Conzo, Joe Jr
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Life & Rhymes of Jay-Z, an Historical Biography
ABSTRACT Title of Dissertation: THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 Omékongo Dibinga, Doctor of Philosophy, 2015 Dissertation directed by: Dr. Barbara Finkelstein, Professor Emerita, University of Maryland College of Education. Department of Teaching and Learning, Policy and Leadership. The purpose of this dissertation is to explore the life and ideas of Jay-Z. It is an effort to illuminate the ways in which he managed the vicissitudes of life as they were inscribed in the political, economic cultural, social contexts and message systems of the worlds which he inhabited: the social ideas of class struggle, the fact of black youth disempowerment, educational disenfranchisement, entrepreneurial possibility, and the struggle of families to buffer their children from the horrors of life on the streets. Jay-Z was born into a society in flux in 1969. By the time Jay-Z reached his 20s, he saw the art form he came to love at the age of 9—hip hop— become a vehicle for upward mobility and the acquisition of great wealth through the sale of multiplatinum albums, massive record deal signings, and the omnipresence of hip-hop culture on radio and television. In short, Jay-Z lived at a time where, if he could survive his turbulent environment, he could take advantage of new terrains of possibility. This dissertation seeks to shed light on the life and development of Jay-Z during a time of great challenge and change in America and beyond. THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 An historical biography: 1969-2004 by Omékongo Dibinga Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2015 Advisory Committee: Professor Barbara Finkelstein, Chair Professor Steve Klees Professor Robert Croninger Professor Derrick Alridge Professor Hoda Mahmoudi © Copyright by Omékongo Dibinga 2015 Acknowledgments I would first like to thank God for making life possible and bringing me to this point in my life. -
“Rapper's Delight”
1 “Rapper’s Delight” From Genre-less to New Genre I was approached in ’77. A gentleman walked up to me and said, “We can put what you’re doing on a record.” I would have to admit that I was blind. I didn’t think that somebody else would want to hear a record re-recorded onto another record with talking on it. I didn’t think it would reach the masses like that. I didn’t see it. I knew of all the crews that had any sort of juice and power, or that was drawing crowds. So here it is two years later and I hear, “To the hip-hop, to the bang to the boogie,” and it’s not Bam, Herc, Breakout, AJ. Who is this?1 DJ Grandmaster Flash I did not think it was conceivable that there would be such thing as a hip-hop record. I could not see it. I’m like, record? Fuck, how you gon’ put hip-hop onto a record? ’Cause it was a whole gig, you know? How you gon’ put three hours on a record? Bam! They made “Rapper’s Delight.” And the ironic twist is not how long that record was, but how short it was. I’m thinking, “Man, they cut that shit down to fifteen minutes?” It was a miracle.2 MC Chuck D [“Rapper’s Delight”] is a disco record with rapping on it. So we could do that. We were trying to make a buck.3 Richard Taninbaum (percussion) As early as May of 1979, Billboard magazine noted the growing popularity of “rapping DJs” performing live for clubgoers at New York City’s black discos.4 But it was not until September of the same year that the trend gar- nered widespread attention, with the release of the Sugarhill Gang’s “Rapper’s Delight,” a fifteen-minute track powered by humorous party rhymes and a relentlessly funky bass line that took the country by storm and introduced a national audience to rap. -
Rapper's Delight by Sugarhill Gang (Hip Hop) 1980 Song
Rapper’s Delight by Sugarhill Gang (hip hop) 1980 Song: • Upbeat • Fun • Movement • Its about woman • Positive • Funny lyrics Hip Hop: • This song introduced this genre to a wider audience. • On charts of being one of the best hip hop songs. • Record companies didn’t want to finance hip hop artists. • Started being something just played at parties. • Using samples of other artists songs and adding rap sections to it. • Break-dancing is a popular element of hip hop. o Decreased the amount of violence. o People where expressing themselves through the dance and rap. • DJ battling was when two rappers would battle each other to see who was better. • The ‘scratch’ was made by a mistake. o DJ grand wizard Theodore tried to hold the spinning record still so he could hear his mother talking. Sugarhill Gang History: • American – New Jersey • Members o Wonder Mike (Mike Wright), o Big Bank Hank (Henry Jackson), o Master Gee (Guy O’Brien), o Kory O (replaces Master Gee) • Sylvia Robinson o was a founder of a record label. o She heard the increase of rap music and wanted to release a record. o She originally was only going to have one person but after auditioning Wonder Mike and Big Bank Hank she decided to put them together to create a group. o She auditioned Wonder Mike in her car outside a pizza shop where he worked. o She heard Big Bank Hank rapping while on the job (bouncer). • Big Bank Hank was also a part-time hip-hop manager. He used to rap along with songs he was given to test. -
32 - Bmm2020 the Get- Down Part
32 - BMM2020 THE GET- DOWN PART By Miles Marshall Lewis to hear the story and 2Pac. But their points of view underlined that “ YOU LOV E again and again,” hip-hop culture now stretches long enough (nearly said the legend- five decades) for different generations to have their ary MC Shan, “of how it all got started way back own “OK boomer” views about who’s hot and who’s when.” Back when the hip-hop holy trinity of DJs not in rap history. The almost 50-year passage of Kool Herc, Afrika Bambaataa and Grandmaster time since its beginnings at public-park jams in the Flash appeared together on the cover of The Source South Bronx also means that the genre spans from magazine in late 1993, only the hardcore adherents the mature dad rap of 4:44-era Jay-Z to the so-called of rap music knew its history in intimately famil- SoundCloud rhymes of the late Juice WRLD. iar terms. Things like the 1520 Sedgwick Avenue Still, even an outsider like Australian director Pictured above: address of Kool Herc or crews like the Universal Baz Luhrmann felt comfortable enough creat- DJs Afrika Bambaataa, Zulu Nation—of which DJ Jazzy Jay was an early ing the fictive world of The Get Down, a scripted Grandmaster Flash member—were largely unfamiliar outside of the Netflix series set in the mise-en-scène of hip-hop’s and Kool Herc. Bronx. As hip-hop developed throughout the years formative years in the ’70s. From the American into the pop music of the world, spawning docu- Book Award-winning Can’t Stop Won’t Stop to the mentaries and historical biographies, rap’s origin Peabody-winning docuseries Hip-Hop Evolution, story has become as well-known to music lovers as many have laid bare the origins of rap music for the Beatles’ roots in Liverpool. -
Rap Lyrics As Evidence
Article Race and Justice 1-36 ª The Author(s) 2017 Rap Lyrics as Evidence: Reprints and permission: sagepub.com/journalsPermissions.nav What Can Music Theory DOI: 10.1177/2153368716688739 Tell Us? journals.sagepub.com/home/raj Nicholas Stoia1, Kyle Adams2 and Kevin Drakulich3 Abstract Recent scholarship has shed light on the troubling use of rap lyrics in criminal trials. Prosecutors have interpreted defendants’ rap lyrics as accurate descriptions of past behavior or in some cases as real threats of violence. There are at least two problems with this practice: One concerns the interpretation of art in a legalistic context and the second involves the targeting of rap over other genres and the role of racism therein. The goal of the present work is translational, to demonstrate the relevance of music scholarship on this topic to criminologists and legal experts. We highlight the usage of lyric formulas, stock lyrical topics understood by musicians and their audi- ences, many of which make sense only in the context of a given genre. The popularity of particular lyric formulas at particular times appears connected to con- temporaneous social conditions. In African American music, these formulas have a long history, from blues, through rock and roll, to contemporary rap music. The work illustrates this through textual analyses of lyrics identifying common formulas and connecting them to relevant social factors, in order to demonstrate that fictionalized accounts of violence form the stock-in-trade of rap and should not be interpreted literally. Keywords race and courts, race and sentencing, bias in the criminal justice system, race and public opinion, rap music, hip-hop, lyric formulas 1 Duke University, Durham, NC, USA 2 Indiana University Bloomington, Bloomington, IN, USA 3 Northeastern University, Boston, MA, USA Corresponding Author: Kevin Drakulich, Northeastern University, 206 Churchill Hall, Boston, MA 02115, USA. -
A Qualitative Study of Music, Materialism, and Meaning. (2009) Directed by Dr
SUDDRETH, COURTNEY B., M.S. Hip-Hop Dress and Identity: A Qualitative Study of Music, Materialism, and Meaning. (2009) Directed by Dr. Nancy Nelson Hodges. 136 pp. Throughout the 20 th and early 21 st century, music and culture have had tremendous influence on fashion. One style in particular, known as “hip-hop” has become synonymous with sound, subculture, and style. Hip-hop music, also referred to as rap or rap music, is a style of popular music which came into existence in the United States during the late 1970s, only to become a large part of modern popular culture by the 1980s. Today hip-hop has become mainstreamed, and embraced the consumption of luxury goods and status symbols as emblems of success. Materialism is now a fundamental message within hip-hop, but this factor has received little attention in extant research. The purpose of this study is to explore its influence on hip-hop style and the significance of the messages it conveys for those involved with it. Two qualitative methods, the in-depth interview and photo-elicitation, were the primary techniques used to collect data. Combined, these two methods provided the means to reveal and explore the experiences of 12 African-American males relative to hip-hop culture. A thematic interpretation of the responses revealed a spectrum of perceptions and opinions about the significance of dress and other material objects within hip-hop, along with different degrees of internalization of hip-hop influence. Responses point to a general consensus that hip-hop has become mainstreamed today and that consequently, the messages it communicates through lyrics, videos, and other media are significantly different than those of “old school” hip-hop during its early days. -
17-3481 STJEHHC Mainbody 1..502
Breakdancing Television You Control,” The Box gained popularity for video multiple times in one day. Its early technology was playing videos that MTV and VH1 would not play, more about the ability to provide audiences with the particularly hip hop videos. In its prime the network music videos they wanted to see than a futuristic viewing reached about 30 million households (Thompson 2016), experience. Also, with viewers in charge, there was no introducing viewers to such acts as 2 Live Crew, Sir mechanism for limiting how many times a video could be Mix-a-Lot (Anthony Ray, 1963–), and Vanilla Ice (Robert played within a day. Nevertheless, The Box continued to Matthew Van Winkle, 1967–). By providing a space for gain viewership through the 1990s and at its height was hip hop videos to reach wider audiences, The Box helped available on 115 stations. hip hop grow as a genre and culture. Money problems and issues with cable affiliates that Vending machine entrepreneur and mortgage broker felt the content was too controversial eventually led to Steve A. Peters (1945?–) founded the Video Jukebox The Box’s downfall. In 1999 MTV bought the network Network in 1985. Three years later he received a patent and turned it into MTV2. The Box’s influence is visible for his video jukebox system, in which television viewers on MTV’s hit video request show Total Request Live would call a phone number and enter a code that allowed (1998–2008; 2017–), which began airing in 1998. In them to make up to three video selections. -
MUSEUM of the CITY of NEW YORK PRESENTS NEW YORK, NEW MUSIC: 1980-1986 New Exhibition Examines the Seismic Creative Revolution of New York City in the 1980S
Janette Beckman. LL Cool J NYC. 1985. Courtesy of the photographer. MUSEUM OF THE CITY OF NEW YORK PRESENTS NEW YORK, NEW MUSIC: 1980-1986 New Exhibition Examines the Seismic Creative Revolution of New York City in the 1980s Featuring Moments with Madonna, MTV, Run DMC, Talking Heads, Keith Haring and DJ Larry Levan, Sonic Youth, Joey Arias, Funky 4+1, John Zorn, Liquid Liquid, Max Roach, Fort Apache Band, and more Opens June 11th Media Preview: June 9, 10AM-12PM NEW YORK, NY (May 2021) -Museum of the City of New York, the city’s storyteller for almost 100 years, today shared details for New York, New Music: 1980-1986, a new exhibition that revisits the music scene of early 1980s New York City. The exhibition examines this transformative era through the lens of emerging pivotal music genres and the influence they played on New York’s broader cultural landscape. Opening on June 11, in advance of MTV’s 40th anniversary in August, the exhibition highlights diverse musical artists—from Run DMC to the Talking Heads, from Madonna to John Zorn— to explore the broader music and cultural scene, including the innovative media outlets, venues, fashion, and visual arts centered in the city during that time. “The early 1980s were a time of significant transition in New York, with the city facing crime, urban decay, and homelessness. And yet, despite those challenges, it was also a particularly fertile time for music and other creativity in New York City,” says Whitney Donhauser, Ronay Menschel Director and President, Museum of the City of New York. -
Roundtable: VH1's (White) Rapper Show: Intrusions, Sightlines, and Authority
Journal of Popular Music Studies, Volume 20, Issue 1, Pages 44–78 Roundtable: VH1’s (White) Rapper Show: Intrusions, Sightlines, and Authority Kyra Gaunt, Cheryl L. Keyes, Timothy R. Mangin, Wayne Marshall, and Joe Schloss With an Afterword by Miles White This roundtable was held at the annual meeting of IASPM-US in Boston on April 28, 2007. It was sponsored by the IASPM-US Diversity Committee, and chaired by IASPM-US President Harry Berger. It was organized and edited by Deborah Wong. It addressed Ego Trip’s (White) Rapper Show, a reality show aired on VH1 between January and March of 2007. The roundtable participants included five scholar-activists who have each written extensively about hip-hop and racialization. The proceedings offered here are a set of composite texts: some of the panelists transcribed their spoken contributions to the roundtable, and several opted to publish written versions of their comments or edited versions of their spoken presentations. This published version of the roundtable thus offers the spirit of the live event and more. We are especially pleased that Miles White, who was unable to participate in the roundtable as planned, offered a written afterword included here. We thank audience member Richard Smith for taping the proceed- ings. We especially thank former President Harry Berger for chairing the roundtable and for establishing the Diversity Committee for IASPM-US in 2005. Harry Berger: Hello, I’dlike to welcome everyone. My name is Harry Berger and I’m the President of IASPM-US for about another two hours. I would like to welcome everyone to the roundtable titled “VH1’s (White) Rapper Show: Intrusions, Sightlines, and Authority.” This panel is sponsored by the IASPM-US Diversity Committee and was organized by committee member Deborah Wong, who unfortunately could not be with us today. -
Remix Without Romance
University of Connecticut OpenCommons@UConn Connecticut Law Review School of Law 2011 Remix without Romance Thomas W. Joo Follow this and additional works at: https://opencommons.uconn.edu/law_review Recommended Citation Joo, Thomas W., "Remix without Romance" (2011). Connecticut Law Review. 138. https://opencommons.uconn.edu/law_review/138 CONNECTICUT LAW REVIEW VOLUME 44 DECEMBER 2011 NUMBER 2 Article Remix Without Romance THOMAS W. JOo A dominant argument in intellectual property scholarship asserts that technologies such as digital copying empower individuals to participate in the making of culture. Such participationinvolves individuals appropriatingcultural material, "remixing " it with other elements, and "recoding" it by assigning it alternativemeanings. By enabling more people to participatein culture, remixing and recoding supposedly enhance "semiotic democracy " and mitigate the dominance of the media industry. The same theorists who make this argument also tend to assert that copyright law is in need of significant reform because it inhibits recoding and thus stifles semiotic democracy. This Article challenges the empirical assertion that law inhibits recoding-but it also questions the normative assumption that recoding is presumptively good for semiotic democracy. This Article focuses on a specific type of recoding: musical sampling (that is, the recoding of music through digital copying and other means). Sampling, particularlyin hip-hop music, is frequently cited as a paradigmatic example of recoding that has been inhibited by intellectual property law. The legal history of sampling, however, suggests otherwise. Commentators have misread importantjudicial opinions about sampling and misunderstood the business practices of the music industry. At least in the sampling context, law has not prevented the reallocationof recoding rights by contract. -
Gangsta Rap and the Trapped Mentality
Georgia Southern University Digital Commons@Georgia Southern Honors College Theses 2017 Gangsta Rap and the Trapped Mentality Mikalah M. Guyton Georgia Southern University Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/honors-theses Part of the Gender, Race, Sexuality, and Ethnicity in Communication Commons, and the Mass Communication Commons Recommended Citation Guyton, Mikalah M., "Gangsta Rap and the Trapped Mentality" (2017). Honors College Theses. 572. https://digitalcommons.georgiasouthern.edu/honors-theses/572 This thesis (open access) is brought to you for free and open access by Digital Commons@Georgia Southern. It has been accepted for inclusion in Honors College Theses by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. Gangsta Rap and the Trapped Mentality An Honors Thesis submitted in partial fulfillment of the requirements for Honors in Communication Arts. By Mikalah Guyton Under the mentorship of Shana Bridges ABSTRACT This research paper provides historical background into the evolution of Hip Hop culture and further investigation into the evolution and foundation of Gangsta Rap music. Throughout this investigation, five recurring fundamental themes are recognized through patterns presented by its pioneers. The five themes that are addressed within this subgenre include: (1) masculinity, (2) respect, (3) violence and retaliation, (4) misogyny, and (5) wealth. As Gangsta Rap emerged into popular culture, it became socially acceptable to exploit issues and limitations experienced within African American communities. In turn, Gangsta rappers overcame limitations typically experienced by black males. In what follows I will provide origins and characteristics of Gangsta Rap. I will discuss the emergence of Trap music from Gangsta Rap. -
Innovation Diffusion: Marketing Drivers of Hip-Hop Success
Innovation Diffusion: Marketing Drivers of Hip-Hop Success Chuck Tomkovick, University of Wisconsin-Eau Claire Justin Eder, Hip-Hop Event Organizer & Artist hen Clive Campbell, aka DJ Kool Herc, organized an after-school party in 1971 at his sister’s request, he had little idea he was inventing hip-hop, and even less of an idea Wthat his South Bronx style would spark music and fashion innovation for generations to come.1 By hopping back and forth between two turntables using duplicate copies of the same record, Kool Herc was able to extend the percussion breakdown (“the breaks”) of songs, enabling break-dancers and emcees to show and prove their skills.2 From this eclectic collage of deejaying, break-dancing, graffiti expression, and emceeing, hip-hop culture was born.3 Fast-forwarding to today, hip-hop has been an amazing commercial success. With over $12 billionCengage in estimated annualNot sales4 (comprised for Learning of CDs, ReprintDVDs, digital downloads, clothing, books, magazines, ringtones, beverages, and other assorted products), the size and scope of hip-hop merchandise, and its widespread adoption, is the envy of many in the world of pop culture. Curious onlookers and those appreciative of marketing’s role in innovation diffusion wonder how this culture has spread so pervasively. Where is hip-hop in its product life cycle? Why are people of such diverse geographic and ethnic backgrounds so willing to embrace a culture that was spawned primarily by minorities in the South Bronx? Answering these and other related questions provided the motivation for this marketing module. ID-1 ID-2 Innovation Diffusion: Marketing Drivers of Hip-Hop Success Marketing Drivers of Hip-Hop Success The diffusion of hip-hop culture, from its earliest days to its powerful world stage presence today, can be attributed to four major market- ing forces: rhythmic market visionaries with a penchant for fashion and branding, innate consumer attraction to underdogs and rebels, the merging of media and modern technology, and unabashed corpo- rate co-optation.