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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. -
Refugee: Reading Neoliberal Critique and Refugee Narratives Through
UNIVERSITY OF CALIFORNIA Los Angeles “Bad Gal” and the “Bad” Refugee: Reading Neoliberal Critique and Refugee Narratives through Cambodian Canadian Hip Hop A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Asian American Studies by Kenneth Wing Lun Chan 2016 ABSTRACT OF THESIS “Bad Gal” and the “Bad” Refugee: Reading Neoliberal Critique and Refugee Narratives through Cambodian Canadian Hip Hop by Kenneth Wing Lun Chan Master of Arts in Asian American Studies University of California, Los Angeles, 2016 Professor Victor Bascara, Chair This project examines the intersections of refugee discourses and neoliberal critique through the analysis of the 2013 hip hop music video “Bad Gal” by Cambodian Canadian artist Honey Cocaine. By utilizing the concept of the “bad refugee” as a subjectivity that refuses to reconcile imperialist wars in Southeast Asia, rejects developmental narratives of progress and uplift, and contradicts neoliberal multiculturalism, this project demonstrates how “Bad Gal” is a countersite that reveals neoliberal ruptures. I observe “Bad Gal” for its audiovisual content, use of digital editing techniques, and themes of deviance and blackness, in arguing that it expresses an alternative refugee narrative and temporality, and a refusal of neoliberal subjectivity through the identifications of blackness and hip hop. This project draws from Critical Refugee Studies, cultural studies, and comparative racialization scholars in delineating the processes of gendered racialization for the Cambodian refugee diaspora, and the ways in which cultural productions provide a lens in understanding their relationship to the neoliberal state. ii The thesis of Kenneth Wing Lun Chan is approved. -
Awards 10X Diamond Album March // 3/1/17 - 3/31/17
RIAA GOLD & PLATINUM NICKELBACK//ALL THE RIGHT REASONS AWARDS 10X DIAMOND ALBUM MARCH // 3/1/17 - 3/31/17 KANYE WEST//THE LIFE OF PABLO PLATINUM ALBUM In March 2017, RIAA certified 119 Digital Single Awards and THE CHAINSMOKERS//COLLAGE EP 21 Album Awards. All RIAA Awards PLATINUM ALBUM dating back to 1958, plus top tallies for your favorite artists, are available ED SHEERAN//÷ at riaa.com/gold-platinum! GOLD ALBUM JOSH TURNER//HAYWIRE SONGS GOLD ALBUM www.riaa.com //// //// GOLD & PLATINUM AWARDS MARCH // 3/1/17 - 3/31/17 MULTI PLATINUM SINGLE // 12 Cert Date// Title// Artist// Genre// Label// Plat Level// Rel. Date// R&B/ 3/30/2017 Caroline Amine Republic Records 8/26/2016 Hip Hop Ariana Grande 3/9/2017 Side To Side Pop Republic Records 5/20/2016 Feat. Nicki Minaj 3/3/2017 24K Magic Bruno Mars Pop Atlantic Records 10/7/2016 3/2/2017 Shape Of You Ed Sheeran Pop Atlantic Records 1/6/2017 R&B/ 3/30/2017 All The Way Up Fat Joe & Remy Ma Rng/Empire 3/2/2016 Hip Hop I Hate U, I Love U 3/1/2017 Gnash Pop :): 8/7/2015 (Feat. Olivia O’brien) R&B/ 3/22/2017 Ride SoMo Republic Records 11/19/2013 Hip Hop 3/27/2017 Closer The Chainsmokers Pop Columbia 7/29/2016 3/27/2017 Closer The Chainsmokers Pop Columbia 7/29/2016 3/27/2017 Closer The Chainsmokers Pop Columbia 7/29/2016 R&B/ 3/9/2017 Starboy The Weeknd Republic Records/Xo Records 7/29/2016 Hip Hop R&B/ 3/9/2017 Starboy The Weeknd Republic Records/Xo Records 7/29/2016 Hip Hop www.riaa.com // // GOLD & PLATINUM AWARDS MARCH // 3/1/17 - 3/31/17 PLATINUM SINGLE // 16 Cert Date// Title// Artist// Genre// Label// Platinum// Rel. -
Week 10, June 3 First, a Bunch of Review, Starting at the End of Lecture 7
Week 10, June 3 First, a bunch of review, starting at the end of lecture 7. "Today": 1. Trap and Drill 2. Fashion 3. Dance 4. Storytelling revisited 5. SD At some point today: Pick one song we've heard, and make a connection to a theme in the history of Hip Hop as we've encountered it. themes like: the dozens, diss tracks, humor, vulgarity, political engagement, relationship to commerce, race, etc. What is the relationship? Why is it interesting? After 2004 • Full scale collapse of the music industry ◦ Napster, suit with RIAA, rise of legal streaming (Spotify) ◦ How did the collapse effect Hip Hop, which had, by now, become the dominant popular form? • Questions about Hip Hop over the last 10 years ◦ Have the demographics of music changed? ◦ What's the relationship, now, between Hip Hop and mainstream culture? ◦ Is the music more politicized now than 10 years ago? Adjustments in the Hip Hop market in the last 10 years • Mixtapes • Shifting relationship to street culture • The internet • Local scenes, local dance • Decline of radio (1996 Telecom Act) • Increased corporate relationships with high fashion, other mass commodidies Mixtapes • Originally, promotional tools for DJs • Became a useful career-building tool for many artists, providing black market revenue, street credibility and exposure • Also a primary venue for experimentation and dispute: a much faster moving medium than official albums, served theole r that live performance might serve in other genres • Relationship between the music business and mixtape scene has always been complicated. • Strictly speaking, they're illegal, but the industry usually turns a blind eye, and even uses them as promotional materials sometimes. -
Kenyon Collegian Archives
Digital Kenyon: Research, Scholarship, and Creative Exchange The Kenyon Collegian Archives 4-25-2019 Kenyon Collegian - April 25, 2019 Follow this and additional works at: https://digital.kenyon.edu/collegian Recommended Citation "Kenyon Collegian - April 25, 2019" (2019). The Kenyon Collegian. 2491. https://digital.kenyon.edu/collegian/2491 This Book is brought to you for free and open access by the Archives at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in The Kenyon Collegian by an authorized administrator of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. ESTABLISHED 1856 April 25, 2019 Vol. CXLVI, No. 25 ECO, Kenyon Democrats host ‘Walkout to Save the Earth’ BETÜL AYDIN NEWS EDITOR In honor of Earth Day, Kenyon Democrats and ECO partnered up to or- ganize a “Walkout to Save the Earth.” On Monday, around 30 students gath- ered in front of Rosse Hall to call for action to stop climate change. Jessie Gorovitz ’20 came up with the idea of the walkout. “I decided to organize this rally because I feel like even people who might not consider themselves to be activists are starting to pick up on that this is a situation that we’re going to have to deal with for the rest of our lives,” Gorovitz said. “It’s our responsibility now to either encourage other people to take action or take action ourselves.” Gorovitz noted while this issue may seem daunting to approach, espe- cially under the current presidential administration, it is important to engage with it on every level of government. -
Introduction a FIRST Music DJ Is a Part of the Team/Crew Firstly, and Must Understand That the Event and the Games Are the Show
Introduction A FIRST music DJ is a part of the team/crew firstly, and must understand that the event and the games are The Show. The DJ's performance, however, can make or break the event. Hitting the cues, playing the right tunes, and being consistent, brings out a sense of professionalism that will endure the performance to everyone involved. This is a sporting event, not a radio-station, or someone's iPod, or even a club. The focus is much different. The music must be upbeat and positive, may contain interactive elements, and during matches can create tension and suspense. But the bottom line is that at the end of the day "everybody has a good time", including the DJ. This playbook is written with the intent of taking some of the guesswork out of "what to play and when". It is written with much love for this genre that I call Sportsmusic… The Goal Create a playlist of music that will not only be inspiring, motivating, and uplifting but one that will also create a positive atmosphere that promotes gracious professionalism. We will accomplish this by creating files that are edited to give a "tighter" flow to the games. Create a pattern that is easy to follow with limited chance for downtime or "dead-air". The Game Every year the organizers create a different "game" for the robots. But the pattern and process is the same for the DJ. The "M.C." introduces each team in a 3-team alliance, which plays another 3-team alliance. The robots get in place for part 1 of the match: The Autonomous Period, where the robots must compete without any human intervention. -
Karaoke Cloud Song Book
Karaoke Cloud Songs by Artist Karaoke Shack Song Books Title DiscID Title DiscID 10CC Afrojack & Wrabel I'm Not In Love KCD1405-2-01 Ten Feet Tall KCD-79337 I'm Not In Love KCD-79404 Ten Feet Tall KCDPR1403-1- Things We Do For Love KCD1406-1-01 10 Things We Do For Love KCD-79474 Alabama 1975, The Backwoods Boogie KCD-81109 Chocolate KCD-79256 Wasn't Through Lovin' You Yet KCD-81254 Chocolate KCDPR1402-2- Alan Jackson 06 Jim And Jack And Hank KCD-80966 2 Chainz & Drake & Lil' Wayne You Go Your Way KCD-75102 I Do It KCDPR1310-3- You Go Your Way KCDC1305-09 04 Alesia Cara 2 Chainz & Drake & Lil' Wayne (Trio) Wild Things KCD-81304 I Do It KCD-78986 Alex Clare 2 Chainz & Wiz Khalifa Too Close KCDPR1304-10 We Own It (Fast & Furious) KCDPR1308-3- Too Close (Sunfly) KCD-75019 09 Alexis Spight 5 Seconds Of Summer Imagine Me KCD-75109 She Looks So Perfect KCD1408-2-02 Imagine Me KCDPR1305-06 She Looks So Perfect KCD-79638 Alice Cooper 50 Cent & Eminem & Adam Levine Elected KCD1405-2-03 My Life (Clean) KCDU1302-1- Elected KCD-79415 06 No More Mr. Nice Guy KCD1405-2-04 50 Cent & Eminem & Adam Levine (Duet) No More Mr. Nice Guy KCD-79406 My Life (Clean) (SBI) KCD-74976 Alicia Keys & Maxwell A$AP Rocky & Drake & 2 Chainz & Kendrick Lamar (Duet) Fire We Make KCDU1306-03 Fuckin' Problems (Clean) (SBI) KCD-74974 Alicia Keys & Maxwell (Duet) A$AP Rocky & Kendrick Lamar & Joey Bada$$ & Yelawolf, Danny Brown, Action Bronson & Big Krit (Duet) Fire We Make (SBI) KCD-75137 1 Train KCD-78139 Alicia Keys & Nicki Minaj Aaron Lewis Girl On Fire (Inferno Version) -
Chief Keef Bang 2 Free Download
Chief keef bang 2 free download LINK TO DOWNLOAD Download/Stream Chief Keef's mixtape, Bang, Part 2, for Free at renuzap.podarokideal.ru - Download/Stream Free Mixtapes and Music Videos from your favorite Hip-Hop/R&B artists. The easiest way to Download Free Mixtapes! An icon used to represent a menu that can be toggled by interacting with this icon. Free mixtape download for Chief Keef - Bang Pt. 2. Click listen button to stream. Register for free to download this mixtape and others. Chief Keef Bang Pt 2 complete review and free download of the new hip hop mixtape. By: renuzap.podarokideal.ru WILMINGTON, N.C. - July 21, - PRLog -- After a brief absence from the spotlight, Glory Boyz Entertainment CEO Chief Keef will be releasing a new mixtape, Bang Pt 2 hosted by DJ Holiday, Mike Epps, and Michael Blackson. 16/08/ · Stream Bang Pt. 2 Mixtape by Chief Keef Hosted by DJ Holiday & Michael Blackson. Fresh off his debut album release Chief Keef returns with a new mixtape hosted by DJ Holiday & Michael Blackson. home mixtapes Newest Hot Week Celebrated upcoming singles news gear. 0. Tweet. Bang Pt. 2; Chief Keef; DJ Holiday & Michael Blackson; 2,,; Stream. Download. Added: 08/15/ 74%(K). 01/05/ · 08 - Chiefin Keef Ft Tray Savage Tadoe 09 - Buy It 10 - Aint Done Turnin Up 11 - Hoez N Oz 12 - What I Wanna Do 13 - Cause Im Gettin Money 14 - Skit 15 - 2 Much 16 - No It Dont 17 - 3 18 - Gotta Glo Up One Day 19 - Hard Way. Stream Bang Pt. -
Ordered by ARTIST 1 SONG NO TITLE ARTIST 5587 - 16 Blackout (Hed) P
Ordered by ARTIST 1 SONG NO TITLE ARTIST 5587 - 16 Blackout (Hed) P. E. 5772 - 15 Caught Up In You .38 Special 5816 - 08 Hold On Loosely .38 Special 5772 - 08 If I'd Been The One .38 Special 5950 - 06 Second Chance .38 Special 4998 - 05 Count Your Rainbows 1 Girl Nation 4998 - 06 While We're Young 1 Girl Nation 5915 - 18 Beautiful 10 Years 5881 - 11 Through The Iris 10 Years 6085 - 15 Wasteland 10 Years 5459 - 07 Because The Night 10,000 Maniacs 5218 - 08 Candy Everybody Wants 10,000 Maniacs 1046A -08 These Are Days 10,000 Maniacs 5246 - 14 I'm Not In Love 10cc 6274 - 20 Things We Do For Love, The 10cc 5541 - 04 Cupid 112 5449 - 10 Dance With Me 112 5865 - 18 Peaches And Cream 112 5883 - 04 Right Here For You 112 6037 - 07 U Already Know 112 5790 - 02 Hot And Wet 112 & Ludacris 5689 - 04 Na Na Na 112 & Super Cat 5431 - 05 We Are One 12 Stones 5210 - 20 Chocolate 1975, The 6386 - 01 If You're Too Shy (Let Me Know) 1975, The 5771 - 18 Love Me 1975, The 6371 - 08 Me And You Together Song (Clean) 1975, The 6070 - 19 TOOTIMETOOTIMETOOTIME 1975, The 5678 - 02 I'm Different (Clean) 2 Chainz 5673 - 05 No Lie (Clean) 2 Chainz & Drake 5663 - 12 Birthday Song (Clean) 2 Chainz & Kanye West 5064 - 20 Feds Watching (Clean) 2 Chainz & Pharrell 5450 - 20 We Own It 2 Chainz & Wiz Khalifa 5293 - 09 I Do It (Clean) 2 Chainz Feat. -
Boyden Kayla 'Let the World Be a Black Poem' FINAL
UNIVERSITY OF CALIFORNIA Los Angeles “Let the world be a Black Poem:” Tierra Whack, Evie Shockley, and Douglas Kearney’s Poetic Experiments Towards the End of Grammar A thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in African American Studies by Kayla Jasmine Boyden 2021 © Copyright by Kayla Jasmine Boyden 2021 ABSTRACT OF THE THESIS “Let the world be a Black Poem:” Tierra Whack, Evie Shockley, and Douglas Kearney’s Poetic Experiments Towards the End of grammar by Kayla Jasmine Boyden Master of Arts in African American Studies University of California, Los Angeles, 2021 Professor SA Smythe, Chair I argue that Black contemporary poetry disrupts ideas of linear progress and neat conceptions of subjectivity. The poets I am thinking with explicate the complexities of Blackness that cannot fit neatly into the formulation of the modern liberal subject. I utilize Hortense Spillers’ framework of the American grammar in her essay “Mama’s Baby, Papa’s Maybe: An American Grammar Book” along with other Black feminist thinkers and literary theorists to explore Black contemporary poetry’s capacity for moving beyond the grammatical impulses of “the human.” This project will add to an already rich and growing field of Black thinkers rejecting humanism as well as exploring the boundaries of tension between what is and what is not considered formal poetry. First, I look at rapper Tierra Whack’s 2017 song “Mumbo Jumbo,” which I argue utilizes incomprehensible sound to gesture towards an alternative to the American grammar. In my ii second section, I analyze Evie Shockley’s poem “Sex Trafficking Incidents in the Life of a Slave Girl in the USA (Or the Nation’s Plague in Plain Sight)” from her 2017 book semiautomatic as disrupting time through her re-appropriation of language. -
With Grammy-Winning Artist, Daya Check out the Lyric Video Here
RL GRIME RELEASES NEW TRACK “I WANNA KNOW” WITH GRAMMY-WINNING ARTIST, DAYA CHECK OUT THE LYRIC VIDEO HERE LA producer/DJ RL Grime shares his new track "I Wanna Know" featuring multi-platinum, Grammy-winning artist Daya, the first single from RL Grime's upcoming album, Nova. They also share a heartfelt lyric video directed by RL, Daya, and Dan Streit. The 19 year old star’s vocals take RL’s thunderous production into new territory. Fresh off his North American NOVA TOUR, RL will be doing a special performance at Ultra Music Festival on March 25th in Miami. More to come from him soon. "I’ve been a big fan of Daya from the jump. We first met when I helped produce her latest single, “New”, and have been friends since. She has an incredibly unique and powerful voice so when I first made the song I knew she'd be perfect for it. I sent her the demo, we met up the next day, and she knocked it out the park.” - RL GRIME STREAM / BUY "I WANNA KNOW”: Main: http://smarturl.it/RLDayaIWannaKnow YouTube: http://smarturl.it/RLDayaIWannaKnow/youtube Apple Music: http://smarturl.it/RLDayaIWannaKnow/applemusic Spotify: http://smarturl.it/RLDayaIWannaKnow/spotify iTunes: http://smarturl.it/RLDayaIWannaKnow/itunes First coming to prominence as a teenager delivering monster remixes of Chief Keef’s “Love Sosa” and Kanye West’s “Mercy” that garnered tens of millions of listens, RL Grime quickly established a reputation as a unique artist in his space with a striking monochromatic aesthetic and a series of refreshing releases. -
Hip Hop-Decoded MUS 307/AFR 317
************************************************************* Music of African Americans: Hip Hop-Decoded MUS 307/AFR 317 Summer 2020 ONLINE! (Synchronous & Asynchronous) MTWThF 11.30-1pm (but we will not be meeting everyday at these times) Instructor: Dr. Charles Carson [email protected] (but please use Canvas) Twitter: @UT_Doc_C 512.232.9448 Virtual Office hours: W 1-2pm, or by appointment I. Course Description: Generally speaking, this course is an introduction to the musical, social, cultural, and political aspects of Hip Hop culture in the US, as interpreted through the history and development of its musical style. II. Course Aims and Objectives: Aims Beyond increasing familiarity with African American music and culture, a major goal of this course is to provide you with the tools to coexist--and indeed thrive--in a gloBal context. Specific Learning Objectives: By the end of this course, students will: ● Be aBle to recognize and descriBe general elements of African American cultural practices, including instruments/media, performance practice, and aesthetics. ● Discuss the ways in which these elements have influenced (and continue to influence) contemporary US society, especially with respect to hip hop and related genres. ● Critically assess expressions and representations of African American culture in music and media. ● Be aBle to apply these critical thinking skills in the context of other cultures and contexts, both historical and contemporary. III. Format and Procedures: This course will Blend of real-time (synchronous) and pre-recorded (asynchronous) online lectures. The content will center around a select body of readings, recordings, videos, and other media. Advance preparation is key to following the content, so please come to class prepared to engage with that day’s materials.