, Mainstream Appeal of Hip-Hop Music
UNDERSTANDING THE WHITE, MAINSTREAM APPEAL OF HIP-HOP MUSIC: IS IT A FAD OR IS IT THE REAL THING? by JANISE MARIE BLACKSHEAR (Under the Direction of Tina M. Harris) ABSTRACT This study explores why young, White, suburban adults are consumers and fans of hip- hop music, considering it is a Black cultural art form that is specific to African-Americans. While the hip-hop music industry is predominately Black, studies consistently show that over 70% of its consumers are White. Through focus group data, this thesis revealed that hip-hop music is used by White listeners as a means for negotiating social group memberships (i.e. race, class). More importantly, the findings also contribute to the more public debate and dialogue that has plagued Black music, offering further evidence that White appropriation of Black cultural artifacts (e.g., jazz music) remains a constant, particularly in the case of hip-hop. While the findings are not generalizable to all young White suburban consumers of this genre of music, it may be inferred that a White racial identity does not help this group of consumers relate to hip- hop music. INDEX WORDS: Hip-hop Music, Whiteness, Rap Communication Messages, Racial Identity Performance, In-group/Out-group Membership UNDERSTANDING THE WHITE, MAINSTREAM APPEAL OF HIP-HOP MUSIC: IS IT A FAD OR IS IT THE REAL THING? by JANISE MARIE BLACKSHEAR B.A., Central Michigan University, 2005 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2007 © 2007 Janise Marie Blackshear All Rights Reserved UNDERSTANDING THE WHITE, MAINSTREAM APPEAL OF HIP-HOP MUSIC: IS IT A FAD OR IS IT THE REAL THING? by JANISE MARIE BLACKSHEAR Major Professor: Tina M. -
The African American Historic Designation Council (Aahdc)
A COMPILTION OF AFRICAN AMERICANS AND HISTORIC SITES IN THE TOWN OF HUNTINGTON Presented by THE AFRICAN AMERICAN HISTORIC DESIGNATION COUNCIL (AAHDC) John William Coltrane On Candlewood Path in Dix Hills, New York. obscured among overgrown trees, sits the home of jazz legend John Coltrane, a worldwide jazz icon. Born on September 23, 1920, in Hamlet, North Carolina, Coltrane followed in the foot steps of his father who played several instruments. He learned music at an early age, influenced by Lester Young and Johnny Hodges and others which led him to shi to the alto saxophone. He connued his musical training in Philadelphia and was called to military service during World War II, where he performed in the U.S. Navy Band. Aer the war, Coltrane connued his zest for music, playing the tenor saxophone with the Eddie Vinson Band, performing with Jimmy Heath. He later joined the Dizzy Gillespie Band. His passion for experimentaon was be- ginning to take shape; however, it was his work with the Miles Davis Quintet in 1958 that would lead to his own musical evoluon. He was impressed with the freedom given to him by Miles Davis' music and was quoted as say- ing "Miles' music gave me plenty of freedom." This freedom led him to form his own band. By 1960, Coltrane had formed his own quartet, which included pianist McCoy Tyner, drummer Elvin Jones, and bassist Jimmy Garrison. He eventually added other players including Eric Dolphy and Pharaoh Sanders. The John Coltrane Quartet, a novelty group, created some of the most innovave and expressive music in jazz histo- ry, including hit albums: "My Favorite Things," "Africa Brass," "Impressions," and his most famous piece, "A Love Supreme." "A Love Supreme," composed in his home on Candlewood Path, not only effected posive change in North America, but helped to change people's percepon of African Americans throughout the world. -
Eddie "Cleanhead" Vinson Cherry Red Blues Mp3, Flac, Wma
Eddie "Cleanhead" Vinson Cherry Red Blues mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Blues Album: Cherry Red Blues Country: Germany Released: 1976 MP3 version RAR size: 1153 mb FLAC version RAR size: 1651 mb WMA version RAR size: 1943 mb Rating: 4.7 Votes: 646 Other Formats: MP4 DTS VOC MIDI ADX AC3 DMF Tracklist Hide Credits Cherry Red A1 2:42 Written-By – Turner*, Johnson* Ashes On My Pillow A2 2:32 Written-By – Hot Lips Page Kidney Stew A3 2:27 Written-By – Vinson*, Blackman* Queen Bee Blues A4 2:48 Written-By – Davis*, Glover*, Mann* Somebody Done Stole My Cherry Red A5 2:36 Written-By – Davis*, Glover* Lonesome Train A6 2:20 Written-By – Singleton*, McRae* Person To Person B1 2:12 Written-By – Singleton*, McRae* My Big Brass Bed Is Gone B2 2:41 Written-By – Glover*, Mann* Rainy Mornin' Blues B3 2:30 Written-By – Henry Glover I Need You Tonight B4 2:30 Written-By – Singleton*, McRae* Feathered Mama B5 2:34 Written-By – Bernard*, Mann* Good Bread Alley B6 2:34 Written-By – Singleton*, McRae* Other versions Category Artist Title (Format) Label Category Country Year Cherry Red Blues (LP, KS 1087 Eddie Vinson* King Records KS 1087 US 1976 Comp) Cherry Red Blues (LP, KS 1087 Eddie Vinson* King Records KS 1087 US Unknown Comp) Cherry Red Blues (Cass, GD-5035X Eddie Vinson* Gusto Records GD-5035X US 1979 Comp) Highland Music, Cherry Red Blues (2xLP, GD-5035X Eddie Vinson* Inc., Gusto GD-5035X US Unknown Comp, RE) Records, Inc. Cherry Red Blues (LP, KS 1087 Eddie Vinson* King Records KS 1087 Japan 1983 Comp, RE) Related Music albums to Cherry Red Blues by Eddie "Cleanhead" Vinson Eddie "Cleanhead" Vinson - The Original Cleanhead Eddie "Cleanhead" Vinson - Cherry Red Eddie "Cleanhead" Vinson - You Cant Make Love Alone SUPER BLACK BLUES Leon Thomas/ T-Bone Walker/ Eddie "Cleanhead" Vinson/ Joe Turner - Eddie Vinson - The Chronological Eddie Vinson 1947-1949 Eddie "Cleanhead" Vinson - Cleanhead's Back In Town Eddie "Cleanhead" Vinson - Jamming The Blues Etta James & Eddie "Cleanhead" Vinson - The Late Show. -
Etta James 2012
February 2012 www.torontobluessociety.com Published by the TORON T O BLUES SOCIE T Y since 1985 [email protected] Vol 28, No 2 1938 Etta James 2012 CANADIAN PUBLICATIONS MAIL AGREEMENT #40011871 MBA winners Event Listings John’s Blues Picks & more Loose Blues News TORON T O BLUES SOCIE T Y Upcoming TBS Events 910 Queen St. W. Ste. B04 Toronto, Canada M6J 1G6 Tel. (416) 538-3885 Toll-free 1-866-871-9457 Email: [email protected] Website: www.torontobluessociety.com MapleBlues is published monthly by the Toronto Blues Society ISSN 0827-0597 2012 BOARD OF DIRECTORS Derek Andrews (President), Jon Arnold (Executive), Gord Brown, Lucie Dufault (Secretary), Sharon Evans, Sarah French, Julian Fauth and Paul Reddick will appear Thursday, February 2 at the Gladstone Sharon Kate Grace, Michael Malone (Treasurer), Hotel's Melody Bar as part of the Toronto Blues Society First Thursday series. The Ed Parsons (Executive), Norman Robinson, Toronto Blues Society presents the best in blues talent the first Thursday of each month Paul Sanderson, Mike Smith (Executive), John at the recently renovated Melody Bar in The Gladstone Hotel. Performances are Valenteyn (Executive) free to the public and begin at 9pm. The next show in the series is on March 1, and Musicians Advisory Council: Lance Anderson, features a performance by Rick Taylor and Carlos del Junco. Check back soon Brian Blain, Gary Kendall, Al Lerman, Lily Sazz, to find out about upcoming performances including Layla Zoe (April 5), and Mark Stafford, Suzie Vinnick Morgan Davis (May 3). Membership Committee: Mike Malone, Lucie Default, Gord Brown, Sarah French, Mike Smith, Debbie Brown, Ed February 11, 1pm-4pm at Lula Lounge (1585 Dundas St Parsons, Norm Robinson, Rick Battision, W) - Digital Dollars: The second Digital Dollars seminar. -
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.