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Is Hip Hop Dead?
IS HIP HOP DEAD? IS HIP HOP DEAD? THE PAST,PRESENT, AND FUTURE OF AMERICA’S MOST WANTED MUSIC Mickey Hess Library of Congress Cataloging-in-Publication Data Hess, Mickey, 1975- Is hip hop dead? : the past, present, and future of America’s most wanted music / Mickey Hess. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-275-99461-7 (alk. paper) 1. Rap (Music)—History and criticism. I. Title. ML3531H47 2007 782.421649—dc22 2007020658 British Library Cataloguing in Publication Data is available. Copyright C 2007 by Mickey Hess All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2007020658 ISBN-13: 978-0-275-99461-7 ISBN-10: 0-275-99461-9 First published in 2007 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 CONTENTS ACKNOWLEDGMENTS vii INTRODUCTION 1 1THE RAP CAREER 13 2THE RAP LIFE 43 3THE RAP PERSONA 69 4SAMPLING AND STEALING 89 5WHITE RAPPERS 109 6HIP HOP,WHITENESS, AND PARODY 135 CONCLUSION 159 NOTES 167 BIBLIOGRAPHY 179 INDEX 187 ACKNOWLEDGMENTS The support of a Rider University Summer Fellowship helped me com- plete this book. I want to thank my colleagues in the Rider University English Department for their support of my work. -
JACK RUTBERG FINE ARTS Reflections Through Time
JACK RUTBERG FINE ARTS 357 N. La Brea Avenue ∙ Los Angeles, CA 90036 ∙ Tel (323) 938-5222 ∙ www.jackrutbergfinearts.com FOR IMMEDIATE RELEASE Contact: Jack Rutberg (323) 938-5222 [email protected] June 13 – September 30, 2015 Reflections Through Time Los Angeles, CA – Celebrated L.A. contemporary artist Ruth Weisberg is the subject of a new exhibition entitled “Ruth Weisberg: Reflections Through Time,” opening with a reception for the artist from 6:00 to 9:00 p.m. on Saturday, June 13, at Jack Rutberg Fine Arts, located at 357 North La Brea Avenue in Los Angeles. The exhibition extends through September 30. “Ruth Weisberg: Reflections Through Time” expands upon the recent Weisberg exhibition at the University of Tennessee, Knoxville, presented on the occasion of receiving the prestigious 2015 Printmaker Emeritus Award from the Southern Graphics Council, the largest international body of “Waterbourne,” 1973, Lithograph, 30 1/4 x 42 1/4 Inches printmakers in North America. (The SGC’s previous awardee, in 2014, was Wayne Thiebaud.) Included in “Reflections Through Time” are selected works, such as Weisberg’s iconic “Waterbourne” (1973). Here the artist joins both symbolic and literal reflections of light, and in this case, a personal passage of impending motherhood and the emergence of woman. Other works in the exhibition, including her most recent work “Harbor” (2015), engage reflections on personal history and of the convergence of art history and cultural experience. “Reflections Through Time” reveals Weisberg’s decades-long interest in re-imagining the works of past masters such as Velazquez, Watteau, Blake, Titian, Veronese, Cagnacci, Corot, and Giacometti. -
Hip-Hop Pedagogy As Production Practice: Reverse-Engineering the Sample-Based Aesthetic
Journal of Popular Music Education Special issue on Hip-hop Hip-Hop Pedagogy as Production Practice: Reverse-Engineering the Sample-Based Aesthetic Mike Exarchos (a.k.a. Stereo Mike) | London College of Music (University of West London) Introduction Hip-hop1 production practice contains a rich matrix of creative methods within its paradigm, which have the potential to inform and inspire music production pedagogy in higher education. The techno-artistic trajectory of rap production consists of numerous phases that may involve live performance, recording, sampling, synthesis, programming, mixing and mastering. Furthermore, it is not rare for self-contained processes—such as interpolation2 and the creation of content for sampling—to be actualized as developmental phases within the larger production trajectory. The well-documented issues affecting phonographic sampling have given rise to alternative practices, inviting live instrumental musicianship within hip-hop music-making, but also a dependence on synthesized sonics (often as signifiers of geographical and stylistic divergence). As a consequence, contemporary hip-hop production—arguably more than any other commercial music-making form—can provide a dynamic, applied context for the exploration, implementation, interplay and interaction of most phonographic stages conceived of and practiced within popular music production. This is not to say that other musics do not deploy multiple methods within their production processes, or that Hip-Hop exemplifies a sole case of multi-layered—or bricolage—production. After all, many popular musics have borrowed from hip-hop practices, and the rap production paradigm can be traced outside of strict stylistic barriers 1 The terms ‘Hip-Hop’ and ‘Rap’ will be used interchangeably throughout the paper, referring to the musical genre, outputs and practices associated with hip-hop culture and art. -
BLOCKHEAD Funeral Balloons
BLOCKHEAD Funeral Balloons KEY SELLING POINTS • Blockhead has released albums with Ninja Tune and produced for artists such as Aesop Rock, Open Mike Eagle and Billy Woods over the course of his nearly two decade long career • Blockhead’s evolution as a producer is on full display, exploring different avenues and sounds with every new release and continuing to forge his own lane between the worlds of hip-hop and electronic music DESCRIPTION ARTIST: Blockhead Funeral Balloons is the new album from acclaimed producer & NYC TITLE: Funeral Balloons fixture Blockhead [real name; Tony Simon]. Funeral Balloons is as bold CATALOG: l-BWZ747 / cd-BWZ747 and irreverent as the title suggests; from the uplifting and energetic mood LABEL: Backwoodz Studioz of “Bad Case of the Sundays” to the spaced out airy grooves found on GENRE: Hip-Hop/Instrumental BARCODE: 616822028315 / 616892517146 “UFMOG” all the way to the 1970s car chase anthem like “Escape from FORMAT: 2XLP / CD NY”, the songs never stop in one place. HOME MARKET: New York RELEASE: 9/8/2017 While, at its core, Funeral Balloons doesn’t stray far from the kind of LIST PRICE: $25.98 / FA / $13.98 / AM music Blockhead has been making since his debut Music by Cavelight, his evolution as a producer is on full display, exploring different avenues TRACKLISTING (Click Tracks In Blue To Preview Audio) and sounds with every new release and continuing to forge his own lane 1. The Chuckles between the worlds of hip-hop and electronic music. 2. Bad case of the Sundays 3. UFOMG 4. Zip It 5. -
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. -
A University of Sussex Phd Thesis Available Online Via
A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 You Sound Like A Broken Record: A practice led interrogation of the ontological resonances of vinyl record culture. Paul G Nataraj PhD – Creative and Critical Practice University of Sussex December 2016 2 I hereby declare that this thesis has not been and will not be submitted in whole or in part to another University for the award of any other degree. Signature………………………………………………………………………………… 3 ACKNOWLEDGEMENTS This work is dedicated to my Dad, Dr. V. Nataraj. Thank you to my family Mum, Peter, Sophie and Claire. But especially my wonderful wife Sarah, without you I could never have finished this. Your kindness and patience are a constant inspiration. I’d also like to shout out my Longanese brother David Boon, for his constant belief in the music. Thanks also to my supervisors, Dr. Martin Spinelli and Professor Michael Bull. You have been impeccable in your support and advice, and your skill as teachers and mentors is second to none. -
The Hilltop 11-22-1991
Howard University Digital Howard @ Howard University The iH lltop: 1990-2000 The iH lltop Digital Archive 11-22-1991 The iH lltop 11-22-1991 Hilltop Staff Follow this and additional works at: http://dh.howard.edu/hilltop_902000 Recommended Citation Staff, Hilltop, "The iH lltop 11-22-1991" (1991). The Hilltop: 1990-2000. 39. http://dh.howard.edu/hilltop_902000/39 This Book is brought to you for free and open access by the The iH lltop Digital Archive at Digital Howard @ Howard University. It has been accepted for inclusion in The iH lltop: 1990-2000 by an authorized administrator of Digital Howard @ Howard University. For more information, please contact [email protected]. - Graduate school enhances research~ MORE FUNDS: Ayearaftera commission recommended that Howard become more research oriented, the Graduate School of Arts and Sciences has started a program to raise funds for more ed to bring in more money. students to conduct research. A3 By Depelsha R. Thomas ADUATE LOFAR Green is director of the Collaborative Core Unit Hilltop Staff Writer • in Labor, Race, and the Political Economy. DAVIS' DAY: Actor Ossie Davis He said, '''!'he~ groups are heading .attempts at will be on campus In acch{'dance with President Jenifer 's Howard Enrollment: 1,073 (based on 1990-91 figures) Howard Un1vers1ty to foster research systemati Monday as part of a 2000 pl')', the Graduate School of Arts and cally." lecture series spon Sciences 1s creating new initiatives to recruit top Number of programs: 30 Sadler said making the transition to a research sored by WHMM notch students and to make Howard a more institution is critical for the graduate school. -
HACKING Cyber Activist CORY DOCTOROW’S HEAD
foursquare’s JON CROWLEY | LARP-apalooza | quarter-eating BOXES O’ FUN the guidebook to modern geek culture exclusive interview HACKING cyber activist CORY DOCTOROW’S HEAD WOMEN WORTH 25 YOUR WONDER inside the secret world of CHINESE GAMBLING how to fight a CYBORGS and LEGO MASTERS BEAR September 2010 VIOLENT US $5.95 | Canada $7.95 GAMING PUZZLES and COMIX POWER of POO SEPT 2010 • PREMIERE ISSUE • handshakemag.com 64 71 78 85 64 71 78 85 CORY DOCTOROW WONDER WOMEN PAI GOW STICK JOCKEYS The co-editor of BoingBoing Jane McGonigal aims to save The casino game attracts a Somewhere between historical takes on commercial Goliaths the world with gaming. Jill following among superstitious reenactment and live action role- with blogs, embraces fatherhood, Thompson captivates comic cults Chinese gamblers but playing, the men and women of and remembers Alice in with Wonder Woman. Summer overwhelms newcomers. Ragnarok turn a Pennsylvania Wonderland. Glau attends casting calls for sci- Singaporean sports gambler Ali campground into an epic fi shows. These 25 gals rule with Kasim went to Foxwoods Casino battlefield. keyboards, comics, and brains. to take on the veterans. WOMAN: YO MOSTRO HANDSHAKE SEPT 2010 3 93 52 44 xx 100 58 36 ANORAK DEPARTMENTS ETC. essay level up beaker duct tape / page 100 .Com-patibility / page 31 Supreme Censorship / page 41 Saved by Shit / page 52 Ponzi Scheme Why finding love online is Violent video games head to Dependence on foreign oil, Bernie made off like a bandit. more common – and more the Supreme Court in October. global warming, and agricultural Now you can too. -
2019 Catalog
2019 CATALOG Point Blank Music School 1215 Bates Avenue Los Angeles, CA 90029 (323) 282-7660 www.pointblanklosangeles.com This Catalog is effective from January 1 through December 31, 2019. Revised: November 20, 2019 Page 1 of 68 TABLE OF CONTENTS MISSION 4 OBJECTIVES 4 GENERAL INFORMATION 5 HISTORY AND OWNERSHIP 5 FACILITIES, EQUIPMENT, AND STUDIOS 5 HOURS 6 CLASS SCHEDULE 6 ACADEMIC CALENDAR 2019 6 ACADEMIC CALENDAR 2020 6 HOLIDAYS 7 APPROVALS 7 ADMISSIONS POLICIES AND PROCEDURES 8 POLICY 8 PROCEDURE 8 PROOF OF GRADUATION 8 ABILITY-TO-BENEFIT 8 NON-DISCRIMINATION 10 INTERNATIONAL STUDENTS AND ENGLISH LANGUAGE SERVICES 10 TRANSFER OF CREDIT 10 NOTICE CONCERNING TRANSFERABILITY OF CREDITS AND CREDENTIALS EARNED AT OUR INSTITUTION 10 ARTICULATION AGREEMENTS 10 PROGRAMS (RESIDENTIAL) 11 Music Production & Sound Design Master Diploma 13 Music Production & Sound Design Advanced Diploma 14 Music Production & Sound Design Diploma 15 Music Production Certificate 16 DJ/Producer Certificate 17 DJ/Producer Award 18 Complete DJ Award 19 Music Production & Composition Award 20 Sound Design & Mixing Award 21 Mixing & Mastering Award 22 Singing Award 23 Essential DJ Skills 24 Music Production 25 Music Composition 26 Sound Design 27 Art of Mixing 28 Audio Mastering 29 Creative Production & Remix 30 Music Business 31 Native Instruments Maschine 32 Singing 33 Advanced Singing 34 Weekend DJ 35 Ableton Production Weekend 36 Ableton Performance Weekend 37 Maschine Weekend 38 COURSE DESCRIPTIONS (RESIDENTIAL) 39 PROGRAMS (ONLINE) 42 Audio Mastering (Online) -
6Th Annual Kaiser Permanente San Jose Jazz Winter Fest Presented By
***For Immediate Release: Thursday, January 14, 2016*** 6th Annual Kaiser Permanente San Jose Jazz Winter Fest Presented by Metro Thursday, February 25 - Tuesday, March 8, 2016 Cafe Stritch, The Continental, Schultz Cultural Arts Hall at Oshman Family JCC (Palo Alto), Trianon Theatre, MACLA, Jade Leaf Eatery & Lounge and other venues in Downtown San Jose, CA Event Info: sanjosejazz.org/winterfest Tickets: $10 - $65 "Winter Fest has turned into an opportunity to reprise the summer's most exciting acts, while reaching out to new audiences with a jazz-and-beyond sensibility." –KQED Arts National Headliners: John Scofield Joe Lovano Quartet Regina Carter Nicholas Payton Trio Delfeayo & Ellis Marsalis Quartet Marquis Hill Blacktet Bria Skonberg Regional Artists: Jackie Ryan J.C. Smith Band Chester ‘CT’ Thompson Jazz Beyond Series Co-Curated with Universal Grammar KING Kneedelus Kadhja Bonet Next Gen Bay Area Student Ensembles Lincoln Jazz Band SFJAZZ High School All Stars Combo Homestead High School Jazz Combo Los Gatos High School Jazz Band San Jose State University Jazz Combo San Jose Jazz High School All Stars San Jose, CA -- Renowned for its annual Summer Fest, the iconic Bay Area institution San Jose Jazz kicks off 2016 with dynamic arts programming honoring the jazz tradition and ever-expanding definitions of the genre with singular concerts curated for audiences within the heart of Silicon Valley. Kaiser Permanente San Jose Jazz Winter Fest 2016 presented by Metro continues its steadfast commitment of presenting a diverse array of some of today’s most distinguished artists alongside leading edge emerging musicians with an ambitious lineup of more than 25 concerts from February 25 through March 8, 2016. -
Stanley Cowell Samuel Blaser Shunzo Ohno Barney
JUNE 2015—ISSUE 158 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM RAN BLAKE PRIMACY OF THE EAR STANLEY SAMUEL SHUNZO BARNEY COWELL BLASER OHNO WILEN Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 116 Pinehurst Avenue, Ste. J41 JUNE 2015—ISSUE 158 New York, NY 10033 United States New York@Night 4 Laurence Donohue-Greene: [email protected] Interview : Stanley Cowell by anders griffen Andrey Henkin: 6 [email protected] General Inquiries: Artist Feature : Samuel Blaser 7 by ken waxman [email protected] Advertising: On The Cover : Ran Blake 8 by suzanne lorge [email protected] Editorial: [email protected] Encore : Shunzo Ohno 10 by russ musto Calendar: [email protected] Lest We Forget : Barney Wilen 10 by clifford allen VOXNews: [email protected] Letters to the Editor: LAbel Spotlight : Summit 11 by ken dryden [email protected] VOXNEWS 11 by katie bull US Subscription rates: 12 issues, $35 International Subscription rates: 12 issues, $45 For subscription assistance, send check, cash or money order to the address above In Memoriam 12 by andrey henkin or email [email protected] Festival Report Staff Writers 13 David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, CD Reviews 14 Katie Bull, Thomas Conrad, Ken Dryden, Donald Elfman, Brad Farberman, Sean Fitzell, Miscellany 41 Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman, Event Calendar Terrell Holmes, Robert Iannapollo, 42 Suzanne Lorge, Marc Medwin, Robert Milburn, Russ Musto, Sean J. O’Connell, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman There is a nobility to turning 80 and a certain mystery to the attendant noun: octogenarian. -
Underground Rap Albums 90S Downloads Underground Rap Albums 90S Downloads
underground rap albums 90s downloads Underground rap albums 90s downloads. 24/7Mixtapes was founded by knowledgeable business professionals with the main goal of providing a simple yet powerful website for mixtape enthusiasts from all over the world. Email: [email protected] Latest Mixtapes. Featured Mixtapes. What You Get With Us. Fast and reliable access to our services via our high end servers. Unlimited mixtape downloads/streaming in our members area. Safe and secure payment methods. © 2021 24/7 Mixtapes, Inc. All rights reserved. Mixtape content is provided for promotional use and not for sale. The Top 100 Hip-Hop Albums of the ’90s: 1990-1994. As recently documented by NPR, 1993 proved to be an important — nay, essential — year for hip-hop. It was the year that saw 2Pac become an icon, Biz Markie entangled in a precedent-setting sample lawsuit, and the rise of the Wu-Tang Clan. Indeed, there are few other years in hip- hop history that have borne witness to so many important releases or events, save for 1983, in which rap powerhouse Def Jam was founded in Russell Simmons’ dorm room, or 1988, which saw the release of about a dozen or so game-changing releases. So this got us thinking: Is there really a best year for hip-hop? As Treble’s writers debated and deliberated, we came up with a few different answers, mostly in the forms of blocks of four or five years each. But there was one thing they all had in common: they were all in the 1990s. Now, some of this can be chalked up to age — most of Treble’s staff and contributors were born in the 1980s, and cut their musical teeth in the 1990s.