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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. -
Sonic Jihadâ•Flmuslim Hip Hop in the Age of Mass Incarceration
FIU Law Review Volume 11 Number 1 Article 15 Fall 2015 Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt Follow this and additional works at: https://ecollections.law.fiu.edu/lawreview Part of the Other Law Commons Online ISSN: 2643-7759 Recommended Citation SpearIt, Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration, 11 FIU L. Rev. 201 (2015). DOI: https://dx.doi.org/10.25148/lawrev.11.1.15 This Article is brought to you for free and open access by eCollections. It has been accepted for inclusion in FIU Law Review by an authorized editor of eCollections. For more information, please contact [email protected]. 37792-fiu_11-1 Sheet No. 104 Side A 04/28/2016 10:11:02 12 - SPEARIT_FINAL_4.25.DOCX (DO NOT DELETE) 4/25/16 9:00 PM Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt* I. PROLOGUE Sidelines of chairs neatly divide the center field and a large stage stands erect. At its center, there is a stately podium flanked by disciplined men wearing the militaristic suits of the Fruit of Islam, a visible security squad. This is Ford Field, usually known for housing the Detroit Lions football team, but on this occasion it plays host to a different gathering and sentiment. The seats are mostly full, both on the floor and in the stands, but if you look closely, you’ll find that this audience isn’t the standard sporting fare: the men are in smart suits, the women dress equally so, in long white dresses, gloves, and headscarves. -
“THEY WASN't MAKIN' MY KINDA MUSIC”: HIP-HOP, SCHOOLING, and MUSIC EDUCATION by Adam J. Kruse a DISSERTATION Submitted T
“THEY WASN’T MAKIN’ MY KINDA MUSIC”: HIP-HOP, SCHOOLING, AND MUSIC EDUCATION By Adam J. Kruse A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2014 ABSTRACT “THEY WASN’T MAKIN’ MY KINDA MUSIC”: HIP-HOP, SCHOOLING, AND MUSIC EDUCATION By Adam J. Kruse With the ambition of informing place consciousness in music education by better understanding the social contexts of hip-hop music education and illuminating potential applications of hip-hop to school music settings, the purpose of this research is to explore the sociocultural aspects of hip-hop musicians’ experiences in music education and music schooling. In particular, this study is informed by the following questions: 1. How do sociocultural contexts (particularly issues of race, space, place, and class) impact hip-hop musicians and their music? 2. What are hip-hop musicians’ perceptions of school and schooling? 3. Where, when, how, and with whom do hip-hop musicians develop and explore their musical skills and understandings? The use of an emergent design in this work allowed for the application of ethnographic techniques within the framework of a multiple case study. One case is an amateur hip-hop musician named Terrence (pseudonym), and the other is myself (previously inexperienced as a hip-hop musician) acting as participant observer. By placing Terrence and myself within our various contexts and exploring these contexts’ influences on our roles as hip-hop musicians, it is possible to understand better who we are, where and when our musical experiences exist(ed), and the complex relationships between our contexts, our experiences, and our perceptions. -
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. -
Austrian Rap Music and Sonic Reproducibility by Edward
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ETD - Electronic Theses & Dissertations The Poetic Loop: Austrian Rap Music and Sonic Reproducibility By Edward C. Dawson Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in German May 11, 2018 Nashville, Tennessee Approved: Christoph M. Zeller, Ph.D. Lutz P. Koepnick, Ph.D. Philip J. McFarland, Ph.D. Joy H. Calico, Ph.D. Copyright © 2018 by Edward Clark Dawson All Rights Reserved ii For Abby, who has loved “the old boom bap” from birth, and whose favorite song is discussed on pages 109-121, and For Margaret, who will surely express a similar appreciation once she learns to speak. iii ACKNOWLEDGEMENTS This work would not have been possible without an Ernst Mach Fellowship from the Austrian Exchange Service (OeAD), which allowed me to spend the 2015-16 year conducting research in Vienna. I would like to thank Annagret Pelz for her support, as well as all the participants in the 2015-2016 Franz Werfel Seminar, whose feedback and suggestions were invaluable, especially Caroline Kita and organizers Michael Rohrwasser and Constanze Fliedl. During my time in Vienna, I had the opportunity to learn about Austrian rap from a number of artists and practitioners, and would like to thank Flip and Huckey of Texta, Millionen Keys, and DJ Taekwondo. A special thank you to Tibor Valyi-Nagy for attending shows with me and drawing my attention to connections I otherwise would have missed. -
GERAÇÃO BOOM BAP Sampling E Produção Musical De Rap Em Belo Horizonte
UNIVERSIDADE DO ESTADO DE MINAS GERAIS Programa de Pós-Graduação em Artes GERAÇÃO BOOM BAP Sampling e Produção Musical de Rap em Belo Horizonte Michel Antônio Brasil Teixeira Orientador: Luiz Alberto Bavaresco de Naveda Belo Horizonte 2018 Michel Antônio Brasil Teixeira GERAÇÃO BOOM BAP Sampling e Produção Musical de Rap em Belo Horizonte Dissertação apresentada ao Programa de Pós- Graduação em Artes da Universidade do Estado de Minas Gerais, como requisito para obtenção do título de Mestre em Artes. Área de Concentração: Artes/Música Linha de pesquisa: Dimensões Teóricas e Práticas da Produção Artística Orientador: Luiz Alberto Bavaresco de Naveda Bolsista FAPEMIG – Programa de Apoio à Pós- Graduação Belo Horizonte 2018 FICHA CATALOGRÁFICA Teixeira, Michel Antônio Brasil T266 Geração Boom Bap: sampling e produção musical de rap em Belo Horizonte / Michel Antônio Brasil Teixeira. – Belo Horizonte, 2018. 195 f. il. Orientador: Luiz Alberto Bavaresco de Naveda Dissertação (mestrado) – Universidade do Estado de Minas Gerais 1.Música – Belo Horizonte (MG) 2. Rap (Música) 3. Hip Hop (Música) 4. Música – produção I. Naveda, Luiz Alberto Bavaresco de II. Universidade do Estado de Minas Gerais (UEMG) Mestrado em Artes. III. Título CDD: 780.9151 Bibliotecária responsável: Cleide A. Fernandes CRB6/2334 Agradecimentos Gostaria de agradecer a Deus e a todas as forças superiores. Agradeço imensamente a Paula e Pedrinho, meus companheiros de todas as jornadas. Obrigado pelo carinho, paciência e compreensão. Este trabalho não seria possível sem o apoio e a presença de vocês. Agradeço ao meu pai, minha mãe e minha irmã por todo suporte ao longo da vida. Obrigado Regina, Paulo, e Fabiano pelo suporte diário nos últimos anos. -
The Future Is History: Hip-Hop in the Aftermath of (Post)Modernity
The Future is History: Hip-hop in the Aftermath of (Post)Modernity Russell A. Potter Rhode Island College From The Resisting Muse: Popular Music and Social Protest, edited by Ian Peddie (Aldershot, Hampshire: Ashgate Publishing, 2006). When hip-hop first broke in on the (academic) scene, it was widely hailed as a boldly irreverent embodiment of the postmodern aesthetics of pastiche, a cut-up method which would slice and dice all those old humanistic truisms which, for some reason, seemed to be gathering strength again as the end of the millennium approached. Today, over a decade after the first academic treatments of hip-hop, both the intellectual sheen of postmodernism and the counter-cultural patina of hip-hip seem a bit tarnished, their glimmerings of resistance swallowed whole by the same ubiquitous culture industry which took the rebellion out of rock 'n' roll and locked it away in an I.M. Pei pyramid. There are hazards in being a young art form, always striving for recognition even while rejecting it Ice Cube's famous phrase ‘Fuck the Grammys’ comes to mind but there are still deeper perils in becoming the single most popular form of music in the world, with a media profile that would make even Rupert Murdoch jealous. In an era when pioneers such as KRS-One, Ice-T, and Chuck D are well over forty and hip-hop ditties about thongs and bling bling dominate the malls and airwaves, it's noticeably harder to locate any points of friction between the microphone commandos and the bourgeois masses they once seemed to terrorize with sonic booms pumping out of speaker-loaded jeeps. -
Making Music
Making Music Playing, writing and producing music 1 SONG WRITING Song writing is a creative outlet which can help you express emotions, convey messages and immerse listeners into feeling and understanding new perspectives. It can be a therapeutic and fun. Song writing involves writing poetic lyrics and making rhythmic musical compositions. Song writing is choices about words, rhythm and sound using your ‘musical compass’ ‘4 simple steps to writing a song’ : https://www.youtube.com/watch?v=u0K_xcSqhxQ Hip Hop Production: How to arrange beats https://www.youtube.com/watch? v=YxKORwf69xI Writing Lyrics Writing Lyrics involves using poetic techniques to create parts in particular structures (ie. verse, chorus, bridge) to form a song. Poetic Techniques Songwriting uses poetic techniques to construct a story which can be performed by artists. Some of the most used poetic devices used in music include: Rhyme – Words ending with similar sounds You better lose yourself in the music, the moment You own it, you better never let it go Lose Yourself – Eminem Alliteration – repetition of a consonant sound/letter at the start of multiple words And I’m so sick of love songs So tired of tears So Sick – Neyo Similes – comparison of two different things using “like” or “as” Shine bright like a diamond Diamonds - Rhianna Metaphors – comparing two different things, stating that one “is” something else My heart's a stereo It beats for you, so listen close Stereo Hearts – Gym Class Heroes ft Adam Levine Hyperbole – extreme exaggeration Cause you know I'd walk -
Het Verleden in Hiphopmuziek Verwijzingen Naar Het Verleden Van Onderdrukking in De Hiphopcultuur Van De Jaren Negentig
Het verleden in hiphopmuziek Verwijzingen naar het verleden van onderdrukking in de hiphopcultuur van de jaren negentig. Naam: Joris Martens Studentnummer: S4381459 Begeleider: Dhr. Riswick Inleverdatum: 15-6-2017 Radboud Universiteit Nijmegen Inhoud Inleiding .................................................................................................................................................. 2 Status Quaestionis ................................................................................................................................... 4 Bronselectie en methode ......................................................................................................................... 8 Hoofdstuk 1: ‘Verandering hangt in de lucht’ 1990-1993 .................................................................... 11 Hoofdstuk 2: ‘Hernieuwde assertiviteit’ 1994-1997 ............................................................................. 16 Hoofdstuk 3: ‘Over de grenzen van het genre heen kijken’ 1998-2000 ................................................ 23 Conclusie ............................................................................................................................................... 28 Bibliografie ............................................................................................................................................ 30 Bronnen ............................................................................................................................................. 30 Internet -
2018 Remaster]
GHOSTLY INTERNATIONAL GI-04 Dabrye One/Three [2018 Remaster] TRACKLIST 01. The Lish 06. Trule No Shule 02. We’ve Got Commodity 07. Hyped-Up Plus Tax 03. With A Professional 08. Smoking The Edge 04. I’m Missing You 09. So Scientific 05. How Many Times (With This) 10. Hot Mating Ritual RELEASE BIO It was chance that brought about the release of One/Three, Dabrye’s debut album. Early demos were tucked on the B side of a cassette Tadd Mullinix passed to Sam Valenti in 2000 while working at the Dubplate Pressure record shop in Ann Arbor. Mullinix had spent the late ’90s producing jungle, techno, house, hip-hop and more using the RELEASE INFO All Sound Tracker software as a primary instrument. Each style pulled from a similar sound palette as Mullinix used limitations to define the Catalogue Number: GI-04 contours of dierent musical personalities. Dabrye was his hip-hop Format: LP wildstyle, a captivating collage of sparse instrumentals inspired by the laid back vibes of midwestern hip-hop and east coast boom bap, the Release Date: March 23rd, 2018 futuristic funk of Umma-era Jay Dee, and the calculated subtlety of UPC-LP: 804297900421 Detroit dance music. Released in 2001 as the first in an intended trilogy, One/Three announced Dabrye’s arrival with an unavoidable Genre: Electronic, hip hop contribution to Detroit hip-hop. Ghostly International is reissuing the Box Lot: LP- 10 album in 2017 for the first time, including a long overdue vinyl edition. Territory Restrictions: None On its release One/Three was the rare album that appealed to both fans of Slum Village’s smooth yet rugged hip-hop and enthusiasts of Vinyl Is not returnable the distinct American IDM released by labels like Schematic. -
The Signature of Hip Hop: a Sociological Perspective
International Journal of Criminology and Sociological Theory, Vol. 4, No. 1, June 2011, 626-647 The Signature of Hip Hop: A Sociological Perspective E. Jerry Persaud * Abstract Exploring the conditions and origins of Rap music and Hip Hop culture from a contextual standpoint facilitates a sociological perspective that is often missing. Who were some of the key players? What sort of agency and experiences informed their creativity under conditions that were marginal and wretchedly underdeveloped vis-à-vis the wider society in which they exist? Is it the structure of capitalism, race, or space that germinated the grounds for hip hop culture? This paper draws on various ‘conversations’ and consciousness to shape a narrative of early hip hop culture and its exponential growth to a global phenomenon. Hip hop remain an intriguing cultural enigma while still very profitable for many of those involved. It is often oversimplified in analysis, stereotyped in the wider society, criminalized by authorities, and receives lopsided coverage in the mass media. Yet, hip hop culture has managed to grow from the racial/spatial confines of the South Bronx, New York to touch almost every institution and ethnicity in the United States and across the globe, almost! There is a sociological obligation to examine this culture as this paper attempts to do. Introduction In the United States it has been possible in dominant discourse, without any difficulty, not to acknowledge the presence, contribution, and the condition of African-Americans immersed in major historical events that have been fundamental to the shaping of nationhood, identity, and citizenship (Wald: 1995). -
Is Hip-Hop Dead?
Regis University ePublications at Regis University All Regis University Theses Spring 2018 Is Hip-Hop Dead? Tim Kinoti Regis University Follow this and additional works at: https://epublications.regis.edu/theses Recommended Citation Kinoti, Tim, "Is Hip-Hop Dead?" (2018). All Regis University Theses. 861. https://epublications.regis.edu/theses/861 This Thesis - Open Access is brought to you for free and open access by ePublications at Regis University. It has been accepted for inclusion in All Regis University Theses by an authorized administrator of ePublications at Regis University. For more information, please contact [email protected]. Kinoti 1 Kinoti 2 TITLE IS HIP-HOP DEAD? A thesis submitted to Regis College The Honors Program in partial fulfillment of the requirements for Graduation with Honors by Tim Kinoti May 2018 Kinoti 3 Kinoti 4 TABLE OF CONTENTS ACKNOWLEDGEMENTS 5 I. INTRODUCTION 6 II. THE BEGININNG 1970s 11 III. GOLDEN ERA OF RAP 1980S and 1990S 18 IV.THE MODERN ERA 25 V. CLOSING 31 BIBLIOGRAPHY 33 Kinoti 5 Acknowledgements Advisor: Don Bush Reader: Professor Narcissi Advisory Board: Professor Kleier Regis Honors Program: Raeann Ramos, Thomas Howe Regis Library and Librarians Kinoti 6 Introduction “Sky is the limit and you know that you keep on Just keep on pressing on Sky is the limit and you know that you can have What you want, be what you want Sky is the limit and you know that you keep on Just keep on pressing on Sky is the limit and you know that you can have What you want, be what you want Have what you want, be what you want” -Sky’s The Limit- The Notorious B.I.G.