DOCSLIB.ORG

01 FM Half Title 1..2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

List of Entries A Backspin Activism SEE African Hip Hop; Afrika Bambaataa; Bad Boy Records Anti-Apartheid Movement in Hip Hop; Combs, Sean; Battle, Battling Common; Conscious Hip Hop; Entrepreneurialism; The Bay Area Five Percent Nation; Feminism and Hip Hop; Hip Hop Beastie Boys Studies; Hip Hop Summits; KRS-One; Mass Beat Makers Incarceration; Nine Elements of Hip Hop; Posse Cut; Beat Street SEE Film Simmons, Russell; Stop the Violence Movement Beatboxing Adidas SEE Fashion; Rap as Marketing, Advertising, and Beef Branding; Sneakers Bilingual Rap SEE Spanglish Rap Advertising and Marketing SEE Rap as Marketing, Black Nationalism SEE Conscious Hip Hop; Five Percent Advertising, and Branding Nation; Nation of Islam Aerosol Art SEE Graffiti Blaxploitation African Hip Hop Bling Africentricism SEE Afrofuturism; Conscious Hip Hop; Boogie Down Productions SEE Beef; Criminal Minded; The Low End Theory; Universal Zulu Nation KRS-One Afrika Bambaataa Boom Bap Afrofuturism Boom Box AKAs SEE Names Bounce All Eyez on Me The Box Alter Egos SEE Names Breakbeat DJing SEE DJing Alternative Rap Breakdancing Answer Records SEE Collectives; The Roxanne Wars Bronx River Community Center Anti-Apartheid Movement in Hip Hop Business Models SEE Entrepreneurialism Asian Hip Hop Busta Rhymes Atlanta SEE Dungeon Family; Outkast; The South; Trap Music C Authenticity Campbell, Luther “Luke” Auto-Tune Capitalism and Hip Hop SEE Entrepreneurialism Cartoons SEE Comics B Cash Money Records B-Boy, B-Girl Censorship SEE Asian Hip Hop; Culture Wars; Middle Backpack Eastern Hip Hop; N.W.A XVII LIST OF ENTRIES Chap Hop Emceeing SEE MCing Chicago SEE Common; Drill Rap; The Midwest Eminem Christian Rap Entrepreneurialism The Chronic Eric B. and Rakim Chuck D European Hip Hop “Close the Crackhouse” SEE Drugs and Hip Hop; Experimental Hip Hop Posse Cut The Cold Crush Brothers F Collectives Fab 5 Freddy Combs, Sean The Fantastic Five Comics Fashion Commercial Hip Hop Feminism and Hip Hop Common 1520 Sedgwick Avenue Conscious Hip Hop “Fight the Power” Conzo, Joe, Jr. SEE Photography Film Crate Digging SEE Beat Makers Five Percent Nation Crew Flow Cribs Fly Criminal Minded Fly Girl Crossfader Foxy Brown Crunk, Crunking Freak Culture Wars Freestyle Cypher Fresh “F*ck tha Police” SEE Mass Incarceration; N.W.A D Dapper Dan G De La Soul SEE Golden Age of Hip Hop; Native Tongues G-Funk SEE The Chronic; Gangsta Rap; Los Angeles (So Cal) Death Row Records Gangsta Rap Def Ghetto Blaster SEE Boom Box Def Jam Recordings Go-Go Music Dirty South SEE The South Gold Chains SEE Bling Disco Fever Golden Age of Hip Hop DJ Kool Herc Goodie Mob SEE Dungeon Family DJing Graffiti The Dozens Grandmaster Flash Dr. Dre Grillz SEE Bling Drill Rap Drugs and Hip Hop H Dungeon Family Hardcore Rap Hip Hop–Based Education Movement E Hip Hop Studies Early Hip Hop Venues Hip Hop Summits East Coast Rap SEE Afrika Bambaataa; Bad Boy Records; Hip House Beef; Combs, Sean; DJ Kool Herc; Grandmaster Flash; Hoe Avenue Peace Meeting Nas; The Notorious B.I.G.; Run-D.M.C.; A Tribe Homo Hop SEE Queer Hip Hop Called Quest; Wu-Tang Clan Homophobia in Hip Hop East Coast–West Coast Wars SEE Beef; Collectives; Hoodies SEE Fashion Combs, Sean; The Notorious B.I.G. Horrorcore Education SEE Hip Hop–Based Education Movement; Hot 97 Hip Hop Studies; Rap as Poetry Hype Man 8 Mile SEE Eminem; Film 808 Drum Machine I Electoral Politics SEE Combs, Sean; The South Ice Cube Electro-Hop Ice-T Elliott, Missy Imprint Labels SEE Entrepreneurialism XVIII ST. JAMES ENCYCLOPEDIA OF HIP HOP CULTURE LIST OF ENTRIES It Takes a Nation of Millions to Hold Us Back New York City Izzle N*gga Nine Elements of Hip Hop J 1989 Grammy Boycott JAY-Z No Limit Records Jewelry SEE Bling The Northeast Jimmy Hat The Notorious B.I.G. Juice Crew Novelty Rap Songs K N.W.A Kangol SEE Fashion O Kid Rappers Old School “King Tim III (Personality Jock)” Organized Konfusion Korean Hip Hop Outkast Kris Kross SEE Kid Rappers KRS-One P Krush Groove SEE Film; Simmons, Russell The Pacific Northwest Kung Fu SEE Martial Arts Paniccioli, Ernie SEE Photography L Paul’s Boutique Payola Lady B “Personality Jock” SEE “King Tim III (Personality Jock)” Latin American Hip Hop Philadelphia SEE Lady B; The Northeast; “P.S.K. Lil’ Kim (What Does It Mean?)” Lil Wayne Photography Literature Pimp My Ride Locking Poetry SEE Hip Hop Summits; Literature; Proto-Rap; Los Angeles (So Cal) Rap as Poetry; Signifying The Low End Theory Police Songs SEE Mass Incarceration M Police Surveillance of Hip Hop SEE Mass Incarceration The Marshall Mathers LP Political Hip Hop SEE Conscious Hip Hop Martial Arts Popping Mash-up Posse Cut Mass Incarceration Print Media Master P Prison Industrial Complex SEE Mass Incarceration MCing Producers SEE Beat Makers Mercedes Ladies Proto-Rap Miami “P.S.K. (What Does It Mean?)” Middle Eastern Hip Hop Public Enemy The Midwest The Miseducation of Lauryn Hill Q Misogyny in Rap Queen Latifah Mixer Queer Hip Hop Mixtape Monikers SEE Names R Mr. Magic’s Rap Attack Radio SEE Hot 97; Lady B; Mr. Magic’s Rap Attack; Payola; The Stretch and Bobbito Radio Show N Rap Name Belt Buckles SEE Fashion Rap as Marketing, Advertising, and Branding Names Rap as Poetry Nas Rap Lyrics as Criminal Evidence SEE Culture Wars; Mass Nation of Islam Incarceration Native Tongues Rap Metal Nerdcore Rap Pages SEE Print Media New Jack Swing “Rapper’s Delight” New School Rapping SEE MCing ST. JAMES ENCYCLOPEDIA OF HIP HOP CULTURE XIX LIST OF ENTRIES Raptivism SEE African Hip Hop; Afrika Bambaataa; Television SEE The Box; Cribs; Pimp My Ride; Reality Anti-Apartheid Movement in Hip Hop; Combs, Sean; Shows; Sisters in the Name of Rap; Style Wars; Video Common; Conscious Hip Hop; Entrepreneurialism; Five Music Box; Yo! MTV Raps Percent Nation; Feminism and Hip Hop; Hip Hop Temple of Hip Hop SEE KRS-One Studies; Hip Hop Summits; KRS-One; Mass Theater Incarceration; Nine Elements of Hip Hop; Posse Cut; T.I. SEE Trap Music Simmons, Russell; Stop the Violence Movement Trap Music Reality Shows A Tribe Called Quest Recording Contracts SEE Entrepreneurialism Tucker, C. Delores SEE Culture Wars Reggaeton Turntablism SEE DJing Remix 2 Live Crew SEE Campbell, Luther “Luke”; Miami Robinson, Sylvia 2Pac Rock Steady Crew The Roxanne Wars U Run-D.M.C. Ultramagnetic MCs Run-D.M.C. Underground Music Universal Zulu Nation S Sampling V Scarface Vanilla Ice SEE Authenticity; White Rappers Scratching Venues SEE Bronx River Community Center; Disco Senate Hearings SEE Culture Wars Fever; Early Hip Hop Venues; 1520 Sedgwick The Sequence Avenue Signifying Vernacular Simmons, Russell Vibe SEE Print Media Sister Souljah SEE Literature Video Games (and Soundtracks) Sisters in the Name of Rap Video Jukebox Network SEE The Box Slang SEE Vernacular Video Music Box Sneakers Vote or Die! SEE Combs, Sean Snoop Dogg The Source SEE Print Media WXYZ The South “We’re All in the Same Gang” SEE Posse Cut; Stop the Spanglish Rap Violence Movement Stetsasonic West, Kanye Stop the Violence Movement West Coast Rap SEE The Bay Area; Beef; Death Row Straight Outta Compton Records; Dr. Dre; Gangsta Rap; Ice Cube; Los Angeles Street Fashion SEE Bling; Fashion; Sneakers (So Cal); N.W.A; 2Pac Street Lit SEE Hip Hop Studies; Literature; Rap as White Rappers Poetry Wild Style The Stretch and Bobbito Radio Show Williams, Hype Style Wars Word Up! SEE Print Media Sugarhill Gang SEE MCing; “Rapper’s Delight”; World Hip Hop SEE African Hip Hop; Asian Hip Hop; Robinson, Sylvia European Hip Hop; Korean Hip Hop; Latin American “The Symphony” SEE Posse Cut Hip Hop; Middle Eastern Hip Hop WQHT-FM SEE Hot 97 T Wu-Tang Clan Tag/Tagging SEE Graffiti Yo! MTV Raps XX ST. JAMES ENCYCLOPEDIA OF HIP HOP CULTURE.
Recommended publications
  • Sexism Across Musical Genres: a Comparison

    Sexism Across Musical Genres: a Comparison

    Western Michigan University ScholarWorks at WMU Honors Theses Lee Honors College 6-24-2014 Sexism Across Musical Genres: A Comparison Sarah Neff Western Michigan University, [email protected] Follow this and additional works at: https://scholarworks.wmich.edu/honors_theses Part of the Social Psychology Commons Recommended Citation Neff, Sarah, "Sexism Across Musical Genres: A Comparison" (2014). Honors Theses. 2484. https://scholarworks.wmich.edu/honors_theses/2484 This Honors Thesis-Open Access is brought to you for free and open access by the Lee Honors College at ScholarWorks at WMU. It has been accepted for inclusion in Honors Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. Running head: SEXISM ACROSS MUSICAL GENRES 1 Sexism Across Musical Genres: A Comparison Sarah E. Neff Western Michigan University SEXISM ACROSS MUSICAL GENRES 2 Abstract Music is a part of daily life for most people, leading the messages within music to permeate people’s consciousness. This is concerning when the messages in music follow discriminatory themes such as sexism or racism. Sexism in music is becoming well documented, but some genres are scrutinized more heavily than others. Rap and hip-hop get much more attention in popular media for being sexist than do genres such as country and rock. My goal was to show whether or not genres such as country and rock are as sexist as rap and hip-hop. In this project, I analyze the top ten songs of 2013 from six genres looking for five themes of sexism. The six genres used are rap, hip-hop, country, rock, alternative, and dance.
  • In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence

    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).
  • Gender Dimensions in Emerging African Music Genres: a Case of Kenyan Local Hip Hop

    Gender Dimensions in Emerging African Music Genres: a Case of Kenyan Local Hip Hop

    IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 24, Issue 5, Ser. 9 (May. 2019) 54-61 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Gender Dimensions in Emerging African Music Genres: A Case of Kenyan Local Hip Hop Pamela N.Wanjala Shamberere Technical Training Institute P.o Box 1316, Kakamega, Kenya Abstract: The question of gender bias is now seen as a major challenge in almost every discipline that deals with human behavior, cognition, institutions, society and culture. Therefore, this paper was an attempt to investigate gender dimensions in the emerging African genres; a case study of local hip hop songs in Kenya. It discussed the extent to which hip hop language is gender biased. It focused on the popular local hip hop songs and video images that occur with the songs. The study used the Social Semiotic Theory in the theoretical framework. Ten hip hop songs and ten video excerpts were purposively selected for analysis. The hip hop songs were coded according to the name of the artist and year of production. The data was analyzed under three sections: Linguistic analysis, Image analysis and Gender analysis. The study revealed that indeed there is gender bias in the language of the favourite youth culture. This was revealed in the lexis that distinguishes gender, in the syntactic analysis and also in the image analysis. It was found that in hip hop music, men tend to be regarded higher in terms of roles, occupation and general human traits like strength and control than women. The study therefore recommends that radio and television stations, and other advertising agencies should join the battle for women liberation by using gender sensitive language and focusing on positive and constructive societal changes in terms of gender roles.
  • The Concert Hall As a Medium of Musical Culture: the Technical Mediation of Listening in the 19Th Century

    The Concert Hall As a Medium of Musical Culture: the Technical Mediation of Listening in the 19Th Century

    The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century by Darryl Mark Cressman M.A. (Communication), University of Windsor, 2004 B.A (Hons.), University of Windsor, 2002 Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the School of Communication Faculty of Communication, Art and Technology © Darryl Mark Cressman 2012 SIMON FRASER UNIVERSITY Fall 2012 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for “Fair Dealing.” Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Darryl Mark Cressman Degree: Doctor of Philosophy (Communication) Title of Thesis: The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century Examining Committee: Chair: Martin Laba, Associate Professor Andrew Feenberg Senior Supervisor Professor Gary McCarron Supervisor Associate Professor Shane Gunster Supervisor Associate Professor Barry Truax Internal Examiner Professor School of Communication, Simon Fraser Universty Hans-Joachim Braun External Examiner Professor of Modern Social, Economic and Technical History Helmut-Schmidt University, Hamburg Date Defended: September 19, 2012 ii Partial Copyright License iii Abstract Taking the relationship
  • Global Hip-Hop Class

    Global Hip-Hop Class

    AAAS 135b: GLOBAL HIP-HOP Wed 6:30-9:20 pm Mandel G03 Spring 2012 Wayne Marshall [email protected] office hours: by appointment DESCRIPTION Examining how hip-hop travels and is embraced, represented, and transformed in various locales around the world, this course approaches hip-hop as itself constituted by international flows and as a product and set of practices that circulate globally in complex ways, cast variously as American, African-American, and/or black, and recast through the cultural logics of the new spaces it enters, the soundscapes it permeates. A host of questions arise when we consider hip-hopʼs global scope and significance: What does the genre in its various forms (audio, video, sartorial, gestural) carry beyond the US? What do people bring to it in new local contexts? How are US notions of race and nation mediated by hip-hop's global reach? Why do some global (which is to say, local) hip-hop scenes fasten onto the genre's well-rehearsed focus on place, community, and righteous opposition to structural and representational forms of violence, while others appear more enamored with slick portrayals of hustler archetypes, cool machismo, and ruggedly individualist, conspicuous consumption? How can hip-hop circulate in such contradictory forms? In what ways do hip-hop scenes differ from North to South America, West to East Africa, Europe to Asia? What threads unite them? In pursuit of such questions, we will read across the emerging literature on global hip- hop as we explore the growing resources available via the internet, where websites and blogs, MySpace and YouTube and the like have facilitated a further efflorescence of international (and peer-to-peer) exchanges around hip-hop.
  • DJ Skills the Rise of the Hip-Hop DJ 3

    DJ Skills the Rise of the Hip-Hop DJ 3

    The Rise of the Hip-Hop DJ 1 74 The Rise of The Hip-hop DJ DJs were Hip-hop’s original architects, and remain crucial to its contin- ued development. Hip-hop is more than a style of music; it’s a culture. As with any culture, there are various artistic expressions of Hip-hop, the four principal expressions being: • visual art (graffiti) • dance (breaking, rocking, locking, and popping, collectively known in the media as “break dancing”) • literature (rap lyrics and slam poetry) • music (DJing and turntablism) Unlike the European Renaissance or the Ming Dynasty, Hip-hop is a culture that is very much alive and still evolving. Some argue that Hip-hop is the most influential cultural movement in history, point- ing to the globalization of Hip-hop music, fashion, and other forms of expression. Style has always been at the forefront of Hip-hop. Improvisation is called free styling, whether in rap, turntablism, breaking, or graf- fiti writing. Since everyone is using the essentially same tools (spray paint for graffiti writers, microphones for rappers and beat boxers, their bodies for dancers, and two turntables with a mixer for DJs), it’s the artists’ personal styles that set them apart. It’s no coincidence that two of the most authentic movies about the genesis of the move- ment are titled Wild Style and Style Wars. There are also many styles of writing the word “Hip-hop.” The mainstream media most often oscillates between “hip-hop” and “hip hop.” The Hiphop Archive at Harvard writes “Hiphop” as one word, 2 DJ Skills The Rise of the Hip-Hop DJ 3 with a capital H, embracing KRS-ONE’s line of reasoning that “Hiphop Kool DJ Herc is a culture with its own foundation narrative, history, natives, and 7 In 1955 in Jamaica, a young woman from the parish of Saint Mary mission.” After a great deal of input from many people in the Hip-hop community, I’ve decided to capitalize the word but keep the hyphen, gave birth to a son who would become the father of Hip-hop.
  • April 1, 2011 Thru June 30, 2011 Performance Report B-11

    April 1, 2011 Thru June 30, 2011 Performance Report B-11

    Grantee: New York City, NY Grant: B-11-MN-36-0103 April 1, 2011 thru June 30, 2011 Performance Report 1 Community Development Systems Disaster Recovery Grant Reporting System (DRGR) Grant Number: Obligation Date: Award Date: B-11-MN-36-0103 Grantee Name: Contract End Date: Review by HUD: New York City, NY 03/10/2014 Reviewed and Approved LOCCS Authorized Amount: Grant Status: QPR Contact: $9,787,803.00 Active Lindsay Haddix Estimated PI/RL Funds: $0.00 Total Budget: $9,787,803.00 Disasters: Declaration Number No Disasters Found Narratives Summary of Distribution and Uses of NSP Funds: The Ely Avenue project was initially conceptualized in 2006 to build ten two-family homes in the Baychester neighborhood of the Bronx. The construction began on schedule and continued until the project was 75% built. The Ely Avenue project will be carried out under NSP Eligible Use B: Acquisition and Rehabilitation and CDBG Activity Sec. 570.201(a) Acquisition. A new developer, using a combination of $1,500,000 of NSP3 funds, a private mortgage and equity would acquire the project and complete the remaining construction. Upon completion, all 20 units would be rented to low, moderate and middle-income individuals and families at, or below 120% of the area median income (AMI). The Kelly Street 25% project consists of a 79 unit, five building portfolio located on Kelly Street in Longwood/Hunts Point neighborhood of the Bronx. The portfolio was initially acquired by a speculative investor and has since fallen into a severe state of physical distress.An affordable housing owner, WFH Advisors would purchase the portfolio of buildings using a combination of funds that includes $2,446,825 in NSP3 funds.
  • 'What Ever Happened to Breakdancing?'

    'What Ever Happened to Breakdancing?'

    'What ever happened to breakdancing?' Transnational h-hoy/b-girl networks, underground video magazines and imagined affinities. Mary Fogarty Submitted in partial fulfillment Of the requirements for the degree of Interdisciplinary MA in Popular Culture Brock University St. Catharines, Ontario © November 2006 For my sister, Pauline 111 Acknowledgements The Canada Graduate Scholarship (SSHRC) enabled me to focus full-time on my studies. I would also like to express my deepest gratitude to my committee members: Andy Bennett, Hans A. Skott-Myhre, Nick Baxter-Moore and Will Straw. These scholars have shaped my ideas about this project in crucial ways. I am indebted to Michael Zryd and Francois Lukawecki for their unwavering kindness, encouragement and wisdom over many years. Steve Russell patiently began to teach me basic rules ofgrammar. Barry Grant and Eric Liu provided comments about earlier chapter drafts. Simon Frith, Raquel Rivera, Anthony Kwame Harrison, Kwande Kefentse and John Hunting offered influential suggestions and encouragement in correspondence. Mike Ripmeester, Sarah Matheson, Jeannette Sloniowski, Scott Henderson, Jim Leach, Christie Milliken, David Butz and Dale Bradley also contributed helpful insights in either lectures or conversations. AJ Fashbaugh supplied the soul food and music that kept my body and mind nourished last year. If AJ brought the knowledge then Matt Masters brought the truth. (What a powerful triangle, indeed!) I was exceptionally fortunate to have such noteworthy fellow graduate students. Cole Lewis (my summer writing partner who kept me accountable), Zorianna Zurba, Jana Tomcko, Nylda Gallardo-Lopez, Seth Mulvey and Pauline Fogarty each lent an ear on numerous much needed occasions as I worked through my ideas out loud.
  • Chapter 6. the Voice of the Other America: African

    Chapter 6. the Voice of the Other America: African

    Chapter 6 Th e Voice of the Other America African-American Music and Political Protest in the German Democratic Republic Michael Rauhut African-American music represents a synthesis of African and European tradi- tions, its origins reaching as far back as the early sixteenth century to the begin- ning of the systematic importation of “black” slaves to the European colonies of the American continent.1 Out of a plethora of forms and styles, three basic pil- lars of African-American music came to prominence during the wave of indus- trialization that took place at the start of the twentieth century: blues, jazz, and gospel. Th ese forms laid the foundation for nearly all important developments in popular music up to the present—whether R&B, soul and funk, house music, or hip-hop. Th anks to its continual innovation and evolution, African-American music has become a constitutive presence in the daily life of several generations. In East Germany, as throughout European countries on both sides of the Iron Curtain, manifold directions and derivatives of these forms took root. Th ey were carried through the airwaves and seeped into cultural niches until, fi nally, this music landed on the political agenda. Both fans and functionaries discovered an enormous social potential beneath the melodious surface, even if their aims were for the most part in opposition. For the government, the implicit rejection of the communist social model represented by African-American music was seen as a security issue and a threat to the stability of the system. Even though the state’s reactions became weaker over time, the offi cial interaction with African-American music retained a political connotation for the life of the regime.
  • Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York NEWSLETTER Volume XXXIV, No

    Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York NEWSLETTER Volume XXXIV, No

    Institute for Studies In American Music Conservatory of Music, Brooklyn College of the City University of New York NEWSLETTER Volume XXXIV, No. 2 Spring 2005 Jungle Jive: Jazz was an integral element in the sound and appearance of animated cartoons produced in Race, Jazz, Hollywood from the late 1920s through the late 1950s.1 Everything from big band to free jazz and Cartoons has been featured in cartoons, either as the by soundtrack to a story or the basis for one. The studio run by the Fleischer brothers took an Daniel Goldmark unusual approach to jazz in the late 1920s and the 1930s, treating it not as background but as a musical genre deserving of recognition. Instead of using jazz idioms merely to color the musical score, their cartoons featured popular songs by prominent recording artists. Fleischer was a well- known studio in the 1920s, perhaps most famous Louis Armstrong in the jazz cartoon I’ll Be Glad When for pioneering the sing-along cartoon with the You’ re Dead, You Rascal You (Fleischer, 1932) bouncing ball in Song Car-Tunes. An added attraction to Fleischer cartoons was that Paramount Pictures, their distributor and parent company, allowed the Fleischers to use its newsreel recording facilities, where they were permitted to film famous performers scheduled to appear in Paramount shorts and films.2 Thus, a wide variety of musicians, including Ethel Merman, Rudy Vallee, the Mills Brothers, Gus Edwards, the Boswell Sisters, Cab Calloway, and Louis Armstrong, began appearing in Fleischer cartoons. This arrangement benefited both the studios and the stars.
  • Epsiode 20: Happy Birthday, Hybrid Theory!

    Epsiode 20: Happy Birthday, Hybrid Theory!

    Epsiode 20: Happy Birthday, Hybrid Theory! So, we’ve hit another milestone. I’ve rated for 15+ before like 6am, when it made 20 episodes of this podcast – which becomes a Top 50 countdown. When I was is frankly very silly – and I was trying younger, it was the quickest way to find to think about what I could write about new music, and potentially accidentally to reflect such a momentous occasion. see something that would really scar I was trying to think of something that you, music-video wise. Like that time I was released in the year 2000 and accidentally saw Aphex Twin’s Come to was, as such, experiencing a similarly Daddy music video. momentous 20th anniversary. The answer is, unsurprisingly, a lot of things But because I was tiny and my brain – Gladiator, Bring It On and American was a sponge, it turns out a lot of what Psycho all came out in the year 2000. But I consumed has actually just oozed into I wasn’t allowed to watch any of those every recess of my being, to the point things until I was in high school, and they where One Step Closer came on and I didn’t really spur me to action. immediately sang all the words like I was in some sort of trance. And I haven’t done And then I sent a rambling voice memo a musical episode for a while. So, today, to Wes, who you may remember from we’re talking Nu Metal, baby! Hell yeah! such hits as “making this podcast sound any good” and “writing the theme tune I’m Alex.
  • Boogie Down Productions Edutainment Mp3, Flac, Wma

    Boogie Down Productions Edutainment Mp3, Flac, Wma

    Boogie Down Productions Edutainment mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Edutainment Country: Germany Released: 1994 MP3 version RAR size: 1788 mb FLAC version RAR size: 1500 mb WMA version RAR size: 1682 mb Rating: 4.6 Votes: 270 Other Formats: WMA AUD MPC MP1 AU VQF MP3 Tracklist Hide Credits 1 Exhibit A 1:40 2 Blackman In Effect 4:40 3 Ya Know The Rules 3:49 4 Exhibit B 0:51 5 Beef 2:30 6 House Nigga's 4:32 7 Exhibit C 0:14 Love's Gonna Get'cha (Material Love) 8 Performer [Love's Gonna Get You Baby Sample] – Jocelyn BrownWritten-by 6:40 [Love's Gonna Get You Baby Sample] – T. Coleandreo* 100 Guns 9 3:57 Keyboards – Sidney Mills Ya Strugglin' 10 3:13 Featuring – Kwame Touré* 11 Breath Control II 3:55 12 Exhibit D 0:40 13 Edutainment 3:04 14 The Homeless 2:24 15 Exhibit E 0:38 16 The Kenny Parker Show 5:29 Original Lyrics 17 4:03 Featuring – Special "K"* 18 The Racist 3:22 Bonus Tracks: 19 7 Dee Jays 9:18 20 30 Cops Or More 4:03 21 Exhibit F 0:55 Companies, etc. Pressed By – Sonopress – I-3527 Credits Design – ZombArt NG* Engineer – D-Square (tracks: 1 to 3, 5 to 13, 15 to 21), Mike Nuceeder* (tracks: 14), Rebekeh Foster* (tracks: 6, 20) Mastered By – Tom Coyne Photography By – Gary Spector Producer – D-Nice (tracks: 2, 10), Decadent Dub Team (tracks: 19, 20), KRS-One (tracks: 1 to 7, 9 to 21), Pal Joey (tracks: 8), Sidney Mills (tracks: 19, 20) Scratches – DJ Kenny Parker* Written-By, Directed By, Mixed By – KRS-One Notes Recorded and mixed at Power Play Studio, L.I.C., NY and Battery Studios, NYC.