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Open Steinle Cory Kanyecriticism.Pdf
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF COMMUNICATION ARTS & SCIENCES “I THOUGHT ABOUT KILLING YOU”: CONSIDERING THE UTILITY OF RHETORICAL AND BIOGRAPHICAL CRITICAL APPROACHES TO KANYE WEST’S YE CORY N. STEINLE SPRING 2020 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Communication Arts and Sciences and Labor and Employment Relations with honors in Communication Arts and Sciences Reviewed and approved* by the following: Bradford Vivian Professor of Communication Arts & Sciences Thesis Supervisor Lori Bedell Associate Teaching Professor in Communication Arts & Sciences Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT This paper examines the merits of intrinsic and extrinsic critical approaches to hip-hop artifacts. To do so, I provide both a neo-Aristotelian and biographical criticism of three songs from ye (2018) by Kanye West. Chapters 1 & 2 consider Roland Barthes’ The Death of the Author and other landmark papers in rhetorical and literary theory to develop an intrinsic and extrinsic approach to criticizing ye (2018), evident in Tables 1 & 2. Chapter 3 provides the biographical antecedents of West’s life prior to the release of ye (2018). Chapters 4, 5, & 6 supply intrinsic (neo-Aristotelian) and extrinsic (biographical) critiques of the selected artifacts. Each of these chapters aims to address the concerns of one of three guiding questions: which critical approaches prove most useful to the hip-hop consumer listening to this song? How can and should the listener construct meaning? Are there any improper ways to critique and interpret this song? Chapter 7 discusses the variance in each mode of critical analysis from Chapters 4, 5, & 6. -
“I Know That We the New Slaves”: an Illusion of Life Analysis of Kanye West’S Yeezus
1 “I KNOW THAT WE THE NEW SLAVES”: AN ILLUSION OF LIFE ANALYSIS OF KANYE WEST’S YEEZUS A THESIS SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS BY MARGARET A. PARSON DR. KRISTEN MCCAULIFF - ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2017 2 ABSTRACT THESIS: “I Know That We the New Slaves”: An Illusion of Life Analysis of Kanye West’s Yeezus. STUDENT: Margaret Parson DEGREE: Master of Arts COLLEGE: College of Communication Information and Media DATE: May 2017 PAGES: 108 This work utilizes an Illusion of Life method, developed by Sellnow and Sellnow (2001) to analyze the 2013 album Yeezus by Kanye West. Through analyzing the lyrics of the album, several major arguments are made. First, Kanye West’s album Yeezus creates a new ethos to describe what it means to be a Black man in the United States. Additionally, West discusses race when looking at Black history as the foundation for this new ethos, through examples such as Dr. Martin Luther King Jr. and Nina Simone’s rhetoric, references to racist cartoons and movies, and discussion of historical events such as apartheid. West also depicts race through lyrics about the imagined Black male experience in terms of education and capitalism. Second, the score of the album is ultimately categorized and charted according to the structures proposed by Sellnow and Sellnow (2001). Ultimately, I argue that Yeezus presents several unique sounds and emotions, as well as perceptions on Black life in America. 3 Table of Contents Chapter One -
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Case 4:16-cv-02013-KAW Document 1 Filed 04/18/16 Page 1 of 26 1 Todd M. Logan (SBN 305912) [email protected] 2 EDELSON PC 3 329 Bryant Street, Suite 2C San Francisco, California 94107 4 Tel: 415.212.9300 Fax: 415.373.9435 5 Jay Edelson* 6 [email protected] EDELSON PC 7 350 North LaSalle Street, 13th Floor Chicago, Illinois 60654 8 Tel: 312.589.6370 9 Fax: 312.589.6378 10 *Motion for admission pro hac vice to be filed 11 Counsel for Plaintiff and the Putative Class 12 IN THE UNITED STATES DISTRICT COURT 13 FOR THE NORTHERN DISTRICT OF CALIFORNIA 14 SAN FRANCISCO DIVISION 15 JUSTIN BAKER-RHETT, individually and Case No.: 16 on behalf of all others similarly situated, CLASS ACTION COMPLAINT 17 Plaintiff, FOR: 18 v. (1) Violations of Cal. Bus. & Prof. Code § 17500; 19 S. CARTER ENTERPRISES, LLC, a (2) Violations of Cal. Bus. & Prof. Delaware limited liability company, and Code §§ 17200, et seq.; 20 KANYE WEST, an individual, together (3) Fraudulent Inducement; and 21 d/b/a TIDAL, (4) Unjust Enrichment. 22 Defendants. DEMAND FOR JURY TRIAL 23 Plaintiff Justin Baker-Rhett brings this Class Action Complaint and Demand for Jury 24 Trial against Defendants S. Carter Enterprises, LLC (“SCE”) and Kanye West (collectively 25 “Defendants”), based upon their conduct of fraudulently inducing consumers to subscribe to 26 Tidal—a subscription-based music streaming service owned by Defendants. Plaintiff Baker- 27 28 CLASS ACTION COMPLAINT CASE NO. Case 4:16-cv-02013-KAW Document 1 Filed 04/18/16 Page 2 of 26 1 Rhett alleges as follows upon personal knowledge as to himself and his own acts and experiences 2 and, as to all other matters, upon information and belief, including investigation conducted by his 3 attorneys: 4 NATURE OF THE ACTION 5 1. -
Kanye West Graduation Download Link
Kanye west graduation download link LINK TO DOWNLOAD 17/2/ · Album: Kanye West – Graduation () February 17, SLIM OLD HIP HOP ALBUMS & SINGLES 0 Stream And “Listen to Album: Kanye West – Graduation ()” “ fakaza Mp3 ” kbps flexyjam cdq itunes Fakaza download datafilehost Descarger torrent zippyshare download Song. Download graduation zip shared files: renuzap.podarokideal.ru from renuzap.podarokideal.ru MB, Kanye West - renuzap.podarokideal.ru from renuzap.podarokideal.ru MB, Kanye West - renuzap.podarokideal.ru from renuzap.podarokideal.ru MB, SPEED - my renuzap.podarokideal.ru from renuzap.podarokideal.ru MB, renuzap.podarokideal.ru from renuzap.podarokideal.ru MB free from TraDownload. - Kanye West - Graduation - Kanye West - 's & Heartbreak - Kanye West - My Beautiful Dark Twisted Fantasy. Out Of My Head MP3 Kbps Paul Collins - Out Of My Head () MP3 76 MB: Download Music: Thorns Inside - 1 Lane Hwy MP3 Kbps Thorns Inside - 1 Lane Hwy (). Graduation If anyone has the unedited version let me know. Kanye West Graduation Album Leak (Link for Download) [Archive] - Teton Gravity Research Forums Teton Gravity Research Forums > Media & Arts > MUSIC, BOOKS, MOVIES > Kanye West Graduation Album Leak (Link for Download). Graduation is the third studio album by American rapper and producer Kanye West, released on September 11, , through Def Jam Recordings and Roc-A-Fella renuzap.podarokideal.ruing sessions took place between 20at several studios in New York and Los Angeles. It was primarily produced by West himself, with contributions from various other producers. Graduation. Kanye West. 13 tracks. Released in Tracklist. 16/9/ · Kanye West - Graduation (Alternate & Demo Tracks) Info: Compilation of Alternate & Demo Tracks from Graduation Audio: Mixed MP3’s. -
Kanye West + Vincent Desiderio
Kanye West + Vincent Desiderio NEW Y ORK ACADEMY OF ART NEW Y ORK Kanye West ACADEMY OF ART + Vincent Desiderio On June 24, 2016, Kanye West premiered the new music video for his song “Famous” off the album The Life of Pablo at a live screening at the Forum in Los Angeles. The video took as its inspiration the painting “Sleep” by New York Academy of Art faculty member Vincent Desiderio. “Sleep” was exhibited in 2004 at Marlborough Gallery, and is currently in a private collection. Desiderio was invited by West to preview the video before its release and was impressed with the result. In West’s vision, the anonymous models of Desiderio’s work are replaced by modern cultural icons of notoriety and fame, including Donald Trump, Anna Wintour, Taylor Swift, Caitlyn Jenner, Bill Cosby, George W. Bush, Kim Kardashian and West himself. Desiderio, who joined the Academy two decades ago, is a figurative painter. Previous to becoming a Senior Critic, he served as a full-time faculty member in painting. His works are included in the collections of the Metropolitan Museum of Art, the Hirshhorn Museum and Sculpture Garden in Washington, DC, and the Denver Art Museum. Other Senior Critics at the Academy include other major figurative artists of our era, including Jenny Saville, Kurt Kauper, Eric Fischl, Steven Assael and Will Cotton. NEW Y ORK Kanye West ACADEMY OF ART + Vincent Desiderio The New York Times NPR Weekend Edition W Magazine Rolling Stone New York Magazine Huffington Post The Fader Entertainment Weekly TIME Magazine ArtNews ABC News Nightline The Guardian Harper’s Bazaar Billboard Magazine The New York Times ArtInfo Vanity Fair NEW Y ORK Kanye West ACADEMY OF ART + Vincent Desiderio Artist Who Inspired Kanye West’s ‘Famous’ Video: ‘I Was Really Speechless’ “I was almost in tears,” Mr. -
Towards an African-American Genealogy of Market and Religion in Rap Music
POPULAR MUSIC AND SOCIETY, 2018 https://doi.org/10.1080/03007766.2018.1458275 Towards an African-American Genealogy of Market and Religion in Rap Music Kevin Pyon The University of North Carolina, Chapel Hill, NC, USA ABSTRACT This essay provides a new reading of the intersections between religion and rap music in its genealogical consideration of how black laborers’ orientations to the market—from the antebellum slave market to the contemporary music industry—have informed their consequent commodifications of race and religion. The essay (1) traces the informal economy and sacred world of the slaves to the twinned births of the modern black prosperity gospel and hip-hop culture and (2) connects the religio-economic modalities of postbellum peddling and celebrity preachers to contemporary black prosperity preachers and hip-hop moguls. Finally, this essay concludes that the commodified formulations of race and religion in rap music represent transformations of spiritual and market categories of “authenticity” and “freedom” which have structured and sometimes limited our understandings of distinct articulations of race, religion, and the market throughout African-American history. Articulations of Race, Religion, and the Market This essay situates hip-hop music within a lineage of black laborers who have both nego- tiated with and disrupted the market’s commodification of them through various means: the medium of the market itself, their religious belief and practices, and—oftentimes—a paradoxical combination of both.1 It argues that the -
Kanye West and Male Emotionality 1 the Department of Communication
Kanye West and Male Emotionality 1 The Department of Communication Arts and Sciences Kanye West, Emotionality, & Individualism – Pioneering a Paradigm Shift Amongst Rap’s Elite Cory Steinle The Pennsylvania State University Kanye West and Male Emotionality 2 Abstract By analyzing countless song lyrics, criminal data, and investigate interviews from popular rappers, I was able to draw the conclusion that Kanye West had a significant and quantifiable impact on the frequency of emotionality & individualism within popular rap music. His status as a celebrity allowed for the cathartic release of emotions throughout his music career to be labeled as “revolutionary.”. At the time he released his freshman album, The College Dropout (2004), violence and hate were two emotions largely represented in the popular rap sphere. This was the aftermath of a previous decade of rap music besieged by violent, criminalistics themes inspired by rap’s very best – Biggie, Tupac, Snoop Dogg, and N.W.A. However, with Kanye’s new “pink polo” Chicago style, he was successfully able to enter the marketplace with a unique, individualistic style and sound. Themes of individualism and healthy emotionality can be found throughout his career, from his 2002 single “Through the Wire” through his seventh solo studio album, The Life of Pablo (2016). He stayed true to these themes throughout his first three studio albums, but it was his fourth album, 808’s & Heartbreak, that truly shifted the paradigm of rap music. This album cemented West’s place in history as one of the most influential artists of his time, inspiring many of his peers to adopt similar styles and motives as his own. -
“How Great:” Reflections on Kanye's Best Prodigy, Chance the Rapper
Wright: “How Great:” Reflections on Kanye’s Best Prodigy, Chance the Rapp “How Great:” Reflections on Kanye’s Best Prodigy, Chance the Rapper Joshua K. Wright Journal of Hip Hop Studies, Special Issue I Gotta Testify: Kanye West, Hip Hop, and the Church Volume 6, Issue 1, Summer 2019, pp. 125–127 DOI: https://doi.org/10.34718/mhwj-v184 ____________________________________ Published by VCU Scholars Compass, 2019 1 Journal of Hip Hop Studies, Vol. 6, Iss. 1 [2019], Art. 16 “How Great:” Reflections on Kanye’s Best Prodigy, Chance the Rapper Joshua K. Wright “I miss the old Kanye, straight from the 'Go Kanye. Chop up the soul Kanye, set on his goals Kanye. I hate the new Kanye, the bad mood Kanye. The always rude Kanye, spaz in the news Kanye.” Kanye West, “I Love Kanye” (2016) When Kanye West debuted his seventh studio album The Life of Pablo on Saturday Night Live (February 14, 2016) few people were expecting to witness a passing of the torch. Halfway through Kanye’s performance of “Ultralight Beam” Chance The Rapper, stepped on stage with a mic in hand and not so quietly announced to the world that a new king was here to watch the throne. Fans who have been alienated by the recent profane direction in Kanye’s music, his erratic behavior during concerts, his confounding pro-Donald Trump tweets, and ignorance about American slavery and institutional racism, no longer have to recite the lyrics “I miss the old Kanye.” Chance The Rapper, affectionately known as Kanye’s best prodigy, is the embodiment of Kanye’s best musical qualities and the promise that he once gave Hip Hop enthusiasts to shift paradigms on Christian masculinity, faith, and spirituality with the release of his debut album, The College Dropout (2004). -
Coscarelli, the Sudden Digital Drop
8/24/2016 Why Frank Ocean and Other Big Names Prefer the Sudden Digital Drop The New York Times http://nyti.ms/2aUCbXN MUSIC Why Frank Ocean and Other Big Names Prefer the Sudden Digital Drop By JOE COSCARELLI AUG. 5, 2016 As the music world eagerly awaits the inscrutable R&B singer Frank Ocean’s sophomore album, “Boys Don’t Cry” — which could arrive digitally at any moment via Apple Music — it’s worth considering how we got to this point of nailchewing uncertainty about big records’ release dates. These days, instead of a tactical, monthslong promotional rollout of a physical album or CD, which requires strict deadlines, pressing plants and the cooperation of retail partners to meet a firm onsale date, some musicians have cut out many of the middlemen, making the process far more direct — and potentially mercurial. Artists today have an array of options for digital distribution. Smaller acts can upload their music to a service like Bandcamp, where they can set a flexible price tag for direct downloads as soon as a song or album is finished. (Promotion then occurs after the fact, usually on social media.) More established artists might strike a lucrative, exclusive limitedtime deal with a streaming service like Apple or Tidal, also shrinking the gap between a work’s completion and its distribution. (Plastic discs and colorprinted booklets take time that uploading audio files to a server does not.) http://www.nytimes.com/2016/08/06/arts/music/frankoceanbeyonceadeledigitalrelease.html 1/5 8/24/2016 Why Frank Ocean and Other Big Names Prefer the Sudden Digital Drop The New York Times In 2016 alone, the irregular semiimprovisational album release has been continually reinvented by Beyoncé (who combined the forces of HBO and Tidal); Rihanna (whose “Anti” was both delayed and came out online earlier than expected); and Kanye West (who did things on no one’s timetable but his own). -
Sulanderlilli.Pdf (12.60Mt)
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The American Reception of Jay-Z & Kanye
Backstage Pass Volume 1 Issue 1 Article 14 2018 Watching the Throne: The American Reception of Jay-Z & Kanye Ted Lin-Cereghino University of the Pacific, [email protected] Ted Lin-Cereghino (2019) is pursuing a degree in Arts & Entertainment. This article was written as part of the curriculum for the Bachelor of Music in Music Management and the Bachelor of Science in Music Industry Studies at University of the Pacific. Each student conducted research based on his or her own areas of interest and study. To learn more about the program, visit: go.pacific.edu/musicindustry Follow this and additional works at: https://scholarlycommons.pacific.edu/backstage-pass Part of the Music Commons Recommended Citation Lin-Cereghino, Ted (2018) "Watching the Throne: The American Reception of Jay-Z & Kanye," Backstage Pass: Vol. 1 : Iss. 1 , Article 14. Available at: https://scholarlycommons.pacific.edu/backstage-pass/vol1/iss1/14 This Opinion & Analysis is brought to you for free and open access by the Conservatory of Music at Scholarly Commons. It has been accepted for inclusion in Backstage Pass by an authorized editor of Scholarly Commons. For more information, please contact [email protected]. Lin-Cereghino: Watching the Throne: The American Reception of Jay-Z & Kanye Watching the Throne: The American Reception of Jay-Z & Kanye By: Ted Lin-Cereghino In today’s world, the two most well-known hip hop artists are arguably Kanye West and Jay-Z. Between the two, they have amassed 42 Grammys, 23 platinum albums, and 87 million albums sold.1 Here are two incredibly successful African American music businessmen who do and sell the same things. -
''Moments of Clarity''and Sounds of Resistance: Veiled Literary
“Moments of Clarity” and Sounds of Resistance: Veiled Literary Subversions and De-Colonial Dialectics in the Art of Jay Z and Kanye West A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English Language and Comparative Literatures of the College of Arts and Sciences by Sha’Dawn D. Battle B.A., Central State University 2007 M.A., Wright State University 2009 November 2016 Committee Chair: Sharon Dean, PH.D. Abstract “‘Moments of Clarity’ and Sounds of Resistance: Veiled Literary Subversions and De- Colonial Dialectics in the Art of Jay Z and Kanye West” employs rap music as an object of inquiry into the question of contemporary manifestations of anti-Black oppression, demonstrating the ways in which the art of rappers Jay Z and Kanye West in particular, covertly elucidates the conditions and discursive and ideological mechanisms of power that make possible the exploitation, repression, and destruction of Black bodies in America. In the first two chapters, I argue that this illuminative potential is, in part, what attributes to the political utility of mainstream rap music. My first goal is therefore to make apparent mainstream rap music’s rightful place in Black liberation politics given its ability to unveil the functionality of age-old Eurocentric, white supremacist paradigms, such as rendering Black bodies incorrigibly animal, denying Black bodies access to subjectivity, or negating Black ontology. These ideologies give rise to exclusionary monolithic constructions of what it means to be human, pathological constructions of “blackness,” Black masculinity especially, and subsequently, the arbitrary conferral of power (to both state apparatuses and individuals racially coded as “superior”), which manifests in the form of systematic and institutional racism, and ultimately, Black male disembodiment.