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Hip-Hop Pedagogy As Production Practice: Reverse-Engineering the Sample-Based Aesthetic
Journal of Popular Music Education Special issue on Hip-hop Hip-Hop Pedagogy as Production Practice: Reverse-Engineering the Sample-Based Aesthetic Mike Exarchos (a.k.a. Stereo Mike) | London College of Music (University of West London) Introduction Hip-hop1 production practice contains a rich matrix of creative methods within its paradigm, which have the potential to inform and inspire music production pedagogy in higher education. The techno-artistic trajectory of rap production consists of numerous phases that may involve live performance, recording, sampling, synthesis, programming, mixing and mastering. Furthermore, it is not rare for self-contained processes—such as interpolation2 and the creation of content for sampling—to be actualized as developmental phases within the larger production trajectory. The well-documented issues affecting phonographic sampling have given rise to alternative practices, inviting live instrumental musicianship within hip-hop music-making, but also a dependence on synthesized sonics (often as signifiers of geographical and stylistic divergence). As a consequence, contemporary hip-hop production—arguably more than any other commercial music-making form—can provide a dynamic, applied context for the exploration, implementation, interplay and interaction of most phonographic stages conceived of and practiced within popular music production. This is not to say that other musics do not deploy multiple methods within their production processes, or that Hip-Hop exemplifies a sole case of multi-layered—or bricolage—production. After all, many popular musics have borrowed from hip-hop practices, and the rap production paradigm can be traced outside of strict stylistic barriers 1 The terms ‘Hip-Hop’ and ‘Rap’ will be used interchangeably throughout the paper, referring to the musical genre, outputs and practices associated with hip-hop culture and art. -
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00:00:00 Music Transition Gentle, trilling music with a steady drumbeat plays under the dialogue. 00:00:01 Promo Promo Speaker: Bullseye with Jesse Thorn is a production of MaximumFun.org and is distributed by NPR. [Music fades out.] 00:00:12 Music Transition “Huddle Formation” from the album Thunder, Lightning, Strike by The Go! Team. A fast, upbeat, peppy song. Music plays as Jesse speaks, then fades out. 00:00:19 Jesse Host It’s Bullseye. I’m Jesse Thorn. My next guest is Riz Ahmed. Riz has Thorn spent the last decade pursuing dual careers in acting and hip-hop. His work has been controversial, funny, subtle—the sort of stuff critics love. And it’s found huge audiences despite all that. He moved from British independent movies, like the suicide bomber comedy, Four Lions, to a big supporting part in Jack Gyllenhaal’s Nightcrawler, to full-fledged leading man roles. He recently picked up his first Oscar nomination for his role in Sound of Metal. That made him the first Muslim ever nominated for Best Actor, by the way. And also, like I said, he is an MC and he’s very good at it. When I talked with him in 2016, he’d just released a new EP in collaboration with Heems, of Das Racist. They called the project the Swet Shop Boys. He’s kept rapping since then. [Music fades in.] Last year, he released The Long Goodbye, an LP. Here’s a single from it. “Mogambo”. 00:01:18 Music Music “Mogambo” from the album The Long Goodbye by Riz Ahmed. -
Make It New: Reshaping Jazz in the 21St Century
Make It New RESHAPING JAZZ IN THE 21ST CENTURY Bill Beuttler Copyright © 2019 by Bill Beuttler Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to be a digitally native press, to be a peer- reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial- NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/ by-nc-nd/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, California, 94042, USA. DOI: https://doi.org/10.3998/mpub.11469938 Print ISBN: 978-1-64315-005- 5 Open access ISBN: 978-1-64315-006- 2 Library of Congress Control Number: 2019944840 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Contents Member Institution Acknowledgments xi Introduction 1 1. Jason Moran 21 2. Vijay Iyer 53 3. Rudresh Mahanthappa 93 4. The Bad Plus 117 5. Miguel Zenón 155 6. Anat Cohen 181 7. Robert Glasper 203 8. Esperanza Spalding 231 Epilogue 259 Interview Sources 271 Notes 277 Acknowledgments 291 Member Institution Acknowledgments Lever Press is a joint venture. This work was made possible by the generous sup- port of -
ROC MARCIANO Rosebudd’S Revenge 2: the Bitter Dose LP COMING SOON
ROC MARCIANO Rosebudd’s Revenge 2: The Bitter Dose LP COMING SOON KEY SELLING POINTS • Pitchfork review (8.0) • Music Video: The Sauce & Corniche feat. Action Bronson • Features from Action Bronson & Knowledge The Pirate • Production from Animoss, Don Cee, E.L.E.M.N.T., and Roc Marciano himself DESCRIPTION ARTIST: Roc Marciano We are presently in the post-Marcberg era of rap. After Roc Marciano TITLE: Rosebudd’s Revenge 2: The Bitter Dose released his solo opus in spring 2010, a new continuum began which CATALOG: CD-FB5187 gathered tremendous momentum in 2012 following the release of his Metal Clergy compatriot Ka’s Grief Pedigree and Roc’s amazingly LABEL: Marci Enterprises concise sophomore effort Reloaded. Subsequently, a divergent path GENRE: Hip-Hop/Rap opened in modern rap heavily influenced by the sonics, tone, and BARCODE: 659123518727 aesthetic of those three projects. Since then, Roc Marciano has released FORMAT: CD a critically acclaimed producer album Marci Beaucoup, bookended by the release of his project The Pimpire Strikes Back in multiple formats. HOME MARKET: Long Island, New York In the years since this string of releases, a new crop of emcees and RELEASE: 4/13/2018 producers emerged heavily inspired and influenced by Roc’s oeuvre LIST PRICE: $11.98 / AK while many others’ careers have been left doing the running man in their wave. CASE QTY: 50/1 With multiple modern rap classics already under his Ferragamo belt, TRACKLISTING (Click Tracks In Blue To Preview Audio) last year Roc Marciano liberated the first half of his two part project titled Rosebudd’s Revenge. -
'Eat Pray Thug: Das Racist's Himanshu Suri Curates Indian Art'
IN THE AIR | February 27, 2015 ‘Eat Pray Thug: Das Racist’s Himanshu Suri Curates Indian Art’ By Anneliese Cooper You probably remember Himanshu Suri, a.k.a. “Heems,” as half of Das Racist, the New York rap group who hit the Internet running with their single “Combination Pizza Hut and Taco Bell” in 2008. From there, they produced three albums’ worth of tracks that took on politics in step with alliterative lists of junk food — a career perhaps best summed up by the cheeky hypnotic loop of a chorus on 2010’s “hahahaha jk?”: “We’re not joking. Just joking, we are joking. Just joking, we’re not joking,” and so on. Now, however, Suri has jumped into the (marginally) more serious business of curating his own gallery show: “Eat Pray Thug,” the same moniker he’s given his forthcoming solo album, which runs through March 10 at Aicon Gallery on Great Jones Street. The multimedia group show of artists with ties to India and Pakistan, including Suri himself, also features a parallel series of live events, including an appearance from Muslim punk band The Kominas on March 7. To hear Suri tell it, the art bent is nothing new: “I feel like a lot of times I would have referred to Das Racist as an art rap project — you know, whatever that means,” he said. “We always had an interest in art, whether we were doing an 8-bit video game slash music video, or a lot of our interviews often we thought of as performance art.” Since the group’s split in 2012, he has released two solo mixtapes, “Nehru Jackets” and “Wild Water Kingdom,” but “Eat Pray Thug” will be his first album. -
DJ Song List by Song
A Case of You Joni Mitchell A Country Boy Can Survive Hank Williams, Jr. A Dios le Pido Juanes A Little Bit Me, a Little Bit You The Monkees A Little Party Never Killed Nobody (All We Got) Fergie, Q-Tip & GoonRock A Love Bizarre Sheila E. A Picture of Me (Without You) George Jones A Taste of Honey Herb Alpert & The Tijuana Brass A Ti Lo Que Te Duele La Senorita Dayana A Walk In the Forest Brian Crain A*s Like That Eminem A.M. Radio Everclear Aaron's Party (Come Get It) Aaron Carter ABC Jackson 5 Abilene George Hamilton IV About A Girl Nirvana About Last Night Vitamin C About Us Brook Hogan Abracadabra Steve Miller Band Abracadabra Sugar Ray Abraham, Martin and John Dillon Abriendo Caminos Diego Torres Absolutely (Story Of A Girl) Nine Days Absolutely Not Deborah Cox Absynthe The Gits Accept My Sacrifice Suicidal Tendencies Accidentally In Love Counting Crows Ace In The Hole George Strait Ace Of Hearts Alan Jackson Achilles Last Stand Led Zeppelin Achy Breaky Heart Billy Ray Cyrus Across The Lines Tracy Chapman Across the Universe The Beatles Across the Universe Fiona Apple Action [12" Version] Orange Krush Adams Family Theme The Hit Crew Adam's Song Blink-182 Add It Up Violent Femmes Addicted Ace Young Addicted Kelly Clarkson Addicted Saving Abel Addicted Simple Plan Addicted Sisqó Addicted (Sultan & Ned Shepard Remix) [feat. Hadley] Serge Devant Addicted To Love Robert Palmer Addicted To You Avicii Adhesive Stone Temple Pilots Adia Sarah McLachlan Adíos Muchachos New 101 Strings Orchestra Adore Prince Adore You Miley Cyrus Adorn Miguel -
Performing Manchyna: Unmapping Promissory Exaltation, Multicultural
Performing ManChyna: Unmapping Promissory Exaltation, Multicultural Eugenics, and the New Whiteness (Or, “Call Me Dr. ManChyna”) By Andrew Wei Ling (A.W.) William Lee A thesis submitted to the Graduate Program in Cultural Studies in conformity with the requirements for the Degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada September, 2015 Copyright © Andrew Wei Ling William Lee, 2015 Abstract Creating art and performing as ManChyna collectively function as my entry into an autoethnographic mapping of mobility and space within liberal multiculturalism. I introduce the research creative method of autoethnographic creatography, because creation and performance are my interventions into and tools for analyzing social space. My parody of queer Asian racialization upends liberal multiculturalism’s promise of incorporation, or promissory exaltation (invoking Sunera Thobani’s, “racial exaltation”), which instrumentally disciplines and includes putative model minorities and homonorms alike. Thus, assimilation into a queer liberal multiculturalism is my primary theoretical target. Building on José Muñoz’s idea of disidentification, I introduce the notion of disassimilation as a performative embodiment of critical analysis and theory. How can individuals articulate the current contours of liberal ideology? How can one counter an ever-shifting dominant culture from a ‘minor’ point of view when one crucial aim of the latter’s evasive energy is the incorporation of that minor gaze? And how does the minoritarian subject represent -
Rap Vs. Hip Hop
Chris L. Terry’s debut novel Zero Fade was on Best of 2013 lists by Kirkus Reviews and Slate.com, and shortlisted for the American Library Association’s Best Fiction for Young Adults. He lives in Los Angeles, and has contributed to Razorcake since 2006. Born in East L.A., like every good Mexican boy, Art was raised in the Imperial Valley of California, where he was bathed in cartoon and monster movie glory from both sides of the border. He began scribbling at a young age and later found out he could get paid meager wages to do artwork and illustration. He currently lives in Orange County CA and spends his time spilling ink on his drawing board and trying to sell his paintings. One Punk’s Guide is a series of articles where Razorcake contributors share their love for a topic that is not traditionally considered punk. Previous Guides have explored everything from pinball, to African politics, to outlaw country music. Razorcake is a bi-monthly, Los Angeles-based fanzine that provides consistent coverage of do-it-yourself punk culture. We believe in positive, progressive, community-friendly DIY punk, and are the only bona fide 501(c)(3) non-profit music magazine in America. We do our part. One Punk’s Guide to Rap Music originally appeared in Razorcake #96, February/March 2017. Original article layout by Todd Taylor. Adapted to zine by Matthew Hart. Printing courtesy of Razoracake Press, Razorcake.org This zine is made possible in part by grants from the City of Los Angeles, Department of Cultural Affairs, is supported by the Los Angeles County Board of Supervisors through the Los Angeles Arts Commission, and funded by the California Arts Council, a state agency. -
Boom Bap Ex Machina: Hip-Hop Aesthetics and the Akai MPC
Perspectives on Music Production Producing Music Boom Bap ex Machina: Hip-Hop Aesthetics and the Akai MPC Mike Exarchos (a.k.a. Stereo Mike) | London College of Music (University of West London) Introduction Over the past three decades, the growing literature on hip-hop musicology has paid ample tribute to Akai’s range of MPCs (originally, MIDI Production Centers—currently, Music Production Controllers), acknowledging their pivotal influence on rap production practices (D’Errico 2015; George 1998; Harkins 2009, 2010; Kajikawa 2015b; Morey and McIntyre 2014; Ratcliffe 2014; Rodgers 2003; Rose 1994; Schloss 2014; Sewell 2013; Shevlock 2017; Swiboda 2014; Wang 2014; Williams 2010). The technology’s combined functionality of sampling, drum machine and MIDI sequencing features has been embraced by rap practitioners ever since the release of the standalone MPC60 in 1988. The timeline coincides with particular sonic priorities in Hip-Hop that can be grouped under the ‘Boom Bap’ aesthetic—an onomatopoeic celebration of the prominence of sampled drum sounds programmed over sparse and heavily syncopated instrumentation. But what is the association between subgenre aesthetics and MPC functionality, and what parallels can be drawn between the evolution of the technology and stylistic deviations in the genre? The chapter examines how MPC technology impacts upon the stylization of Hip- Hop as a result of unique sonic, rhythmic and interface-related characteristics, which condition sampling, programming and mixing practices, determining in turn recognizable sonic signatures. Furthermore, the boom bap sound is traced from its origins in the mid-to-late 1980s to its current use as an East Coast production reference, honoring a sample-based philosophy that is facilitated by the MPCs’ physical interface and operating script. -
JULY 2015 • Volume 26 • Issue 319 • SLUGMAG.COM • ALWAYS FREE
JULY 2015 • Volume 26 • Issue 319 • SLUGMAG.COM • ALWAYS FREE SaltLakeUnderGround • Vol. 26 • Issue #319 • July 2015 • slugmag.com Publisher: Eighteen Percent Gray Gilbert Cisneros, Gilbert Garcia, Jake Froelich, Bryer Wharton, Christian CONTRIBUTOR LIMELIGHT: Editor: Angela H. Brown Vivori, Jessica Bundy, John Barkiple, Schultz, Cody Kirkland, Dean O Hillis, Managing Editor: Johnny Cowan, Logan Sorenson, Eric U. Norris, Gavin Hoffman, Gavin Julia Sachs Alexander Ortega Martín Rivero, Matt Brunk, Matthew Sheehan, Henry Glasheen, James Senior Staff Writer, Copy Editor, Junior Editor: Christian Schultz Windsor, Megan Kennedy, Melissa Bennett, James Orme, Jimmy Martin, Digital Intern, Distro Office Coordinator: Cohn, Michael Lehmann, Michael John Ford, Jordan Deveraux, Julia Gavin Sheehan Portanda, Russel Daniels, Scott Sachs, Justin Gallegos, Kia McGinnis, Digital Content Coordinator: Frederick, Talyn Sherer, Lauren Ashley, Mariah Mann Mellus, Henry Glasheen Weston Colton Megan Kennedy, Mike Brown, Mike Fact Checker: Nic Smith Videographers: Andrew Riedel, Peter Fryer, Ricky Vigil, Ryan Copy Editing Team: Alex Cragun, Schummer, Brock Grossl, Lexie Floor, Hall, Scott Farley, Sean Zimmerman- Alexander Ortega, Allison Shephard, Perry Layne Decker-Tate, Ryan Dearth, Wall, Shawn Mayer, Stakerized!, Christian Schultz, Henry Glasheen, Slugger Steve Goemaat, Steve Richardson, John Ford, Jordan Deveraux, Julia Community Development Thomas Winkley Sachs, Kathy Zhou, Laikwan Waigwa- Executives/Advertising Sales: Monkeys with Computers: Stone, Maria -
An Exploration of White Hip-Hop Fans, Consumers and Practitioners Dale Compton Anderson Wayne State University
Wayne State University Wayne State University Dissertations 1-1-2014 Re/presentation Of Hip-Hop: An Exploration Of White Hip-Hop Fans, Consumers And Practitioners Dale Compton Anderson Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the Communication Commons Recommended Citation Anderson, Dale Compton, "Re/presentation Of Hip-Hop: An Exploration Of White Hip-Hop Fans, Consumers And Practitioners" (2014). Wayne State University Dissertations. Paper 1113. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. RE/PRESENTATION OF HIP-HOP: AN EXPLORATION OF WHITE HIP-HOP FANS, CONSUMERS AND PRACTITIONERS by DALE ANDERSON DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2015 MAJOR: COMMUNICATION Approved by: ______________________________________ Advisor Date ______________________________________ ______________________________________ ______________________________________ ______________________________________ DEDICATION I am dedicating this to my uncle, Wade Telaar, and my Grandparents, Leon and Doris Anderson. ii ACKNOWLEDGMENTS I would like to thank everyone that has provided assistance, support, guidance, and/or time to this project. I attempt to express my appreciation for everyone in my life, regularly. However, I am not always as thorough as I need to be. So thank you to any that has entered my life, even those that did so briefly and/or indirectly. Specifically, I would like to thank Stephanie and Amelia Anderson, Leon, Jr. (Andy) and Jane Anderson, Timothy Anderson, and Ann Telaar. -
An Analysis of Expression in Hip-Hop and South Asian Literature Through Post-9/11 Discourse
College of the Holy Cross CrossWorks English Honors Theses English Department 5-18-2021 Othering: An Analysis of Expression in Hip-Hop and South Asian Literature Through Post-9/11 Discourse Syed Tareq Alam College of the Holy Cross, [email protected] Follow this and additional works at: https://crossworks.holycross.edu/engl_honor Part of the American Studies Commons, English Language and Literature Commons, Music Commons, Sociology of Culture Commons, and the South and Southeast Asian Languages and Societies Commons Recommended Citation Alam, Syed Tareq, "Othering: An Analysis of Expression in Hip-Hop and South Asian Literature Through Post-9/11 Discourse" (2021). English Honors Theses. 11. https://crossworks.holycross.edu/engl_honor/11 This Departmental Honors Thesis is brought to you for free and open access by the English Department at CrossWorks. It has been accepted for inclusion in English Honors Theses by an authorized administrator of CrossWorks. Alam 1 Othering An Analysis of Expression in Hip-Hop and South Asian Literature Through Post-9/11 Discourse Written by Tareq Alam Alam 2 Table of Contents Introduction…………………………………………………………………………………....… .3 Hip-Hop…………………………………………………………………………………………...7 “Cops Shot the Kid” Introduction……………………………………………....……….10 “Cops Shot the Kid” Lyrical Analysis………………………...…………………....……11 “Cops Shot the Kid” Instrumental Analysis…………………………………...…...……13 “Flag Shopping” Introduction……………………………………...……………………….….18 “Flag Shopping” Lyrical Analysis……………………………..………………..………18 “Flag Shopping” Instrumental