Booze, Kegs and Pitchers: L&A at the Beer Festival
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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. -
BROWNOUT Fear of a Brown Planet COOP AVAILABLE SHIPPING with PROMO POSTER
BROWNOUT Fear Of A Brown Planet COOP AVAILABLE SHIPPING WITH PROMO POSTER KEY SELLING POINTS • Billboard premier: Brownout Delivers Funky Cover of Public Enemy’s ‘Fight the Power’ • Fear Of A Brown Planet follows The Elmatic Instrumentals and Enter The 37th Chamber in Fat Beats Records heralded stream of instrumental takes of hip hop classics • Brownout has released past albums with Ubiquity Records (Brown Sabbath) and enjoyed a stint backing the late legend Prince • Tour dates planned for the summer of 2018 DESCRIPTION ARTIST: Brownout Twenty-eight years ago, pissed-off 12-year-olds around the universe discovered TITLE: Fear Of A Brown Planet a new planet, a Black Planet. Public Enemy’s aggressive, Benihana beats and incendiary lyrics instilled fear among parents and teachers everywhere, even CATALOG: L-FB5185 / CD-FB5185 in the border town of Laredo, Texas, home of the future founders of the Latin- Funk-Soul-Breaks super group, Brownout. The band’s sixth full-length album LABEL: Fat Beats Records Fear of a Brown Planet is a musical manifesto inspired by Public Enemy’s GENRE: Psych-Funk/Hip-Hop music and revolutionary spirit. BARCODE: 659123518512 / 659123518529 Chuck D., the Bomb Squad, Flava Flav and the rest of the P.E. posse couldn’t possibly have expected that their golden-era hip hop albums would sow the FORMAT: LP / CD seeds for countless Public Enemy sleeper cells, one that would emerge nearly HOME MARKET: Austin, Texas three decades later in Austin, Texas. Greg Gonzalez (bass) remembers a kid back in junior high hipped him to the fact that Public Enemy’s “Bring the Noise” RELEASE: 5/25/2018 is built on James Brown samples, while a teenaged Beto Martinez (guitar) $17.98 / CH / $9.98 / AH alternated between metal and hip-hop in his walk-man, and Adrian Quesada LIST PRICE: (guitar/keys) remembers falling in love with Public Enemy’s sound at an early CASE QTY: LP 30 / CD 200/1 age. -
Muzikmafia: Community, Identity, and Change from the Nashville Scene to the Popular Mainstream David B
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Muzikmafia: Community, Identity, and Change from the Nashville Scene to the Popular Mainstream David B. Pruett Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MUZIKMAFIA: COMMUNITY, IDENTITY, AND CHANGE FROM THE NASHVILLE SCENE TO THE POPULAR MAINSTREAM BY DAVID B. PRUETT A dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded Fall Semester, 2007 © 2007 David B. Pruett All Rights Reserved The members of the Committee approve the dissertation of David B. Pruett defended on Thursday, 23 August 2007. ______________________________ Frank Gunderson Professor Directing Dissertation ______________________________ Barry Faulk Outside Committee Member ______________________________ Dale A. Olsen Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii “Love Everybody…” Kenny Alphin – at least once in most conversations that we have shared since June 2004 iii ACKNOWLEDGEMENTS There are many people whom I would like to thank for their assistance with and guidance through this project. First and foremost, I would like to express sincere thanks to my new friends and family within the MuzikMafia’s inner circle: Cory, John, Kenny, Jon, James, Rachel, Pino, Chance, Max, Dean, Troy, Shannon, Mandy, Fred, Shanna, Damien, Adam, Brian, Ethan, SWJ, Alaska Dan, Sean, Jerry, D.D., Gretchen, Jules W., Paul, Ashley, Marc, Greg, Bill, Charlie, Jon A., Jeff, Deanna, “Mama” Alphin, Shawna P., Butter, Isaac, Virginia D., and Vicky M. -
Was Foucault a Plagiarist? Hip-Hop Sampling and Academic Citation Mickey Hess
Computers and Composition 23 (2006) 280–295 Was Foucault a plagiarist? Hip-hop sampling and academic citation Mickey Hess Department of English, Rider University, Lawrenceville, NJ 08648, United States Abstract This article argues that comparing academic citation and hip-hop sampling can help students become better users of sourcework. I contend that sampling and academic writing share a goal of building new work in response to existing sources and that this goal is obscured by lawsuits that reduce sampling to theft by applying to sound a copyright regulation system designed for print. Both sampling and citing seek to build new compositions by working from sources, yet academic citation systems preserve textual ownership through attribution while sampling often guards or disguises its sources. These different stances in regard to authorship and ownership belie the values shared by the two systems. © 2006 Elsevier Inc. All rights reserved. Keywords: Sampling; Hip-hop; Intellectual property; Citation; Plagiarism Sometimes I quote someone without using quotation marks or a footnote to give the name of the source. It seems like I’m just supposed to prove I’ve read this famous scholar, and I say why should I have to put quotes around it if you can’t even recognize who it comes from? The passage above seems to undermine so much of what we teach about academic writing. It is paraphrased, not from a conversation with a student, but from an interview with Michel Foucault (1980) where he described his citation practices in regard to Marx and Marxism: I often quote concepts, texts and phrases from Marx, but without feeling obliged to add the authenticating label of a footnote with a laudatory phrase to accompany the quotation. -
Automatic Generation of Rap Lyrics Using Sequence-To-Sequence Learning
DeepLyricist: Automatic Generation of Rap Lyrics using Sequence-to-Sequence Learning Nils Hulzebosch Student ID: 10749411 A thesis presented for the degree of Bachelor Artificial Intelligence 18 ECTS Faculty of Science University of Amsterdam Netherlands July 2, 2017 M.Sc. Mostafa Dehghani Dr. Sander van Splunter University of Amsterdam University of Amsterdam [email protected] [email protected] First supervisor Second supervisor Abstract This thesis demonstrates the use of sequence-to-sequence learning for the automatic generation of novel English rap lyrics, with the goal of generating lyrics with similar qualities to those of humans in terms of rhyme, idiom, structure, and novelty. The sequence-to-sequence model tries to learn the best parameters for generating target sequences given source sequences, and is trained on over 1.6 million source-target pairs, containing lyrics from 348 different rap artists. The automatic evaluations of each of the four characteristics show that idiom and structure have the best performance, whereas rhyme and novelty should be improved to be in a similar range of human lyrics. Future research could focus on using hierarchical models to improve the learning and generation of rhyme, structure, and possibly novelty, and implementing a sampled probability to increase the uniqueness of generated lyrics. 1 Contents Acknowledgements 4 1 Introduction 5 2 Related work 6 3 Characteristics of rap lyrics 7 3.1 Rhyme . .7 3.2 Rhyme schemes . .9 3.3 Song structure . 10 3.4 Idiom . 11 3.5 Novelty . 12 4 Evaluation Methodology 12 4.1 Rhyme . 12 4.1.1 Modified rhyme density . 13 4.1.2 End rhyme score . -
The History of Rock Music - the Nineties
The History of Rock Music - The Nineties The History of Rock Music: 1995-2001 Drum'n'bass, trip-hop, glitch music History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Hip-hop Music (These are excerpts from my book "A History of Rock and Dance Music") Hip-hop becomes mainstream, 1995-2000 Pre-Life Crisis (1995) by Nashville's rapper, multi-instrumentalist and producer Count Bass D (Dwight Farrell) was the first rap album to feature all live instruments. New Orleans's Master P (Percy Miller) was the leading entrepreneur of unadulterated gangsta-rap. He turned it into the hip-hop equivalent of a serial show, with releases being manufactured according to Master P's script at his studios by a crew of producers. His own albums Ice Cream Man (1996) and Ghetto D (1997) were the ultimate stereotypes of the genre. In 1998, his musical empire had six albums in the Top-100 charts. Atlanta's producer Jonathan "Lil Jon" Smith and his East Side Boyz coined a fusion of hip-hop and synth-pop called "crunk", from the title of their debut, Get Crunk Who U Wit (1996). The first star of East Coast's Latino rap was Christopher "Big Punisher" Rios, a second-generation Puertorican of New York who died of a heart attack shortly after climbing the charts with Capital Punishment (1998). -
アーティスト 商品名 オーダー品番 フォーマットジャンル名 定価(税抜) URL 79.5 Predictions BCR047
アーティスト 商品名 オーダー品番 フォーマットジャンル名 定価(税抜) URL 79.5 Predictions BCR047 CD SOUL/CLUB/RAP 2,090 https://tower.jp/item/4797162 1773 リターン・オブ・ザ・ニュー RRCRB90103 CD SOUL/CLUB/RAP 2,300 https://tower.jp/item/2525329 1773 Return Of The New (HITS PRICE) RRCRF120117 CD SOUL/CLUB/RAP 933 https://tower.jp/item/3102523 2562 The New Today MBIPI5546 CD SOUL/CLUB/RAP 2,100 https://tower.jp/item/3729257 2562 フィーバー DOUBT1CDJP CD SOUL/CLUB/RAP 2,000 https://tower.jp/item/2872650 43670 Love/Life Changes 10410844 CD SOUL/CLUB/RAP 2,390 https://tower.jp/item/1623907 *Groovy workshop. Emotional Groovin' -Best Hits Mix- mixed by *Groovy workshop. SMCD53 CD SOUL/CLUB/RAP 1,890 https://tower.jp/item/4624195 100 Proof (Aged in Soul) エイジド・イン・ソウル VSCD023 CD SOUL/CLUB/RAP 2,800 https://tower.jp/item/244446 100% Pure Poison カミング・ライト・アット・ユー(PS) PCD24428 CD SOUL/CLUB/RAP 2,400 https://tower.jp/item/3968463 16FLIP P-VINE & Groove-Diggers Presents MIXCHAMBR : Selected & MixedPTRCD24 by 16FLIP <タワーレコード限定>CD SOUL/CLUB/RAP 2,000 https://tower.jp/item/3931525 2 Chainz B.O.A.T.S. II Me Time(INTL) 3751328 CD SOUL/CLUB/RAP 1,890 https://tower.jp/item/3293591 2 Chainz Collegrove(INTL) 4785537 CD SOUL/CLUB/RAP 1,890 https://tower.jp/item/4234390 2Pac (Tupac Shakur) 2-PAC 4-EVER COBY91233 DVD SOUL/CLUB/RAP 3,800 https://tower.jp/item/2084155 2Pac (Tupac Shakur) Live at the house of blues(BRD) ERBRD5051 DVD SOUL/CLUB/RAP 1,890 https://tower.jp/item/4644444 2Pac (Tupac Shakur) Final 24 : His Final Hours MVD4990D DVD SOUL/CLUB/RAP 1,890 https://tower.jp/item/2782460 2Pac (Tupac Shakur) Conspiracy -
ACO 1 ONRA Long Distance CD
1. Intro 2. My Comet 3. My Mind Is Gone ft. Olivier Daysoul 4. Rock On 5. Sitting Back 6. High Hopes ft. Reggie B 7. Girl 8. Send Me Your Love 9. Wee Out ft. Buddy Sativa 10. Moving 11. Mechanical 12. Don’t Stop 13. The One ft. T3 (of Slum Village) 14. Oper8tor 15. Long Distance ft. Olivier Daysoul 16. Tape This 17. To the Beat ft. Walter Mecca 18. Wonderland 19. Jeeps 20. L.I.A.B. 21. Cherry We are very proud to present, all the way from Paris, a proper full length from Onra on All City Records called Long Distance. A producer with an incredible work rate, most will know him through his most critically acclaimed album Chinoiseries from 2007, a great album created from Vietnamese found-sounds. After some extensive rifling through dusty crates when he went to Vietnam for the first time, the land of his grandparents, he managed to bring back some 30 incredible Chinese and Vietnamese old vinyls. The album became the trademark sound of Onra, once the song “The Anthem” was chosen to illustrate a Coca-Cola TV commercial for Beijing Olympics. While Chinoiseries may be made via similar means – sampling old dusty vinyl – the sounds are distinctively Western and rooted in the 80s! Long since established as one of the beat scenes go to guys, he flips the style on Long Distance to bring a distinctively French feel. The French, who have been championing the modern soul and boogie sound for time, influenced Onra on what can be considered a personal homage to the R&B and Soul sounds of mid 80s Paris. -
Digging in the Crates. Practices of Identity and Belonging in A
DIGGING IN THE CRATES. PRACTICES OF IDENTITY AND BELONGING IN A TRANSLOCAL RECORD COLLECTING SCENE GÁBOR VÁLYI Thesis submitted in fulfillment of the requirements for the degree of Ph.D. in Sociology Goldsmiths College, University of London. September 2010 1 I declare that the work presented in this thesis is my own1. Gábor Vályi, 27th September, 2010 1 A detailed discussion of the copyrighted audiovisual material that is included to illustrate the thesis is given in Appendix 1. 2 ABSTRACT This thesis is a multi-sited ethnographic study of the practices through which a sense of identity and belonging is produced and experienced in the crate digging scene, a hip hop related translocal record collecting collectivity. Affective attachments are rarely theorised within popular music studies, and are largely neglected or taken for granted in empirical work. Whereas the emergence and prevalence of a sense of companionship and collective identity is less surprising in tightly-woven collectivities that frequently gather in public venues in a particular locality, it demands more of an explanation in spatially dispersed musical worlds, like the transnational crate digging scene, in which regular, locally based face-to-face interaction takes place in small friendly circles that consist of a handful of enthusiasts at most. The thesis reworks earlier, more elusive definitions of the notion of scene – a shared cultural space in which a range of coexisting and interacting musical practices work towards producing a sense of community – in a way that is more specific both with regarding what kinds of practices – aesthetic, distinctive, and spatial – shall be taken into consideration in accounting for the sources of attachments in musical collectivities.