Mc Ren Torrent

Total Page:16

File Type:pdf, Size:1020Kb

Mc Ren Torrent Mc ren torrent Continue Itit csakis hip hop rap zen'ket t'lthetsz le. Yo t'lt'get'st mindenkinek :)) t'bb mint 1500 let'lthet album kyozul valogathatsh. Mediafire linkek mindenhol. 1992 EP from MC RenKizz My Black AzzEP from MC RenReReleasedJune 30, 1992 (1992-06-30)RecordedJanuary 1991 - May 1992StudioAudio Achievements, Torrance, CaliforniaGenreHip hopLength24:38Label Ruthless Priority ProducerSSSSYorable Producers DJ Bobcat DJ DJ Train MC Ren The Torture Chamber MC Ren chronology Kizz My Black Azz (1992) Shock of the Hour (1993) Singles from Kizz My Black Azz Final FrontierReleased : September 14, 1992 Kizz My Black Azz is the debut EP by rapper MC Ren, released on June 30, 1992 on ruthless Records and distributed by Priority Records. Having sold more than a million copies in its first month, the album has sold 2.2 million copies in the U.S. and received professional ratingsReview ScoresSourceRatingAllmusic 2Entertainment WeeklyB- 3 Los Angeles Times4Source 5RapReviews (7/10) Introduction: Check It out Y'all DJ Bobcat2:012. Behind the scenes. Final milestoneDJ Bobcat4:114. Right up my alley. Hounddogz Torture Chamber, DJ Train, MC Ren4:346. Kizz My Black AzzDJ Bobcat4:18Total length:24:38 Staff Bobby Ervin - Producer Brian Gardner - Mastering Dean Carr - Photo Clarence Lars - Producer Dino Paredes - Artistic Direction, Designed by Lorenzo Patterson - Chief Artist, Producer Mike Sims - Bass, Guitar Donovan Smith - Mixing Eric Wright - Executive Producer of Torture Camera - Producers charts Charts (1992) Peakposition USA Billboard 200 12 U.S. Top RCB /Hip-Hop Albums 10 Links Sister Souljah becomes front page news, but her rap remains unremarkable. Billboard. Volume 104 No 27. page 21. Kellman, Andy. Kizz My Black Azz on AllMusic and Bernard, James. Review: Kizz My Black Azz. Entertainment Weekly. Gold, Jonathan. Review: Kizz My Black Azz. Johnsen, Brett. Review: Kizz My Black Azz. A review of RapReviews is derived from This article is about a hip-hop group. For other purposes, see American Hip-Hop Group N.W.A lineup in 1988 (from left to right) Arab Prince, MC Ren, Ice Cube, Eazy-E, DJ Yella, Dr. DreBackground informationOriginCompton, California, U.S.GenresWest Coast Hip Hopgangsta rapYears Active 1987-1991 2015-2016 (partial reunion) LabelsRuthlessPriorityAssociated acts D.O.C. Past members arabian Prince DJ Yella Dr. Dre Eazy-E Ice Cube MC N.W.A (a partial reunion for Niggaz Wit Attitudes) - American-hop group From Comston, California. They were among the earliest and most significant popularizers and controversial figures of gangsta rap subgenre, and are widely considered one of the greatest and most influential bands in the history of hip-hop music. Active from 1987 to 1991, the rap group went through controversy because of the explicit lyrics of their music, which many considered misogynistic, as well as the glorification of drugs and crime. The group was subsequently banned from many major American radio stations. Despite this, the group has sold more than 10 million units in the United States alone. Drawing on its own experience of racism and excessive policing, the group has made political music at its core. They were known for their deep hatred of the police system, which has caused much controversy over the years. The original line-up, formed in early 1987, consisted of Arabian Prince, Dr. Dre, Eazy-E and Ice Cube. DJ Yella and MC Ren joined later that year. They released their first band as a band in 1987 under the name N.W.A. and Posse, which reached #39 on the Billboard Top R'B/Hip-Hop Albums chart. The Arabian prince left the country shortly after the release of his debut studio album Straight Outta Compton in 1989, and Ice Cube followed suit in December. Eazy-E, Ice Cube, MC Ren and Dr. Dre later became platinum solo artists in their own right in the 1990s. Their debut album marked the beginning of a new era of gangsta rap, as the production and social commentary in their lyrics were revolutionary in the genre. N.W.A's second studio album, Niggaz4Life, was the first hardcore rap album to reach number one on the Billboard 200. Rolling Stone ranked N.W.A at number 83 on the list of 100 Greatest Artists of All Time. In 2016, the band was inducted into the Rock and Roll Hall of Fame after three previous nominations. History N.W.A Logo Formation and Panic Zone (1987-88) Poster for one of the first N.W.A concerts at Compton Rink, 1988 N.W.A was assembled by Compton-based Eazy-E, who co-founded Ruthless Records with Jerry Heller. Eazy-E was looking to meet Steve Jano. Although initially rebuffed, Jano was impressed by Eazy-E's perseverance and arranged a meeting with Dr. Dre. N.W.A was originally made up of Eazy-E and Dr. Dre. Along with another producer, the Arabian Prince, Ice Cube was added to the after he started as a rapper for the band C.I.A. Dre would later bring DJ Yella on board as well. Dre and Yella were members of World Class Wreckin' Cru as DJs and producers. Ruthless released the single Panic zone in 1987 with Macola Records, which was later included in the N.W.A. and Posse compilation. N.W.A is still in the pipeline, and is only credited on three of the eleven tracks, notably the uncharacteristic recordings of Panic Zone, 8-Ball, and Dopeman, which marked the first collaboration of the Arab Prince, DJ Yella, Dr. Dre, and Ice Cube. Mexican rapper Krazy-Dee co-wrote Panic Zone, which was originally called The Hispanic Area, but the name was later changed when Dr. Dre told Krazy-Dee that the word Hispanic would discourage sales. Also included in the solo track Eazy-E Boyz-n-the- Hood. Straight Outta Compton, Eazy-Duz-It (1988-1989) N.W.A were among the headliners of the 1988 Public Enemy concert tour Bring the Noise. N.W.A released their debut studio album Straight Outta Compton in 1988. With its famous opening volley of three tracks, the band reflected the growing anger of the city's youth. The opening song Straight Outta Compton presented a group, Fuck tha Police protested police brutality and racial profiling, and Gangsta Gangsta painted the worldview of urban youth. While the band was later credited with pioneering gangsta rap subgenre, N.W.A called their music a reality rap. Twenty-seven years later, a member and co-producer of the film Straight Outta Compton, Ice Cube, commented that they talked about what really led to the style that we eventually did, which is now called hardcore gangster rap. Dr. Dre and DJ Yella, as HighPowered Productions, composed rhythms for each song, with Dre making occasional rap appearances. D.O.C., Ice Cube and MC Ren wrote most of the band's lyrics, including tha Police, arguably the band's most famous song, which brought them into conflict with various law enforcement agencies. Under pressure from Focus on the Family, Milt Ahlerich, assistant director of the FBI, sent a letter to Ruthless and his distributor, Priority Records, advising the rappers that propaganda of violence and attacks is wrong, and we in law enforcement are making an exception to such actions. This letter can still be seen in the Rock and Roll Hall of Fame in Cleveland, Ohio. The policemen refused to ensure the safety of the band's concerts, which damaged their tour plans. However, the FBI letter only served to attract more publicity to the group. Straight Outta Compton was also one of the first albums to stick to the new parental label counseling scheme, then back in the early stages: the label at the time consisted of WARNING: Moderate Exposure to Rough Language and/or Themes Only. the taboo nature of N.W.A music was the most important factor in its mass appeal. Media coverage compensated for the absence of N.W.A, and their album eventually became double platinum. A month after Straight Outta Compton, the solo debut of Eazy-E Eazy-Duz-It was released. The album was dominated by Eazy (MC Ren was the only guest rapper), but behind the scenes it was a band effort. The music was made by Dr. Dre and DJ Yella; the lyrics were mostly written by MC Ren, featuring Ice Cube and The D.O.C. The album was another double platinum success for Ruthless (in addition to JJ Fad in 1988 and singer Michelle in 1989). 1989 saw the re-release of N.W.A and Posse and Straight Outta Compton on CD, and the release of D.O.C. No one can make it better. His album was essentially a collaboration with Dr. Dre and in particular free of gangsta-rap content, including the N.W.A squad to cut the Grand Final. This will be another #1 for the record label. 100 miles And Runnin' and Niggaz4Life (1989-91) Ice Cube left the band in December 1989 due to royalty disputes; Writing almost half the text on Straight Outta Compton, he felt he wasn't getting a fair share of the profits. The lawsuit, filed by Ice Cube against the group's manager Jerry Heller, was settled in the out-of-court courts. He spent little time compiling his solo debut, AmeriKKKa's Most Wanted, in the 1990s, but he avoided mentioning his former label mates. The N.W.A title track with their 1990 EP 100 Miles and Runnin', however, included a diss Ice Cube: We started with five, but yo/One couldn't take it- So now this four/cuz fifth couldn't do it.
Recommended publications
  • Celebrity and Race in Obama's America. London
    Cashmore, Ellis. "To be spoken for, rather than with." Beyond Black: Celebrity and Race in Obama’s America. London: Bloomsbury Academic, 2012. 125–135. Bloomsbury Collections. Web. 29 Sep. 2021. <http://dx.doi.org/10.5040/9781780931500.ch-011>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 29 September 2021, 05:30 UTC. Copyright © Ellis Cashmore 2012. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 11 To be spoken for, rather than with ‘“I’m not going to put a label on it,” said Halle Berry about something everyone had grown accustomed to labeling. And with that short declaration she made herself arguably the most engaging black celebrity.’ uperheroes are a dime a dozen, or, if you prefer, ten a penny, on Planet SAmerica. Superman, Batman, Captain America, Green Lantern, Marvel Girl; I could fi ll the rest of this and the next page. The common denominator? They are all white. There are benevolent black superheroes, like Storm, played most famously in 2006 by Halle Berry (of whom more later) in X-Men: The Last Stand , and Frozone, voiced by Samuel L. Jackson in the 2004 animated fi lm The Incredibles. But they are a rarity. This is why Will Smith and Wesley Snipes are so unusual: they have both played superheroes – Smith the ham-fi sted boozer Hancock , and Snipes the vampire-human hybrid Blade . Pulling away from the parallel reality of superheroes, the two actors themselves offer case studies.
    [Show full text]
  • Death Row Records
    The New Kings of Hip-Hop Death Row Records “You are now about to witness the strength of street knowledge.” —N.W.A. Contents Letter from the Director ................................................................................................... 4 Mandate .......................................................................................................................... 5 Background ...................................................................................................................... 7 Topics for Discussion ..................................................................................................... 10 East Coast vs. West Coast .................................................................................... 10 Internal Struggles................................................................................................. 11 Turmoil in Los Angeles ........................................................................................ 12 Positions ........................................................................................................................ 14 Letter from the Director Dear Delegates, Welcome to WUMUNS XII! I am a part of the class of 2022 here at Washington University in St. Louis, and I’ll be serving as your director. Though I haven’t officially declared a major yet, I’m planning on double majoring in political science and finance. I’ve been involved with Model UN since my freshman year of high school, and I have been an active participant ever since. I am also involved
    [Show full text]
  • Ice Cube Hello
    Hello Ice Cube Look at these Niggaz With Attitudes Look at these Niggaz With Attitudes Look at these Niggaz With Attitudes Look at these Niggaz With Attitudes {Hello..} I started this gangsta shit And this the motherfuckin thanks I get? {Hello..} I started this gangsta shit And this the motherfuckin thanks I get? {Hello..} The motherfuckin world is a ghetto Full of magazines, full clips, and heavy metal When the smoke settle.. .. I'm just lookin for a big yellow; in six inch stilletos Dr. Dre {Hello..} perculatin keep em waitin While you sittin here hatin, yo' bitch is hyperventilatin' Hopin that we penetratin, you gets natin cause I never been to Satan, for hardcore administratin Gangbang affiliatin; MC Ren'll have you wildin off a zone and a whole half a gallon {Get to dialin..} 9 1 1 emergency {And you can tell em..} It's my son he's hurtin me {And he's a felon..} On parole for robbery Ain't no coppin a plea, ain't no stoppin a G I'm in the 6 you got to hop in the 3, company monopoly You handle shit sloppily I drop a ki properly They call me the Don Dada Pop a collar, drop a dollar if you hear me you can holla Even rottweilers, follow, the Impala Wanna talk about this concrete? Nigga I'm a scholar The incredible, hetero-sexual, credible Beg a hoe, let it go, dick ain't edible Nigga ain't federal, I plan shit while you hand picked motherfuckers givin up transcripts Look at these Niggaz With Attitudes Look at these Niggaz With Attitudes {Hello..} I started this gangsta shit And this the motherfuckin thanks I get? {Hello..} I started
    [Show full text]
  • (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.
    [Show full text]
  • An Explorative Study of the No Snitching Mentality in the African American Community
    MOUTH SHUT, EYES OPEN: AN EXPLORATIVE STUDY OF THE NO SNITCHING MENTALITY IN THE AFRICAN AMERICAN COMMUNITY Tianna Williams B.A , California State University, Sacramento, 2007 PROJECT Submitted in partial satisfaction of the requirements for the degree of MASTER OF SOCIAL WORK at CALIFORNIA STATE UNIVERSITY, SACRAMENTO SPRING 2011 ©2011 Tianna Williams ALL RIGHTS RESERVED ii MOUTH SHUT, EYES OPEN: AN EXPLORATIVE STUDY OF THE NO SNITCHING MENTALITY IN THE AFRICAN AMERICAN COMMUNITY A Project by Tianna Williams Approved by: __________________________________, Committee Chair Teiahsha Bankhead, Ph.D., LCSW ____________________________ Date iii Student: Tianna Williams I certify that this student has met the requirements for format contained in the University format manual, and that this project is suitable for shelving in the Library and credit is to be awarded for the project. __________________________, Department Chair ___________________ Robin Kennedy, Ph.D. Date Division of Social Work iv Abstract of MOUTH SHUT, EYES OPEN: AN EXPLORATIVE STUDY OF THE NO SNITCHING MENTALITY IN THE AFRICA AMERICAN COMMUNITY by Tianna Williams The aim of this explorative quantitative study is to examine the culture of silence (also referred as the ―no snitching‖ mentality) that exists in the African American Community. Such attitude encourages African Americans to be uncooperative with the police, in which explicit messages are present in some rap and hip hop lyrics, illustrated in music videos, and designed on clothing apparel that advocate for this behavior (United States Department of Justice, 2009a). African Americans compared to Whites and other minorities represent a disproportion number of victims of homicide and incarcerated adults in the United States (United States Department of Justice, 2006; United States Department of Justice, 2010).
    [Show full text]
  • “Straight Outta Compton”—NWA (1988)
    “Straight Outta Compton”—N.W.A (1988) Added to the National Registry: 2016 Essay by Ben Westhoff (guest post)* “Straight Outta Compton” LP N..W.A Gangsta rap existed before “Straight Outta Compton,” but N.W.A’s landmark 1988 album popularized the genre and serves as its standard bearer even today. The mythology of the artists behind its creation also continues to loom large: Eazy-E, the Compton crack dealer who used his profits to finance a hip-hop career; Dr. Dre, his neighbor who’d most recently been DJ-ing in flamboyant, sequined outfits for a song-and-dance group; Ice Cube, the ostentatious high school rapper from South Central Los Angeles whose writing gifts matched his aggressive delivery. But it was the characters they imagined--both militarized street kids sick of being humiliated by the cops and brash punks on the hunt for sex and cheap booze--that shaped the album, marching in time to Dr. Dre’s assault of chopped samples, wailing sirens, guitar riffs, and rapid drum machine beats, all of it more tuneful than it sounds on paper. Rounded out by the group’s other firebrand rapper, MC Ren, Dr. Dre’s production partner, MC Yella, and electro-rap holdover Arabian Prince--not to mention hugely influential ghostwriter D.O.C.--N.W.A reshaped hip-hop music in their own image. They called it “reality rap,” but in the beginning it was far from clear that N.W.A would rap unvarnished lyrics threatening the status quo. Dr. Dre and Ice Cube’s earlier music disparaged the gang lifestyle, and just about everyone in the group admired Prince.
    [Show full text]
  • Hip Hop As English Curriculum A
    BETWEEN THE LINES: HIP HOP AS ENGLISH CURRICULUM A THESIS Presented to the University Honors Program California State University, Long Beach In Partial Fulfillment Of the Requirements for the University Honors Program Certificate William Godbey Spring 2018 1 2 Acknowledgements This thesis would not have been possible without the help and guidance of my advisor, Professor David Hernandez. This was a somewhat unorthodox topic, yet he not only took it in stride, he believed in my ability to continue the conversation on this topic in a new and insightful way. I owe him great thanks for this. I would also like to thank my family for their never-ending support and love not only through this process, but through the entirety of my college experience. Especially to my mother, who was always a phone call away if I ever needed assistance or to touch base back home. I owe you all so much for your encouragement and belief in me. and to Breanika Schwenkler, for always having my back. 3 ABSTRACT Between the Lines: Hip Hop as English Curriculum By William Godbey Spring 2018 This thesis examines the effectiveness of introducing hip hop into English curriculum at a high school level. To showcase this, this thesis presents a framework, broken up into three sections, that highlight the ways hip hop lyrics can be used to teach a variety of different literary devices, historical contexts, and how to analyze a text beyond its surface value. The three sections include Simple Literary Devices, Complex Literary Devices, and Contexts. Each section is demonstrated with a unique song and artists, to show how this framework could function as well as the versatility of talent in hip hop.
    [Show full text]
  • The United Eras of Hip-Hop (1984-2008)
    qwertyuiopasdfghjklzxcvbnmqwertyui opasdfghjklzxcvbnmqwertyuiopasdfgh jklzxcvbnmqwertyuiopasdfghjklzxcvb nmqwertyuiopasdfghjklzxcvbnmqwer The United Eras of Hip-Hop tyuiopasdfghjklzxcvbnmqwertyuiopas Examining the perception of hip-hop over the last quarter century dfghjklzxcvbnmqwertyuiopasdfghjklzx 5/1/2009 cvbnmqwertyuiopasdfghjklzxcvbnmqLawrence Murray wertyuiopasdfghjklzxc vbnmqwertyuio pasdfghjklzxcvbnmqwertyuiopasdfghj klzxcvbnmqwertyuiopasdfghjklzxcvbn mqwertyuiopasdfghjklzxcvbnmqwerty uiopasdfghjklzxcvbnmqwertyuiopasdf ghjklzxcvbnmqwertyuiopasdfghjklzxc vbnmqwertyuiopasdfghjklzxcvbnmrty uiopasdfghjklzxcvbnmqwertyuiopasdf ghjklzxcvbnmqwertyuiopasdfghjklzxc vbnmqwertyuiopasdfghjklzxcvbnmqw The United Eras of Hip-Hop ACKNOWLEDGMENTS There are so many people I need to acknowledge. Dr. Kelton Edmonds was my advisor for this project and I appreciate him helping me to study hip- hop. Dr. Susan Jasko was my advisor at California University of Pennsylvania since 2005 and encouraged me to stay in the Honors Program. Dr. Drew McGukin had the initiative to bring me to the Honors Program in the first place. I wanted to acknowledge everybody in the Honors Department (Dr. Ed Chute, Dr. Erin Mountz, Mrs. Kim Orslene, and Dr. Don Lawson). Doing a Red Hot Chili Peppers project in 2008 for Mr. Max Gonano was also very important. I would be remiss if I left out the encouragement of my family and my friends, who kept assuring me things would work out when I was never certain. Hip-Hop: 2009 Page 1 The United Eras of Hip-Hop TABLE OF CONTENTS ACKNOWLEDGMENTS
    [Show full text]
  • Free Straight Outta Compton Movie Download
    Free straight outta compton movie download Continue Download the film Straight Outta Compton in high quality, the most dangerous rap group in the world has always been more than just a clever trick used to sell albums; it actually meant something when applying to the N.W.A. Seed West Coast rap group was more than just a threat to the smug hip-hop status quo of the late 80s; they literally had people in this country fearing for their lives. Download straight Outta Compton on DVD With Every Controversial, Incendiary Lyric, aimed at the police or corrupt system of failing black young people they were the voice for those who had been ignored for too long. Despite some of the flaws inherent in almost all musical biopics, the long-paced Straight Outta Compton does not strike a blow to the volatility of the era and the often brutal history of the band about rags to wealth. Due to the rash of cases of police brutality being exposed across the country, Straight Outta Compton feels particularly timely and relevant. It was the real battleground of drugs, poverty and police misconduct on the streets of Los Angeles that turned the group into a group of brothers ready to inflict some kind of lyrical punishment. The film begins, surprisingly, with an action sequence featuring Eric Eazy-E Wright (Jason Mitchell) as he runs a cracked lair to avoid the SWAT team invasion. Download the straight Outta Compton film in high quality to see whether he was literally charmed over the rooftops as a secret agent to discuss, but the scene establishes that these guys are hardly saints, and did his best to survive.
    [Show full text]
  • STRAIGHT OUTTA COMPTON by Leigh Savidge and Alan Wenkus
    STRAIGHT OUTTA COMPTON By Leigh Savidge and Alan Wenkus Revised 8/16/08 Xenon Pictures (310)451-5510 EXT. JOE LOUIS STADIUM - NIGHT Emblazoned across the black screen is: DETROIT MICHIGAN. August 1989. FADE IN: EXT. JOE LOUIS STADIUM - DETROIT - NIGHT Queues of youthful CONCERTGOERS are frisked by COPS as they present their tickets and move through some turnstiles into the stadium area. We move upward until we land on a MARQUIS that says APPEARING TONIGHT: NWA. INT. JOE LOUIS STADIUM - NIGHT It's a packed house. Swarms of TEENAGERS from the floor to the cheap seats wait in rabid anticipation for the performers to take the stage. Small fights, like brush fires, break out here and there. We come to rest on a TEENAGER holding a sign above his head. It says "Fuck Tha Police." Closer to the stage, two large flanks of DETROIT COPS emerge from either side and form an imposing WALL, cutting off the view of the patrons in front. Their movements seem almost machine-like as they move in lockstep with one another, a grim determination on their faces. They stare at the minimal stage dressing: TWO MIXING BOOTHS with turntables and some MICROPHONES. INT. BACKSTAGE HALLWAY - NIGHT HOLD on a pair of black canvas HIGHTOPS. There's a slight bulge near the ankle of one of the pants legs. We angle up from the sneakers to see EAZY E towering above us. Eazy's 5'5" frame belies his larger than life personality. He has the barrel chest of a much larger man and his thoughts are strategically concealed behind dark sunglasses that add a touch of menace.
    [Show full text]
  • The Evolution of Commercial Rap Music Maurice L
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research.
    [Show full text]
  • Flanagan's Running Club – Issue 36
    Flanagan's Running Club – Issue 36 Introduction The first rule of Flanagan's Running Club is everyone should be telling everyone they know about Flanagan's Running Club! After all, sharing is caring. Details of how to sign up is in the epilogue. There is no need to panic, there is no actual running involved, it is not a running club in that sense. The title is made up from extending the title of my favourite book – Flanagan’s Run by Tom McNab. So enjoy the read. On This Day – 10th July 1212 - The most severe of several early fires of London burns most of the city to the ground. 1553 - Lady Jane Grey takes the throne of England. 1913 - The temperature in Death Valley, California, hits 134 -F (57 -C), the highest temperature ever to be recorded on Earth. 1962 - Telstar, the world's first communications satellite, is launched into orbit. 1985 - The Greenpeace vessel Rainbow Warrior is bombed and sunk in Auckland harbour by French DGSE agents, killing Fernando Pereira. It’s Nikola Tesla Day Statehood Day (Wyoming) 365 Reasons To Be Proud To Be A Londoner - Magical Moments in London's History Telstar, the first satellite to supply a live transatlantic television feed, and the first privately sponsored space launch, was blasted into orbit today in 1962. Although launched by NASA, it was actually co-designed by the General Post Office and internationally co-ordinated from the BBC Television Centre in London. It also successfully relayed through space the first telephone calls and fax images. Chuck D Presents This Day In Rap And Hip-Hop History N.W.A.
    [Show full text]