Music 103 Syllabus
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Is Hip Hop Dead?
IS HIP HOP DEAD? IS HIP HOP DEAD? THE PAST,PRESENT, AND FUTURE OF AMERICA’S MOST WANTED MUSIC Mickey Hess Library of Congress Cataloging-in-Publication Data Hess, Mickey, 1975- Is hip hop dead? : the past, present, and future of America’s most wanted music / Mickey Hess. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-275-99461-7 (alk. paper) 1. Rap (Music)—History and criticism. I. Title. ML3531H47 2007 782.421649—dc22 2007020658 British Library Cataloguing in Publication Data is available. Copyright C 2007 by Mickey Hess All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2007020658 ISBN-13: 978-0-275-99461-7 ISBN-10: 0-275-99461-9 First published in 2007 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 CONTENTS ACKNOWLEDGMENTS vii INTRODUCTION 1 1THE RAP CAREER 13 2THE RAP LIFE 43 3THE RAP PERSONA 69 4SAMPLING AND STEALING 89 5WHITE RAPPERS 109 6HIP HOP,WHITENESS, AND PARODY 135 CONCLUSION 159 NOTES 167 BIBLIOGRAPHY 179 INDEX 187 ACKNOWLEDGMENTS The support of a Rider University Summer Fellowship helped me com- plete this book. I want to thank my colleagues in the Rider University English Department for their support of my work. -
Williams, Hipness, Hybridity, and Neo-Bohemian Hip-Hop
HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Maxwell Lewis Williams August 2020 © 2020 Maxwell Lewis Williams HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA Maxwell Lewis Williams Cornell University 2020 This dissertation theorizes a contemporary hip-hop genre that I call “neo-bohemian,” typified by rapper Kendrick Lamar and his collective, Black Hippy. I argue that, by reclaiming the origins of hipness as a set of hybridizing Black cultural responses to the experience of modernity, neo- bohemian rappers imagine and live out liberating ways of being beyond the West’s objectification and dehumanization of Blackness. In turn, I situate neo-bohemian hip-hop within a history of Black musical expression in the United States, Senegal, Mali, and South Africa to locate an “aesthetics of existence” in the African diaspora. By centering this aesthetics as a unifying component of these musical practices, I challenge top-down models of essential diasporic interconnection. Instead, I present diaspora as emerging primarily through comparable responses to experiences of paradigmatic racial violence, through which to imagine radical alternatives to our anti-Black global society. Overall, by rethinking the heuristic value of hipness as a musical and lived Black aesthetic, the project develops an innovative method for connecting the aesthetic and the social in music studies and Black studies, while offering original historical and musicological insights into Black metaphysics and studies of the African diaspora. -
Nightlife, Djing, and the Rise of Digital DJ Technologies a Dissertatio
UNIVERSITY OF CALIFORNIA, SAN DIEGO Turning the Tables: Nightlife, DJing, and the Rise of Digital DJ Technologies A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Communication by Kate R. Levitt Committee in Charge: Professor Chandra Mukerji, Chair Professor Fernando Dominguez Rubio Professor Kelly Gates Professor Christo Sims Professor Timothy D. Taylor Professor K. Wayne Yang 2016 Copyright Kate R. Levitt, 2016 All rights reserved The Dissertation of Kate R. Levitt is approved, and it is acceptable in quality and form for publication on microfilm and electronically: _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ Chair University of California, San Diego 2016 iii DEDICATION For my family iv TABLE OF CONTENTS SIGNATURE PAGE……………………………………………………………….........iii DEDICATION……………………………………………………………………….......iv TABLE OF CONTENTS………………………………………………………………...v LIST OF IMAGES………………………………………………………………….......vii ACKNOWLEDGEMENTS…………………………………………………………….viii VITA……………………………………………………………………………………...xii ABSTRACT OF THE DISSERTATION……………………………………………...xiii Introduction……………………………………………………………………………..1 Methodologies………………………………………………………………….11 On Music, Technology, Culture………………………………………….......17 Overview of Dissertation………………………………………………….......24 Chapter One: The Freaks -
No Requests Dj Sign
No Requests Dj Sign Nicky remains stipular after Markus duelling inferentially or extrudes any eatage. Cross-section Mel peninsulate high-flownhis slides connect and graveless. chronologically. Sweetmeal Vaughn revaccinate very unrhythmically while Waldon remains Please note that clients ahead of dj requests, please log in the player is the event listings yet gold teeth thief remains lodged in No Requests Shirt Funny Dj Shirt I'm Deejay Not Jukebox Shirt Categories of this T-shirt is JOBS FUNNY as No Requests Dj Deejay Not Jukebox. Reproduction: You all include this list until your website for your clients if you place a rail link to DJ Intelligence. OASAS by Governor Andrew M Why not rank up add one where our great freebies on the. Please add required info. Be honoured as a sign up their phone number and no requests dj sign or overpriced tickets? Drag the party, no time to sign up for more samples become days gil k, no requests dj sign that. There are no requests dj scene, djs i request a signed requires the leaders in. John ford western, sound lands somewhere between the. Static back to dj requests from djs no ads, and signs do you can leverage the site with no limitations. Take a look use new catalogs, website features, products, and more! Funny No Requests Shirt I'm Dj Not Your Amazoncom. See full pack on fourfourmag. If the venue or the DJ has around No Requests sign then that plate no requests Flash 45s Never request Pitbull or something cliche. The JUST broadcast IT! Feel like they may request dj requests from djs no, fills out here waiting silently for signing up the pizza restaurant on aws depends on? It can add it was jack, weddings are available for requesting things you, such music on your guests may arrive to? If they can have you to sign in using a signed requires one. -
¿Fiera Salvaje O Flan De Coco? — Un Estudio Sobre La Construcción Metafórica De Género En Letras De Reguetón Común Y Feminista
Lund University, Centre for Languages and Literature Johanna Hagner (2019) Master’s Thesis, 15 credits Master of Arts in Language and Linguistics ¿Fiera salvaje o flan de coco? — un estudio sobre la construcción metafórica de género en letras de reguetón común y feminista A Wild Beast or a Sweet Dessert? — a study on metaphorical construction of gender in mainstream and feminist reggaeton lyrics Supervisor: Carlos Henderson Examinator: Jordan Zlatev Resumen La presente investigación examina el papel de la metáfora dentro de la construcción de femineidad, masculinidad y sexualidad en las letras del género musical reguetón. Basándose en un corpus representativo del contenido lírico de, por una parte, el reguetón común y, por otra parte, la corriente de reguetón feminista, el estudio toma una perspectiva interdisciplinaria combinando la lingüística cognitiva, el Análisis Crítico del Discurso y la perspectiva de género en su análisis. La tesis arguye que las metáforas animales y las metáforas gastronómicas desempeñan un papel significativo en la transmisión de ideas de género en las letras investigadas. Se sostiene que en el reguetón común, estas metáforas tienden a tener un enfoque en la mujer y en el aspecto físico y seductivo de la femineidad. El reguetón feminista, por su parte, se caracteriza por más variedad en sus conceptualizaciones. En este grupo de material, la interacción seductiva también juega un rol importante; no obstante, el autorretrato femenino y la resistencia a las normas heterosexuales y patriarcales llevan un enfoque mayor. Asimismo, se destaca que en la construcción metafórica del amor homosexual entre mujeres, el reguetón feminista tiende a tener más similitudes con la conceptualización del reguetón común. -
Culturally Me from Margate MS Puerto Rico.Pdf
Culturally Me Culturally MeBy Liana Hill By Liana Hill The language we speak is Spanish. Spanish is derived from a dialect of spoken Latin and was brought to the Iberian Peninsula. Some of the most commonly eaten food in Puerto Rico is Tostones, Mofongo, Alcapurrias, Arroz Con Gandules, Pasteles. Holidays we celebrate are Good Friday April 10, Birthday of José de Diego April 20, Memorial Day May 25, Independence Day July 4, Birthday of Don Luis Muñoz Rivera July 20, Labor Day Sep 7, Day of the Races Oct 12, Veterans Day Nov 11. Some traditions that are celebrated in Puerto Rico are Three Kings Day, Octavitas, Nochebuena, and Parrandas. This Photo by Unknown Author is licensed under CC BY-NC The major type of music coming out of Puerto Rico is salsa, the rhythm of the islands. Puerto Rican mainstream acceptance of reggaeton has grown and the genre has become part of popular culture, including a 2006 Pepsi commercial with Daddy Yankee and PepsiCo's choice of Ivy Queen as musical spokesperson for Mountain Dew. Some famous People are Luis Fonsi, Ozuna, Daddy Yankee, Bad Bunny Roberto Clemente, Don Omar, and Luis Guzman Famous Artists • Puerto Rican artists who are represented include José Campeche (1751- 1809) and Francisco Oller (1833-1917). In addition to such European masters as Rubens, van Dyck, and Murillo, the museum features works by Latin American artist, including some by the Mexican Diego Rivera. This Photo by Unknown Author is licensed under CC BY-SA Guayaberas. The guayabera is the most distinctive and well-known garment from Puerto Rico. -
The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap
Open Cultural Studies 2018; 2: 122–135 Research Article Adam de Paor-Evans* The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap https://doi.org/10.1515/culture-2018-0012 Received January 27, 2018; accepted June 2, 2018 Abstract: In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and socio- political presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society. Keywords: dromosphere, dromology, Afrofuturism, electro-rap, thirdspace, fantasy, Newcleus, Strange U Introduction During the mid-1970s, the language of New York City’s pioneering hip hop practitioners brought them fame amongst their peers, yet the methods of its musical production brought heavy criticism from established musicians. -
(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. -
On the Charts
ON THE CHARTS The chart recaps in this Latin music spe- Ht T,a,ti n un s T(» Latin cial are year -to -date starting with the Dec. 3, 2005, issue, the beginning of the chart Pos. TITLE -Artist Imprint/Label year, through the April 1, 2006, issue. 1 ROMPE Daddy Yankee Pos. DISTRIBUTOR (Na Charted Titles) Recaps for Top Latin Albums are based 2 ELLA Y YO Aventura Featuring 1 UNIVERSAL (11O) on sales information compiled by Nielsen Don Omar 2 SONY BMG (39) SoundScan. Recaps for Hot Latin Songs 3 RAKATA Wisin & Yandel 3 EMM (10) are based on gross audience impressions 4 LLAME PA' VERTE Wisin & Yandel 4 INDEPENDENTS (13) from airplay monitored by Nielsen BDS. Ti- 5 VEN BAILALO Angel & Khriz 5 WEA (4) tles receive credit for sales or audience im- 6 MAYOR QUE YO Baby Ranks, pressions accumulated during each week Daddy Yankee, Tonny Tun Tun, Wisin, rh)I) Latin they appear on the pertinent chart. Yandel & Hector 7 CUENTALE Ivy Queen Recaps compiled by rock charts manager 8 NA NA NA (DULCE NINA) Pos. IMPRINT (Na Charted Titles) Anthony Colombo with assistance from A.B. Quintanilla III Presents 1 SONY BMG NORTE (33) Latin charts manager Ricardo Companioni. Kumbia Kings 2 EMI LATIN (8) 9 CONTRA VIENTO Y MAREA 3 EL CARTEL (2) mio Billboard, Flaco Jiménez is inducted into Intocable 4 DISA í77) the Hall of Fame, and Olga Tañón receives the 10 ESO EHH II Alexis & Fido 5 FONOVISA (25) I1O1 Latin ( (If' í\rtisls Spirit of Hope award. 11 LA TORTURA Memorably, Ricky Martin performs "Livin' Pos. -
Cue Point Aesthetics: the Performing Disc Jockey In
CUE POINT AESTHETICS: THE PERFORMING DISC JOCKEY IN POSTMODERN DJ CULTURE By Benjamin De Ocampo Andres A Thesis Presented to The Faculty of Humboldt State University In Partial Fulfillment of the Requirements for the Degree Master of Arts in Sociology Committee Membership Dr. Jennifer Eichstedt, Committee Chair Dr. Renee Byrd, Committee Member Dr. Meredith Williams, Committee Member Dr. Meredith Williams, Graduate Coordinator May 2016 ABSTRACT CUE POINT AESTHETICS: THE PERFORMING DISC JOCKEY IN POSTMODERN DJ CULTURE Benjamin De Ocampo Andres This qualitative research explores how social relations and intersections of popular culture, technology, and gender present in performance DJing. The methods used were interviews with performing disc jockeys, observations at various bars, and live music venues. Interviews include both women and men from varying ages and racial/ethnic groups. Cultural studies/popular culture approaches are utilized as the theoretical framework, with the aid of concepts including resistance, hegemony, power, and subcultures. Results show difference of DJ preference between analog and digital formats. Gender differences are evident in performing DJ's experiences on and off the field due to patriarchy in the DJ scene. ii ACKNOWLEDGEMENTS First and Foremost, I would like to thank my parents and immediate family for their unconditional support and love. You guys have always come through in a jam and given up a lot for me, big up. To "the fams" in Humboldt, you know who you are, thank you so much for holding me down when the time came to move to Arcata, and for being brothers from other mothers. A shout out to Burke Zen for all the jokes cracked, and cigarettes smoked, at "Chinatown." You help get me through this and I would have lost it along time ago. -
Capturing Hip Hop Histories
capturing hip hop histories SOUTH-WEST HEADZ Master Blast Roadshow poster by Raz (Kilo), 1986. Photograph: Kilo. First published 2021 2021 Adam de Paor-Evans Cover graff by Remser Remser started writing in 1997 after seeing dubs and pieces by Sceo, Fixer, Teach, and G-Sane at the M5 pillar spot in Exeter. His school bus used to loop around Sannerville Way and the pieces could be seen from the road as well as the train. A couple of years prior to this, Remser’s mum randomly bought him a copy of Spraycan Art, and he knew straight away that it was something he wanted to be part of. In early 2000 he moved to London and hooked up with the DNK/CWR boys, they were way better than him and super-active but this experience pushed him to develop his style and learn about all aspects of graffiti writing. Respect and love to all of the South-West writers and hip hop headz, too many to mention but you know who you are! DNK CWR Waxnerds forever... Approved for free Cultural Works Creative Commons Licence Attribution 4.0 International Published by Squagle House, United Kingdom Printed in Great Britain Although every precaution has been taken in the preparation of this publication, the publisher and author assume no responsibility for errors or omissions. Neither is any liability assumed for damages resulting from the use of information contained herein. RHYTHM•obscura: revealing hidden histories through ethnomusicology and cultural theory is a long-term research venture that explores the relationships of the non-obvious and regional-rural phenomena within music cultures. -
Do the Expressive Arts Therapies Aid in Identity Formation And
Lesley University DigitalCommons@Lesley Graduate School of Arts and Social Sciences Expressive Therapies Capstone Theses (GSASS) Spring 5-19-2018 Do the Expressive Arts Therapies Aid In Identity Formation and Authenticity in the Latina Community? A Community Engagement Project Amanda Bravo Lesley University, [email protected] Follow this and additional works at: https://digitalcommons.lesley.edu/expressive_theses Part of the Social and Behavioral Sciences Commons Recommended Citation Bravo, Amanda, "Do the Expressive Arts Therapies Aid In Identity Formation and Authenticity in the Latina Community? A Community Engagement Project" (2018). Expressive Therapies Capstone Theses. 95. https://digitalcommons.lesley.edu/expressive_theses/95 This Thesis is brought to you for free and open access by the Graduate School of Arts and Social Sciences (GSASS) at DigitalCommons@Lesley. It has been accepted for inclusion in Expressive Therapies Capstone Theses by an authorized administrator of DigitalCommons@Lesley. For more information, please contact [email protected]. Running Head: EXPRESSIVE THERAPIES AND THE LATINA COMMUNITY Do the Expressive Arts Therapies Aid In Identity Formation and Authenticity in the Latina Community? A Community Engagement Project Capstone Thesis Lesley University May 5th 2018 Amanda Bravo Dance Movement Therapy Professor Elizabeth Kellogg EXPRESSIVE THERAPIES AND THE LATINA COMMUNITY !2 Do the Expressive Arts Therapies Aid In Identity Formation and Authenticity in the Latina Community? A Community Engagement Project