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Most Requested Songs Back These lists are dynamically compiled based on online requests made over the past year at thousands of events around the world, where #1 is the most requested song. Click on a song title to search for this song and add it to your request list! Select a List: Garter Toss List Results Artist Song 1 Queen Another One Bites The Dust 2 Gaye, Marvin Let's Get It On 3 ZZ Top Sharp Dressed Man 4 Loggins, Kenny Danger Zone 5 Def Leppard Pour Some Sugar On Me 6 Nelly Hot In Herre 7 Warrant Cherry Pie 8 Clayton, Adam & Larry Mullen Theme From Mission: Impossible 9 ZZ Top Legs 10 Lmfao Sexy And I Know It 11 Timberlake, Justin Sexyback 12 AC/DC You Shook Me All Night Long 13 Hendrix, Jimi Foxey Lady 14 Hammer, M.C. U Can't Touch This 15 Survivor Eye Of The Tiger 16 Ginuwine Pony 17 Yello Oh Yeah 18 Georgia Satellites Keep Your Hands To Yourself 19 Daft Punk Feat. Pharrell Williams Get Lucky 20 Hot Chocolate You Sexy Thing 21 JayZ Feat. Ugk Big Pimpin' 22 Beyonce Single Ladies (Put A Ring On It) 23 Mcgraw, Tim Real Good Man 24 Mancini, Henry The Pink Panther Theme 25 Inner Circle Bad Boys (Theme From Cops) 26 Kelis Milkshake 27 SaltNPepa Whatta Man 28 Right Said Fred I'm Too Sexy 29 Timberlake, Justin Feat. JayZ Suit & Tie 30 Baha Men Who Let The Dogs Out 31 Rose, David And His Orchestra The Stripper 32 Jackson, Michael The Way You Make Me Feel 33 Thorogood, George & The Destroyers Bad To The Bone 34 Van Halen Hot For Teacher 35 Kravitz, Lenny American Woman 36 Presley, Elvis A Little Less Conversation 37 Thicke, Robin Feat. Pharrell & T.I. Blurred Lines 38 Bryan, Luke Country Girl (Shake It For Me) 39 Cake Short Skirt / Long Jacket 40 Cocker, Joe You Can Leave Your Hat On 41 Tone Loc Wild Thing 42 Weather Girls It's Raining Men 43 Aloe Blacc The Man 44 Beastie Boys Girls 45 Flight Of The Conchords Business Time 46 Lee, Peggy Fever 47 Black Eyed Peas I Gotta Feeling 48 Flo Rida Feat. Keisha Right Round 49 Guns N' Roses Welcome To The Jungle 50 Paisley, Brad I'm Still A Guy Back Copyright © 19982014.

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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.
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UNDERSTANDING PORTRAYALS of LAW ENFORCEMENT OFFICERS in HIP-HOP LYRICS SINCE 2009 By
ON THE BEAT: UNDERSTANDING PORTRAYALS OF LAW ENFORCEMENT OFFICERS IN HIP-HOP LYRICS SINCE 2009 by Francesca A. Keesee A Thesis Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degrees of Master of Science Conflict Analysis and Resolution Master of Arts Conflict Resolution and Mediterranean Security Committee: ___________________________________________ Chair of Committee ___________________________________________ ___________________________________________ ___________________________________________ Graduate Program Director ___________________________________________ Dean, School for Conflict Analysis and Resolution Date: _____________________________________ Fall Semester 2017 George Mason University Fairfax, VA University of Malta Valletta, Malta On the Beat: Understanding Portrayals of Law Enforcement Officers in Hip-hop Lyrics Since 2009 A Thesis submitted in partial fulfillment of the requirements for the degrees of Master of Science at George Mason University and Master of Arts at the University of Malta by Francesca A. Keesee Bachelor of Arts University of Virginia, 2015 Director: Juliette Shedd, Professor School for Conflict Analysis and Resolution Fall Semester 2017 George Mason University Fairfax, Virginia University of Malta Valletta, Malta Copyright 2016 Francesca A. Keesee All Rights Reserved ii DEDICATION This is dedicated to all victims of police brutality. iii ACKNOWLEDGEMENTS I am forever grateful to my best friend, partner in crime, and husband, Patrick.
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Bradley Syllabus for South
Special Topics in African American Literature: OutKast and the Rise of the Hip Hop South Regina N. Bradley, Ph.D. Course Description In 1995, Atlanta, GA, duo OutKast attended the Source Hip Hop Awards, where they won the award for best new duo. Mostly attended by bicoastal rappers and hip hop enthusiasts, OutKast was booed off the stage. OutKast member Andre Benjamin, clearly frustrated, emphatically declared what is now known as the rallying cry for young black southerners: “the South got something to say.” For this course, we will use OutKast’s body of work as a case study questioning how we recognize race and identity in the American South after the civil rights movement. Using a variety of post–civil rights era texts including film, fiction, criticism, and music, students will interrogate OutKast’s music as the foundation of what the instructor theorizes as “the hip hop South,” the southern black social-cultural landscape in place over the last twenty-five years. Course Objectives 1. To develop and utilize a multidisciplinary critical framework to successfully engage with conversations revolving around contemporary identity politics and (southern) popular culture 2. To challenge students to engage with unfamiliar texts, cultural expressions, and language in order to learn how to be socially and culturally sensitive and aware of modes of expression outside of their own experiences. 3. To develop research and writing skills to create and/or improve one’s scholarly voice and others via the following assignments: • Critical listening journal • Nerdy hip hop review **Explicit Content Statement** (courtesy: Dr. Treva B. Lindsey) Over the course of the semester students will be introduced to texts that may be explicit in nature (i.e., cursing, sexual content).
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Megan Thee Stallion, Fever
REVIEWS Megan Thee Stallion Fever 8.0 1501 CERTIFIED / 300 ENTERTAINMENT • 2019 BY: TAYLOR CRUMPTON / MAY 23 2019 RAP Megan Thee Stallion’s debut is steeped in sex, pimpin, and power; it sounds like a once and future Houston rap classic. hen MeganMeganMegan TheeTheeThee StallionStallionStallion’s “Big Ole Freak” landed on Billboard’s Hot 100 in April, it was a testament to years of viral W freestyles and her devoted “hotties,” whose faithful support on social media helped the song rise to mainstream recognition. The 24- year-old has been prolific—her evolution is displayed through the invention of various rap personas, such as Tina Snow, Megan Thee Stallion, and Hot Girl Meg, the turn-up queen with serious ambition on her mind. “We have so many legends and so many greats,” she recently said of her hometown of Houston, Texas. “But I don’t feel like we ever really had a female rapper from Houston or Texas shut that shit down.” With her debut project Fever, she hopes to succeedMegan in doing Thee just Stallion that. At its core is the intersection of two beautiful rap legacies: the women rap tradition started by MCMCMC LyteLyteLyte and QueenQueenQueen LatifahLatifahLatifah, and Southern rap dynasty ushered in by Houston’s GetoGetoGeto BoysBoysBoys and UndergroundUndergroundUnderground KingsKingsKings. From the first song, Megan weaponizes misogynymisogynymisogyny through the execution of bars worthy of XXL Freshman Class President. South Park’s influence, home to fellow Houston legends ScarfaceScarfaceScarface and Lil’Lil’Lil’ KekeKekeKeke, is felt throughout “Hood Rat Shit,” which transitions into an ass-and clit-eating tutorial for her male tricks on “Pimpin,” where the spirit of Houston’s pimp tradition is embedded within every word.
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The Evolution of Commercial Rap Music Maurice L
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research.
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Introduction
Introduction The New South is the epicenter of neoteric sex wars, technologies, and economies. Issues of reproductive freedom, criminalization of sexual practices, HIV/AIDS, partner rights and marriage equality, and transgender rights reveal how southern states have entered into another era of reconstruction centered on sexuality and gen- der. This New South strategizes sexual violence and terrorism into policies about education, immigration, wage labor, and eco- nomic development: not unlike the Old South’s previous era of crafting Black Codes and Jim Crow, it continues to depend upon anti-Blackness, sexual morality, and dehumanization of the poor for its growth and support. Yet, there is a great deal of resistance in the New South made evident by the strategies and missions of movements including SONG (Southerners on New Ground), Sis- terSong, Women with a Vision, BreakOUT!, Black Lives Matter chapters, Moral Mondays, and sanctuary movements. Thus, this book understands and reiterates that sexual resistance is already happening. It celebrates, examines, and highlights the various 1 2 / Introduction modes that resistance has taken and the possible future directions it may take. While persons living in southern states typically classified under the broad rubric of “the South” know that there is not one South but many, there are historical narratives that have ignored the development of multiple Souths. Recent developments in southern studies unravel essentialist ideas of “the South.” Some of the essentialisms being challenged include agrarianism, Christian-centricity, singular public/political identity linked with the Confederacy, racial binary of Black/white, and genteel men and women. In explaining their concerted scholarly effort to bring southern studies and global studies into conversation with each other, Deborah Cohn and Jon Smith state that ”con- structions of southern identity offered by white male southern- ers, from the Confederate flag to .
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The Influence of Rap/Hip-Hop Music: a Mixed-Method Analysis by Gretchen Cundiff — 71
The Influence of Rap/Hip-Hop Music: A Mixed-Method Analysis by Gretchen Cundiff — 71 The Influence of Rap/Hip-Hop Music: A Mixed-Method Analysis on Audience Perceptions of Misogynistic Lyrics and the Issue of Domestic Violence Gretchen Cundiff* Strategic Communications Elon University Abstract Using a qualitative content analysis and online survey, this research examined how college students perceive and respond to the portrayal of women when exposed to misogynistic lyrics. Based on cultivation theory, this study analyzed the lyrical content of popular rap and hip-hop songs (n=20) on Billboard’s “Hot 100” chart between 2000 and 2010. Song lyrics were classified into one or more of the following coding categories: demeaning language, rape/sexual assault, sexual conquest and physical violence. Themes of power over, objectification of and violence against women were identified as prevalent throughout the content analysis sample. Survey results indicated a positive correlation between misogynous thinking and rap/hip-hop consumption. I. Introduction This study examined the culture of rap/hip-hop music and how misogynistic lyrical messages influ- enced listeners’ attitudes toward intimate partner violence. Adams and Fuller (2006) define misogyny as the “hatred or disdain of women” and “an ideology that reduces women to objects for men’s ownership, use, or abuse” (p. 939). Popular American hip-hop and rap artists, such as Eminem, Ludacris and Ja Rule, have increasingly depicted women as objects of violence or male domination by communicating that “submission is a desirable trait in a woman” (Stankiewicz & Rosselli, 2008, p. 581). These songs condone male hegemony in which “men find the domination and exploitation of women and other men to be not only expected, but actu- ally demanded” (Prushank, 2007, p.
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Kanye West's Use of the Diatribe: an Offensive “Scumbag”
Kanye West’s Use of the Diatribe: An Oﬀensive “Scumbag” or A Modern-Day Cynic? Author: Isabella M. Biedenharn Persistent link: http://hdl.handle.net/2345/2013 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2011 Copyright is held by the author, with all rights reserved, unless otherwise noted. KANYE WEST’S USE OF THE DIATRIBE: An Offensive “Scumbag” or A Modern-Day Cynic? By Isabella Biedenharn A Senior Honors Thesis Submitted to the Department of Communication of Boston College May 2011 Kanye West 2 TABLE OF CONTENTS Page TABLE OF CONTENTS……………………………………………………………….... 2 ABSTRACT……………………………………………………………………………… 4 CHAPTER ONE ……………………………………………………………………….... 5 Introduction………………………………………………………………………. 5 CHAPTER TWO………………………………………………………………………… 8 Background on Kanye West……………………………………………………... 8 CHAPTER THREE……………………………………………………………………… 9 Past Literature……………………………………………………………………. 9 The Modern Concept of “Celebrity”…………………………………….. 9 Implicit Racism in the Media and in Public Perception………………... 11 The Symbiotic Relationship of Celebrities and Media…………………. 13 Apologia and Celebrity Image Restoration……………………………... 15 The Impact of Celebrity Use of New Media……………………………. 17 CHAPTER FOUR………………………………………………………………………. 21 Methodology……………………………………………………………………. 21 The Diatribe…………………………………………………………….. 21 CHAPTER FIVE……………………………………………………………………….. 25 “George Bush Doesn’t Care About Black People!” Kanye West’s Statements During Hurricane Katrina, 2005……………………. 25 Analysis………………………………………………………………….
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Pimp C Greatest Hits Zip 15
1 / 5 Pimp C Greatest Hits Zip 15 CD Albums with the greatest sales gains this week. •Recording Industry Assn. Of America (RIM) certification for net shipment of 500,000 album units (Gold). ... State, Zip E-mail Please note: Orders are payable in U.S. funds drawn on a U.S. ... 50 44 15 B.G. • CASH MONEY 860909/UNIVERSAL (11.98/17.98) CHECKMATE 5 .... Aug 7, 2007 — [Intro: Pimp C (screwed)] Know what I'm ... I keep a whole zip (Whole zip), a whole clip (A whole clip) In case these ... Swinging big-bodies. Swishers and ... This is UGK, get it? Bun and ... Trill Niggaz Don't Die. 14. How Long Can It Last. 15. Still Ridin' Dirty. 16. ... Underground Kingz [Tracklist + Album Art].. DOWNLOAD ALBUM: UGK - Ridin' Dirty Zip & Mp3 | HIPHOPDE. Xay The DJ - Best Of UGK-2020 : Free Download, Borrow, and ... Bun B & Talib Kweli playing .... Aug 13, 2020 — Z r0 z ro greatest hits chopped n screwed hosted by dj killa tex ... by Z-Ro on Napster Download full album Z-Ro - Sadism (2018) . pimp c .. Autoblog brings you car news; expert reviews of cars, trucks, crossovers and SUVs; and pictures and video. Research and compare vehicles, find local dealers, .... Preview the embedded widget. First off, the tracks I picked were some of my favorite tracks from UGK. P!nk – Raise Your Glass. Pimp C Greatest Hits Zip 15 -- .... Jun 4, 2019 — The second track off James Blake's feature-heavy Assume Form hits you ... the biggest pop star on the planet, and they're beautifully devastating.
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Jay-Z CEO of Hip-Hop by Stephen G
This Page Left Blank Intentionally Lifeline BIOGRAPHIES Jay-Z CEO of Hip-Hop by Stephen G. Gordon Twenty-First Century Books · Minneapolis To Jackie, who sat under my desk while I wrote this one. USA TODAY®, its logo, and associated graphics are federally registered trademarks. All rights are reserved. All USA TODAY text, graphics, and photographs are used pursuant to a license and may not be reproduced, distributed, or otherwise used without the express written consent of Gannett Co., Inc. USA TODAY Snapshots®, graphics, and excerpts from USA TODAY articles quoted on back cover and on pp. 10–11, 20, 22, 24–25, 31, 42–43, 46–47, 56, 68–69, 78, 79, 87, and 90–91 and all backgrounds © copyright 2013 by USA TODAY. Copyright © 2013 by Lerner Publishing Group, Inc. All rights reserved. International copyright secured. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means— electronic, mechanical, photocopying, recording, or otherwise—without the prior written permission of Lerner Publishing Group, Inc., except for the inclusion of brief quotations in an acknowledged review. Twenty-First Century Books A division of Lerner Publishing Group, Inc. 241 First Avenue North Minneapolis, MN 55401 U.S.A. Website address: www.lernerbooks.com Library of Congress Cataloging-in-Publication Data Gordon, Stephen G. Jay-Z : CEO of hip-hop / by Stephen G. Gordon. p. cm. — (USA today lifeline biographies) Includes bibliographical references and index. ISBN 978–1–4677–0811–1 (lib. bdg. : alk. paper) 1. Jay-Z, 1969–—Juvenile literature.
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1 Beyonce Single Ladies (Put a Ring on It) 2 Trainor, Meghan Dear
1 Beyonce Single Ladies (Put A Ring On It) 1 Queen Another One Bites The Dust 2 Trainor, Meghan Dear Future Husband 2 Gaye, Marvin Let's Get It On 3 Lauper, Cyndi Girls Just Want To Have Fun 3 Ginuwine Pony 4 Guetta, David Flo Rida Where Them Girls At 4 Loggins, Kenny Danger Zone 5 Spice Girls Wannabe 5 Nelly Hot In Herre 6 Ludacris Feat. Mystikal Move B***H 6 Def Leppard Pour Some Sugar On Me 7 Beyonce Run The World (Girls) 7 ZZ Top Sharp Dressed Man 8 Twain, Shania Man! I Feel Like A Woman! 8 Warrant Cherry Pie 9 Benatar, Pat Hit Me With Your Best Shot 9 Clayton & Mullen Theme From Mission: Impossible 10 Weather Girls It's Raining Men 10 Timberlake, Justin Sexyback 11 Bryan, Luke Country Girl (Shake It For Me) 11 Hendrix, Jimi Foxy Lady 12 Kelis Milkshake 12 ZZ Top Legs 13 Buble, Michael Haven't Met You Yet 13 LMFAO Sexy And I Know It 14 Queen Another One Bites The Dust 14 Hammer, M.C. U Can't Touch This 15 Blondie One Way Or Another 15 Survivor Eye Of The Tiger 16 Little Big Town Little White Church 16 Hot Chocolate You Sexy Thing 17 Mars, Bruno Marry You 17 Georgia Satellites Keep Your Hands To Yourself 18 Kool & The Gang Ladies Night 18 AC/DC You Shook Me All Night Long 19 Springfield, Dusty Wishin' And Hopin' 19 Daft Punk Get Lucky 20 Beastie Boys Girls 20 Timberlake, Justin Ft Jay-Z Suit & Tie 21 The Supremes You Can't Hurry Love 21 Kravitz, Lenny American Woman 22 Aguilera, Lil' Kim, Mya Lady Marmalade 22 Baha Men Who Let The Dogs Out 23 Motley Crue Girls, Girls, Girls 23 Jay-Z Feat.
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Outkast'd and Claimin' True
OUTKAST’D AND CLAIMIN’ TRUE: THE LANGUAGE OF SCHOOLING AND EDUCATION IN THE SOUTHERN HIPHOP COMMUNITY OF PRACTICE by JOYCELYN A. WILSON (Under the direction of Judith Preissle) ABSTRACT The hiphop community of practice encompasses a range of aesthetic values, norms, patterns, and traditions. Because of its growth over the last three decades, the community has come to include regionallyspecific networks linked together by community members who engage in meaningful practices and experiences. Expressed through common language ideologies, these practices contribute to the members’ communal and individual identity while simultaneously providing platforms to articulate social understandings. Using the constructs of community of practice and social networks, this research project is an interpretive study grounded primarily in the use of lyrics and interviews to investigate the linguistic patterns and language norms of hip hop’s southern network, placing emphasis on the Atlanta, Georgia southern hiphop network. The two main goals are to gain an understanding of the role of school in the cultivation of the network and identify the network’s relationship to schooling and education. The purpose is to identify initial steps for implementing a hiphop pedagogy in curriculum and instruction. INDEX WORDS: Hiphop community of practice, social network, language ideology, hiphop generation, indigenous research, schooling, education OUTKAST’D AND CLAIMIN’ TRUE: THE LANGUAGE OF SCHOOLING AND EDUCATION IN THE SOUTHERN HIPHOP COMMUNITY OF PRACTICE by JOYCELYN A. WILSON B.S., The University of Georgia, 1996 M.A., Pepperdine University, 1998 A Dissertation Submitted to the Graduate Faculty of the University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2007 ã 2007 Joycelyn A.
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