DOCSLIB.ORG

ENG 350 Summer11

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Mondays and Wednesdays, 6:00-9:00, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our one required textbook, Bradley and DuBois’s Anthology of Rap (Yale University Press) is AVAILABLE AT THE OFF-CAMPUS BOOKSTORE ON SMITH ST. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will also be a Blog with a discussion board and a wide array of links to audio and text resources. WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog. There will also be one formal written paper of 4-6 pages in length, as well as a final in-class individual or group presentation in the final week. Course Books LIST I: ESSENTIAL READING: You should get yourself at least one of these, and two if you can manage it. Those marked Out of Print (OOP) can usually be had for a reasonable price at zShops, abebooks, or alibris. 1. David Toop, Rap Attack IV (III or II are fine as well -- each adds just a small amount of additional material at the end) (OOP) Toop’s is far and away the best and most engaging history of the dawn of the Hip-hop era, written at a time when, by Toop’s own account, the best way to get a hold of a well-known rapper or DJ was to call their mom. 2. Jim Fricke, Yes, Yes, Y'all: The Experience Music Project's Oral History of Hip-hop's First Decade (OOP) Fricke’s book is jam packed with the documentary traces of the dawn of Hip-hop – fliers for concerts, battles, and jams – and includes first-person testimony from many of the genre’s originators. 3. Tricia Rose, Black Noise One of the first, and the most accessible, academic histories of Hip-hop. 4. The VIBE History of Hip-Hop (OOP) Slick, well-illustrated, and better than you might expect; Vibe’s writers were the best during the “Golden Age” of Hip-hop from 1993 onwards. 5. S. H. Fernando Jr., The New Beats: Exploring the Music, Culture, and Attitudes of Hip-Hop (OOP) Fernando was, and is, one of the best new young journalists of the Hip-hop generation. 6. Jeff Chang, Can't Stop Won't Stop: A History of the Hip-Hop Generation A broader cultural history, thoughtful and well-written. LIST II: USEFUL SUPPLEMENTAL READING: These books are all solid, but some address just one aspect of Hip-hop, or one related issue to the larger histories of African-American culture and Black music generally. NOTE: Books marked with an asterisk (*) are available FREE via the RI College Library’s “eBrary” page. Try to track down 1 or 2 that connect with your interests. 1. Nelson George, The Death of Rhythm and Blues; Hip-hop America 2. Adam Bradley, Book of Rhymes: The Poetics of Hip-hop * 3. Tricia Rose, Hip-Hop Wars * 4. That's the Joint: The Hip-hop Studies Reader 5. Brian Cross, It's Not About a Salary: Rap, Race & Resistance in Los Angeles (OOP) 6. Michael Eric Dyson, Know What I Mean? Reflections on Hip-hop. * 7. Raquel Rivera, New York Ricans from the Hip-Hop Zone. * 8. Henry Louis Gates, The Signifying Monkey 9. Brian Coleman, Check the Technique: Liner Notes for Hip-Hop Junkies 10. Roni Sarig, Third Coast: How Hip-hop Became a Southern Thing 11. Eric Lott, Love and Theft: Blackface Minstrelsy and the American Working Class 12. Dick Hebdige, Cut 'n; Mix: Culture, Identity, and Caribbean Music 13. Iceberg Slim, Pimp 14. Gil Scott-Heron, Now and Then: The Poems of Gil Scott-Heron 15. Abiodun Oyewole, On a Mission: Selected Poems and a History of the Last Poets (OOP) 16. Wang and Ross, Classic Material: The Hip-hop Album Guide * 17. Roger Gastman and Caleb Neelon, The History of American Graffiti 18. Geneva Smitherman, Talkin’ that Talk: African-American Language and Culture. * 20. Charise Cheney, Brothers Gonna Work It Out: Sexual Politics in the Golden Age of Rap. * CLASS SCHEDULE WEEK I: Tuesday and Wednesday INTRODUCTION TO CLASS. THE HISTORY OF AFRICAN-AMERICAN REPRESENTATION AND MUSIC. • Blackface Minstrelsy • Commodification of “Black” Culture • The “Comic Negro” and the “Tragic Negro” IN-CLASS VIEWING: William Frawley Clip; Spike Lee, Bamboozled IN-CLASS LISTENINGS: Imperial Minstrels (1901); Bert Williams, “Nobody” (1905). Suggested Supplemental Readings: Lott, “Love and Theft”; Zora Neale Hurston, “How it feels to be Colored Me”; History of Minstrelsy from Musicals101 (Blog Links). WEEK I: Thursday. Black Voices on the Air. • “Crazy Blues” and the birth of “Race” Record • Black Vaudeville (“The Chitlin’ Circuit”) • The Role of Black Radio In-Class Viewings: Black Vaudeville routines: “The Police,” Hamhock Harvey & Jud, “How that brother is.” In-Class Listenings: “Crazy Blues,” “Terrible Operation Blues,” “Butterbeans & Susie,” “Shave ‘em Dry,” Early DJ Airchecks (Dr. Hepcat, Mad Daddy, Poppa Stoppa, et. al.) Supplemental readings: History of Black Radio at Urban Radio Nation (blog Link); History of Sound Technology (blog link); Nelson George, from The Death of Rhythm & Blues, chapter 2, “Black Voices in the Night, 1930-1950.” WEEK II: Monday-Tuesday The Classic Era of R&B; The Signifyin’ Monkey and the Roots of Rap. In-Class Listenings: James Brown, “It’s A Man’s World,” “Stay in School,”Lyn Collins (The Female Preacher), “Think (About it)”; Johnny Otis, “Signifyin’ Monkey”; Dolomite, “Signifyin’ Monkey RAP”; Carla Thomas and Otis Redding, “Tramp,” The Pharcyde, “Ya Mama.” Supplemental Readings: Readings: Nelson George, The Death of Rhythm and Blues; Gates, The Signifying Monkey; Potter, “Soul into Hip-Hop” (Blog Link). WEEK II: Wednesday. The Caribbean Connection. Readings: In-Class Listenings: Lord Invader, “Rum and Coca-Cola,” The Lion: “Burn Down the London Theatre,” “I’m Going to Buy a Bungalow”; Atilla the Hun, “I Don’t Want No Bunaglow”; Mighty Sparrow, “Doh touch Meh President,” “Death of Martin Luther King,” Prince Buster, “Judge Dred,” “Ten Commandments of Love,” Worl-A-Girl, “10 Commandments,” U-Roy, “Wake the Town,” Tiger and Q-Tip, “Who Planned it?” Supplemental Readings: Dick Hebdige, Cut ‘n’ Mix: Culture, Identity, and Caribbean Music; Potter, “Roots ‘n’ Rap” columns on Prince Buster, Bob Marley, and Calypso (Links at our course Blog). WEEK II: Thursday. BLACK ARTS AND THE DAWN OF RAP. In-Class Viewing: Right On! Featuring the Original Last Poets. In-Class Listenings: The Last Poets, “Run, Nigger,” excerpt from “Hustler’s Convention,” “Blessed are those who Struggle”; Gil Scott-Heron, “The Revolution Will Not Be Televised,” “Whitey on the Moon”; The Watts Prophets, “Them Niggaz Ain’t Playin’” Supplemental Readings: Gil Scott-Heron, Now and Then: The Poems of Gil Scott-Heron; Abiodun Oyewole, On A Mission; Potter, “Roots ‘n’ Rap” Columns on The Last Poets and Gil Scott-Heron (Blog Links). WEEK III: Monday. OLD SCHOOL THROWDOWN. IN-CLASS LISTENINGS: Afrika Bambaata, from “Death Mix”; Fatback Band, “King Tim III Personality Jock”; Sugarhill Gang, “Rapper’s Delight”; Jimmy Spicer, “Adventures of Super Rhymes,” Paulette and Tanya Winley, “Vicious Rap”; Kurtis Blow, “The Breaks”; Grandmaster Flash, “The Message”; Roxanne Shanté, “Runaway”; Juice Crew Allstars: “The Bridge”; Boogie Down Productions, “The Bridge is Over,””South Bronx,”“Criminal Minded.” (Items in boldface have lyrics in AOR). Supplemental Readings: Toop, Rap Attack; Frick, Yes, Yes, Y’All; Potter, Spectacular Vernaculars, Chapter 1 “Gettin’ Present as an Art” (blog link) WEEK III: Tuesday: Writin’: IN-CLASS VIEWING: “STYLE WARS,” excerpts from “Wild Style.” Supplemental reading: Gastman and Neelon, The History of American Graffiti, Art Crimes website (linked from blog). WEEK III: Wednesday: Breakin’: In-Class Viewing: Excerpts from “The Freshest Kids.” Supplemental reading: Rivera, New York Ricans from the Hip-Hop Zone. WEEK III: Thursday: Rocking the Bells: Hip-Hop’s transition to the New School. In-class listenings: LL Cool J, “Rock the Bells”; Run-DMC “Peter Piper”; Big Daddy Kane, “Raw”; NWA “Fuck the Police”; Beastie Boys, “Fight for your Right to Party”; Public Enemy, “Party for your Right to Fight,” “Miuzi Weighs a Ton.”(Items in boldface have lyrics in AOR). WEEK IV: Monday: The Golden Age of Political Rap. In-class listenings: Brother D: “How We Gonna Make the Black Nation Rise?”; Public Enemy, “Fight the Power”; Ice-T, “Freedom of Speech”; WC and the MAAD Circle, “Ain’t a Damn Thing Changed”; KRS-ONE, “Sound of da Police,” “Why is that?”; Paris, “The Devil Made Me Do It,” “Bush Killa”; George Clinton, “Paint the White House Black”; Ice Cube, “I Wanna Kill Sam” The Goats, “Not Your Typical American”; The Coup: “Kill My Landlord”, “Fat Cats Bigga Fish.” Supplemental readings: Potter, Spectacular Vernaculars, chapter 4, “History/Spectacle/Resistance” (linked from blog).
Recommended publications
  • Creative Synthesis: Collaborative Cross Disciplinary Studies in the Arts

    Creative Synthesis: Collaborative Cross Disciplinary Studies in the Arts

    Western Oregon University Digital Commons@WOU Honors Senior Theses/Projects Student Scholarship 6-1-2012 Creative Synthesis: Collaborative Cross Disciplinary Studies in the Arts Ermine Todd Western Oregon University, [email protected] Follow this and additional works at: https://digitalcommons.wou.edu/honors_theses Part of the Dance Commons Recommended Citation Todd, Ermine, "Creative Synthesis: Collaborative Cross Disciplinary Studies in the Arts" (2012). Honors Senior Theses/Projects. 82. https://digitalcommons.wou.edu/honors_theses/82 This Undergraduate Honors Thesis/Project is brought to you for free and open access by the Student Scholarship at Digital Commons@WOU. It has been accepted for inclusion in Honors Senior Theses/Projects by an authorized administrator of Digital Commons@WOU. For more information, please contact [email protected], [email protected], [email protected]. Creative Synthesis: Collaborative Cross Disciplinary Studies in the Arts By Ermine Todd IV An Honors Thesis Submitted in Partial Fulfillment of the Requirements for Graduation from the Western Oregon University Honors Program Professor Darryl Thomas Thesis Advisor Dr. Gavin Keulks, Honors Program Director Western Oregon University June 2012 Todd 2 Acknowledgements This project would not have been possible without the tireless support of these people. My professor, Thesis Advisor and guide along my journey, Darryl Thomas. Academic advisor Sharon Oberst for always keeping the finish line in sight. Cassie Malmquist for her artistry and mastery of technical theatre. Tad Shannon for guiding the setup of Maple Hall and troubleshooting all technical requirements. Brandon Woodard for immense photographic contributions throughout the length of the project and Photography credit for my poster and program.
  • Hip Hop Pedagogies of Black Women Rappers Nichole Ann Guillory Louisiana State University and Agricultural and Mechanical College

    Hip Hop Pedagogies of Black Women Rappers Nichole Ann Guillory Louisiana State University and Agricultural and Mechanical College

    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 Schoolin' women: hip hop pedagogies of black women rappers Nichole Ann Guillory Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Education Commons Recommended Citation Guillory, Nichole Ann, "Schoolin' women: hip hop pedagogies of black women rappers" (2005). LSU Doctoral Dissertations. 173. https://digitalcommons.lsu.edu/gradschool_dissertations/173 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. SCHOOLIN’ WOMEN: HIP HOP PEDAGOGIES OF BLACK WOMEN RAPPERS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Curriculum and Instruction by Nichole Ann Guillory B.S., Louisiana State University, 1993 M.Ed., University of Louisiana at Lafayette, 1998 May 2005 ©Copyright 2005 Nichole Ann Guillory All Rights Reserved ii For my mother Linda Espree and my grandmother Lovenia Espree iii ACKNOWLEDGMENTS I am humbled by the continuous encouragement and support I have received from family, friends, and professors. For their prayers and kindness, I will be forever grateful. I offer my sincere thanks to all who made sure I was well fed—mentally, physically, emotionally, and spiritually. I would not have finished this program without my mother’s constant love and steadfast confidence in me.
  • Young Americans to Emotional Rescue: Selected Meetings

    Young Americans to Emotional Rescue: Selected Meetings

    YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music.
  • Rolling Stone Magazine's Top 500 Songs

    Rolling Stone Magazine's Top 500 Songs

    Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35.
  • ENG 350 Summer12

    ENG 350 Summer12

    ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog.
  • Ethnic Studies Review

    Ethnic Studies Review

    esr37-38_cv_esr37-38_cv 7/28/2017 1:37 PM Page 2 COLOR IS FOR APPROXIMATION ONLY – DO NOT USE FOR COLOR APPROVAL Volumes 37 and 38 Volumes National Association For Ethnic Studies Ethnic Studies Review Ethnic Studies Review Pages 1–154 Pages 2014-2015 2014-2015 Volumes 37 and 38 ISSN: 1555-1881 esr37-38_cv_esr37-38_cv 7/28/2017 1:37 PM Page 3 The National Association For Ethnic Studies Ethnic Studies Review (ESR) is the journal of the National Association For Ethnic Studies (NAES). ESR is a multi-disciplinary international journal devoted to the study of ethnicity, ethnic groups and their cultures, and inter-group relations. NAES has as its basic purpose the promotion of activities and scholarship in the field of Ethnic Studies. The Association is open to any person or institution and serves as a forum for its members in promoting research, study, and curriculum as well as producing publications of interest in the field. NAES sponsors an annual spring Ethnic Studies Review conference. Journal Information Editorial Board Editor Associate Editors Ron Scapp, College of Mount Saint Vincent David Aliano, College of Mount Saint Vincent Guidelines for Submitting Manuscripts Ravi Perry, Virginia Commonwealth University ESR uses a policy of blind peer review. All papers are read by at least two Book Review Editor reviewers who are experts in the area. Manuscripts must not have been Emily M. Drew, Willamette University published previously or be under consideration by other publications. ESR seeks manuscripts of 7500 words or less, inclusive of notes and works cited. Editorial Advisory Board Endnotes rather than footnotes should be utilized, although these should be Edna Acosta-Belen Rosanne Kanhai kept to a minimum.
  • Rap and Islam in France: Arabic Religious Language Contact with Vernacular French Benjamin Hebblethwaite Hebble@Ufl.Edu

    Rap and Islam in France: Arabic Religious Language Contact with Vernacular French Benjamin Hebblethwaite [email protected]

    Rap and Islam in France: Arabic Religious Language Contact with Vernacular French Benjamin Hebblethwaite [email protected] 1. Context 2. Data & methods 3. Results 4. Analysis Kamelancien My research orientation: The intersection of Language, Religion and Music Linguistics French-Arabic • Interdisciplinary (language contact • Multilingual & sociolinguistics) • Multicultural • Multi-sensorial Ethnomusicology • Contemporary (rap lyrics) Religion This is a dynamic approach that links (Islam) language, culture and religion. These are core aspects of our humanity. Much of my work focuses on Haitian Vodou music. --La fin du monde by N.A.P. (1998) and Mauvais Oeil by Lunatic (2000) are considered breakthrough albums for lyrics that draw from the Arabic-Islamic lexical field. Since (2001) many artists have drawn from the Islamic lexical field in their raps. Kaotik, Paris, 2011, photo by Ben H. --One of the main causes for borrowing: the internationalization of the language setting in urban areas due to immigration (Calvet 1995:38). This project began with questions about the Arabic Islamic words and expressions used on recordings by French rappers from cities like Paris, Marseille, Le Havre, Lille, Strasbourg, and others. At first I was surprised by these borrowings and I wanted to find out how extensive this lexicon --North Africans are the main sources of Arabic inwas urban in rap France. and how well-known --Sub-Saharan Africans are also involved in disseminatingit is outside the of religiousrap. lexical field that is my focus. The Polemical Republic 2 recent polemics have attacked rap music • Cardet (2013) accuses rap of being a black and Arab hedonism that substitutes for political radicalism.
  • The Rolling Stones and Performance of Authenticity

    The Rolling Stones and Performance of Authenticity

    University of Kentucky UKnowledge Theses and Dissertations--Art & Visual Studies Art & Visual Studies 2017 FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY Mariia Spirina University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.135 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Spirina, Mariia, "FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY" (2017). Theses and Dissertations--Art & Visual Studies. 13. https://uknowledge.uky.edu/art_etds/13 This Master's Thesis is brought to you for free and open access by the Art & Visual Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Art & Visual Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
  • (2001) 96- 126 Gangsta Misogyny: a Content Analysis of the Portrayals of Violence Against Women in Rap Music, 1987-1993*

    (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.
  • Confessions of a Black Female Rapper: an Autoethnographic Study on Navigating Selfhood and the Music Industry

    Confessions of a Black Female Rapper: an Autoethnographic Study on Navigating Selfhood and the Music Industry

    Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-8-2020 Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry Chinwe Salisa Maponya-Cook Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation Maponya-Cook, Chinwe Salisa, "Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry." Thesis, Georgia State University, 2020. https://scholarworks.gsu.edu/aas_theses/66 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CONFESSIONS OF A BLACK FEMALE RAPPER: AN AUTOETHNOGRAPHIC STUDY ON NAVIGATING SELFHOOD AND THE MUSIC INDUSTRY by CHINWE MAPONYA-COOK Under the DireCtion of Jonathan Gayles, PhD ABSTRACT The following research explores the ways in whiCh a BlaCk female rapper navigates her selfhood and traditional expeCtations of the musiC industry. By examining four overarching themes in the literature review - Hip-Hop, raCe, gender and agency - the author used observations of prominent BlaCk female rappers spanning over five deCades, as well as personal experiences, to detail an autoethnographiC aCCount of self-development alongside pursuing a musiC career. MethodologiCally, the author wrote journal entries to detail her experiences, as well as wrote and performed an aCCompanying original mixtape entitled The Thesis (available on all streaming platforms), as a creative addition to the research.
  • Hip-Hop & the Global Imprint of a Black Cultural Form

    Hip-Hop & the Global Imprint of a Black Cultural Form

    Hip-Hop & the Global Imprint of a Black Cultural Form Marcyliena Morgan & Dionne Bennett To me, hip-hop says, “Come as you are.” We are a family. Hip-hop is the voice of this generation. It has become a powerful force. Hip-hop binds all of these people, all of these nationalities, all over the world together. Hip-hop is a family so everybody has got to pitch in. East, west, north or south–we come MARCYLIENA MORGAN is from one coast and that coast was Africa. Professor of African and African –dj Kool Herc American Studies at Harvard Uni- versity. Her publications include Through hip-hop, we are trying to ½nd out who we Language, Discourse and Power in are, what we are. That’s what black people in Amer- African American Culture (2002), ica did. The Real Hiphop: Battling for Knowl- –mc Yan1 edge, Power, and Respect in the LA Underground (2009), and “Hip- hop and Race: Blackness, Lan- It is nearly impossible to travel the world without guage, and Creativity” (with encountering instances of hip-hop music and cul- Dawn-Elissa Fischer), in Doing Race: 21 Essays for the 21st Century ture. Hip-hop is the distinctive graf½ti lettering (ed. Hazel Rose Markus and styles that have materialized on walls worldwide. Paula M.L. Moya, 2010). It is the latest dance moves that young people per- form on streets and dirt roads. It is the bass beats DIONNE BENNETT is an Assis- mc tant Professor of African Ameri- and styles of dress at dance clubs. It is local s can Studies at Loyola Marymount on microphones with hands raised and moving to University.
  • List of Lintenings

    List of Lintenings

    • Iceberg Slim "Duriella DuFontaine" • Lightnin Hopkins "Dirty Dozens" • Lightnin' Rod/Jimi Hendrix "Duriella DuFontaine" • Watts Prophets "The Days The Hours" • Count Machuki and the Sound Dimension "More Scorcha" • Jimmy Castor "It's Just Begun" • Gil Scott-Heron "The Bottle" • Thin Lizzy "Johnny the Fox" • Harlem Underground Band "Cheeba Cheeba" • Cheryl Lynn "To Be Real" • Blowfly "Blowfly's Rap" • Incredible Bongo Band “Apache" • Fatback Band "King Tim III" • Sugarhill Gang "8th Wonder" • Funky 4 + 1 "That's the Joint" • Kurtis Blow "The Breaks" • Fearless Four "Rockin It" • Younger Generation "We Rap More Mellow" (actually Furious Five) • Sequence "Funk You Up" • Treacherous Three "Feel the Heartbeat" • Afrika Bambaataa "Death Mix" • Afrika Bambaataa "Jazzy Sensation" • Kraftwerk "Trans Europe Express” • Run DMC "Sucker MCs", TV performance (vs Kool Moe Dee/Special K on "Graffiti Rock") • Eric B and Rakim "My Melody" • Ultramagnetic MCs "Ego Trippin" • Juice Crew "The Symphony" • MC Shan "The Bridge" • Boogie Down Productions "The Bridge is Over" • LL Cool J "Rock the Bells" • Jody Watley "Friends" • Newcleus "Jam On It" • Salt N Pepa "Tramp" • De La Soul "Ring Ring Ring (Ha Ha Hey)" • A Tribe Called Quest "Description of a Fool" • Jungle Brothers "I'll House You” • Ed OG "Be a Father to Your Child" • JVC Force "Strong Island" • Main Source "Looking at the Front Door” • BDP "Criminal Minded" • Public Enemy "911 is a Joke" • Schoolly D "Saturday Night" • Schooly D "Black Enough For You" • NWA "Gangsta Gangsta" • NWA "Express Yourself" • JJ Fad "Supersonic" • DJ Quik "Tonight" • Geto Boys "Damn It Feels Good to be a Gangster" • The D.O.C.