DOCSLIB.ORG

Schoolly D Fans Flame

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

j)ocima Congratulations to AND DISC LES `MIXDOCTOR' ADAMS on his NUMBER ONE dance-chart hit Schoolly D CAMEO "WORD UP" DISCO MIX CLUB REPRESENTING THE UK's fans Flame KILLER REMIXERS, MEGAMIXERS AND by Barry Lazell O U YOUNG PRODUCERS: JAY STRONGMAN'S Flame label, formed in association with Mute Re- THIS SATURDAY is Disco Aid night, Knight's 1971 soul smash; CUT cords' new dance division Rhythm LES 'MIXDOCTOR' ADAMS, ALAN when hopefully the world is going out MASTER D.C. Bum MC's (Zakia ZK King, has already made its mark in 016), scratching rap with no artist COULTHARD. PAUL DAKEYNE, CHAD to adisco, to hove fun and to support the hardcore funk/hip hop market charily. Most, though sadly not all, actually credited, although it should JACKSON AND SANNY-X. with two cult-appeal 12-inchers re- discos have pledged support to the presumably be the featured bragging leased last month: Doing Bad by Disco Aid scheme, so if you are going no, DC. only being named as DJ and Robert and Tom Sanders (MELT 1T), out that night do please make sure producer; DJ SCOTT LA ROCK — BLASTMASTER K.R.S. ONE & D- Current releases: and Schoolly D's Put Your Filas On that you find aparticipating club. NICE South Bronx (B Boy Records BB Les: Cameo "Word Up"ISINITTA "Feels (MELT 21). There may be anominal 50p or so additional entry charge, but to offset 100), specialist but interesting rap; Now comes the label's debut Like The First Time -/Kelly Marie -Feels this minor deterrent you're likely to KOOL & THE GANG Victory album, again from Philadelphia's Like I'm In Love"/Elly Warren hove afar better time, and see more (Mercury 888 074-1), black pop hip-hop heir apparent Schoolly D, star personal appearances, at the pounder unlikely to sell much until "Shattered glass"/Hazel Dean and appropriately titled Schoolly D places that are participating. You released here. Megarnix/HIT MIX 86 (Compilation — The Album (MELT LP 1). The LP, really will be "in aplace to be"! On import LP is JEFF LORBER which has had an underground Most notable of the week's many album)/In production: Sharon Dee Private25492), Passion techno-jazz (Warner and Bros lightweight 1- buzz going for it for some time, is new releases is possibly the UK's vocals with Midnight Snack alikely Clarke and 2Nations remixes entirely written and produced by brightest home-grown hip hop effort yet, amusingly rapped (with an instrumental, while on UK LP ore Schoolly and his DJ Code Money, historically sod end) to scratched FREDDIE JACKSON Just Like The Alan. S.O.S. Band Megamix/Major single and includes the provocatively hard- Glenn Miller tunes, FISSON Miller First Time (Capital EST 2023), aptly core track IDon't Like Rock And titled although with even more production for BBC Records. Light (Spacemalic Records XING 11 1, Roll. It retails at mid-price (0.99 nia PRT). It's ahit! romantic slowies this time, MILLIE recommended), half the import cost. There ore many more saleable UK JACKSON An Imitation Of Love (Jive Dakeyne James Brown "Gravity/Living In Flame, along with Rhythm King nenes, but first I'll get through the HIP 43), polished product by ausually and the third label in the set-up, imports, as usual. On 12-inch are sassier soulstress; VARIOUS Gott] Go Go (StreelSounds SSGO 1), America Mega/Jonathan King Mega/ Trans-Global, is marketed by Mute CLEAVAGE Borah (Studio STU- Hit Mix 86 (compilation album). In 1011), excellent timeless smooth not- Washington DC go go oldies and distributed through Spartan and terribly-house" instrumental based compilation. Speaking compilations, production: Communards Mega. the Cartel Jay Strongman and on Cymande's Bra from 1973; Serious Records' Upfront 3(UPFT 3) Rhythm King's directors Martin ORIGINAL CONCEPT Pump Thot is another hot hit crammed double LP, Heath and James Horrocks can be Bass/Live (Get A Little Stupid ... HO!) but it has aquite serious rival in Chad: Battle of the DJ's (Champion mix)/ contacted on (01) 969 8866. (Def Jam 44-15961), ultra exciting Champion's Ultimate Tras (CHAMP Run DMC Mega/Trouble Funk Mix. combination of Beostie Boys-style rap, 103), similarly formated if not so Run-DMC rock guitar and fresh hip totally hit crammed and featuring hop beats; WOOLY REASONABLE competing sides by champion mixers Sanny: Cutting Crew "I've Been In Love & THE YO CULTURE You're The DJ Cheese and Chad Jackson. Only One (Beauty and The Beat BAB Hot newies on UK 12-inch include Before/Status Quo Mega/Tina 106), compulsively nagging multi- PHIL FEARON Ain't Nothing But A Charles "I Love To Love - layered wriggler; KOOL MOE DEE House Party (Ensign PFX 2), Stock/ (Reproduction). Go See The Doctor (Roof Top Aitken/Waterman "house" treatment, Records RI-0011, hilarious follow-on appropriately, of the Show Stoppers' Irons Girls Ain't Nothing But Trouble 1967 classic; YASUKO AGAWA LA AND FROM DMC/ARISTA CHECK OUT but totally un-airable as about aguy Nights (Bluebird/10 BRT 26), long getting clapi; THE MOHAWKS/ awaited domestic issue of aonce SANNY-X "GOLDEN RULES" (featuring Mr P JAMES BROWN/DYKE &THE exorbitantly-priced Japanese LP and Little Sally)• and 3rd November the ultimate BLAZERS Fusion Beats Vol. 2(Bozo track, gently adapting Light Of The Meko BM001), those artists aren't World's old London Town; GRACE jock-rock "ASK THE DJ BY BARRY UPTON actually credited although this hot JONES I'm Not Perfect (Manhattan (featuring Barry's white version and Uncle Funk's selling bootleg mixes up their oldies 12MT 15), typically Uttering Chic- (Including The Champ), GARY L. Time styled Nile Rodgers production; black version)" remixed by LES 'Mixdoctor (Time To Party) (Sensations CS-45- KURTIS BLOW I'm Chillin' (Club Adams!. 011, Colonel Abrams-style "house"; JABX 42), Trouble Funk-backed go go 'DECK 2 " DECK 3 JANICE CHRISTIE Heat Stroke rap featuring the Transformers jingle, e THESE TWO unlikely-looking (SuperTronics RY 016), juddery pent- BUNNY WAILER Back To School ads form a band named Funkrew, up basher including aLorry Levan (Solomonic SM 025, via Jet Star), whose vinyl debut also marks the mix; S.O.S. BAND Even When You nursery rhyme rap re-issued from DISCO MIX CLUB first release on new label Sophisti- Sleep (Remis) (Tabu 4Z9 05954), 1982, JAKI GRAHAM Step Right Up cated Noise, distributed by PRT. De- typical Jam F. Lewis slow roller; (EMI 12JAKI 9), noisy commercial spite appearances, Funkrew are true JANICE McCLAIN Passion And Pain black pop; ANIKA BAKER Sweet A NEW BREED to their name, in being a hardcore (MCA Records MCA-23647), typical Love (Elektro EKR 44TX), reissued soul/dance outfit, and the single Nick Martinelli slow roller; ISAAC smash US slowie with some added live Breaking Hearts is produced by HAYES Ike's Rap/Hey Girl (Columbia BBC recordings; TINA TURNER Two OF DJ PRODUCERS. 44-05962), classic romantic sounding People (Capitol 12CL 430), sultry Bobby Eli. Catalogue number is 12 though anti-crack rap se guing into smoocher likely to meet undeserved KREW I on I2-inch. Could this be Telephone: 06286 67276 Freddie Scott's lovely old smoocher; prejudice from purist quarters and the next Wham!? And has anyone HEAVY D. & THE BOYZ Mr Big Stuff ZUICE I'm Burning (Club JABX 41), told their hairdresser? (MCA Records MCA-23691), lively slightly stolid lurcher with obrighter TURN TO PAGE 27 hip hop rap based around Jean Sister Sledge-ish dub. topercladly q1 mixer« Specially mixed full length 12' SLAUGHTER froto Duke *weed-4 ILs Pt Bootee -Broadway/Shinny Boys -Awesome/Kurtis Blow .- The Bronx/DJ Scott La Rock -South Bronx/Just Ice - CL. Cold Gettin' Dumb/Faze One -Lap' Down ABeat/The 'et ut ir -s le.rtfjel's Move -Greedy Girls/Captain Rock -Bongo Beat vcro -erlor,ra 51110(1 a4SouNDSe - WorldRadioHistory PAGE 14 MUSIC WEEK 1NOVEMBER, 1986 .
Recommended publications
  • What Is the Meaning of All This? a Unit on Existential Thought in Literature

    What Is the Meaning of All This? a Unit on Existential Thought in Literature

    Craig 1 What is The Meaning of All This? A Unit on Existential Thought in Literature By Kevin Craig Dr. Peter Smagorinsky LLED 7408 The University of Georgia Rationale Craig 2 All great deeds and all great thoughts have a ridiculous beginning. -Albert Camus No matter what one’s social, ethnic, or religious status may be, we must all agree that adolescence is one of the more confusing times in life. Between a newly developing sense of personal identity and the inevitable, indecipherable hormonal changes taking place, students of high school age undergo transformations unlike any others they will ever experience. Because they occur as students enter the beginnings of adulthood, these changes may well inform, if not dictate, the rest of students’ lives. It is incumbent on the teachers of adolescents to stimulate young brains and transmit useful material that students may later use, but it is imperative that we help guide students through a time in their lives when they are just discovering their identities. The goal of this unit is not to assign everyone a new, more mature identity; rather, it is to provide students with an appropriate framework through which they may begin forming their own identities and continue to do so long after they graduate. In Bob Fecho’s words, I aim to provide students with “ample opportunities for students to use writing to explore who they are becoming and how they relate to the larger culture around them” (2011). Existentialism is a philosophical movement with many sub-movements, but the main question it asks is “Who am I in relation to the universe?” On existentialism, Raymond C.
  • (2001) 96- 126 Gangsta Misogyny: a Content Analysis of the Portrayals of Violence Against Women in Rap Music, 1987-1993*

    (2001) 96- 126 Gangsta Misogyny: a Content Analysis of the Portrayals of Violence Against Women in Rap Music, 1987-1993*

    Copyright © 2001 Journal of Criminal Justice and Popular Culture All rights reserved. ISSN 1070-8286 Journal of Criminal Justice and Popular Culture, 8(2) (2001) 96- 126 GANGSTA MISOGYNY: A CONTENT ANALYSIS OF THE PORTRAYALS OF VIOLENCE AGAINST WOMEN IN RAP MUSIC, 1987-1993* by Edward G. Armstrong Murray State University ABSTRACT Gangsta rap music is often identified with violent and misogynist lyric portrayals. This article presents the results of a content analysis of gangsta rap music's violent and misogynist lyrics. The gangsta rap music domain is specified and the work of thirteen artists as presented in 490 songs is examined. A main finding is that 22% of gangsta rap music songs contain violent and misogynist lyrics. A deconstructive interpretation suggests that gangsta rap music is necessarily understood within a context of patriarchal hegemony. INTRODUCTION Theresa Martinez (1997) argues that rap music is a form of oppositional culture that offers a message of resistance, empowerment, and social critique. But this cogent and lyrical exposition intentionally avoids analysis of explicitly misogynist and sexist lyrics. The present study begins where Martinez leaves off: a content analysis of gangsta rap's lyrics and a classification of its violent and misogynist messages. First, the gangsta rap music domain is specified. Next, the prevalence and seriousness of overt episodes of violent and misogynist lyrics are documented. This involves the identification of attributes and the construction of meaning through the use of crime categories. Finally, a deconstructive interpretation is offered in which gangsta rap music's violent and misogynist lyrics are explicated in terms of the symbolic encoding of gender relationships.
  • A Hip-Hop Copying Paradigm for All of Us

    A Hip-Hop Copying Paradigm for All of Us

    Pace University DigitalCommons@Pace Pace Law Faculty Publications School of Law 2011 No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson Jr. Elisabeth Haub School of Law at Pace University Follow this and additional works at: https://digitalcommons.pace.edu/lawfaculty Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Horace E. Anderson, Jr., No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us, 20 Tex. Intell. Prop. L.J. 115 (2011), http://digitalcommons.pace.edu/lawfaculty/818/. This Article is brought to you for free and open access by the School of Law at DigitalCommons@Pace. It has been accepted for inclusion in Pace Law Faculty Publications by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. No Bitin' Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson, Jr: I. History and Purpose of Copyright Act's Regulation of Copying ..................................................................................... 119 II. Impact of Technology ................................................................... 126 A. The Act of Copying and Attitudes Toward Copying ........... 126 B. Suggestions from the Literature for Bridging the Gap ......... 127 III. Potential Influence of Norms-Based Approaches to Regulation of Copying ................................................................. 129 IV. The Hip-Hop Imitation Paradigm ...............................................
  • Dance Chart, 1989-10

    Dance Chart, 1989-10

    DANCE Mt SIC INTERNATIONAL CLUB PLAY AUSTRALIA OCT. 1989 NATIONAL TOP 40 DANCE TRAX • TM LM KEY TITLE/AR IST CO PAN 1 13 0 Dressed For Success - ROXETTE EMI 2 1 • Batdance -PRINCE WEA 3 - • Cherish - MADONNA WEA 4 4 * Funky Cold Medina - TONE LOC FEST. 5 14 • Baby Don't Forget My Number - MILLI VANILLI BMG 6 2 + Right Back Where We Started - SINITTA CBS 7 23 • Bat Attack - CRIME FIGHTERS INC. BMG 8 5 0 Baby I Don't Care - TRANSVISION VAMP WEA 9 9 + This Time I Know It's For Real - DONNA SUMMER WEA 10 3 ■ The Right Stuff - NEW KIDS ON THE BLOCK CBS 11 8 • Express Yourself - MADONNA WEA 12 6 * Bamboleo - GYPSY KINGS CBS 13 7 • The Look - ROXETTE EMI 14 12 • Forever Your Girl - PAULA ABDUL VIRGIN 15 10 711 Max Mix 8 - VARIOUS ARTISTS COL* 16 - 4. You'll Never Stop Me Lovin' You - SONIA EMI 17 19 III Girl You Know It's True - MILLIE VANILLI BMG 18 - • Miss You Much - JANET JACKSON FEST. 19 11 0 Say Goodbye - INDECENT OBSESSION CBS 20 35 • Keep On Moving - SOUL 11 SOUL VIRGIN 21 15 0 Ain't Nobody Better - INNER CITY VIRGIN 22 16 0 Good Life - INNER CITY VIRGIN 23 31 >41 Acid Mix - VARIOUS ARTISTS COL* 24 27 • Straight Up - PAULA ABDUL EMI 25 21 • Send Me An Angel '89 - REAL LIFE BMG 26 20 • Pop Musik '89 - M BMG 27 RE * We Want Some Pussy - 2 LIVE CREW COL* 28 RE • Come Home With Me Baby - DEAD OR ALIVE CBS 29 17 • My Perrogative - BOBBY BROWN WEA 30 - • Deep in Vogue - MALCOLM McCLAREN CBS 31 - • Grandpa's Party - MONIE LOVE EMI 32 24 • Strokin - CLARENCE CARTER COL 33 40 • What You Don't Know - EXPOSE BMG 34 18 + Oh What A Night - FOUR SEASONS COL * 35 36 4.
  • Hip Hop-Decoded MUS 307/AFR 317

    Hip Hop-Decoded MUS 307/AFR 317

    ************************************************************* Music of African Americans: Hip Hop-Decoded MUS 307/AFR 317 Fall 2016 MRH 2.608 MWF 12-1pm Instructor: Dr. Charles Carson MBE 3.604 [email protected] Twitter: @UT_Doc_C 512.232.9448 Office hours: M 1-2pm, or by appointment Teaching Assistant: Rose Bridges Sections: Tuesday, 5-6pm (21360/30095) Tuesday, 6-7pm (21370/30105) Tuesday, 7-8pm (21380/30115)* Thursday, 5-6pm (21365/30100) Thursday, 6-7pm (21375/30110) I. Course Description: Generally speaking, this course is an introduction to the musical, social, cultural, and political elements of Hip Hop culture in the US, as interpreted through the development of its musical style. II. Course Aims and Objectives: Aims Beyond increasing familiarity with African American music and culture, a major goal of this course is to provide you with the tools to coexist--and indeed thrive--in a global context. Specific Learning Objectives: By the end of this course, students will: ● Be able to recognize and describe general elements of African American cultural practices, including instruments/media, performance practice, and aesthetics. ● Discuss the ways in which these elements have influenced (and continue to influence) contemporary American and global cultures, especially with respect to hip hop and related genres. ● Discuss the ways in which these elements have influenced (and continue to influence) contemporary American and global cultures, especially with respect to hip hop and related genres. ● Critically assess expressions and representations of African American culture in music and media. ● Be able to apply these critical thinking skills in the context of other cultures, both historical and contemporary. III.
  • Various Move... the Rhythm Kingdom LP (The Definitive Compilation) Mp3, Flac, Wma

    Various Move... the Rhythm Kingdom LP (The Definitive Compilation) Mp3, Flac, Wma

    Various Move... The Rhythm Kingdom LP (The Definitive Compilation) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Hip hop Album: Move... The Rhythm Kingdom LP (The Definitive Compilation) Country: Australia & New Zealand Released: 1988 Style: House, Hip Hop MP3 version RAR size: 1485 mb FLAC version RAR size: 1719 mb WMA version RAR size: 1244 mb Rating: 4.5 Votes: 661 Other Formats: AA AUD AAC AUD TTA AA MP4 Tracklist Hide Credits A1 –Taffy Step By Step Rok Da House (Radio Mix) A2 –The Beatmasters Featuring – The Cookie Crew A3 –King Sun - D Moet* Hey Love (Radio Edit) A4 –Bailey & Bridges Come & Get It A5 –Dr. Fresh* Is This The American Dream A6 –Sugar Ray Dinke Cabrini Green A7 –Three Wise Men* Urban Hell (New Style) B1 –Hotline Rock This House (Heavy Vibes Mix) B2 –Chuck Brown & The Soul Searchers (It's A) Family Affair B3 –Gwen McCrae Funky Sensation B4 –Denise Motto Tell Jack (Jack The House) B5 –Renegade Soundwave Renegade Theme B6 –Schoolly D Gucci Time Companies, etc. Manufactured By – BMG Arista / Ariola Limited Notes © & ℗1987 Rhythm King Records in association with Mute Records Manufactured for and distributed by BMG Arista/Ariola Limited in Australasia. Other versions Category Artist Title (Format) Label Category Country Year Move... The Rhythm Kingdom LP Rhythm King LEFT LP5 Various (The Definitive Compilation) (LP, LEFT LP5 UK 1987 Records Comp) Move... The Rhythm Kingdom LP Rhythm King LEFT LP 5 Various (The Definitive Compilation) (LP, Records, Rough LEFT LP 5 Germany 1988 Comp) Trade Rhythm King LEFT LP05 Various The Rhythm Kingdom (LP, Comp) LEFT LP05 UK 1987 Records Move..
  • Rap in the Context of African-American Cultural Memory Levern G

    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
  • Amici Curiae Brief of Erik Nielson, Charis E

    Amici Curiae Brief of Erik Nielson, Charis E

    No. 15-666 __________________________________________ In the Supreme Court of the United States _____ ____ TAYLOR BELL, Petitioner, V. ITAWAMBA COUNTY SCHOOL BOARD, Respondent. _____ ____ On Petition for a Writ of Certiorari to the United States Court Of Appeals for the Fifth Circuit ______ ___ AMICI CURIAE BRIEF OF ERIK NIELSON, CHARIS E. KUBRIN, TRAVIS L. GOSA, MICHAEL RENDER (AKA “KILLER MIKE”) AND OTHER SCHOLARS AND ARTISTS IN SUPPORT OF PETITIONER _____ ____ CHARLES “CHAD” BARUCH Counsel of Record COYT RANDAL JOHNSTON JR. JOHNSTON TOBEY BARUCH 3308 Oak Grove Avenue Dallas, Texas 75204 (214) 741-6260 [email protected] Counsel for Amici Curiae __________________________________________ LEGAL PRINTERS LLC, Washington DC ! 202-747-2400 ! legalprinters.com i TABLE OF CONTENTS Table of Contents ........................................................ i Table of Authorities ................................................... ii Interests of Amici Curiae ........................................... 1 Summary of Argument .............................................. 3 Argument .................................................................... 6 A. “Fight the power”: The politics of hip hop .......... 6 B. “Put my Glock away, I got a stronger weapon that never runs out of ammunition”: The non- literal rhetoric of hip hop .................................. 12 C. “They ain’t scared of rap music—they scared of us”: Rap’s bad rap .............................................. 19 Conclusion ...............................................................
  • The Beatmasters Rok Da House Mp3, Flac, Wma

    The Beatmasters Rok Da House Mp3, Flac, Wma

    The Beatmasters Rok Da House mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Rok Da House Country: Germany Released: 1987 Style: Hip-House MP3 version RAR size: 1818 mb FLAC version RAR size: 1233 mb WMA version RAR size: 1434 mb Rating: 4.7 Votes: 147 Other Formats: AA WAV AHX VOC VQF ASF AUD Tracklist A Rok Da House 3:51 B Rok Da House (The Music) 5:30 Companies, etc. Phonographic Copyright (p) – Rhythm King Records Copyright (c) – Rhythm King Records Manufactured By – Intercord Ton GmbH Marketed By – Intercord Ton GmbH Licensed To – Intercord Ton GmbH Published By – Beatmasters Music Credits Featuring – The Cookie Crew Mixed By – Mark Saunders Producer, Mixed By – The Beatmasters Scratches – Dazzle Fresh Written-By – M. Glanfield*, D. Pryce*, P. Carter*, R. Walmsley*, S. Banfield* Notes ℗ & © 1987 Rhythm King Records in Ass. with Mute Records Ltd. Thanks to Tim Westwood Artist name on labels: The Beatmasters Featuring The Cookie Crew on backcover: The Beatmasters Featuring Cookie Crew Barcode and Other Identifiers Rights Society: GEMA Label Code: LC 7962 Matrix / Runout (Label side A): 112.811 A Matrix / Runout (Label side B): 112.811 B Matrix / Runout (Runout side A): 10 C-112.811-A Matrix / Runout (Runout side B): 10 C-112.811-B Other (Printing date on cover): 8/87 Other versions Category Artist Title (Format) Label Category Country Year Rhythm The Beatmasters King The Beatmasters LEFT R11T, Featuring The Cookie Records, LEFT R11T, Featuring The UK 1987 LEFT R 11 T Crew - Rok Da House Rhythm LEFT R 11 T Cookie Crew
  • Wavelength (June 1983)

    Wavelength (June 1983)

    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 6-1983 Wavelength (June 1983) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (June 1983) 32 https://scholarworks.uno.edu/wavelength/32 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. DEVELOPING THE NEW LEADERSHIP IN NEW ORLEANS MUSIC A Symposium on New Orlea Music Business Sponsored by the University of New Orleans Music Department and the Division of Continuing Education and wavelength Magazine. Moderator John Berthelot, UNO Continuing Education Coordinator/Instructor in the non-credit music business program. PROGRAM SCHEDULE How To Get A Job In A New Orleans Music Club 2 p.m.-panel discussion on the New Orleans club scene. Panelists include: Sonny Schneidau, Talent Manager. Tipitina's, John Parsons, owner and booking manager, Maple Leaf Bar. personal manager of • James Booker. one of the prcx:lucers of the new recording by James Booker. Classified. Jason Patterson. music manager of the Snug Harbor. associate prcx:lucer/consultant for the Faubourg Jazz Club, prcx:lucer for the first public showing of One Mo· Time, active with ABBA. foundation and concerts in the Park. Toulouse Theatre and legal proceedings to allow street music in the French Quarter. Steve Monistere, independent booking and co-owner of First Take Studio.
  • Thesis, the Songs of 10 Rappers Were Analyzed

    Thesis, the Songs of 10 Rappers Were Analyzed

    ABSTRACT Get Rich or Die Tryin’: A Semiotic Approach to the Construct of Wealth in Rap Music Kristine Ann Davis, M.A. Mentor: Sara J. Stone, Ph.D. For the past 30 years, rap music has made its way into the mainstream of America, taking an increasingly prominent place in popular culture, particularly for youth, its main consumers. This thesis looks at wealth through the lens of semiotics, an important component of critical/cultural theory, using a hermeneutical analysis of 11 rap songs, spanning the last decade of rap music to find signification and representation of wealth in the rap song lyrics. The research finds three important themes of wealth - relationship between wealth and the opposite sex, wealth that garners respect from other people, and wealth as a signifier for “living the good life” - and five signifiers of wealth – money, cars, attire, liquor, and bling. Get Rich or Die Tryin': A Semiotic Approach to the Construct of Wealth in Rap Music by Kristine Ann Davis, B.A. A Thesis Approved by the Department of Journalism ___________________________________ Clark Baker, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee ___________________________________ Sara J. Stone, Ph.D., Chairperson ___________________________________ Mia Moody-Ramirez, Ph.D. ___________________________________ Tony L.Talbert, Ed.D. Accepted by the Graduate School August 2011 ___________________________________ J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright ! 2011 by Kristine Ann Davis All rights reserved! CONTENTS ACKNOWLEDGMENTS v Chapter 1.
  • 1 Hip Hop and Rap Music Rising up from the Bronx Rap, As We Know It

    1 Hip Hop and Rap Music Rising up from the Bronx Rap, As We Know It

    1 Hip Hop and Rap Music Rising Up From the Bronx Rap, as we know it today, has changed considerably from when it first originated in the 1970s. What first started out as a subgenre being performed by MCs on the ghetto streets of the Bronx has evolved into a very popular music genre that most people can enjoy to this day. DJ Kool Herc is generally accepted as the man who started it all. It was with his help, and quite a few others, that caused rap and hip hop to grow and develop in its early years. From Rap and Hip Hop Music, I learned almost everything I needed to know about rap. I learned more about the people who originated the genre, how rapping and hip hop eventually grew throughout the 1970s to the early 2000s, and genres that influenced rap. DJ Kool Herc, the man who started it all, was born in Jamaica in 1955 and later moved to the Bronx in 1967 where he began performing as a DJ in block parties that were hosted throughout the community (Rap). Nearly everybody in these block parties grew to love the percussive breaks found in soul, funk, and disco music, so DJ Kool Herc and other DJs began to use them (Rap). However, the percussive breaks in these songs were rather short, so DJs would extend them by using turntables (Rap). Extending the percussive breaks became more and more popular as consumer friendly turntables, drum machines, and samplers were made and more people could afford them. To make the beats and breaks more interesting, DJs would scratch, beat mix, and beat juggle using the turntables to give hip hop a more unique sound (Rap).