Window Pain Reality Bites

Total Page:16

File Type:pdf, Size:1020Kb

Window Pain Reality Bites Anri I wnidrl have» ontten au/av with it. if it weren’t for that meddlna ... igns of Age: Representing the day I will look like the women depicted, Older Body” and “Forgotten saggy breasts and all. W indow Pain Dreams: Art After Eighty” are the What’s important, though, is that these Debi Finestone previews 1SIue Window two latest exhibits down at the Santa Barbara exhibits bring the issue of aging into the Contemporary Arts Forum. Both exhibits open. They confront your fears and miscon­ ou’ve just been in­ share a common purpose in persuading the ceptions of getting old bv having them stare vited to a swanky view er to you right in the Manhattan dinner Y face as a big simply think party, hosted by Theatre and redefine black-and- UCSB. Thispartyis thepre- Reality Bites those general­ white photo­ mise of the group’s upcom- , ized notions graph. These ing production of Craig Lu­ that we all have images are cas’ “Blue Window.” of getting old powerful — the But that’s only the surface and looking layer of the play, explains older body sur- old. rounds you Director Tom Whitaker, These two once you step “It’s really about all the char­ bodies of work inside the gal­ acters taking some kind of depict older lery. Its redun­ step forward in their lives, people in non- dancy brings and about how even though Conventional acceptance, and we feel alone, we are all con­ scenarios as soon the older nected.” By doing this, the well as everyday body does not play explores the themes of life. Donnigan seem so fore­ is o la tio n and ages. Its about young peo­ C um m ing’s ign. These peo­ connectiveness. ple. It’s about relationships. carried by it,” he said, “and portraits of ple could be One of the features of this I think everybody would get to know the characters 80-year-old your grandpa­ play that interested W hi­ probably like to go to a party over the course of an model . Nettie rents. You taker is the way Lucas played for an evening,” he said. evening.” Harris were don’t have to with dialogue and timing. “I think it’s a good piece “Blue Window” will be probably the immediately “It’s almost like music, the for people who have seen a performed Nov. 14-15 and most riveting, accept them as way the voices go against lot of theater and people 18-22 at 8 p.m., Nov. 16 and with his por­ a new ideal, just each other,” he said. who haven’t seen very much 22 at2p.m . and Nov. 16 at 7 trayal of Harris standing upon a bathroom contemplate age and the fact that one day Whitaker thinks that theater at all,” Whitaker p.m. Tickets are $14 for sink wearing nothing but a sweater. She is so this will be you. “Blue Window” will appeal said. “It’s a modern, general admission and $10 little that it makes you contemplate the This exhibit runs through Jan. 18. Admis­ to a college audience for a straightforward story with a for students and senior citi­ shrinking that older people encounter. My sion is free, and for more information call number of reasons. fresh approach.” zens. There is no late seating own superficial vanity was provoked by these 966-5373. “The characters are not Whitaker urges the audi­ in the Performing Arts works, forcing me to think about how one — Tami Mnoian that far from [students’] ence to enjoy it however they Theatre, so get there early. 2A Thursday, November 13,1997 Daily Nexus DAILY NEXUS Sleazy Listening With Tony Bogdanovski, your man of the evening i - -----------1 You walk into a crowded room and are saxophonist spawned the Zeitgeist responsi­ READERSHIP POLL greeted by a warm glow. The ghost of ci­ ble for a wide spectrum of instrumental cov­ garette smoke hovers peacefully amid a flus­ ers, some with a gende twist, of the day’s po­ \ tering crowd, as cocktails of all colors float pular tunes. “Quiet Village” itself has been by. Leopard skin, shark skin, mink; every covered by hundreds of artists, adding to the animal is here, only now modified to a simp­ scene a bit of Alanis Morrisette’s irony, ler form after a run-in with the textile don’tcha think? industry. Composer Martin Denny became Bax­ It’s merely seconds later that the sounds ter’s prodigy and quickly snatched away the capture you inside an auditory web of emo­ exotica crown. His uniQue blend of Afiro- tion. These are strange sounds, but still, • Cuban, Hawaiian, bongo-soaked mood-jazz O N E G R A N D PRIZE suited to fit your individual mingling needs. quickly topped the charts. The band was as You turn to a tipsy figure on your left. eclectic as the sounds it created, featuring One Night Deluxe “Catchy but minimalist, don’t you think?” prospective ’60s exotica icon Arthur Lyman (llW u ) Mil im u Accommodations in No answer, but an arousing smile and the oddly realistic bird calls of Augie Sierra Summit! compensates. Colon. S nOUIRlDEBSfl Now die tunes change course, veering into And the masses wanted more. Flights left & Two Lift Tickets full swing with the explosions of drums, daily and tickets were only the price of an Sponsored by for Two Days strings, trumpets and theremin. This wave of LP. Exotica became the antidote for Cold Warren Miller Ski Films Worth of Skiing! anomalies is just beginning to evoke the W ar paranoia, a safe way to step outside the coming to Santa Barbara same desires you spent the past workday try­ white picket fence without changing your November 18th and 19th ing to suppress. Clasping onto the stem of politics or even your pants. Taking some­ RULES your drink, you wonder “Where the hell am thing foreign and reinventing it in America I?” became all the rage. 1 Open to all readers How often do you read the Daily Nexus? The fortunate followers of the current re- W e didn’t stop there. Next we went to the EXCEPT employees Daily Weekly Monthly Never moon for our records. Hell, all the exotic is­ of the Daily Nexus. interest in the eclectic background music of What are your favorite sections: (circle up to 3) the past would be in heaven. In case you ha­ lands on Earth had already been probed by 2. Must fill out survey News Opinions Sports ArtsWeek ven’t been to the record store in the past two the late ’50s, and the audiences were getting IN TOTAL and deposit Weekend Connection Coupons Daily Friday it in the sealed box in years, there has been a subtle but effective re­ restless. A grocery shopper could now Special Sections Classifieds AP Wire the Daily Nexus surgence in lounge music and culture. scramble their cerebral cortex into sci-fi other_________________________ Advertising Office by 3. What are your favorite features? (circle up to 2) 10:00am Tuesday, Dilbert • Doonesbury Rubes November 18,1997. Horoscope Crossword Police Report 3. Winners will be Weather UC Briefs Campus Comment chosen at noon on This Week in UCSB History World News Tbesday, November other_____________________ - 18,1997 and will be notified by phone. 4. What is your favorite Daily Nexus Comic? Mr. Gnu Clive and Cabbage One Fine Day 4. Winners must provide The Occasional Adventures of Stonerman photo identification in order to receive thejr Where do you pick up your Daily Nexus ? 5. prize. 5. * 5. No photocopied ' 6. Is the Daily Nexus your source for Campus News? ballots accepted. Yes No 6. One entry per person, 7. Is the Daily Nexus your source for local and national please! news? 7. The Daily Nexus is not Yes No liable for any injuries Is the Daily Nexus your source for leisure time suffered as a result of activities? prizes. Restaurants Yes No Movies Yes No Concerts Yes No Clubs Yes No Bars Yes No 9. Do you read the classified section? Yes No 10. If yes, have you ever responded to an advertisement? Yes No 11. How do you rate the accessibility of our offices and staff? (10 being the best) -123456789 10 (Much because of cutting-edge cartoonists slush, blast off into the depths of the galaxy 12. What other publications do you read? (circle up to 2) such as Matt Groening, believe it or not.) while selecting the ripest cucumber, and grin Independent NewsPress LA Times Campus Point The media has once again managed to reach as space-age instrumentals drooled from the other_________________________ its clammy little claws into the past and strip store’s speakers. The crazier of the atomic- 13 Do you like the Daily Nexus’ new look? the shit out of a fascinating musical genre. age tunes were deemed “space-age bachelor- Yes No They even gave it a name — “lounge,” pad music” —; with their godfather none 14. How often do you use Daily Nexus Coupons? (answer in coupons per week) which is as vague as “grunge” and tacked on other than Esquivel. Never 1—5 6—10 10-20 More than 20 much like “punk.” Advancements from the sciences to ap­ 15. How many times a month do you access the Daily Nexus website? What the catchy kitsch-phrase is attempt­ pliances served as inspiration for composers Never 1-5 6-10 10-20 everyday ing to describe (sadly for marketing pur­ and their bands from Mars. Dr. Theremin 16. Is there a particular writer you follow? poses) is a phase of American music where invented the electronic instrument that bears Yes No musicians crammed exotic cultures, sounds his name a long time before this all caught ■ If yes, who?_____________________ ___ and themes previously taboo into back­ on, but that always seems to happen, doesn’t 17.
Recommended publications
  • The Moral Priorities of Rap Listeners
    Published: Nzinga, K.L.K., & Medin, D.L. (2018). The Moral Priorities of Rap Listeners. Journal of Cognition and Culture, 312-342. http://booKsandjournals.brillonline.com/content/journals/10.1163/15685373-12340033 The Moral Priorities of Rap Listeners Kalonji L.K. NZINGA Douglas L. MEDIN Northwestern University A Cross-cultural approach to moral psychology starts from researchers withholding judgments about universal right and wrong and instead exploring community members’ values and what they subjeCtively perCeive to be moral or immoral in their loCal Context. This study seeks to identify the moral ConCerns that are most relevant to listeners of hip- hop music. We use validated psyChologiCal surveys inCluding the Moral Foundations Questionnaire (Graham, Haidt, & Nosek 2009) to assess whiCh moral ConCerns are most central to hip-hop listeners. Results show that hip-hop listeners prioritize concerns of justiCe and authentiCity more than non-listeners and deprioritize ConCerns about respeCting authority. These results show that the ConCept of the “good person” within the hip-hop subculture is fundamentally a person that is oriented towards soCial justiCe, rebellion against the status quo, and a deep devotion to keeping it real. Results are followed by a disCussion of the role that youth subCultures have in soCializing young people to prioritize Certain virtues over others as they develop their moral identity. 1. Introduction Many AmeriCan rappers inCluding KendriCk Lamar (2010), Snoop Dogg (2015), and Busta Rhymes (2006) have delivered the following CatCh phrase in their lyriCs: “You Can take me out the hood, but you Can’t take the hood out of me.” They proClaim that there are Certain aspeCts of the “hood” lifestyle and value system that, onCe they are part of you, direCt how you perCeive the world and behave in it.
    [Show full text]
  • The Life & Rhymes of Jay-Z, an Historical Biography
    ABSTRACT Title of Dissertation: THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 Omékongo Dibinga, Doctor of Philosophy, 2015 Dissertation directed by: Dr. Barbara Finkelstein, Professor Emerita, University of Maryland College of Education. Department of Teaching and Learning, Policy and Leadership. The purpose of this dissertation is to explore the life and ideas of Jay-Z. It is an effort to illuminate the ways in which he managed the vicissitudes of life as they were inscribed in the political, economic cultural, social contexts and message systems of the worlds which he inhabited: the social ideas of class struggle, the fact of black youth disempowerment, educational disenfranchisement, entrepreneurial possibility, and the struggle of families to buffer their children from the horrors of life on the streets. Jay-Z was born into a society in flux in 1969. By the time Jay-Z reached his 20s, he saw the art form he came to love at the age of 9—hip hop— become a vehicle for upward mobility and the acquisition of great wealth through the sale of multiplatinum albums, massive record deal signings, and the omnipresence of hip-hop culture on radio and television. In short, Jay-Z lived at a time where, if he could survive his turbulent environment, he could take advantage of new terrains of possibility. This dissertation seeks to shed light on the life and development of Jay-Z during a time of great challenge and change in America and beyond. THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 An historical biography: 1969-2004 by Omékongo Dibinga Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2015 Advisory Committee: Professor Barbara Finkelstein, Chair Professor Steve Klees Professor Robert Croninger Professor Derrick Alridge Professor Hoda Mahmoudi © Copyright by Omékongo Dibinga 2015 Acknowledgments I would first like to thank God for making life possible and bringing me to this point in my life.
    [Show full text]
  • Sonic Jihadâ•Flmuslim Hip Hop in the Age of Mass Incarceration
    FIU Law Review Volume 11 Number 1 Article 15 Fall 2015 Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt Follow this and additional works at: https://ecollections.law.fiu.edu/lawreview Part of the Other Law Commons Online ISSN: 2643-7759 Recommended Citation SpearIt, Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration, 11 FIU L. Rev. 201 (2015). DOI: https://dx.doi.org/10.25148/lawrev.11.1.15 This Article is brought to you for free and open access by eCollections. It has been accepted for inclusion in FIU Law Review by an authorized editor of eCollections. For more information, please contact [email protected]. 37792-fiu_11-1 Sheet No. 104 Side A 04/28/2016 10:11:02 12 - SPEARIT_FINAL_4.25.DOCX (DO NOT DELETE) 4/25/16 9:00 PM Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt* I. PROLOGUE Sidelines of chairs neatly divide the center field and a large stage stands erect. At its center, there is a stately podium flanked by disciplined men wearing the militaristic suits of the Fruit of Islam, a visible security squad. This is Ford Field, usually known for housing the Detroit Lions football team, but on this occasion it plays host to a different gathering and sentiment. The seats are mostly full, both on the floor and in the stands, but if you look closely, you’ll find that this audience isn’t the standard sporting fare: the men are in smart suits, the women dress equally so, in long white dresses, gloves, and headscarves.
    [Show full text]
  • Williams, Justin A. (2010) Musical Borrowing in Hip-Hop Music: Theoretical Frameworks and Case Studies
    Williams, Justin A. (2010) Musical borrowing in hip-hop music: theoretical frameworks and case studies. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11081/1/JustinWilliams_PhDfinal.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A.
    [Show full text]
  • 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.
    [Show full text]
  • 0 Musical Borrowing in Hip-Hop
    MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. Williams, BA, MMus Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2009 0 Musical Borrowing in Hip-hop Music: Theoretical Frameworks and Case Studies Justin A. Williams ABSTRACT ‗Musical Borrowing in Hip-hop‘ begins with a crucial premise: the hip-hop world, as an imagined community, regards unconcealed intertextuality as integral to the production and reception of its artistic culture. In other words, borrowing, in its multidimensional forms and manifestations, is central to the aesthetics of hip-hop. This study of borrowing in hip-hop music, which transcends narrow discourses on ‗sampling‘ (digital sampling), illustrates the variety of ways that one can borrow from a source text or trope, and ways that audiences identify and respond to these practices. Another function of this thesis is to initiate a more nuanced discourse in hip-hop studies, to allow for the number of intertextual avenues travelled within hip-hop recordings, and to present academic frameworks with which to study them. The following five chapters provide case studies that prove that musical borrowing, part and parcel of hip-hop aesthetics, occurs on multiple planes and within myriad dimensions. These case studies include borrowing from the internal past of the genre (Ch. 1), the use of jazz and its reception as an ‗art music‘ within hip-hop (Ch. 2), borrowing and mixing intended for listening spaces such as the automobile (Ch. 3), sampling the voice of rap artists posthumously (Ch. 4), and sampling and borrowing as lineage within the gangsta rap subgenre (Ch.
    [Show full text]
  • Spanglish En Canciones Populares Spanglish in Popular Music Magisterská Diplomová Práce
    UNIVERZITA PALACKÉHO V OLOMOUCI Filozofická fakulta Katedra romanistiky Spanglish en canciones populares Spanglish in popular music Magisterská diplomová práce Autor: Bc. Markéta Rokosová Vedoucí práce: Mgr. Radim Zámec, Ph. D. Olomouc 2020 Prohlášení Prohlašuji, že jsem tuto bakalářskou diplomovou práci vypracovala samostatně pod odborným vedením Mgr. Radima Zámce, Ph. D. a uvedla v ní veškerou literaturu a ostatní zdroje, které jsem použila. V Olomouci dne ................................. Podpis……………………………… Poděkování Děkuji vedoucímu mé diplomové práce panu Mgr. Radimovi Zámcovi, Ph.D. za odborné vedení, za pomoc a rady při zpracování této práce. Obsah Introducción ........................................................................................................................... 6 1. Spanglish y su definición ............................................................................................. 8 2. Características de Spanglish ....................................................................................... 10 2.1. Fenómenos lingüísticos .................................................................................... 10 2.1.1. Los préstamos ....................................................................................... 10 2.1.2. Calcos .................................................................................................... 11 2.1.3. El cambio de código ............................................................................. 11 2.2. Español vestigial ..............................................................................................
    [Show full text]
  • Journal of Hip Hop Studies
    et al.: Journal of Hip Hop Studies Published by VCU Scholars Compass, 2014 1 Journal of Hip Hop Studies, Vol. 1 [2014], Iss. 1, Art. 1 Editor in Chief: Daniel White Hodge, North Park University Book Review Editor: Gabriel B. Tait, Arkansas State University Associate Editors: Cassandra Chaney, Louisiana State University Jeffrey L. Coleman, St. Mary’s College of Maryland Monica Miller, Lehigh University Editorial Board: Dr. Rachelle Ankney, North Park University Dr. Jason J. Campbell, Nova Southeastern University Dr. Jim Dekker, Cornerstone University Ms. Martha Diaz, New York University Mr. Earle Fisher, Rhodes College/Abyssinian Baptist Church, United States Dr. Daymond Glenn, Warner Pacific College Dr. Deshonna Collier-Goubil, Biola University Dr. Kamasi Hill, Interdenominational Theological Center Dr. Andre Johnson, Memphis Theological Seminary Dr. David Leonard, Washington State University Dr. Terry Lindsay, North Park University Ms. Velda Love, North Park University Dr. Anthony J. Nocella II, Hamline University Dr. Priya Parmar, SUNY Brooklyn, New York Dr. Soong-Chan Rah, North Park University Dr. Rupert Simms, North Park University Dr. Darron Smith, University of Tennessee Health Science Center Dr. Jules Thompson, University Minnesota, Twin Cities Dr. Mary Trujillo, North Park University Dr. Edgar Tyson, Fordham University Dr. Ebony A. Utley, California State University Long Beach, United States Dr. Don C. Sawyer III, Quinnipiac University Media & Print Manager: Travis Harris https://scholarscompass.vcu.edu/jhhs/vol1/iss1/1 2 et al.: Journal of Hip Hop Studies Sponsored By: North Park Universities Center for Youth Ministry Studies (http://www.northpark.edu/Centers/Center-for-Youth-Ministry-Studies) . FO I ITH M I ,I T R T IDIE .ORT ~ PAru<.UN~V RSllY Save The Kids Foundation (http://savethekidsgroup.org/) 511<, a f't.dly volunteer 3raSS-roots or3an:za6on rooted :n h;,P ho,P and transf'orMat:ve j us6c.e, advocates f'or alternat:ves to, and the end d, the :nc..arc.eration of' al I youth .
    [Show full text]
  • Typologies of Black Male Sensitivity in R&B and Hip
    Chaney and Mincey: Typologies of Black Male Sensitivity in R&B and Hip Hop JOURNAL OF HIP HOP STUDIES . Typologies of Black Male Sensitivity in R&B and Hip Hop Cassandra Chaney and Krista D. Mincey Abstract A qualitative content analysis was conducted on the lyrics of 79 R&B and Hip Hop songs from 1956-2013 to identify the ways that these Black male artists expressed sensitivity. The songs were determined by Billboard Chart Research Services, and Phenomenology provided the theoretical foundation on which the themes were identified. Qualitative analysis of the lyrics revealed Black male sensitivity in R&B and Hip Hop to be based on the following four typologies: (a) Private Sensitivity; (b) Partnered Sensitivity; (c) Perceptive Sensitivity; and (d) Public Sensitivity. Private Sensitivity occurred when the Black male is alone; feels lonely; disguises or hides his tears from his romantic partner or others; and expresses a determination to not cry and/or continue crying. Partnered Sensitivity occurred when the Black male encourages and/or connects with his romantic partner, other men, and/or members of the Black community through crying. Perceptive Sensitivity was demonstrated when Black men acknowledge the tears shed by others, and shed tears themselves while being conscious of society’s expectation that men suppress emotion and/or refrain from crying. Public Sensitivity was exemplified when the Black male cries publicly and verbally expresses that he does not care what others think of him. Qualitative examples are provided to support each of the aforementioned themes. R&B and Hip Hop are two music genres that have gained global appeal in recent years.
    [Show full text]
  • Nas 1 for Other Uses, See Nas (Disambiguation). Nasir Bin Olu Dara Jones (/Nɑːˈsɪər/; Born September 14, 1973), Better Know
    Nas 1 Nas For other uses, see Nas (disambiguation). Nas Nas performing in Paris, France, July 2014 Background information Birth name Nasir bin Olu Dara Jones Also known as Nasty Nas Escobar Born September 14, 1973 Crown Heights, Brooklyn, New York, U.S. Origin Queensbridge, Queens, New York, U.S. Genres Hip hop Occupations Rapper, actor Instruments Vocals, sampler Years active 1991–present Labels The Jones Experience, Def Jam (current) Columbia, Ill Will Records (former) Associated acts 3rd Bass, AZ, Bravehearts, Damian Marley, The Firm, Kelis, Mobb Deep [1] Website Nasir Jones Nasir bin Olu Dara Jones (/nɑːˈsɪər/; born September 14, 1973), better known as Nas /ˈnɑːz/, is an American rapper, songwriter and actor. He is the son of jazz musician Olu Dara. Since 1994, Nas has released eight consecutive platinum and multi-platinum albums and sold over 25 million records worldwide. Aside from rapping and acting, Nas is an entrepreneur through his own record label, retail sneaker store, and magazine publishing. He serves as Mass Appeal Magazine's associate publisher as well as an owner of a Fila sneaker store. He is currently signed to Def Jam Recordings. His musical career began in 1991 when he was featured on Main Source's track "Live at the Barbeque". His debut album Illmatic, released in 1994, received universal acclaim from both critics and the hip hop community. It is frequently ranked as one of the greatest hip hop albums of all time. His follow-up album It Was Written debuted at number 1 on the Billboard Charts, stayed on top for four consecutive weeks, went platinum twice in only two Nas 2 months, and made Nas internationally known.[2][3] From 2001 to 2005, Nas was involved in a highly publicized feud with rapper Jay-Z.
    [Show full text]
  • Welcome to the Candy Shop! Conflicting Representations of Black Masculinity
    Popular Music (2014) Volume 33/2. © Cambridge University Press 2014, pp. 209–224 doi:10.1017/S0261143014000312 Welcome to the candy shop! Conflicting representations of black masculinity MARITA B. DJUPVIK Faculty of Fine Arts, University of Agder, Post Box 422, No- 4604 Kristiansand, Norway E-mail: [email protected] Abstract Mainstream hip hop videos have long been known for their images of scantily clad women, extreme materialism, and misogynist and homophobic lyrics. In this article I focus on how rapper 50 Cent’smas- culinity is constructed and expressed through music, lyrics and images in his video ‘Candy Shop’ from 2005. This is a classically modelled hip hop video, replete with markers of hypermasculinity: fancy cars, ‘bling’, and lots of beautiful, sexually available women. Several scholars have discussed how women are exploited in videos like this and reduced to props for the male star. However, few have explored how this macho masculinity is constructed. Through a close reading of this video, using socio-musicology and audiovisual analysis as my approach, I propose that the macho masculinity presented here is threatened when the male body is on display, but 50 Cent reassures himself (and his audience) through selective framing, involving both other performers and the music. Introduction There is a long tradition in popular music lyrics of using sugar or candy to evoke something desirable, including ‘I Can’t Help Myself (Sugar Pie Honey Bunch)’ by the Four Tops (1965), ‘Sugar, Sugar’ by the Archies (1969), ‘Brown Sugar’ by the Rolling Stones (1971) and ‘Candy Girl’ by New Edition (1983), among others.
    [Show full text]
  • CITY HIGH, Caramel UL RASCALS, Hardball LENNON, Brake of Your Car
    1 / 5 City-high-eve-caramel Caramel Songtext von City High feat. Eve mit Lyrics, deutscher Übersetzung, Musik-Videos und Liedtexten kostenlos auf Songtexte.com.. May 16, 2010 — Download High Quality Video Song - Caramel - by City High Feat. Eve Performing in DVD Original VOB format.. Shop City High's Caramel (feat. eve) - 3mix / caramel , trackmasters remix - 3mix 12 inch 33 rpm for sale by gmsi at 2.90 € on CDandLP - Ref:119046954.. City High ft. Eve - Caramel (Remix) mp3 duration:03:54 - size:5.48MB. Play download Add to Playlist. City High - Caramel mp3 duration:03:34 - size:5.02MB.. Category 20th Century Songs Beginning With C. Title Caramel - Featuring City High and Eve - Piano - Vocal - Guitar. Stock Reference Number 99270.. 6 at New York City's Metropolitan Opera House — were also stronger than at last ... Stuck In A Moment You Can't Get Out Of SUM 41, Fat Lip STAIND, Fade EVE, Let ... CITY HIGH, Caramel UL RASCALS, Hardball LENNON, Brake Of Your Car ... Instrumentation, Piano, Vocal and Guitar [Right-Hand Melody]. Artist, City High. Artist, Eve. Publisher, Hal Leonard. Store, Digital Sheet Music. Product Format .... Здесь вы можете скачать песни City High feat. Eve в хорошем качестве на телефон или прослушать треки онлайн: City High, Eve - Caramel, Christmas .... Apr 7, 2021 — City High Featuring Eve (2) – Caramel. Label: Interscope Records – 497 674-1. Format: Vinyl, 12". Country: UK. Released: 2002. Genre:.. Eve video clip Caramel. Artist / Band : City High Feat. Eve Title of Video: Caramel Music Style: Urban Album: .... Lyricist: City High. Lyrics: [Verse 1: Claudette Ortiz] Uh-huh, come on.
    [Show full text]