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An Autoethnography of Scottish Hip-Hop: Identity, Locality, Outsiderdom and Social Commentary
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository@Napier An autoethnography of Scottish hip-hop: identity, locality, outsiderdom and social commentary Dave Hook A thesis submitted in partial fulfilment of the requirements of Edinburgh Napier University, for the award of Doctor of Philosophy June 2018 Declaration This critical appraisal is the result of my own work and includes nothing that is the outcome of work done in collaboration except where specifically indicated in the text. It has not been previously submitted, in part or whole, to any university or institution for any degree, diploma, or other qualification. Signed:_________________________________________________________ Date:______5th June 2018 ________________________________________ Dave Hook BA PGCert FHEA Edinburgh i Abstract The published works that form the basis of this PhD are a selection of hip-hop songs written over a period of six years between 2010 and 2015. The lyrics for these pieces are all written by the author and performed with hip-hop group Stanley Odd. The songs have been recorded and commercially released by a number of independent record labels (Circular Records, Handsome Tramp Records and A Modern Way Recordings) with worldwide digital distribution licensed to Fine Tunes, and physical sales through Proper Music Distribution. Considering the poetics of Scottish hip-hop, the accompanying critical reflection is an autoethnographic study, focused on rap lyricism, identity and performance. The significance of the writing lies in how the pieces collectively explore notions of identity, ‘outsiderdom’, politics and society in a Scottish context. Further to this, the pieces are noteworthy in their interpretation of US hip-hop frameworks and structures, adapted and reworked through Scottish culture, dialect and perspective. -
Midwest Choppers 2 Download Free
Midwest choppers 2 download free Artist: Tech N9ne, Song: Midwest Choppers 2 [extended](feat. K-Dean, Krayzie Bone, Twista), Duration: , Size: MB, Bitrate: kbit/sec, Type: mp3. Krayzie Bone & K-Dean) Tech N9ne - Midwest Chopper ツ Tech N9neツ - Midwest Choppers ft. D-Loc, Dalima & Big Kriz Tech N9ne - Midwest Choppers 2(feat. Midwest Choppers 2 by Tech N9ne feat. K-Dean and Krayzie We are considering introducing an ad-free version of WhoSampled. If you would be happy to pay. Stream Tech N9ne Midwest Choppers 2 Lyrics by yancydaveoo17 from desktop or your mobile device. Download. Tech N9ne - Midwest Choppers 2. Download. Tech N9ne - Midwest Choppers (feat. Big Krizz Kaliko, Dalima & D-Loc). Download. Tech N9ne "Midwest Choppers 2" ft. K-Dean & Krayzie Bone iTunes - Official Hip Hop. Midwest Choppers 2 Mp3. Free download Midwest Choppers 2 Mp3 mp3 for free. Tech N9ne - Midwest Choppers 2 (ft. K-Dean & Krayzie Bone). Source. View Lyrics for Midwest Choppers 2 by Tech N9ne at AZ Lyrics Sickology Midwest Choppers 2 AZ lyrics, find other albums and lyrics for Tech. Switch browsers or download Spotify for your desktop. Midwest Choppers 2. By Tech N9ne Collabos. • 1 song, Play on Spotify. 1. Midwest Choppers. Buy Midwest Choppers 2 [Clean]: Read 2 Digital Music Reviews - Buy Midwest Choppers 2 [Explicit]: Read 2 Digital Music Reviews - Start your day free trial of Unlimited to listen to this song plus tens of. Fast and free Tech N9ne Midwest Choppers Instrumental YouTube to MP3. Midwest Choppers 2 Remake On Fl Studio 9(instrumental)-unfinished (OLD) Tech N9ne - Worldwide Choppers FULL Instrumental Remake (with download link). -
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. -
Rap in the Context of African-American Cultural Memory Levern G
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Empowerment and Enslavement: Rap in the Context of African-American Cultural Memory Levern G. Rollins-Haynes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES EMPOWERMENT AND ENSLAVEMENT: RAP IN THE CONTEXT OF AFRICAN-AMERICAN CULTURAL MEMORY By LEVERN G. ROLLINS-HAYNES A Dissertation submitted to the Interdisciplinary Program in the Humanities (IPH) in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2006 The members of the Committee approve the Dissertation of Levern G. Rollins- Haynes defended on June 16, 2006 _____________________________________ Charles Brewer Professor Directing Dissertation _____________________________________ Xiuwen Liu Outside Committee Member _____________________________________ Maricarmen Martinez Committee Member _____________________________________ Frank Gunderson Committee Member Approved: __________________________________________ David Johnson, Chair, Humanities Department __________________________________________ Joseph Travis, Dean, College of Arts and Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is dedicated to my husband, Keith; my mother, Richardine; and my belated sister, Deloris. iii ACKNOWLEDGEMENTS Very special thanks and love to -
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. -
A History of Hip Hop in Halifax: 1985 - 1998
HOW THE EAST COAST ROCKS: A HISTORY OF HIP HOP IN HALIFAX: 1985 - 1998 by Michael McGuire Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia August 2011 © Copyright by Michael McGuire, 2011 DALHOUSIE UNIVERSITY DEPARTMENT OF HISTORY The undersigned hereby certify that they have read and recommend to the Faculty of Graduate Studies for acceptance a thesis entitled “HOW THE EAST COAST ROCKS: A HISTORY OF HIP HOP IN HALIFAX: 1985 - 1998” by Michael McGuire in partial fulfilment of the requirements for the degree of Master of Arts. Dated: August 18, 2011 Supervisor: _________________________________ Readers: _________________________________ _________________________________ ii DALHOUSIE UNIVERSITY DATE: August 18, 2011 AUTHOR: Michael McGuire TITLE: How the East Coast Rocks: A History Of Hip Hop In Halifax: 1985 - 1998 DEPARTMENT OR SCHOOL: Department of History DEGREE: MA CONVOCATION: October YEAR: 2011 Permission is herewith granted to Dalhousie University to circulate and to have copied for non-commercial purposes, at its discretion, the above title upon the request of individuals or institutions. I understand that my thesis will be electronically available to the public. The author reserves other publication rights, and neither the thesis nor extensive extracts from it may be printed or otherwise reproduced without the author’s written permission. The author attests that permission has been obtained for the use of any copyrighted material appearing in the -
The Evolution of Commercial Rap Music Maurice L
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research. -
0 Musical Borrowing in Hip-Hop
MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. Williams, BA, MMus Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2009 0 Musical Borrowing in Hip-hop Music: Theoretical Frameworks and Case Studies Justin A. Williams ABSTRACT ‗Musical Borrowing in Hip-hop‘ begins with a crucial premise: the hip-hop world, as an imagined community, regards unconcealed intertextuality as integral to the production and reception of its artistic culture. In other words, borrowing, in its multidimensional forms and manifestations, is central to the aesthetics of hip-hop. This study of borrowing in hip-hop music, which transcends narrow discourses on ‗sampling‘ (digital sampling), illustrates the variety of ways that one can borrow from a source text or trope, and ways that audiences identify and respond to these practices. Another function of this thesis is to initiate a more nuanced discourse in hip-hop studies, to allow for the number of intertextual avenues travelled within hip-hop recordings, and to present academic frameworks with which to study them. The following five chapters provide case studies that prove that musical borrowing, part and parcel of hip-hop aesthetics, occurs on multiple planes and within myriad dimensions. These case studies include borrowing from the internal past of the genre (Ch. 1), the use of jazz and its reception as an ‗art music‘ within hip-hop (Ch. 2), borrowing and mixing intended for listening spaces such as the automobile (Ch. 3), sampling the voice of rap artists posthumously (Ch. 4), and sampling and borrowing as lineage within the gangsta rap subgenre (Ch. -
Lowering the Bar: the Effects of Misogyny in Rap Music
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 5-2021 Lowering the Bar: The Effects of Misogyny in Rap Music John-Paul Mackey Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Lowering the Bar The Effects of Misogyny in Rap Music John-Paul Mackey California State University, Monterey Bay Music & Performing Arts May 2021 Mackey 1 Table of Contents Introduction 3 The Context of Rap Music 3 Definition and Aesthetics 3 Origins 4 Early History 5 Consumption and Popularity 8 Backlash and Criticism 9 The Context of Misogyny and Misogynoir 10 Misogyny, Misogynoir, and Hegemonic Masculinity 10 Origins 12 Sociological Impact 14 Health and Behavioral Impact 15 Impact on the Media 16 The Proliferation of Misogynistic Rap 18 History 18 Other Characteristics 19 Women’s Role 20 Deflections and Dismissals 22 Responsibility for Misogynistic Rap 23 Common Misogynistic Themes in Rap 26 Overview 26 Objectification of Women 27 Mackey 2 Derogatory Terms and Stereotypes 31 Distrust and Suspicion of Women 33 Violence Against Women 35 Misogyny in Eminem’s Music 38 Effects of Misogynistic Rap 39 Desensitization 39 Reduced Self-Esteem 41 Health and Behavioral Impact 42 Sociological Impact 43 Financial Rewards 45 Promotion and Airplay 46 Misogyny in Other Genres 47 A Changing Climate 49 Backlash and Criticism of Misogynistic Rap 49 The Role of Feminism 51 Topics by Female Rappers 53 Positive Developments 56 Looking Forward 61 Works Cited 65 Mackey 3 Introduction On July 12, 2020, rapper Megan Thee Stallion was shot in the foot, allegedly by fellow musician Tory Lanez. -
2O16 Midwest Duet/Trio Competition
2O16 MIDWEST DUET/TRIO COMPETITION ENTRY FEE: 2016 SUMMER BPP CAMPER ENTRY: $ 45 per DUET and $ 65 per TRIO NON-CAMPER ENTRY: $ 55 per DUET and $ 75 per TRIO SITE: Saturday, August 20th ~ Renaissance Hotel & Convention Center Ballroom QUALIFICATIONS: 2 or 3 Performers Dance length -1:15 maximum Entrance/Exit - Walk on to performing area. No Props. Music - CD recorded at the beginning, single track and labeled with selection title. JUDGING AREAS: Choreography - Appropriate for family audience. Routine emphasis should be on creative pom and dance choreography which is centered around the performer’s strengths. Overall choreography should “USE” each member, rather than a routine completely in unison or simple opposition. A good question to ask is, “… if one performer was taken away, would routine have the same effect?” Standard uniform or dance clothing may be worn. No exposed midriffs. Music Selection - Inappropriate lyrics or movement will result in disqualification/ penalty. ENTRY DEADLINE: ONLY MAIL entries will be accepted from July 20th – August 8th! Your competition number and time slot will be posted on the website (Competition page) starting on August 15th, www.badgerettepompon.com AWARDS: Trophies will be awarded to the top five Duet/Trio Performances! Semi-Finalist routines will be rejudged SATURDAY following team performances at Harper Overall Awards to be presented: 1st /$100 2nd /$75 3rd /$50 4th 5th SPECIAL DISNEY HONOR: The Champion Duet/Trio will be invited to perform on the 2017 Badgerette Disney All*Star Talent Tour ~ 20th Anniversary Celebration! 2016 BADGERETTE MIDWEST CHAMPIONSHIP DUET/TRIO REGISTRATION TEAM NAME ___________________________________________________________________________________ DANCERS NAMES ______________________________________ ____________________________________ ______________________________________ *Please note dancers in multiple Duet/Trios? 2016 CAMPER DUET @ $ 45=_______ -OR- TRIO @ $ 65=________ enc. -
Police React to Violent Crowd with Tear
OREGON DAILY Emerald DAILYEMERALD . COM THE INDEPENDENT STUDENT NEWSPAPER AT THE UNIVERSITY OF OREGON SINCE 1900 VOL. 112. ISSUE 16 MONDAY, SEPTEMBER 27, 2010 KWVA’S TOP 10 BACK DUCKS DEMOLISH ASU DORM FOOD TO SCHOOL ALBUMS LaMichael James runs rampant as Going back to the residence SCENE | PAGE 8 Oregon opens conference play in style halls — for the menu SUMMER SENATE NEEDS PAY SPORTS | PAGE 11 SCENE | PAGE 7 OPINION | PAGE 2 CRIME LOCAL Police react to violent Fairmount fresh crowd with tear gas Several arrested at 400-person riot Friday in West University area MAT WOLF NEWS REPORTER A large street party became a violent confrontation between approximately 400 students and local law enforcement agencies on September 25. Eugene Police Department “party patrols” responded to the intersection of 13th Avenue and Ferry Street at 11:21 p.m., to where there was a large gathering of an estimated 400 individuals. The latest EPD reports count nine individuals arrested in relation to the event. Police responded to the scene by launching four teargas canisters and Lane County Sheriff deputies discharged one non-lethal rubber pellet round. Police press releases identified at least nine individuals, all in their late teens and early twenties, as having been arrested and taken into custody as a result of Friday’s incident. According to official EPD press releases, two individuals were arrested in direct connection to the initial clashes with police following the use of tear gas. The first of the two individuals is Odin VanNorman Erickson, 24, on charges of riot, interfering with ALEX MCDOUGALL PHOTOGRAPHER police, third degree criminal mischief and possession Tom Murray of Seasonal Local Organic Farm answers a question about his farm-grown tomatoes at the Fairmount Farmers Market. -
Eminem Steppin Onto the Scene Tracklist
Eminem steppin onto the scene tracklist click here to download Bassmint Productions – none. Fattest Skinny Kid Alive. If the tape is being sold from the UK, buy with extreme caution because the UK is infamous for selling fake tapes. Find a Bassmint Productions - Steppin' On To The Scene first pressing or reissue. Complete your Bassmint Productions collection. Shop Vinyl and CDs. Bassmint Productions – Steppin' On To The Scene. Genre: Hip Hop. Style: Hardcore Hip-Hop. Year: Tracklist Eminem - Steppin up onto the scene [ VERY RARE] Eminem - Fattest skinny kid alive [VERY RARE] Chaos Kid - Enuff Is Enuff - (Chaos Side) Soul Intent/Bassmint Productions Chaos Kid. Steppin' On To the Scene is the debut EP by local American hip hop group Bassmint Productions, who morphed into Soul Intent in This EP was produced. Soul Intent was an American hip hop group, and consisted of Eminem, Proof, Chaos Kid, Manix and DJ Butter Fingers. They were previously Bassmint Productions between and Contents. 1 Early years: Bassmint Productions; 2 From Soul Intent; 3 Discography. Steppin' On To The Scene () a few homemade/handmade demo tapes, including Steppin' onto the Scene. Tracklist with lyrics of the album STEPPIN' ONTO THE SCENE [] from Soul Intent: Steppin' On To The Scene - Fattest Skinny Kid Alive - Under New. Title, Artist, Rating, Length. 1 · Steppin' On To The Scene · Eminem?:?? 2 · Fattest Skinny Kid Alive · Eminem?:?? 3 · Under New Managment. Style-O-Maniac [Chaos Kid] download; www.doorway.ru Is Enuff [Chaos Kid] (feat. Delirious D) download; www.doorway.ru Have Mercy [Chaos Kid] download; 4. "Steppin' onto the Scene" 2.