1 SFTK PT the Gospel Spitter Feat. Emcee NICE

Total Page：16

File Type：pdf, Size：1020Kb

1 SFTK PT the Gospel Spitter Feat. Emcee NICE

Internet Radio Christian Hip-Hop Chart Week Ending Sep 19, 2021 TW LW Title Artist Label TW +/- Rank Rank Spins 1 1 Need You Jairus Williams Devine Jamz 83 0 Lil Baby X Kirk 2 3 We Win Franklin QC/Motown/Capitol 59 -12 3 6 Love Lost Chris Elijah Hhigh 46 -4 4 11 Let Go JClay JClay Cares 43 6 DJ LostNFound Feat. Saint Jones & 5 9 Made It Out Terrance Lamar Not Listed 43 5 6 5 Forever KrizE Not Listed 43 -23 Rudy Currence & 7 4 No Greater Love Chrisette Michele Mike Chek 43 -24 8 2 My God Jor'Dan Armstrong Encouragement 43 -29 Emcee N.I.C.E. Feat. 9 10 Dancin Dalomonze Gypsy City 39 1 KAPPROVED/RCA 10 14 Let Go Mali Music Inspiration/PLG 32 -2 11 23 I Can't Deaisha Marie Not Listed 31 5 12 26 Tribal Council Indie Tribe Not Listed 29 5 13 15 Us Tedashii & Jawan Not Listed 29 -5 14 13 Over It A'sha FMG 29 -7 Intl Show LLC/The 15 8 Broken Kings International Show Clarion Group 27 -14 Say Something 16 21 (Prodigal Son) NobodyGHY Not Listed 26 -1 Emcee N.I.C.E. Feat. 17 33 Rock The Body Alonda Rich Gypsy City 25 5 K-Drama Feat. Jered Both Sides Of The Sanders & DJ Mykael 18 27 Blessing V Playwright 25 1 19 7 Sunday Koryn Hawthorne RCA Inspiration/PLG 25 -23 Rezurrection Feat. 20 19 Chainz Erica Mason G.O.S. 24 -6 21 24 Jail Kanye West G.O.O.D./Def Jam 23 -3 22 48 iPhone Adrion Butler SeaQ 21 6 23 30 I AM B.R.I.G.H.T. B.R.I.G.H.T. Not Listed 21 0 PT The Gospel Spitter Feat. Emcee 24 25 SFTK N.I.C.E. Serving The Peace 21 -4 Lecrae Feat. Kirk 25 20 Sunday Morning Franklin Reach 21 -9 26 31 Andale Steven Malcolm IVAV|Curb 20 -1 Godkore Jizfat 27 44 Let's Go B.B. Jay Shwartz Alles 19 3 28 45 I'm So Blessed Kindu Kinte Not Listed 19 3 Intl Show LLC/The 29 37 Tap In International Show Clarion Group 19 0 Wash Us In The Kanye West Feat. 30 32 Blood Travis Scott G.O.O.D./Def Jam 19 -2 Copyright © 2021 MRC Data LLC. All rights reserved..

Copy Link

Recommended publications

Chance the Rapper's Creation of a New Community of Christian
Bates College SCARAB Honors Theses Capstone Projects 5-2020 “Your Favorite Rapper’s a Christian Rapper”: Chance the Rapper’s Creation of a New Community of Christian Hip Hop Through His Use of Religious Discourse on the 2016 Mixtape Coloring Book Samuel Patrick Glenn [email protected] Follow this and additional works at: https://scarab.bates.edu/honorstheses Recommended Citation Glenn, Samuel Patrick, "“Your Favorite Rapper’s a Christian Rapper”: Chance the Rapper’s Creation of a New Community of Christian Hip Hop Through His Use of Religious Discourse on the 2016 Mixtape Coloring Book" (2020). Honors Theses. 336. https://scarab.bates.edu/honorstheses/336 This Open Access is brought to you for free and open access by the Capstone Projects at SCARAB. It has been accepted for inclusion in Honors Theses by an authorized administrator of SCARAB. For more information, please contact [email protected]. “Your Favorite Rapper’s a Christian Rapper”: Chance the Rapper’s Creation of a New Community of Christian Hip Hop Through His Use of Religious Discourse on the 2016 Mixtape Coloring Book An Honors Thesis Presented to The Faculty of the Religious Studies Department Bates College in partial fulfillment of the requirements for the Degree of Bachelor of Arts By Samuel Patrick Glenn Lewiston, Maine March 30 2020 Acknowledgements I would first like to acknowledge my thesis advisor, Professor Marcus Bruce, for his never-ending support, interest, and positivity in this project. You have supported me through the lows and the highs. You have endlessly made sacrifices for myself and this project and I cannot express my thanks enough.
[Show full text]
Race, Technology, and Theology in the Emergence of Christian Rap Music
Pneuma 33 (2011) 200-217 brill.nl/pneu “It’s Not the Beat, but It’s the Word that Sets the People Free”: Race, Technology, and Theology in the Emergence of Christian Rap Music Josef Sorett Assistant Professor of Religion and African-American Studies, Columbia University, New York [email protected] Abstract In an effort to address lacunae in the literature on hip hop, as well as to explore the role of new music and media in Pentecostal traditions, this essay examines rap music within the narra- tives of American religious history. Specifically, through an engagement with the life, ministry, and music of Stephen Wiley — who recorded the first commercially-released Christian rap song in 1985 — this essay offers an account of hip hop as a window into the intersections of religion, race, and media near the end of the twentieth century. It shows that the cultural and theological traditions of Pentecostalism were central to Wiley’s understanding of the significance of racial ideology and technology in his rap ministry. Additionally, Wiley’s story helps to iden- tify a theological, cultural, and technological terrain that is shared, if contested, by mainline Protestant, neo-Pentecostal, and Word of Faith Christians during a historical moment that has been described as post-denominational. Keywords Christian hip hop, Stephen Wiley, Word of Faith, racial ideology Over the past two decades a growing body of research on hip hop music and culture has taken shape. More often than not, the inquiries in this emerging literature have located hip hop (or rap) in the traditions of African American cultural (literary and musical) expression.1 Within this corpus, little attention 1 The two seminal works in the field of hip hop studies are Tricia Rose’sBlack Noise: Rap Music and Black Culture in Contemporary America (Middletown, CT: Wesleyan Press, 1993); Houston Baker’s Black Studies, Rap, and the Academy (Chicago: University of Chicago Press, 1993).
[Show full text]
The Music (And More) 2019 Quarter 3 Report
The Music (and More) 2019 Quarter 3 Report Report covers the time period of July 1st to Kieran Robbins & Chief - "Sway" [glam rock] September 30th, 2019. I inadvertently missed Troy a few before that time period, which were brought to my attention by fans, bands & Moriah Formica - "I Don't Care What You others. The missing are listed at the end, along with an Think" (single) [hard rock] Albany End Note… Nine Votes Short - "NVS: 09/03/2019" [punk rock] RECORDINGS: Albany Hard Rock / Metal / Punk Psychomanteum - "Mortal Extremis" (single track) Attica - "Resurected" (EP) [hardcore metal] Albany [thrash prog metal industrial] Albany Between Now and Forever - "Happy" (single - Silversyde - "In The Dark" [christian gospel hard rock] Mudvayne cover) [melodic metal rock] Albany Troy/Toledo OH Black Electric - "Black Electric" [heavy stoner blues rock] Scotchka - "Back on the Liquor" | "Save" (single tracks) Voorheesville [emo pop punk] Albany Blood Blood Blood - "Stranglers” (single) [darkwave Somewhere To Call Home - "Somewhere To Call Home" horror synthpunk] Troy [nu-metalcore] Albany Broken Field Runner – "Lay My Head Down" [emo pop Untaymed - "Lady" (single track) [british hard rock] punk] Albany / LA Colonie Brookline - "Live From the Bunker - Acoustic" (EP) We’re History - "We’re History" | "Pop Tarts" - [acoustic pop-punk alt rock] Greenwich "Avalanche" (singles) [punk rock pop] Saratoga Springs Candy Ambulance - "Traumantic" [alternative grunge Wet Specimens - "Haunted Flesh" (EP) [hardcore punk] rock] Saratoga Springs Albany Craig Relyea - "Between the Rain" (single track) Rock / Pop [modern post-rock] Schenectady Achille - "Superman (A Song for Mora)" (single) [alternative pop rock] Albany Dead-Lift - "Take It or Leave It" (single) [metal hard rock fusion] Schenectady Caramel Snow - "Wheels Are Meant To Roll Away" (single track) [shoegaze dreampop] Delmar Deep Slut - "u up?" (3-song) [punk slutcore rap] Albany Cassandra Kubinski - "DREAMS (feat.
[Show full text]
MR. SOLO in Memoriam
This is t Simply Gospel Television NEWS This is the day the LORD has made; We will rejoice and be glad in it. Psalm 118:24:1 July 2020 Editor - Lin French In Memoriam over in a matter of moments with his skill and humility. By the time the group performed the album version of the MR. SOLO record, the audience, full of quartet-gospel radio DJ’s and Truly One of A Kind choir music fans was in a frenzy. Although a teenager at the time, I realized that I had by Michael French, II, Ph.D. I Can See just witnessed something special. B-Rite, My uncle started Clearly 1999 the group’s then label did a wonderful job a Christian rap of promoting the seminal album, sending group in the early out teasers to gospel industry members and supporting “I 19990s. SYG’z Can See Clearly Now” with polished music videos to the (Str8 Young album’s singles. Still, it was the music that blew me away. My Gangstaz 4 Christ). As an 11- first time hearing the album, I was floored. My astonishment year-old that was at the leap in superiority was hard to explain. This has only the coolest thing. happened to me two other times: My first time hearing Fred He’d take my Hammond’s Pages of Life (Chs. I & II) and Kirk Franklin’s cousins and I with God’s Property. In experiences like this, you can remember Aka. Charles Washington him to the studio and to Christian where you were when you heard the album, down to your rap events, which was awesome.
[Show full text]
Hip-Hop Is My Passport! Using Hip-Hop and Digital Literacies to Understand Global Citizenship Education
HIP-HOP IS MY PASSPORT! USING HIP-HOP AND DIGITAL LITERACIES TO UNDERSTAND GLOBAL CITIZENSHIP EDUCATION By Akesha Monique Horton A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Curriculum, Teaching and Educational Policy – Doctor of Philosophy 2013 ABSTRACT HIP-HOP IS MY PASSPORT! USING HIP-HOP AND DIGITAL LITERACIES TO UNDERSTAND GLOBAL CITIZENSHIP EDUCATION By Akesha Monique Horton Hip-hop has exploded around the world among youth. It is not simply an American source of entertainment; it is a global cultural movement that provides a voice for youth worldwide who have not been able to express their “cultural world” through mainstream media. The emerging field of critical hip-hop pedagogy has produced little empirical research on how youth understand global citizenship. In this increasingly globalized world, this gap in the research is a serious lacuna. My research examines the intersection of hip-hop, global citizenship education and digital literacies in an effort to increase our understanding of how urban youth from two very different urban areas, (Detroit, Michigan, United States and Sydney, New South Wales, Australia) make sense of and construct identities as global citizens. This study is based on the view that engaging urban and marginalized youth with hip-hop and digital literacies is a way to help them develop the practices of critical global citizenship. Using principled assemblage of qualitative methods, I analyze interviews and classroom observations - as well as digital artifacts produced in workshops - to determine how youth define global citizenship, and how socially conscious, global hip-hop contributes to their definition Copyright by AKESHA MONIQUE HORTON 2013 ACKNOWLEDGEMENTS I am extremely grateful for the wisdom and diligence of my dissertation committee: Michigan State University Drs.
[Show full text]
The Use of Gospel Hip-Hop Music As an Avenue of Evangelizing the Youth in Kenya Today: a Practical Approach
American International Journal of Contemporary Research Vol. 3 No. 8; August 2013 The Use of Gospel Hip-hop Music as an Avenue of Evangelizing the Youth in Kenya Today: A Practical Approach Dickson Nkonge Kagema Department of Arts and Humanities Chuka University P.O Box 109-60400, Chuka. Tharaka-Nithi County, Kenya. Abstract Music is an important component of Christian worship. Globalization has brought about hip-hop culture in Africa, Kenya included, which has influenced the Kenyan youth so much. Although Hip-hop music is very popular with the youth in Kenya, it is viewed by the older, conservative Christians as evil, something that destroys the youth. The feeling of many church leaders is that the youth should ignore this music, something which the youth are not willing to do. This paper argues that Gospel hip-hop music if properly used in the Church can become an essential avenue of evangelization. Rather than refuting this music as satanic, the Church in Kenya should use it to reach the youth who are running away from the Church due to what they term as ‘boring services’. 1. Introduction For the years I have served as a priest in the Church since 1998, I have kept wondering about one thing, ‘Why is the Church which is holy allowing hip-hop culture which is evil to slowly enter into it?’ The more I have thought about it, the more I have become concerned particularly when the youth are worshiping. What is the future of the Church in Kenya, especially with the current wave of secularization? My experiences in Nairobi city where I worked as the chaplain between 2005 and 2011 and my deep reflection on the future of the Church in Kenya, more so in urban areas have led to this paper.
[Show full text]
City of Angels
ZANFAGNA CHRISTINA ZANFAGNA | HOLY HIP HOP IN THE CITY OF ANGELSHOLY IN THE CITY OF ANGELS The publisher gratefully acknowledges the generous support of the Lisa See Endowment Fund in Southern California History and Culture of the University of California Press Foundation. Luminos is the Open Access monograph publishing program from UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org Holy Hip Hop in the City of Angels MUSIC OF THE AFRICAN DIASPORA Shana Redmond, Editor Guthrie P. Ramsey, Jr., Editor 1. California Soul: Music of African Americans in the West, edited by Jacqueline Cogdell DjeDje and Eddie S. Meadows 2. William Grant Still: A Study in Contradictions, by Catherine Parsons Smith 3. Jazz on the Road: Don Albert’s Musical Life, by Christopher Wilkinson 4. Harlem in Montmartre: A Paris Jazz Story between the Great Wars, by William A. Shack 5. Dead Man Blues: Jelly Roll Morton Way Out West, by Phil Pastras 6. What Is This Thing Called Jazz?: African American Musicians as Artists, Critics, and Activists, by Eric Porter 7. Race Music: Black Cultures from Bebop to Hip-Hop, by Guthrie P. Ramsey, Jr. 8. Lining Out the Word: Dr. Watts Hymn Singing in the Music of Black Americans, by William T. Dargan 9. Music and Revolution: Cultural Change in Socialist Cuba, by Robin D.
[Show full text]
Expectation, Christianity, and Ownership in Indigenous Hip-Hop: Religion in Rhyme with Emcee One, Redcloud, and Quese, Imc
Expectation, Christianity, and Ownership in Indigenous Hip-Hop: Religion in Rhyme with Emcee One, RedCloud, and Quese, Imc T. CHRISTOPHER APLIN Abstract: The juxtaposition of the words Indians, Christianity, and hip hop frequently unearths a sense of the unexpected (Deloria 2004). This is largely because expectations are too frequently confounded by the inability to recognize the links between African- and Native American peoples, the porous boundaries between the sacred and secular, or the complex relationships between Native peoples and Christianity. This article takes a closer look at the connections between indigenous peoples, pious devotion, and subversive rhyme by describing the characteristic ways that Emcee One, Quese, and RedCloud’s relationships to Christianity are inscribed, communicated, and indigenized through the lyrical messaging of modern hip- hop. These MCs in word and action loosen totalizing discourses such as the assimilation/ acculturation paradigm characteristic of mid-century ethnomusicology, or its modern consequent the localization/appropriation common to contemporary discussions of global hip hop. In the rhymes presented in this article, our MCs articulate everyday strategies that express both the “already local” nature of globalized hip hop (Pennycook and Mitchell 2009) within indigenous North American communities, as well as their distinctive ownership of indigenous spiritualities. Résumé : La juxtaposition des mots Indiens, christianisme, et hip hop suscite fréquemment un sentiment d’inattendu (Deloria 2004). Ceci est dû dans une large mesure au fait que les attentes sont trop souvent confondues par l’incapacité à reconnaitre les liens entre les peuples Africains-Américains et Amérindiens, les frontières poreuses entre le sacré et le profane ou les relations complexes entre les peuples autochtones et le christianisme.
[Show full text]
Journal of Hip Hop Studies
et al.: Journal of Hip Hop Studies Published by VCU Scholars Compass, 2014 1 Journal of Hip Hop Studies, Vol. 1 [2014], Iss. 1, Art. 1 Editor in Chief: Daniel White Hodge, North Park University Book Review Editor: Gabriel B. Tait, Arkansas State University Associate Editors: Cassandra Chaney, Louisiana State University Jeffrey L. Coleman, St. Mary’s College of Maryland Monica Miller, Lehigh University Editorial Board: Dr. Rachelle Ankney, North Park University Dr. Jason J. Campbell, Nova Southeastern University Dr. Jim Dekker, Cornerstone University Ms. Martha Diaz, New York University Mr. Earle Fisher, Rhodes College/Abyssinian Baptist Church, United States Dr. Daymond Glenn, Warner Pacific College Dr. Deshonna Collier-Goubil, Biola University Dr. Kamasi Hill, Interdenominational Theological Center Dr. Andre Johnson, Memphis Theological Seminary Dr. David Leonard, Washington State University Dr. Terry Lindsay, North Park University Ms. Velda Love, North Park University Dr. Anthony J. Nocella II, Hamline University Dr. Priya Parmar, SUNY Brooklyn, New York Dr. Soong-Chan Rah, North Park University Dr. Rupert Simms, North Park University Dr. Darron Smith, University of Tennessee Health Science Center Dr. Jules Thompson, University Minnesota, Twin Cities Dr. Mary Trujillo, North Park University Dr. Edgar Tyson, Fordham University Dr. Ebony A. Utley, California State University Long Beach, United States Dr. Don C. Sawyer III, Quinnipiac University Media & Print Manager: Travis Harris https://scholarscompass.vcu.edu/jhhs/vol1/iss1/1 2 et al.: Journal of Hip Hop Studies Sponsored By: North Park Universities Center for Youth Ministry Studies (http://www.northpark.edu/Centers/Center-for-Youth-Ministry-Studies) . FO I ITH M I ,I T R T IDIE .ORT ~ PAru<.UN~V RSllY Save The Kids Foundation (http://savethekidsgroup.org/) 511<, a f't.dly volunteer 3raSS-roots or3an:za6on rooted :n h;,P ho,P and transf'orMat:ve j us6c.e, advocates f'or alternat:ves to, and the end d, the :nc..arc.eration of' al I youth .
[Show full text]
Imhotep Hip Hop Issue.Pdf
A Treble Clef By The Students The By in Hip Hop Lyrics in Hip Hop Volume 9, May 2012 May 9, Volume IMHOTEP JOURNAL IMHOTEP A Discourse Analysis of Value Orientations Value of Analysis A Discourse IMHOTEP JOURNAL A Discourse Analysis of Value Orientations in Hip Hop Lyrics By The Students Volume 9 May 2012 (Blank Back of Front Cover) (Blank Back of Front Cover) San Francisco State University College of Ethnic Studies, Department Africana Studies Student Publications Imhotep Magazine Volume 1, February 2000 On Methodology Volume 2, February 2001 On African Philosophy Volume 3, February 2002 On African Education Ancient and Modern Volume 4, February 2003 Ideology of Race and Slavery from Antiquity to Modern Times Volume 5, May 2005 Essays on Ancient Egyptian Thought Volume 6, May 2008 African Rites of Passage Volume 7, May 2010 African Healing Traditions Volume 8, May 2011 African Ancestral Veneration Volume 9, May 2012 A Discourse Analysis of Value Orientations in Hip Hop Lyrics For further information contact: San Francisco State University College of Ethnic Studies, Department of Africana Studies 1600 Holloway Avenue San Francisco, California 94132 Tel: (415) 3381054 Fax: (415) 4050553 Editors Justin Metoyer and Christine Burke Production\ Design Kenric J. Bailey Contributors AFRS 111 Black Cultures and Personalities: 2008/9 Academic Year Faculty Advisor \ Co-Editor Serie McDougal, III, PhD We would like to express our thanks and appreciation to Madame Chair Dorothy Tsuruta PhD for her leadership and guidance, as well as the IRA for their support of this publication. Copyright © 2012 San Francisco State University All rights reserved.
[Show full text]
Rapping Islam: a Comparative Study of Hip Hop Culture in Indonesia, Tunisia and the United States
Rapping Islam: A Comparative Study of Hip Hop Culture in Indonesia, Tunisia and the United States Author Golpushnezhad, Elham Published 2017 Thesis Type Thesis (PhD Doctorate) School School of Humanities, Languages and Social Science DOI https://doi.org/10.25904/1912/2876 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/366343 Griffith Research Online https://research-repository.griffith.edu.au Rapping Islam: A Comparative Study of Hip Hop Culture in Indonesia, Tunisia and the United States Elham Golpushnezhad BA, MA School of Humanities, Languages and Social Science Griffith Centre for Social and Cultural Research Arts, Education & Law Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of philosophy 30 January 2017 1 Abstract The thesis analyses Muslim youth hip hop cultures in three countries of Indonesia, Tunisia and the United States. Hip hop and its Islamic roots have often been mentioned by African-American hip hop pioneers and the Muslim hip hoppers in Muslim countries. Hip hop often represents marginal youths’ symbolic resistance against racism, police brutality and poverty in an American context. Its marriage to Islamic ideology creates a space for further research and investigation. The hip hop prophecies of liberty, hope and success together with Islamic standards and moral values of redemption, equality and promoting virtue and preventing vice1, have shaped vibrant youth scenes in post-Suharto Indonesia (1998 onwards), post- Ben Ali’s Tunisia (2011 onwards) and the United states in the time of Obama (2009-2017). The thesis is built on data from ethnographic fieldwork that was carried out for 13 months (July 2014-august 2015) in Indonesia, Tunisia and the United States.
[Show full text]
An Ideological Critique of the Christian Hip-Hop Artist Lecrae Moore
Ohio Communication Journal Volume 56 March 2018, pp. 59-68 Rhetorical Re-Framing and Counter Narratives: An Ideological Critique of the Christian Hip-Hop Artist Lecrae Moore Robert Razzante jw Smith This essay explores the burgeoning popularity of Christian hip-hop artists. We examine how one particular artist (Lecrae Moore) manages to achieve narrative fidelity, cultural integrity, and ideological transformation through both his music and rhetorical presence. Utilizing an ideological methodological approach, the relationship between rap music, hip-hop culture and the black church is contextually addressed in this analysis. We conclude that a song with a secular aesthetic and an implicit sacred message may be more persuasive in challenging the dominant narratives of violence, drugs, and the objectification of women. Keywords: Hip-hop, religion, ideology, counter-narrative, cultural-aesthetics Fisher (1984) suggests one develops an epistemology through the use of narratives and storytelling. The credibility through what Fisher (1985) calls, narrative fidelity the degree to which it accords with the logic of good reasons: the soundness of its reasoning and the value of its -hop scholars posit rap music as a specific mode of storytelling that shares insight into the experience of black U.S. Americans (Miller, Hodge, Coleman, & Chaney, 2014; White Hodge, 2010). In a content analysis of the top-rated rap music videos for 2008, more than half of the songs referenced sexual misogyny, violence, and sexual desire whereas a third referred to religious symbols (Morgan et al., 2012). As a result, a religious hip-hop artist may lack credibility due to their message not maintaining narrative fidelity to the dominant narrative of what rap music videos portray.
[Show full text]