Flanagan's Running Club – Issue 44
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In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998). -
ISSUE 1820 AUGUST 17, 1990 BREATHE "Say Aprayer"9-4: - the New Single
ISSUE 1820 AUGUST 17, 1990 BREATHE "say aprayer"9-4: - the new single. Your prayers are answered. Breathe's gold debut album All That Jazz delivered three Top 10 singles, two #1 AC tracks, and songwriters David Glasper and Marcus Lillington jumped onto Billboard's list of Top Songwriters of 1989. "Say A Prayer" is the first single from Breathe's much -anticipated new album Peace Of Mind. Produced by Bob Sargeant and Breathe Mixed by Julian Mendelsohn Additional Production and Remix by Daniel Abraham for White Falcon Productions Management: Jonny Too Bad and Paul King RECORDS I990 A&M Record, loc. All rights reserved_ the GAVIN REPORT GAVIN AT A GLANCE * Indicates Tie MOST ADDED MOST ADDED MOST ADDED MOST ADDED MICHAEL BOLTON JOHNNY GILL MICHAEL BOLTON MATRACA BERG Georgia On My Mind (Columbia) Fairweather Friend (Motown) Georgia On My Mind (Columbia) The Things You Left Undone (RCA) BREATHE QUINCY JONES featuring SIEDAH M.C. HAMMER MARTY STUART Say A Prayer (A&M) GARRETT Have You Seen Her (Capitol) Western Girls (MCA) LISA STANSFIELD I Don't Go For That ((west/ BASIA HANK WILLIAMS, JR. This Is The Right Time (Arista) Warner Bros.) Until You Come Back To Me (Epic) Man To Man (Warner Bros./Curb) TRACIE SPENCER Save Your Love (Capitol) RECORD TO WATCH RECORD TO WATCH RECORD TO WATCH RECORD TO WATCH RIGHTEOUS BROTHERS SAMUELLE M.C. HAMMER MARTY STUART Unchained Melody (Verve/Polydor) So You Like What You See (Atlantic) Have You Seen Her (Capitol) Western Girls (MCA) 1IrPHIL COLLINS PEBBLES ePHIL COLLINS goGARTH BROOKS Something Happened 1 -
(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. -
Sonic Jihadâ•Flmuslim Hip Hop in the Age of Mass Incarceration
FIU Law Review Volume 11 Number 1 Article 15 Fall 2015 Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt Follow this and additional works at: https://ecollections.law.fiu.edu/lawreview Part of the Other Law Commons Online ISSN: 2643-7759 Recommended Citation SpearIt, Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration, 11 FIU L. Rev. 201 (2015). DOI: https://dx.doi.org/10.25148/lawrev.11.1.15 This Article is brought to you for free and open access by eCollections. It has been accepted for inclusion in FIU Law Review by an authorized editor of eCollections. For more information, please contact [email protected]. 37792-fiu_11-1 Sheet No. 104 Side A 04/28/2016 10:11:02 12 - SPEARIT_FINAL_4.25.DOCX (DO NOT DELETE) 4/25/16 9:00 PM Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt* I. PROLOGUE Sidelines of chairs neatly divide the center field and a large stage stands erect. At its center, there is a stately podium flanked by disciplined men wearing the militaristic suits of the Fruit of Islam, a visible security squad. This is Ford Field, usually known for housing the Detroit Lions football team, but on this occasion it plays host to a different gathering and sentiment. The seats are mostly full, both on the floor and in the stands, but if you look closely, you’ll find that this audience isn’t the standard sporting fare: the men are in smart suits, the women dress equally so, in long white dresses, gloves, and headscarves. -
LIT2013000004 - Andy Gibb.Pdf
•, \.. .. ,-,, i ~ .«t ~' ,,; ~-· ·I NOT\CE OF ENTR'Y.OF APPEARANCE AS AllORNE'< OR REPRESEN1' Al\VE DATE In re: Andrew Roy Gibb October 27, 1978 application for status as permanent resident FILE No. Al I (b)(6) I hereby enter my appearanc:e as attorney for (or representative of), and at the reQUest of, the fol'lowing" named person(s): - NAME \ 0 Petitioner Applicant Andrew Roy Gibb 0 Beneficiary D "ADDRESS (Apt. No,) (Number & Street) (City) (State) (ZIP Code) Mi NAME O Applicant (b)(6) D ADDRESS (Apt, No,) (Number & Street) (City} (ZIP Code) Check Applicable ltem(a) below: lXJ I I am an attorney and a member in good standing of the bar of the Supreme Court of the United States or of the highest court of the following State, territory; insular possession, or District of Columbia A;r;:ka.nsa§ Simt:eme Coy;ct and am not under -a (NBme of Court) court or administrative agency order ·suspending, enjoining, restraining, disbarring, or otherwise restricting me in practicing law. [] 2. I am an accredited representative of the following named religious, charitable, ,social service, or similar organization established in the United States and which is so recognized by the Board: [] i I am associated with ) the. attomey of record who previously fited a notice of appearance in this case and my appearance is at his request. (If '!J<?V. check this item, also check item 1 or 2 whichever is a1wropriate .) [] 4. Others (Explain fully.) '• SIGNATURE COMPLETE ADDRESS Willi~P .A. 2311 Biscayne, Suite 320 ' By: V ? Litle Rock, Arkansas 72207 /I ' f. -
Westminsterresearch Synth Sonics As
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-Skool’ to Trap Exarchos, M. This is an electronic version of a paper presented at the 2nd Annual Synthposium, Melbourne, Australia, 14 November 2016. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 2nd Annual Synthposium Synthesisers: Meaning though Sonics Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-School’ to Trap Michail Exarchos (a.k.a. Stereo Mike), London College of Music, University of West London Intro-thesis The literature on synthesisers ranges from textbooks on usage and historiogra- phy1 to scholarly analysis of their technological development under musicological and sociotechnical perspectives2. Most of these approaches, in one form or another, ac- knowledge the impact of synthesisers on musical culture, either by celebrating their role in powering avant-garde eras of sonic experimentation and composition, or by mapping the relationship between manufacturing trends and stylistic divergences in popular mu- sic. The availability of affordable, portable and approachable synthesiser designs has been highlighted as a catalyst for their crossover from academic to popular spheres, while a number of authors have dealt with the transition from analogue to digital tech- nologies and their effect on the stylisation of performance and production approaches3. -
Fear of a Muslim Planet
SOUND UNBOUND edited by Paul D. Miller aka DJ Spooky that Subliminal Kid The MIT Press Cambridge, Massachusetts London, England 6 2008 Paul D. Miller All rights reserved. No part of this book may be reproduced in any form by any elec- tronic or mechanical means (including photocopying, recording, or information stor- age and retrieval) without permission in writing from the publisher. For information about special quantity discounts, please email special_sales@mitpress .mit.edu This book was set in Minion and Syntax on 3B2 by Asco Typesetters, Hong Kong, and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Sound unbound / edited by Paul D. Miller. p. cm. Includes bibliographical references and index. ISBN 978-0-262-63363-5 (pbk. : alk. paper) 1. Music—21st century—History and criticism. 2. Music and technology. 3. Popular culture—21st century. I. DJ Spooky That Subliminal Kid. ML197.S694 2008 780.9005—dc22 2007032443 10987654321 Contents Foreword by Cory Doctorow ix 1 An Introduction, or My (Ambiguous) Life with Technology 1 Steve Reich 2 In Through the Out Door: Sampling and the Creative Act 5 Paul D. Miller aka DJ Spooky that Subliminal Kid 3 The Future of Language 21 Saul Williams 4 The Ecstasy of Influence: A Plagiarism Mosaic 25 Jonathan Lethem 5 ‘‘Roots and Wires’’ Remix: Polyrhythmic Tricks and the Black Electronic 53 Erik Davis 6 The Life and Death of Media 73 Bruce Sterling 7 Un-imagining Utopia 83 Dick Hebdige 8 Freaking the Machine: A Discussion about Keith Obadike’s Sexmachines 91 Keith + Mendi Obadike 9 Freeze Frame: Audio, Aesthetics, Sampling, and Contemporary Multimedia 97 Ken Jordan and Paul D. -
"Authenticity" in Rap Music by Consumers."
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2010 "Rapping About Authenticity": Exploring the Differences in Perceptions of "Authenticity" in Rap Music by Consumers." James L. Wright UTK, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Critical and Cultural Studies Commons, Ethnomusicology Commons, Social Psychology and Interaction Commons, and the Sociology of Culture Commons Recommended Citation Wright, James L., ""Rapping About Authenticity": Exploring the Differences in Perceptions of "Authenticity" in Rap Music by Consumers.". " PhD diss., University of Tennessee, 2010. https://trace.tennessee.edu/utk_graddiss/760 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by James L. Wright entitled ""Rapping About Authenticity": Exploring the Differences in Perceptions of "Authenticity" in Rap Music by Consumers."." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Sociology. Suzaanne B. Kurth, Major Professor We have read this dissertation and recommend its acceptance: Robert Emmet Jones; Hoan Bui; Debora Baldwin Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation written by James L. -
Alternative Performances of Race and Gender in Hip-Hop Music : Nerdcore Counterculture
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2012 Alternative performances of race and gender in hip-hop music : nerdcore counterculture. Jessica Elizabeth Ronald University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Ronald, Jessica Elizabeth, "Alternative performances of race and gender in hip-hop music : nerdcore counterculture." (2012). Electronic Theses and Dissertations. Paper 1231. https://doi.org/10.18297/etd/1231 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. ALTERNATNE PERFORMANCES OF RACE AND GENDER IN HIP-HOP MUSIC: NERDCORECOUNTERCULTURE By Jessica Elizabeth Ronald B.A., Women's and Gender Studies 2008 M.A., Women's and Gender Studies 2010 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts Department of Pan African Studies University of Louisville Louisville, Kentucky May 2012 ALTERNATIVE PERFORMANCES OF RACE AND GENDER IN HIP-HOP MUSIC: NERDCORE COUNTERCULTURE By Jessica Ronald B.A., Women’s and Gender Studies 2008 M.A., Women’s and Gender Studies 2010 A Thesis Approved on April 18, 2012 by the following Thesis Committee: Dr. -
Hip Hop Ja Jazztanssi
Harri Heinilä Hip hop ja jazztanssi Afrikkalaisamerikkalaisen tanssin jatkumo Kansi: Harri Heinilä ISBN 978-952-68364-8-5 Musiikkiarkisto 2021 musiikkiarkisto.fi [email protected] Sisällysluettelo Johdanto: hip hop ja jazztanssi 5 Jazztanssin synty 13 Jazzmusiikin synty 20 Jazzmusiikin ja -tanssin terminologia 22 Jazztanssi orjuuden aikana Yhdysvaltain plantaaseilla ja sen vaikutus 31 Minstrelsy-aikakausi 36 Cakewalk 52 Texas Tommy 61 Charleston 63 Lindy Hop 71 Mambo ja salsa 75 Rock and roll -tanssit 79 Hip hop -musiikin synty 85 Breikeistä rappiin: hip hop -kulttuurin muotoutuminen 96 Hip hop -tanssien synty 104 James Brown ja ’Get on the Good Foot’ -tanssi 106 Burning eli ”polttaminen” 108 Burning muuttuu breikkaukseksi 117 Bronxin alkuperäiset 1970-luvun breikkausryhmät 121 Bronxin alkuperäisen breikkauksen loppu 137 Länsirannikon Soul Train -tanssijat osana hip hop -tanssia 139 Breikkaus siirtyy uudelle sukupolvelle 151 Breikkauksen jatkumo vai katkeama: ensimmäisen ja toisen 163 sukupolven väliset erot Jazz- ja hip hop -tanssien yhtäläisyydet 168 2 Epilogi: hip hop -tanssi 2000-luvulla 192 Suomalaisen hip hop -kulttuurin musiikin ja tanssin alku 197 tutkijan näkökulmasta Taulukot 4 Viitteet 209 Lähteet 271 Henkilöhakemisto 292 3 Taulukot Taulukko 1. Ragtime vs. Jazz. Taulukko 2. William Henry Lane vs. John Diamond. Taulukko 3. Bronxin breikkausryhmiä 1970-luvulla. Taulukko 4. Bronxin breikkauspaikkoja 1970-luvulla. Taulukko 5. The Campbellock Dancers vuonna 1973. Taulukko 6. The Rock Steady Crew:n tanssijoita vuonna 1981. Taulukko 7. The New York City Breakers. Alkuperäinen kokoonpano vuonna 1982. Taulukko 8. Dynamic Rockers / Dynamic Breakers vuonna 1983. Taulukko 9. Breikkauksen leviäminen elokuvien kautta eri maissa. Teos on saanut tukea WSOY:n kirjallisuussäätiöltä ja Suomen tietokirjailijat ry:ltä. -
SURF MUSIC by Geoffrey Himes
SURF MUSIC By Geoffrey Himes It often seems that the United States is a pool table that has been tilted so all its hopes and dreams roll to the west. Whenever Americans want a new and better life, they head toward the setting sun. Whether it was the white-canvas covered wagons of the 1850s, the rusty Okie jalopies of the 1930s or the painted hippie vans of the 1960s, the direction is always westward—and eventually they collect in the pool table’s corner pocket known as Southern California. When Chuck Berry went chasing after his imagined utopia in the song “Promised Land," where did he end up? Los Angeles. Thousands of Hollywood movies had advertised Southern California as a nirvana of palm trees, sunshine, beautiful girls and beautiful boys, convincing folks from Oklahoma, Kansas and Ohio to pack up and move to the coast. By the end of the 1950s, the area around L.A. was full of almost as many transplanted Midwesterners as native Californians. The natives knew the region was no utopia, but the first and second-generation immigrants, these strangers in paradise, still clung to the notion of America’s western edge as the place where their dreams might come true. The teens and twentysomethings in these families—too young and too new to the West Coast to be disillusioned— turned that utopian impulse into a new kind of rock'n'roll: surf music. Brian, Dennis and Carl Wilson, whose father and mother had moved to California from Kansas and Minnesota respectively, formed the Beach Boys. -
Hammer Addams Groove Mp3, Flac, Wma
Hammer Addams Groove mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Addams Groove Country: UK Released: 1991 Style: Pop Rap MP3 version RAR size: 1152 mb FLAC version RAR size: 1280 mb WMA version RAR size: 1774 mb Rating: 4.1 Votes: 466 Other Formats: TTA APE MPC AC3 FLAC TTA XM Tracklist 1 Addams Groove (L.P. Mix) 3:58 2 Addams Groove (Instrumental) 3:55 Companies, etc. Phonographic Copyright (p) – Capitol Records, Inc. Copyright (c) – Capitol Records, Inc. Credits Arranged By [Drum Programming], Keyboards, Guitar – Felton C. Pilate II Lyrics By – Hammer* Music By – Felton C. Pilate II, Hammer* Notes Issued in a cardboard sleeve. Texf on rear reads: "Not For Resale / To Be Given Away With CDP 798151-2" (Too Legit To Quit) and includes tracklist for album. (p) 1991 The copyright in this sound recording is owned by Capitol Records Inc. (c) 1991 Capitol Records Inc. For Promotional Use Only / Not For Sale The back of the sleeve mentions the tracklisting of the forthcoming album "Too Legit To Quit". The barcode 077779857227 is same as on this release - Hammer* - Too Legit To Quit. Barcode and Other Identifiers Barcode: 077779857227 Other versions Category Artist Title (Format) Label Category Country Year Capitol 20 4631 2, Addams Groove (CD, 20 4631 2, Hammer* Records, Europe 1991 2046312 Single) 2046312 Capitol Records 1C 060-20 Addams Groove 1C 060-20 MC Hammer Capitol Records Germany 1991 4729 6 Remix (12") 4729 6 Addams Groove (CD, CDCLDJ 642 Hammer* Capitol Records CDCLDJ 642 UK 1991 Single, Promo) Addams Groove 20 4729 2 Hammer* Capitol Records 20 4729 2 Europe 1991 (Remix) (CD, Maxi) Addams Groove 060-20 4631 6 MC Hammer Capitol Records 060-20 4631 6 Germany 1991 (12") Related Music albums to Addams Groove by Hammer Hammer - This Is The Way We Roll MC Hammer - MP3 Collection MC Hammer - 2 Legit 2 Quit Hammer - 2 Legit 2 Quit (The Video Single) Hammer - 2 Legit 2 Quit / Addams Groove Special Generation - Take It To The Floor MC Hammer - Please Hammer Don't Hurt 'Em MC Hammer - Here Comes The Hammer MC Hammer - Greatest Hits M.C.