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Insane Clowns and the Sad Truth by Brent Mccorvey
Insane Clowns and the Sad Truth By Brent McCorvey By the year 2050, the combined number of African Americans, Hispanics, Asians and Native Americans will be greater than the number of Caucasians in this country. (Spring, 136) This diversity, though evident among school-age children, has traditionally not been reflected in the make up of our nation’s teaching force. In fact, in 2002, less than 9% of teachers in America were non-white (Spring, 137). While some inner city school systems scramble to recruit more minority teachers, the state of America’s schools continues to draw fire from everyone from presidential hopefuls to members of the clergy. One unlikely source of criticism has been the underground rap duo Insane Clown Posse. In1998’s Mr. Johnson’s Head, the group tells the disturbing account of a high school student who decapitates a racist history teacher. Although the song centers around a hideous act of violence, there are undertones that express changes in America and the need for diversity, sensitivity and compassion among teachers. Insane Clown Posse was founded by Joseph Violent J Bruce and Joey Usher aka Shaggy 2 Dope in the early 1980’s. Though Bruce and Usher have never charmed their way anywhere near the top of the pop charts, their bizarre blend of shock jock hip-hop has carved out a small niche for them in the underground music scene. Known to their fans as ICP, the group explodes onto the stage wearing black wigs and white clown make up. Their music is loud and graphic, dealing with topics ranging from the evils of American capitalism to teen suicide. -
Panel Discussion, “Of Subjugation and Human Consciousness, Dubois in Africa and Fanon in the U.S.” Between Michele Lewis, the Robert E
Excerpt from the panel discussion, “Of Subjugation and Human Consciousness, DuBois in Africa and Fanon in the U.S.” between Michele Lewis, the Robert E. Lee Chair of Sociology at University of California, Berkeley and Fran Touissaint, Performance Studies Chair of University of Mississippi at Jackson. This conversation took place as part of the symposium, “Humans after Labor” hosted by the University of Michigan in Ann Arbor, in November of 2014. Moderated by August Vollbrecht and plenary from Andrew Mehall. This excerpt is from 1:03:52 to 1:17:41 and focuses on face paints contemporary role of masking in relation to rap music. August Vollbrecht: I think we have to go back to the clown the contemporary understanding of the clown and it’s understanding in America. It presupposes minstrelsy and-- Andrew Mehall: And brings us back to the more local concerns and ICP and how they’re taking it from an earlier Black, Detroit model, Esham more specifically the cover of Homey Don’t Play-- AV: Which is 1991 and predates face paint in Dead Presidents, that’s 1993, drawn from an earlier model which is from Bloods, and that came from recorded interviews of returning Black Vietnam vets. Fran Touissaint: Black Skin, White Mask! I see where the title comes from! (audience laughter) Michele Lewis: Cue the Rolling Stones robbing Bo Diddley at gunpoint! (audience laughter) FT: Yeah, but only stealing a sawbuck. The contemporary clown, albeit seemingly neutral, is steeped in these racial, gender, and class misrepresentations. Janet Davis talks about this in her book about the American circus. -
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). -
Insane Clown Posse If I Was a Serial Killer
If I Was a Serial Killer Insane Clown Posse If I was a Serial Killer they would find all my victim's heads in funky ass gas station toilets And if I was a Serial Killer I would be strange and deranged and I would never change If I was a Serial Killer I'd be known as the smoker Cause I'd cut off and smoke all they hair and if I was a Serial Killer I would sleep on broken glass and thumbtacks and I would smoke mad crack First thing I would do is kill a couple hotties They'd always get some mustard up decapitated bodies Dumped on State police law just before dawn To let em know my ritual had begun I'd crack a 40 with the devil tell him dig me a hole cause I'm coming when I die until them I'm in control This is if I was a Serial Killer and though I aint but if I was I'd do my walls all blood red with blood paint This is if I was a Serial Killer and though I aint But if I was I'd never stop cause I know I can't If I was a Serial Killer I would drive a black van And I would ride around on college campus And if I was a Serial Killer I would walk among us and gain trust Until I needed that rush I'd park outside these bitches homes and then drive away Then come back with my lights off this time I'm here to stay I'd wear human bones around my neck and have my ceremonies Then go back upstairs and microwave some macaronis You know what's all up in my trunk So don't ask me to pop it Once I get out to my cabin Then I'll finally unlock it This is if I was a Serial Killer and though I'm not But if I was I'd snap a photo once they died on the spot This -
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. -
Tom Jennings
12 | VARIANT 30 | WINTER 2007 Rebel Poets Reloaded Tom Jennings On April 4th this year, nationally-syndicated Notes US radio shock-jock Don Imus had a good laugh 1. Despite the plague of reactionary cockroaches crawling trading misogynist racial slurs about the Rutgers from the woodwork in his support – see the detailed University women’s basketball team – par for the account of the affair given by Ishmael Reed, ‘Imus Said Publicly What Many Media Elites Say Privately: How course, perhaps, for such malicious specimens paid Imus’ Media Collaborators Almost Rescued Their Chief’, to foster ratings through prejudicial hatred at the CounterPunch, 24 April, 2007. expense of the powerless and anyone to the left of 2. Not quite explicitly ‘by any means necessary’, though Genghis Khan. This time, though, a massive outcry censorship was obviously a subtext; whereas dealing spearheaded by the lofty liberal guardians of with the material conditions of dispossessed groups public taste left him fired a week later by CBS.1 So whose cultures include such forms of expression was not – as in the regular UK correlations between youth far, so Jade Goody – except that Imus’ whinge that music and crime in misguided but ominous anti-sociality he only parroted the language and attitudes of bandwagons. Adisa Banjoko succinctly highlights the commercial rap music was taken up and validated perspectival chasm between the US civil rights and by all sides of the argument. In a twinkle of the hip-hop generations, dismissing the focus on the use of language in ‘NAACP: Is That All You Got?’ (www.daveyd. -
WEDNESDAY, AUGUST 8Th THURSDAY, AUGUST 9Th SUNDAY, AUGUST 12Th FRIDAY, AUGUST 10Th SATURDAY, AUGUST 11Th
WEDNESDAY, AUGUST 8th Main Stage hosted by: Sugar Slam and Chop 1PM 2PM 3PM 4PM 5PM 6PM 7PM 8PM 9PM 10PM 11PM 12Mid 1AM 2AM 3AM 4AM 5AM 6AM Kool George Main Stage Keith Static X Onyx Clinton Dark Lotus Hog Daddy's Hell Fire Mass Bobby Poe Liquid Psychopathic Underground Stage O-Villainz Murderaz Ryan Ho Kesto Sick Sedated 10/31 Whosaine Assassin AJAX Freddy Grimes Mastamind Rydas Bomb-House Lingerie Contest Dj Clay’s Juggalo Jump O! Wrestling Stage JCW Try Outs JCW Live! Seminar Tent Ralphie May Psychopathic Radio Psychopathic Radio Menace II Swollen Freakshow Stage Karaoke Contest Wet T-Shirt Comp Sobriety (hed) pe Slaine Members Merchandise starts 12 Noon Get merchandise from your favorite Psychopathic Records artists THURSDAY, AUGUST 9th Main Stage hosted by: Jumpsteady 1PM 2PM 3PM 4PM 5PM 6PM 7PM 8PM 9PM 10PM 11PM 12Mid 1AM 2AM 3AM 4AM 5AM 6AM Danny Main Stage Brown Fear Factory The Game DMX ABK Hog Daddy's Hell Fire Ruthless Dopesic Flagrant Kayla K Nukie Jimi Stranger J Dirty Smokehouse Doe Bukshot AMB Potluck Underground Stage Unda Ground The Carpathio Kanklez Haze Cognito Junkiez Dubbla Miss Juggalette Steel Cage Rap Battle Competition Violent J’s West Side Party Bomb-House Hosted By Awesome Dre & Doe Dubbla Glasses Malone, Lil Eazy E, The Pharcyde, Warren G Wrestling Stage JCW Try Outs Ladies of Wrestling Blaze ABK Jamie Cheech & Seminar Tent Kennedy Chong Psychopathic Radio Psychopathic Radio Critical So Sick Freakshow Stage Sideshow Magician Souly Bill Social Club Mushroomhead Autograph Tent Dj Clay Blaze Ya Dead Homie Twiztid -
Finding Forever Homes: Examining Parental Motives
FINDING FOREVER HOMES: EXAMINING PARENTAL MOTIVES AND PREFERENCES IN ADOPTION by RACHEL J. HAMMEL Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Sociology CASE WESTERN RESERVE UNIVERSITY May, 2017 CASE WESTERN RESERVE UNIVERISTY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Rachel Hammel Candidate for the degree of Doctor of Philosophy Committee Chair Gary Deimling, Department of Sociology Committee Member Brian Gran, Department of Sociology Committee Member Sue Hinze, Department of Sociology Committee Member Carol Musil, Frances Payne Bolton School of Nursing Date of Defense February 27, 2017 *We also certify that written approval has been obtained for any proprietary material contained herein. TABLE OF CONTENTS Pages List of Tables 2 Life of Figures 4 Abstract 5 Chapter 1: Introduction, Significance & Background 7 Chapter 2: Conceptual & Theoretical Orientations 26 Chapter 3: Research Questions, Conceptual Models & Hypotheses 36 Chapter 4: Research Design & Methodology 49 Chapter 5: Analysis Plan 1 Results 72 Chapter 6: Analysis Plan 2 Results 79 Chapter 7: Analysis Plan 3 Results 117 Chapter 8: Summary of Findings & Discussion 134 Appendix 151 Bibliography 196 1 LIST OF TABLES Chapter Pages Table 1. Overview of Research Questions, Aims, Hypotheses and 3 41 Supporting Theories and Literature Table 2. Age of Potential Mothers Seeking to Adopt and Not Seeking to 4 52 Adopt Table 3. Race of Potential Mothers Seeking to Adopt and Not Seeking to 4 53 Adopt Table 4. Marital Status of Potential Mothers Seeking to Adopt and Not 4 54 Seeking to Adopt Table 5. Income of Potential Mothers Seeking to Adopt and Not Seeking 4 55 to Adopt Table 6. -
Traditional Funk: an Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio
University of Dayton eCommons Honors Theses University Honors Program 4-26-2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Caleb G. Vanden Eynden University of Dayton Follow this and additional works at: https://ecommons.udayton.edu/uhp_theses eCommons Citation Vanden Eynden, Caleb G., "Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio" (2020). Honors Theses. 289. https://ecommons.udayton.edu/uhp_theses/289 This Honors Thesis is brought to you for free and open access by the University Honors Program at eCommons. It has been accepted for inclusion in Honors Theses by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Abstract Recognized nationally as the funk capital of the world, Dayton, Ohio takes credit for birthing important funk groups (i.e. Ohio Players, Zapp, Heatwave, and Lakeside) during the 1970s and 80s. Through a combination of ethnographic and archival research, this paper offers a pedagogical approach to Dayton funk, rooted in the styles and works of the city’s funk legacy. Drawing from fieldwork with Dayton funk musicians completed over the summer of 2019 and pedagogical theories of including black music in the school curriculum, this paper presents a pedagogical model for funk instruction that introduces the ingredients of funk (instrumentation, form, groove, and vocals) in order to enable secondary school music programs to create their own funk rooted in local history. -
Hip-Hop's Diversity and Misperceptions
The University of Maine DigitalCommons@UMaine Honors College Summer 8-2020 Hip-Hop's Diversity and Misperceptions Andrew Cashman Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Music Commons, and the Social and Cultural Anthropology Commons This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. HIP-HOP’S DIVERSITY AND MISPERCEPTIONS by Andrew Cashman A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Anthropology) The Honors College University of Maine August 2020 Advisory Committee: Joline Blais, Associate Professor of New Media, Advisor Kreg Ettenger, Associate Professor of Anthropology Christine Beitl, Associate Professor of Anthropology Sharon Tisher, Lecturer, School of Economics and Honors Stuart Marrs, Professor of Music 2020 Andrew Cashman All Rights Reserved ABSTRACT The misperception that hip-hop is a single entity that glorifies wealth and the selling of drugs, and promotes misogynistic attitudes towards women, as well as advocating gang violence is one that supports a mainstream perspective towards the marginalized.1 The prevalence of drug dealing and drug use is not a picture of inherent actions of members in the hip-hop community, but a reflection of economic opportunities that those in poverty see as a means towards living well. Some artists may glorify that, but other artists either decry it or offer it as a tragic reality. In hip-hop trends build off of music and music builds off of trends in a cyclical manner. -
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. -
The BG News April 9, 2004
Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 4-9-2004 The BG News April 9, 2004 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News April 9, 2004" (2004). BG News (Student Newspaper). 7270. https://scholarworks.bgsu.edu/bg-news/7270 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. W*\\\ Bowling Green State University FRIDAY April 9, 2004 • • • * PARTLY CLOUDY The Falcons are ready to M ■ 1 L I HIGH: 54 I LOW 30 get back on track against -^ ■ —*—^ ■ ■ ^—-^ www.bgnews.com . J yX JNEWS VOLUME 98 ISSUE 124 Buffalo this weekend; A daily independent student press SELF DEFENSE IS KEY TO SAFETY — — .•*,", _ MEMBERS OF CITIZEN'S POLICE ACADEMY LEARN HOW TO DEFEND AGAINST ATTACKS By David Schrag The defense tactic that irked most where I had to pull someone's eye out CUV NEWS EDITOR people In the class was the eye gouge. of its socket, 1 don't diink I could Patrolman I.itin said th.it if you are revert back to my days of playing Being the victim of an attack isn't being attacked you must do anything "Mortal Kombat," I'd definitely have limited to big cities such as New York possible to survive.