DOCSLIB.ORG

1Tiiytiim SECTION

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1Tiiytiim SECTION Billboard. APRIL 14, 2001 R &B ARTISTS & MUSIC Not Ra p $ÌflgIO$.. COMPILED FROM A NATIONAL SAMPLE OF RETAIL STORE SALES REPORT, z COLLECTED. COMPILED, AND PROVIDED BY co SoundScan. France's MC Solaar Gets Down With Devìl =W ÑW o `r= TITLE ""'1I ARTIST . 3 5 c'a 3c.) NTB. DIS' SOLAAR SHINES: Born in Sene- with American artists and producers No. 1 /GREATEST GAINER gal and raised in France, MC Sobar in the future," he chose not to this time WHAT WOULD YOU DO? CIIY HIGH 1 2 6 0 2 weeks at No. I is one of France's best -known artists. around because he wants to solidly REQUEST LINE tbLAt,\ EYED i'LAa í LAI uRING MACY GRAY Of late, the rap veteran has been establish himself. He did, however, 2 3 3 3 NTERSCOPE 497498 t watching his current single, "Solaar recently record an English- rapped BOw WOW (THAT'S MY NAME) LIL BOW WOW 3 2 1 16 ( version of "Solaar Weep" and plans - SO DEF/COLUMBIA 79556/CRG t Pleure" Solaar Weep), hover in the to CROSS THE BORDER PHILLY'S MOST WANTED SNEP chart's top 10 since entering at record more English- rapped cuts. 7 7 25 ® (C) (D) (T) (X) ATLANTIC 8500 &AG t No. 5 in late January. The single is Plus, his mellifluous French flow has IT WASN'T ME SHAGGY FEATURING RICARDO "RIKROK" DUCENT 5 4 4 18 single, (T) (V) )X) MCA 155782' t taken from his second EastWest In addition to the the set's blessed Guru's recent Jazzmatazz DOLLAZ, DRANK & DANK MR. SHORT KHOP FEATURING KOKANE France album, Cinquime As (Fifth songs include "L'Aigle Ne Chasse Pas project as well as such hits as "All N 6 5 5 10 (C) (DI (T) HEAVYWEIGHT 2152/1VT t Ace), which was released in February. les Mouches" (Eagles Don't Hunt My Grill" by Missy Elliott and "Lis- MS. JACKSON OUTKAST 7 6 6 19 which is former British Talkin' (DV) IT) (X) LAFACE 24525' /ARISTA t "The single is about a guy who Flies) and "Arkansas," about ten" by Solaar's M.C; 2 MAY, DOGG SNOOP DDGG FEATURING MASTER P NATE KT:- :1SSI :, S THA EISTSIDAZ quits Earth, goes to heaven, and then an 8-year -old murderer. 24 LAY ® (T) NO LIMIT 50174/PRIORITY t decides to face the devil in hell," The album title, adds Solaar, "illus- GET UR FREAK ON MISSY "MISDEMEANOR" ELLIOTT Q8 10 14 5 Solaar, who's published by [the element of] surprise (T) THE GOLD MIND /EASTWEST 67190 /EEG t explains trates - THA RODEO PHENOMENON Sentinel Sud. "It gave us the oppor- something transcending all cultures." 10 9 10 7 (CI lXI KING B 3001* tunity to experiment with many sub- Produced by Black Rose Corp. in THE WOOD PAPA SEVILLE 11 12 11 10 tleties to make the track sound like an France, the album was mixed and ICI Ix '. ! VNIUM 0003' /KMJ #!* ON YOU D -12 odyssey, while the album itself is con- mastered in New York. 12 11 9 19 S (T) 00 Skit) : .US 497344'rINTERSCOPE t ceived as a movie about daily life." Although Solaar hopes to "work UHHNNHH THE BAD SEED 13 8 8 11 (T) J GRAN)- RAWKUS DA B.O.M.B. CAPONIAC 14 14 - 2 (D) TOMOBC " :AGROUND LEVEL DID THAT! 812 SOUUAZ FEATURING WHOO WHEE 15 NEW 1 (C) (D) LAY IT DOWN 2011 MC SOLAAR ALBUM COVER 2 HOW WE ROLL BIG PUN FEATURING ASHANTI 32 J - a (T) LOUD 1979 t WHAT SIDE YOU ON SHAMUS, FLU, KARACHI -RAW, SKAR & MAXIMILLAN 1tIIYTIIM 11 NEW 1 Loud labelmates Urban Species. (T) (X) CRIME WAVE 2001' NO! NO! NO! SUNNI BLACK FEATURING MOTHER SUPERIA He also credits Afrika Barn- 16 16 26 18 n (T) KING PIN STATION 197 t baataa's entreaty to Europeans to SO FRESH, SO CLEAN OUTKAST 19 13 33 3 rap in their own language as the :.. t:' ,. 24537' / ARISTA SECTION t of a TAKE IT TO DA HOUSE TRICK DADDY FEATURING THE SNS EXPRESS impetus behind the creation 20 23 21 9 IPN -SLIDE 85063/ATLANTIC t strong local rap market in France. GUILTY UNTIL PROVEN INNOCENT JAY-Z FEATURING R. KELLY 21 15 12 4 ITS ALL ABOUT JANET -Ms. Jackson, if you're nasty. She dominates "French rap is unique," says LC- A- FELLADEF JAM 572809'/IDJMG t the charts, with "All for You" (Vi gin), 6-1 on Hot R &B/Hip -Hop Singles & Solaar, "whereas English rap NO ESCAPIN' THIS THE BEATNUTS 22 28 18 8 UD 1983' t Tracks and the Greatest Gainer/Sales. That's due to the official retail release seems to be completely dominated THAT GIRL? EVE 23 18 17 8 WHO'S of the CD single. "All for You" sold close to 30,000 pieces in core stores and by American rap." -L FF RYDERS 497488iINTERSCOPE t jumps 15-1 on Hot R &B/Hip -Hop Singles Sales. It was last issue's highest DA BRIDGE 2001 /OOCHIE WALLY OB'S FINEST 24 26 29 22 TILL WILLCOLUMBIA 79522/CRG t debut on that chart due to street-date violations. Janet also climbs 7 -5 on UNIVERSALLY SPEAKING: WHERE I WANNA BE DAMIZZA PRESENTS SHADE SHEIST FEATURING NATE DOGG 8 NURUPT 25 20 15 24 the airplay chart, increasing her audience by half a million. This is her 14th Zambian -born rapper George - ,ABY REE 35058/LONDON -SIRE t No. 1 record on Singles & Tracks in 15 years. While she still doesn't hold the Mbulo Jr. would rather be known as GET UP COCOA BROVAZ 26 19 22 10 title for most No. l's ever (Aretha Franklin and Stevie Wonder are tied Nemo aka the Chosen One, an SOUTHERN HOSPITALITY LUDACRIS 13 1 who -hop from 21 17 16 16 with 20 each), she does surpass brother Michael, who has had No. hits. artist "represents hip L.'.G THA PEACEJDEF JAM SOUTH 572749 / IDJMG t In addition to "All for You," two other singles got a bump up on Singles Central Africa." The 19- year -old, CASH BURNS FAST KODIAK 41 27 5 cl 'AiuS 1111 & Tracks due to commercial releases: Case's "Missing You" (Def childlike- sounding rhymer precedes ANTE UP (ROBBING -HOODZ THEORY) M.O.P. Soul/IDJMG), which moved 13 -2 by selling almost 20,000 units (and also his debut album, My World Vol. 1, 29 27 20 15 :949' t made the biggest leap on Singles Sales, 40-2), and làmia's "Stranger in My with the global -party -jamming THE BLAST TALIB KWELI & HI -TEK FEATURING VINIA MOJICA 34 24 11 CI .1 -t House" (Elektra), which earned back a bullet, rebounding 19-3. (On Sin- promo single "International (Bumpin POUNDS UP M.O.P. gles Sales, she jumped 34-3). This forces three records to have backward This)" on Mad Love Records/Eclec- 31 33 2 - . C2 RAWKUS bullets, despite having gains in airplay and/or sales: Sunshine Anderson's tic Music. The album is expected this CHICKENHEAD PROJECT PAT 32 29 30 9 i..OTIZE MINDS 1973'/LOUD t "Heard It All Before" (Soulife /Atlantic), 3-4; Musiq Soulchild's "Love" summer. GET CRUNKED UP ICONZ FEATURING TONY MANSHINO (Def Soul/IDJMG), 2 -5; and Olivia's "Bizounce" (J Records), 4-6. Currently residing in California, 33 25 25 7 ,l; LANDMARK/SLIP- N- SLIDE/ELEKTRA 67I54'/EEG t Nemo stresses his multicultural trav- SON OF A BITCH LADY SAW & MARSHA 34 22 19 5 he (D) (T) (V) BIG YARD 6380NP HAVE FAITH: After three weeks on the chart, Faith Evans Featuring el experience as an advantage PUT IT ON ME JA RULE FEATURING LIL' MO & VITA Carl Thomas' "Can't Believe" (Bad Boy/Arista) increases its airplay by brings to the rap table. `Being from 35 38 36 16 (T) MURDER INCJDEF JAM 572751'/IDJMG t 81%, propelling itself up 19 places on Singles & Tracks, 75-56. That's the Africa, I have had the chance to expe- SUPERB SUPERB 36 36 - 4 biggest leap of the issue. Just behind her is the debut single by Arista's Blu rience things that most artists (C) (X) FY STATION 5690' CHANGE THE GAME JAY-Z, BEANIE SIGEL AND MEMPHIS BLEEK Cantrell, "Hit 'Em Up Style (Oops!)," which jumps 18 spots, 81-63. haven't," says Nemo. "I've experi- 31 40 34 12 (T) ROC -A- FELLA/DEF JAM 572761' /IDJMG t Airplay on at least three new singles helps them debut on Singles & enced both worlds; therefore my lyri- R.E.S.P. E.C.T. 4TH AVENUE JONES 38 31 23 13 is (D) (T) LOOKALIVE/RAWKUS 497459/INTERSCOPE t Tracks, including the Hot Shot Debut, Redman's "Let's Ret Ready" (Def cal content unlimited and universal." UVE FROM PIMP PALACE EAST J-ZONE PRESENTS THE OLD MAID BILLIONAIRES Jam/IDJMG), at 76; Dave Hol ister's "Take Care of Home" (Dream Works), 39 50 2 - (T) EASTERN CONFERENCE /RAWKUS 314 at 77; and new Jive artist Syleena Johnson's "I Am Your Woman," pro- IN THE RAW: British R &B -fla- DANGER (BEEN SO LONG) MYSTIKAL FEATURING NIVEA 40 37 28 17 Da final- (T) JIVE 42860 t duced by R. Kelly, at 78. At No. 99, 812 Soulljaz Featuring Whoo Whee's vored rap group Regiment XZIBIT "Did That!" (Lay It Down) earned its spot due to a great first week at retail. ly will release "Cold World"/"Shake 41 48 40 4 X IT) COLUMBIA 1968 /LOUD t The Glass" on II Dark in mid -April.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • ENG 350 Summer11
    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.
    [Show full text]
  • MC Solaar Cinquieme As Mp3, Flac, Wma
    MC Solaar Cinquieme As mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Cinquieme As Country: France Released: 2001 MP3 version RAR size: 1101 mb FLAC version RAR size: 1483 mb WMA version RAR size: 1605 mb Rating: 4.4 Votes: 559 Other Formats: AC3 WMA AU ASF MMF WAV VOC Tracklist Hide Credits A1 Introdiction 1:53 Solaar Pleure A2 4:57 Vocals – Audrey Chanu Lève-toi Et Rap A3 3:29 Producer – DJ Sample Les Colonies A4 4:01 Bass – Michel AliboProducer – DJ Sample Vocals – Nicole Neret B1 Hasta La Vista Mi Amor! (Intro) 0:15 Hasta La Vista Mi Amor! B2 3:23 Guitar – Jean-Marc MiroVocals – Moïra Conrath B3 La Belle Et Le Bad Boy 3:12 La La, La La B4 Vocals – Aurore , Bambi Cruz, Barbara Tausia, Eric K-Roz, Géraldine, Moïra Conrath, 3:51 Nandcy Larabi, Naomi Kayembe Omanga, Nathalie Bertrand B5 Arkansas 1:39 B6 Le Cinquième As 3:48 C1 Baby Love 4:07 C2 Dégâts Collatéraux 4:00 C3 RMI 4:19 C4 L'aigle Ne Chasse Pas Les Mouches 3:12 Playmate C5 3:02 Bass – Jean-Pierre Thierry Si Je Meurs Ce Soir D1 3:59 Producer, Rap [Featuring] – Black Jack D2 Solaar Pleure (Symphonic Version) 5:12 D3 Hasta La Vista (Intro) 0:15 D4 Hasta La Vista 3:23 D5 Samedi Soir 3:30 Credits Producer – Black Rose Corporation (tracks: A1, A2, B1, B2, B4 to C1, C3, C5, C6, D3, D4), Kurser (tracks: B3, C2, D1) Notes ℗ 2001 Sentinel Quest © 2001 Sentinel Quest Barcode and Other Identifiers Barcode: 6 85738 82311 6 Other (Rights Societies): GEMA / BIEM Other versions Category Artist Title (Format) Label Category Country Year Cinquieme As (2xLP, 8573 86629-1 MC Solaar
    [Show full text]
  • Hip-Hop Culture and Social Mobilization in Post Colonial Senegal Lucie Latuner Connecticut College, [email protected]
    Connecticut College Digital Commons @ Connecticut College Anthropology Department Honors Papers Anthropology Department 2018 Y’en a Marre! Hip-Hop Culture and Social Mobilization in Post Colonial Senegal Lucie Latuner Connecticut College, [email protected] Follow this and additional works at: https://digitalcommons.conncoll.edu/anthrohp Part of the African Languages and Societies Commons, Anthropology Commons, Music Commons, and the Race, Ethnicity and Post-Colonial Studies Commons Recommended Citation Latuner, Lucie, "Y’en a Marre! Hip-Hop Culture and Social Mobilization in Post Colonial Senegal" (2018). Anthropology Department Honors Papers. 16. https://digitalcommons.conncoll.edu/anthrohp/16 This Honors Paper is brought to you for free and open access by the Anthropology Department at Digital Commons @ Connecticut College. It has been accepted for inclusion in Anthropology Department Honors Papers by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. Y’en a Marre ! Hip-Hop Culture and Social Mobilization in Post Colonial Senegal An Honors Thesis Presented by Lucie Latuner To the Department of Anthropology CONNECTICUT COLLEGE NEW LONDON, CONNECTICUT MAY 3, 2018 1 Table of Contents Abstract 3 Acknowledgements 4 Introduction 6 Chapter I: Y’en a Marre, a History of Social Mobilization, and Figures of Resistance: Responsibility to Pan-Africanist Discourse 16 Chapter II: Expressing Responsibility Through Rap: Creating Urban Spaces of Resistance 43 Chapter III: Responsibility to the Constitution: Maintaining Democracy through Mobilization 66 Chapter IV: Pan-Africanist Responsibility Today: Civic Action in the Face of Neocolonialism 88 Conclusion 110 Bibliography 114 2 Abstract After over fifty years since decolonization, Senegal is seen as a success story in establishing democracy in sub-Saharan Africa.
    [Show full text]
  • MC-Solaar.Pdf
    J e d é c o u v r e u n a r t i s t e MC SOLAAR E d u c a t i o n m u s i c a l e CAROLINE Pour toi j'ai pris des billets verts, il a SES PLUS BELLES J'étais cool, assis sur un banc, c'était au fallu qu'je bouge CHANSONS printemps Pyromane de ton cœur, canadair de tes Solaar pleure Ils cueillent une marguerite, ce sont frayeurs La belle et le bad boy deux amants Je t'ai offert une symphonie de couleurs Bouge de là Overdose de douceur, ils jouent comme Elle est partie, maso Victime de la mode des enfants Avec un vieux macho Je t'aime un peu, beaucoup, à la folie, Qu'elle avait rencontré dans une station SA VIE passionnément de métro MC Solaar de son vrai nom Claude Honoré Mais à la suite d'une douloureuse Quand je les vois main dans la main M'Barali, né le 5 mars 1969 à Dakar, au Sénégal, déception sentimentale fumant le même mégot est un rappeur français1 d'origine tchadienne. D'humeur chaleureuse je devenais Je sens un pincement dans son cœur, brutal mais elle n'ose dire un mot Il est l'un des premiers artistes ayant popularisé La haine d'un être n'est pas dans nos C'est qu'je suis l'as de trèfle qui pique le rap en France, dès le début des années 1990. Sa prérogatives ton cœur musique et la qualité littéraire de ses textes sont Tchernobyl, tcherno-débile ! Jalousie L'as de trèfle qui pique ton cœur le fruit d'inspirations diverses, allant de Serge radio-active L'as de trèfle qui pique ton cœur, Gainsbourg aux musiques africaines (ivoiriennes, Caroline était une amie, une superbe Caroline maliennes, tchadiennes), en passant par les fille Claude MC prend le microphone genre classiques noirs américains (jazz et rap US).
    [Show full text]
  • Cymande Music Is the Message and the Message Is Music Bio 2019
    CYMANDE MUSIC IS THE MESSAGE AND THE MESSAGE IS MUSIC BIO 2019 “Bra….. Hip Hop’s most famous bass line” CUT CHEMIST “London’s greatest funk band” ROLLING STONE “French Rap exists because of Cymande” M C SOLAAR “One of my all-time favourite funk bands…….... sounded beautiful” ROB DA BANK: Bestival, Camp Bestival “Best Reunion” BONNAROO FESTIVAL 2016, NASHVILLE CYMANDE, the British-based music pioneers, emerged as innovators of the funk music scene during the early 1970s, the band combined reggae and Rastafarian rhythms with funk, soul, R&B, jazz to create a new and exciting sound which captivated audiences throughout the United States, United Kingdom, and Europe. Cymande released their debut album simply called “Cymande” in the USA in 1973, and it became an immediate success. From that album, the group released two singles “The Message” which was listed as no. 20 on the U.S. pop charts followed by “Bra” which later became a massive favourite among the Hip-Hop community with tracks being sampled by artists including: De La Soul, MC Solaar, and The Fugees.” The tracks “Bra” and “Dove” were included in the music soundtrack two Spike Lee’s motion pictures: “Crooklyn” and “25th Hour”. The Group toured America with R&B soul music superstars including: Al Green, Billy Preston, Patti La Belle, Ramsey Lewis, Edwin Starr, Jerry Butler, Albert King and Mandrill. They also toured the UK and Europe with artists including Kool and the Gang, KC and the Sunshine Band, Bohannan, in 1973 Cymande became the first British-based band to perform at the World-renowned Apollo Theater in Harlem, New York.
    [Show full text]
  • Rappers and Linguistic Variation a Study of Non-Standard Language in Selected Francophone Rap Tracks
    Martin Verbeke March 2016 Rappers and Linguistic Variation A study of non-standard language in selected francophone rap tracks University of Stirling Doctoral thesis Academic years 2011-2016 1 Abstract This thesis examines the use of non-standard language, more specifically non-standard vocabulary (i.e. slang, verlan, colloquialisms, vulgarities, foreign borrowings, and abbreviations), in a corpus of selected francophone rap tracks in order both to quantify its use and to investigate what determines its variation, focusing on the impact of diachronic, diatopic, gender and diaphasic determinants. The methodology relies on a lexicographic analysis to produce quantitative results which are then analysed qualitatively by means of extract analyses and semi-structured interviews with francophone rappers. To answer the research questions, the thesis is divided into five chapters. The first chapter presents the aforementioned methodology and the overall quantitative results from the thesis, while also introducing the notion of variation, which is then tackled in the last four chapters. The second chapter investigates diachronic determinants from two perspectives: different generations of rappers (1990/1991, 2001 and 2011) and one artist throughout his career (Akhenaton in 1991, 2011 and 2011). The third chapter looks at diatopic determinants, analysing the impact of ethnic and spatial origins. Three ethnic origins are compared (rappers of French, Algerian and Senegalese origin), together with three cities (Marseille, Paris and Brussels) and three departments (Hauts-de-Seine, Seine-Saint-Denis and Val-de-Marne). The fourth chapter focuses on gender determinants, with a comparison of male versus female rappers that also takes broader gender performativity into account. Finally, the fifth chapter examines the impact of diaphasic determinants.
    [Show full text]
  • Teil 1 Einleitung 21 1
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES DISSERTATION Titel der Dissertation: "Der Rap in Frankreich: Untersuchungen zu seinen Funktionen" Verfasserin: Mag. phil. Doris Pirzl angestrebter akademischer Grad: Doktorin der Philosophie Wien, im August 2008 Studienkennzahl lt. Studienblatt: A 092 236 346 Dissertationsgebiet lt. Studienblatt: Französisch Betreuer: Univ.-Prof. Dr. Georg Kremnitz für Ernst Albert Merci beaucoup ... • Herrn Professor Georg Kremnitz für die umfassende Betreuung und Beratung • dem Institut für Romanistik der Universität Innsbruck, insbesondere Frau Professor Ursula Moser • meinem Gatten Ernst Albert, der stets an mich und den Abschluss dieser Arbeit geglaubt hat • meinen Eltern für die Unterstützung und Ermöglichung des Studiums • meiner Schwester Irmgard und allen FreundInnen für die Motivation und die wertvolle Begleitung durch die Arbeit Inhaltsverzeichnis Vorwort 11 Teil 1 Einleitung 21 1. Die Geschichte des Rap in Amerika 22 1.1. Die sozialen Bedingungen für die Entstehung des Rap in den USA 22 1.2. Die Last Poets: Pioniere des Rap 24 1.3. Die Hip-Hop-Kultur 25 1.3.1. Die Bedeutung des Wortes Rap 25 1.3.2. Hip-Hop: eine Straßenkultur 25 1.4. Afrika Bambaataa und die Zulu Nation 26 1.5. "Rapper's delight" 28 1.6. "The message" - der Rap wird politisch 28 2. Die Technik beim Rap 30 2.1. Die Musik aus Jamaika 30 2.2. Die Sampler 31 3. Rap, Reggae und Raggamuffin: musikalische Ausdrucksformen mit Unterschieden 32 3.1. Die Beziehung zwischen Rap, Reggae und Raggamuffin 32 3.2. Der Raggamuffin 33 4. Der Rap in Frankreich 34 4.1.
    [Show full text]
  • Liste CD Vinyl Rap Fr COLLECTION EN VENTE HIP HOP MUSIC MUSEUM Prix Négociable En Lot 0 = PAS EN STOCK
    1 Liste CD Vinyl Rap Fr COLLECTION EN VENTE HIP HOP MUSIC MUSEUM Prix négociable en lot 0 = PAS EN STOCK Type Prix Nom de l’artiste Nom de l’album de Genre Année Etat Qté média I Goutte II Larmes Rien a foutre CD FR 2008 1 8 2Bal 2Neg 3X plus efficacae CD Rap Fr 1996 2 6,80 3 eme type Ovnipresent CD Rap Fr 1999 0 20 11’30 contre les lois CD Maxi Rap Fr 1997 0 2,99 racists 16 minutes contre la Compil Fr CD Rap fr 1999 0 censure 44 coups La compil 100% rap nantais CD Rap Fr neuf 0 19,99 45 Scientific CD Rap Fr 2001 0 14 100% rap francais DJ FIRST MIKE CD Rap Fr 2008 1 113 Prince de la ville CD Rap Fr 2000 1 4,99 113 Jackpotes 2000 CD Single Rap Fr 2000 1 3,80 113 Tonton du bled CD single Rap Fr 2000 2 0,99 113 Dans l’urgence CD Rap Fr 2003 0 3,90 113 Degrès CD Rap Fr 2005 0 4,99 113 Un jour de paix CD Rap Fr 2006 1 2,99 113 Illegal Radio CD Rap Fr 2006 1 3,49 113 Universel CD Rap Fr 2010 0 5,99 1995 La suite CD Rap Fr 1995 1 9,40 2 Afrodiziac Ad Vitam Aeternam CD DIGI Rap Fr 2001 2 11,99 Afro Jazz Afrocalypse CD Rap Fr 1997 1 9,20 Akhenaton Meteque et mat CD Rap Fr 1995 6 4,99 Akhenaton Feat FF bad boy de Marseille CD Single Rap Fr 1996 1 1,99 Akhenaton Sol Invictus CD Rap Fr 2001 1 2,48 Akhenaton Black album CD Diggi Rap Fr 2002 1 3 Akhenaton Double chill burger 2CD Rap Fr 2005 0 5,94 Alchimyst Restes bien debout CD Rap Fr 2003 1 30 Ali Chaos et harmonie Vinyl Rap Fr 2005 Neuf 0 15 Alibi Montana Numéro d’écrou CD Rap Fr 2005 1 2,99 Alibi Montana Inspiration guerriere CD DVD FR 2007 1 6,50 Alibi Montana Illegal Life Street Projet CD Rap
    [Show full text]
  • 'Prose Combat': French Rap in the '80S and '90S Anne Ball
    ‘Prose Combat’: French Rap in the ‘80s and ‘90s Anne Ball When France won the 1998 World Cup politicians, newspapers and commentators hailed the success of France’s integrated multiracial team with the slogan black, blanc, beur [black, white, Arab] replacing the chant bleu, blanc, rouge [blue, white, red], a reference to the national flag. 1 France lauded their team’s example as a success of their integration programs, claiming victory over racism and racial separation. 2 In reality, however, racial minorities continued to hold a marginalized position in society. These minorities had been struggling in France for decades, especially after North African decolonization, which precipitated waves of immigration. By the late 1980s, a young and vibrant group of these immigrant minorities began to express themselves through rap music. The minority youths of the French ghetto ( banlieue ) respected rappers as the mouthpieces of their social condition. In its nascent stage, the primary audience and instigators of French rap culture were second-generation immigrant youth. Through rap music, they began to define and express themselves as a unified group, constructing their identity as French citizens of immigrant parents in a postcolonial world. These young French rap artists from the banlieue highlighted the need for integration, calling for unity and change. In this paper I will explore several aspects of rap as a form of French youth identity during its development in the eighties and nineties. First, I will look at the context in which rap music evolved, both through the social and political climate and its urban and multiracial dimensions. Secondly, I will examine the diversity of backgrounds among the early French rap artists.
    [Show full text]
  • Hip Hop Studies Bibliography
    Harris and Harris: (Global) Hip Hop Studies Bibliography (Global) Hip Hop Studies Bibliography Travis Harris Journal of Hip Hop Studies, Special Issue If I Ruled the World: Putting Hip Hop on the Atlas Volume 6, Issue 2, Winter 2019, pp. 71 – 121 DOI: https://doi.org/10.34718/3ec9-y927 Published by VCU Scholars Compass, 2019 1 Journal of Hip Hop Studies, Vol. 6, Iss. 2 [2019], Art. 8 (Global) Hip Hop Studies Bibliography Travis Harris1 The primary argument of this special issue is to view Hip Hop from a global perspective and to collapse Global Hip Hop Studies into Hip Hop Studies. As such, the global is in parentheses in the title because global Hip Hop Studies is Hip Hop Studies and should not be separated, yet it is imperative that scholars focus on Hip Hop Studies outside of the United States. This bibliography documents Hip Hop scholarship outside of America, including scholarly works that may be US centric, yet expands its analysis to other parts of the world. Hip Hop Studies outside the boundaries of the United States stretches as far and wide as Hip Hop itself. This scholarship started in 1984, and the amount of scholarship beyond American boundaries has continued to grow up through present day. The first wave, before Mitchell's Global Noise (2001), includes a wider range of scholarly works such as conference presentations and books written by journalists, in addition to traditional academic sources such as books and journal articles. I included the variety of scholarly works in the first wave that I do not include in the second wave because the earlier works can function as primary sources and document how the field has grown.
    [Show full text]