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Vision BLACK ARTS + WELLNESS JOURNAL
$FREE .99 tHe VIsiON BLACK ARTS + WELLNESS JOURNAL THE GOLDEN ISSUE T h E G O l D e n I S s u E “She diDn'T reAD boOKs so sHe diDn'T kNow tHat sHe waS tHe woRlD anD tHe heAVenS boILed doWn to a dRop.” - Zora Neale Hurston, Their Eyes Were Watching God T h E G O l D e n I S s u E leTtER fRom The EdiTOr To be Black is to be divine. To be Black is to be exceptional simply by existing. To breathe while Black is to thrive. To move, and wake up, and allow ourselves the glorious, Godly space to be Black, without fear of retribution or limiting the infinite space we are blessedly entitled to -- is a revolution. There is nothing I love more than seeing us flourish, seeing us beam and shine and glow like the beloved moonlight on water. Yes, we too can be soft. We too create. In fact, the wombs, heartbreak, song, seeds sown by our foremothers birthed this entire nation. While their mouths suckled from our breasts, their whips cracked our back. While we used braiding to design escape routes, they call it KKK boxer braids. They hold vigils for Charleston, and metanoias against White Supremacy, only to have a White woman tell us to praise the police who pushed, shoved, lied, belittled and protected a eugenicist. A Latinx man was expelled for his artistic expression of his resistance to a Klan-run administration that served as an affirmation for those of us who aren't of the caucaus mountains. -
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
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). -
Excerpt from Back in the World, a Dramatic Full-Length Produced Play in One Act
1 EXCERPT FROM BACK IN THE WORLD, A DRAMATIC FULL-LENGTH PRODUCED PLAY IN ONE ACT. The play, a series of interconnected monologues delivered by four black veterans of the Vietnam War recall, reflect on and relive some of their searing experiences before, during and after their service in Vietnam. A fifth character—The Man—is a homeless Vietnam Veteran who lives day-to-day in Detroit and fights to maintain his sanity against the backdrop of urban gunfire and the sounds of police helicopters patrolling the skies and sounding (at least to him) like the Huey helicopters he became familiar with in Vietnam. The Man has something in common with the other characters; they may not remember his name but at one point or another, this nameless man has touched the lives of the other characters. Theatrically, he serves as something of a ghost providing “memory dialogue” with the other characters. Anthony “Jam” Brazil is from Indianapolis. He is a veteran of the Fourth Infantry Division: “Duc Pho, May ’69. Saigon, October ’71, December ’71.” He has seen a lot of action and the persistent memory of it hurts. As he states early on in his monologue he has killed about as many people as are in the theater listening to him—some Viet Cong, some Chinese. But it is the innocent casualties he remembers most. Brazil: I killed a seven-year old boy once. Seven or eight. Easiest thing I’ve ever done. Killin’ that boy. Didn’t look back, don’t regret it. I mean, that’s what bein’ a soldier’s all about, right? No frets, no regrets. -
Getting Real
Getting Real Black Women Taking Charge in the Fight Against AIDS By Hilary Beard Black AIDS Institute December 2005 Getting Real: Black Women Taking Charge in the Fight Against AIDS is designed for educational purposes only and is not engaged in rendering medical advice or professional services. The information provided through this publication should not be used for diagnosing or treating a health problem or a disease. It is not a sub- stitute for professional care. Rev. 1.0 Table of Contents 5 Overview The State of AIDS Among Black Women 11 Chapter One Is Your Relationship History Bad for Your Health? 19 Chapter Two The Condom Conundrum 27 Chapter Three Broken Bonds: Black America’s Relationship Crisis 35 Chapter Four Growing Out of the Down Low Rut 41 Chapter Five Parenting Power 49 About the Author 50 About the Black AIDS Institute Getting Real: Black Women Taking Charge in the Fight Against AIDS is a publication of the Black AIDS Institute, 1833 West Eighth Street, Los Angeles, California 90057-4257, 213-353-3610, 213-989-0181 fax, info@BlackAIDS. org, www.BlackAIDS.org. © 2005 BAI. All rights reserved. The slogan “Our People, Our Problem, Our Solution” is a trademark of the Black AIDS Institute. Views and opinions expressed in this publication are not necessarily those of the Black AIDS Institute. Publication of the name or photograph of a person does not indicate the sexual orientation or HIV status of the person or necessarily constitute an endorsement of the Institute or its policies. Some photographs in this publication use professional models. -
Jay-Z: in Tha’ Mix
ASC 1138--JAY-Z: IN THA’ MIX JAY-Z: IN THA’ MIX CREDIT HOURS Leta Hendricks [email protected] Tel: 614-688-7478 Classroom – Room 150A Thompson Library Class Meeting – Fridays – 1:30 – 2:18 p.m. January 11 – April 19, 2013 Office Hours – Tuesday – 9:00 – 11:00 a.m. and by appointment WEB Site – Twitter – Second Life- Hip Hop Underground http://slurl.com/secondlife/Cybrary%20City%20II/77/198/8 SYLLABUS COURSE DESCRIPTION JAY-Z is an entrepreneurial phenomenon of the last the twenty years. This seminar examines JAY-Z from different perspectives as an artist and as a businessman. The seminar will discuss perspectives and beliefs about rap music and popular culture. JAY-Z is currently one of the most influential iconic figures of Global Pop Culture. His music embodies the quintessentially “African American” genre of music, we will study his musical roots, trace the development of his career and connect JAY-Z with his culture. An analysis of his business empire will include his drug-marked youth, musical achievements, and urban-informed business savvy. The Seminar will discuss his lyrics and their meanings which reveal JAY-Z’s art and life. JAY-Z heavily borrows from American musical and literary traditions through an examination of select recordings, autobiography, film, essays and criticism, this Seminar will provide students the opportunity to discover the significance of JAY-Z’s contributions to lyric writing, popular music, and beyond. The following resources will facilitate students learning development by using multiple content formats. DJ Hero will engage students through gameplay, simulating DJ turntablism (mixing styles and techniques) connecting gaming activities to assignments, discussions, and projects on JAY-Z and current Rap artists. -
Foxy Brown Chyna Doll Mp3, Flac, Wma
Foxy Brown Chyna Doll mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Chyna Doll Country: US Released: 1999 MP3 version RAR size: 1985 mb FLAC version RAR size: 1662 mb WMA version RAR size: 1229 mb Rating: 4.8 Votes: 570 Other Formats: AAC DMF DTS ASF DXD MIDI AA Tracklist Hide Credits A1 The Birth Of Foxy Brown Chyna White A2 Producer – Robert 'Shim' Kirkland My Life A3 Producer – Deric "D-Dot" Angelettie, Kanye West Hot Spot A4 Producer – Irv Gotti, Lil' Rob Dog & A Fox A5 Featuring – DMXProducer – Swizz Beatz J.O.B. B1 Featuring – MyaProducer – Charly Charles B2 Bomb A** I Can't B3 Featuring – TotalProducer – Tyrone Fyffe Bonnie & Clyde Part II B4 Featuring – Jay-ZProducer – Tyrone Fyffe 4-5-6 C1 Featuring – Beanie Sigel, Memphis BleekProducer – Bernard 'Big Demi' Parker Ride (Down South) C2 Featuring – Eightball , Juvenile , MJGProducer – Mo-Suave' House Productions Can You Feel Me Baby C3 Featuring – Pretty Boy Producer – Bernard 'Big Demi' Parker Baller B**** C4 Featuring – Pretty Boy , Too ShortProducer – D-Moet BWA D1 Featuring – Gangsta Boo, Mia XProducer – 'Baby' Chris Lighty*, Irv Gotti, Lil' Rob Tramp D2 Producer – Tyrone Fyffe D3 Baby Mother It's Hard Being Wifee D4 Featuring – NoreagaProducer – Robert 'Shim' Kirkland Notes (P) & (C) Violator Records, Inc.,L.L.C. Other versions Category Artist Title (Format) Label Category Country Year Foxy Chyna Doll (CD, Def Jam Recordings, 314 558 933-2 314 558 933-2 US 1999 Brown Album) Violator Records Foxy Chyna Doll (CD, Def Jam Recordings, P2 58933 P2 58933 Canada 1999 Brown Album, Club) Violator Foxy Chyna Doll (Cass, 314 558 932-4 Def Jam Recordings 314 558 932-4 US 1999 Brown Album, Edi) Foxy Chyna Doll (Cass, 314 558 933-4 Def Jam Recordings 314 558 933-4 US 1999 Brown Album) Foxy Chyna Doll (CDr, Def Jam Recordings, none none US 1999 Brown Album, Promo, Cle) Violator Records Related Music albums to Chyna Doll by Foxy Brown Jay Z featuring Babyface and Foxy Brown, Lost Boyz - Sunshine / Me And My Crazy World The Murderers - Irv Gotti Presents.. -
UNDERSTANDING PORTRAYALS of LAW ENFORCEMENT OFFICERS in HIP-HOP LYRICS SINCE 2009 By
ON THE BEAT: UNDERSTANDING PORTRAYALS OF LAW ENFORCEMENT OFFICERS IN HIP-HOP LYRICS SINCE 2009 by Francesca A. Keesee A Thesis Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degrees of Master of Science Conflict Analysis and Resolution Master of Arts Conflict Resolution and Mediterranean Security Committee: ___________________________________________ Chair of Committee ___________________________________________ ___________________________________________ ___________________________________________ Graduate Program Director ___________________________________________ Dean, School for Conflict Analysis and Resolution Date: _____________________________________ Fall Semester 2017 George Mason University Fairfax, VA University of Malta Valletta, Malta On the Beat: Understanding Portrayals of Law Enforcement Officers in Hip-hop Lyrics Since 2009 A Thesis submitted in partial fulfillment of the requirements for the degrees of Master of Science at George Mason University and Master of Arts at the University of Malta by Francesca A. Keesee Bachelor of Arts University of Virginia, 2015 Director: Juliette Shedd, Professor School for Conflict Analysis and Resolution Fall Semester 2017 George Mason University Fairfax, Virginia University of Malta Valletta, Malta Copyright 2016 Francesca A. Keesee All Rights Reserved ii DEDICATION This is dedicated to all victims of police brutality. iii ACKNOWLEDGEMENTS I am forever grateful to my best friend, partner in crime, and husband, Patrick. -
Eminem 1 Eminem
Eminem 1 Eminem Eminem Eminem performing live at the DJ Hero Party in Los Angeles, June 1, 2009 Background information Birth name Marshall Bruce Mathers III Born October 17, 1972 Saint Joseph, Missouri, U.S. Origin Warren, Michigan, U.S. Genres Hip hop Occupations Rapper Record producer Actor Songwriter Years active 1995–present Labels Interscope, Aftermath Associated acts Dr. Dre, D12, Royce da 5'9", 50 Cent, Obie Trice Website [www.eminem.com www.eminem.com] Marshall Bruce Mathers III (born October 17, 1972),[1] better known by his stage name Eminem, is an American rapper, record producer, and actor. Eminem quickly gained popularity in 1999 with his major-label debut album, The Slim Shady LP, which won a Grammy Award for Best Rap Album. The following album, The Marshall Mathers LP, became the fastest-selling solo album in United States history.[2] It brought Eminem increased popularity, including his own record label, Shady Records, and brought his group project, D12, to mainstream recognition. The Marshall Mathers LP and his third album, The Eminem Show, also won Grammy Awards, making Eminem the first artist to win Best Rap Album for three consecutive LPs. He then won the award again in 2010 for his album Relapse and in 2011 for his album Recovery, giving him a total of 13 Grammys in his career. In 2003, he won the Academy Award for Best Original Song for "Lose Yourself" from the film, 8 Mile, in which he also played the lead. "Lose Yourself" would go on to become the longest running No. 1 hip hop single.[3] Eminem then went on hiatus after touring in 2005. -
A Stylistic Analysis of 2Pac Shakur's Rap Lyrics: in the Perpspective of Paul Grice's Theory of Implicature
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2002 A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature Christopher Darnell Campbell Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Rhetoric Commons Recommended Citation Campbell, Christopher Darnell, "A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature" (2002). Theses Digitization Project. 2130. https://scholarworks.lib.csusb.edu/etd-project/2130 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English: English Composition by Christopher Darnell Campbell September 2002 A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino by Christopher Darnell Campbell September 2002 Approved.by: 7=12 Date Bruce Golden, English ABSTRACT 2pac Shakur (a.k.a Makaveli) was a prolific rapper, poet, revolutionary, and thug. His lyrics were bold, unconventional, truthful, controversial, metaphorical and vulgar. -
101-English-Words-Ch1-2.Pdf
Table of Contents Introduction 1 Seven Different Ways to Say "Friend" 3 Eleven Greetings 7 Nine Farewells 13 Eight Add-ons to “Thank You” 18 Five Ways to Say "You're Welcome" 21 Six Ways to Apologize 23 Sixteen Ways to Say "Cool" 26 Eleven Ways to Show Dissatisfaction 33 Four Ways to Agree 38 Six Ways to Accept Invitations 41 Five ways to Disagree 44 Six Ways to Check for Understanding 47 Four Ways to Say "I'm Hungry" 50 Three Ways to Say "Let's Leave" 52 Index 54 Transcript for... REAL LIFE Conversations 57 ________________________________________________________________________________________________________________________ 101 English Words You'll Never Learn in School A Guide from Real Life English ________________________________________________________________________________________________________________________ Introduction One of the problems with school is that they teach you language as if you were learning so that you could write a textbook. They don't recognize that most language is spoken much different than the "proper" way it's written. Even the spelling of certain words like "going to" and "want to" are often spelt phonetically (gonna and wanna) in informal dialogs like SMS, email, and Facebook. The most important part of learning a language is to be able to communicate with your fellow human beings. Here we have compiled 101 words and sayings that will help you communicate, understand, and express yourself as if you were a native speaker. The English language is a beautiful, expressive language that uses many idioms and phrases. While this can make the language beautiful for native speakers, it can very difficult for non-natives to be able to understand. -
Implications for Therapy Do Scientists Understand the Public? Black Humor
american academy of arts & sciences summer 2010 Bulletin vol. lxiii, no. 4 Page 5 Do Scientists Understand the Public? An Essay by Chris Mooney based on a project with David Clark, Thomas Isaacs, David Altshuler, and Robert Fri Page 15 Advances in Brain Science: Implications for Therapy Emilio Bizzi, Edward Scolnick, and Robert Desimone Page 29 Black Humor: Reflections on an American Tradition Gerald Early, Glenda Carpio, and Werner Sollors with illustrations by Charles Johnson inside: Diplomats Discuss Nuclear Nonproliferation, Page 1 The Alternative Energy Future, Page 3 Projects on Science in American Society, Page 4 The Education of an American Dreamer by Peter G. Peterson and Peter Nicholas, Page 23 Calendar of Events Save the Date: Thursday, Saturday, September 16, 2010 November 13, 2010 Contents Meeting–Boston Meeting–Chicago Academy Projects in collaboration with Boston University in collaboration with the Chicago The Great American University Humanities Festival Update on The Global Nuclear Future Initiative: Diplomats Discuss Nuclear Speaker: Jonathan Cole, Columbia Part I: Reproductive Rights University Nonproliferation at Academy Time: 11:30 a.m. Meeting 1 Location: Boston University Speakers: Reva Siegel, Yale Law School; Gerald Rosenberg, University of Chicago; U.S. Policy toward Russia 2 Friday, Christine Stansell, University of Chicago; October 8, 2010 and Geoffrey Stone, University of Chicago New Study: The Alternative Energy Future 3 2010 Induction–Cambridge Part II: Censored!–The First Amendment, Celebrating the Arts