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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. -
The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities
The Miseducation of Hip-Hop dance: Authenticity, and the commodification of cultural identities. E. Moncell Durden., Assistant Professor of Practice University of Southern California Glorya Kaufman School of Dance Introduction Hip-hop dance has become one of the most popular forms of dance expression in the world. The explosion of hip-hop movement and culture in the 1980s provided unprecedented opportunities to inner-city youth to gain a different access to the “American” dream; some companies saw the value in using this new art form to market their products for commercial and consumer growth. This explosion also aided in an early downfall of hip-hop’s first dance form, breaking. The form would rise again a decade later with a vengeance, bringing older breakers out of retirement and pushing new generations to develop the technical acuity to extraordinary levels of artistic corporeal genius. We will begin with hip-hop’s arduous beginnings. Born and raised on the sidewalks and playgrounds of New York’s asphalt jungle, this youthful energy that became known as hip-hop emerged from aspects of cultural expressions that survived political abandonment, economic struggles, environmental turmoil and gang activity. These living conditions can be attributed to high unemployment, exceptionally organized drug distribution, corrupt police departments, a failed fire department response system, and Robert Moses’ building of the Cross-Bronx Expressway, which caused middle and upper-class residents to migrate North. The South Bronx lost 600,000 jobs and displaced more than 5,000 families. Between 1973 and 1977, and more than 30,000 fires were set in the South Bronx, which gave rise to the phrase “The Bronx is Burning.” This marginalized the black and Latino communities and left the youth feeling unrepresented, and hip-hop gave restless inner-city kids a voice. -
Siriusxm and Pandora to Launch Inaugural 'Sway Fest 2019' on October 18
NEWS RELEASE SiriusXM and Pandora to Launch Inaugural 'Sway Fest 2019' on October 18 10/4/2019 Live broadcast event curated and hosted by Sway Calloway of SiriusXM's Shade 45 Block party to be held on the streets outside of Pandora's Oakland headquarters with community participants and special guests to be announced Four-hour special will broadcast live on Eminem's Shade 45 channel on SiriusXM NEW YORK, Oct. 4, 2019 /PRNewswire/ -- Oakland, CA native Sway Calloway returns to his roots on October 18 for the rst ever 'Sway Fest 2019,' which will bring together celebrities, local leaders and special guests in a celebration of hip-hop, community and culture, to be broadcast on SiriusXM. The four-hour special will air live from the streets of Oakland, outside Pandora headquarters, beginning at 9am PT on SiriusXM's Sway in the Morning on Eminem's Shade 45 (ch. 45). Calloway's celebrity friends, performers, local activists and community leaders will gather on Franklin Street between 21st and 22nd streets from 9am PT to 1pm PT in Oakland for performances and conversations on music, arts and the Oakland community. This Sway-hosted block party is also a way for our Oakland-based SiriusXM and Pandora employees to celebrate the combining of SiriusXM and Pandora. In advance of 'Sway Fest 2019,' Sway will unveil his own Pandora Story, oering his commentary to a playlist of tracks that shaped him while growing up in Oakland and beyond. While SiriusXM subscribers can tune in live the day of the event, local residents are encouraged to attend this free event to hear live music, meet community and business leaders as they weigh in on important community issues, and celebrate music and culture. -
3. SMACK THAT – EMINEM (Feat. Eminem) [Akon:] Shady Convict
3. SMACK THAT – EMINEM thing on Get a little drink on (feat. Eminem) They gonna flip for this Akon shit You can bank on it! [Akon:] Pedicure, manicure kitty-cat claws Shady The way she climbs up and down them poles Convict Looking like one of them putty-cat dolls Upfront Trying to hold my woodie back through my Akon draws Slim Shady Steps upstage didn't think I saw Creeps up behind me and she's like "You're!" I see the one, because she be that lady! Hey! I'm like ya I know lets cut to the chase I feel you creeping, I can see it from my No time to waste back to my place shadow Plus from the club to the crib it's like a mile Why don't you pop in my Lamborghini away Gallardo Or more like a palace, shall I say Maybe go to my place and just kick it like Plus I got pal if your gal is game TaeBo In fact he's the one singing the song that's And possibly bend you over look back and playing watch me "Akon!" [Chorus (2X):] [Akon:] Smack that all on the floor I feel you creeping, I can see it from my Smack that give me some more shadow Smack that 'till you get sore Why don't you pop in my Lamborghini Smack that oh-oh! Gallardo Maybe go to my place and just kick it like Upfront style ready to attack now TaeBo Pull in the parking lot slow with the lac down And possibly bend you over look back and Convicts got the whole thing packed now watch me Step in the club now and wardrobe intact now! I feel it down and cracked now (ooh) [Chorus] I see it dull and backed now I'm gonna call her, than I pull the mack down Eminem is rollin', d and em rollin' bo Money -
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…………………………………………………………………. -
Songs by Artist
Andromeda II DJ Entertainment Songs by Artist www.adj2.com Title Title Title 10,000 Maniacs 50 Cent AC DC Because The Night Disco Inferno Stiff Upper Lip Trouble Me Just A Lil Bit You Shook Me All Night Long 10Cc P.I.M.P. Ace Of Base I'm Not In Love Straight To The Bank All That She Wants 112 50 Cent & Eminen Beautiful Life Dance With Me Patiently Waiting Cruel Summer 112 & Ludacris 50 Cent & The Game Don't Turn Around Hot & Wet Hate It Or Love It Living In Danger 112 & Supercat 50 Cent Feat. Eminem And Adam Levine Sign, The Na Na Na My Life (Clean) Adam Gregory 1975 50 Cent Feat. Snoop Dogg And Young Crazy Days City Jeezy Adam Lambert Love Me Major Distribution (Clean) Never Close Our Eyes Robbers 69 Boyz Adam Levine The Sound Tootsee Roll Lost Stars UGH 702 Adam Sandler 2 Pac Where My Girls At What The Hell Happened To Me California Love 8 Ball & MJG Adams Family 2 Unlimited You Don't Want Drama The Addams Family Theme Song No Limits 98 Degrees Addams Family 20 Fingers Because Of You The Addams Family Theme Short Dick Man Give Me Just One Night Adele 21 Savage Hardest Thing Chasing Pavements Bank Account I Do Cherish You Cold Shoulder 3 Degrees, The My Everything Hello Woman In Love A Chorus Line Make You Feel My Love 3 Doors Down What I Did For Love One And Only Here Without You a ha Promise This Its Not My Time Take On Me Rolling In The Deep Kryptonite A Taste Of Honey Rumour Has It Loser Boogie Oogie Oogie Set Fire To The Rain 30 Seconds To Mars Sukiyaki Skyfall Kill, The (Bury Me) Aah Someone Like You Kings & Queens Kho Meh Terri -
Výroční Zpráva 2018
Projekt Crossclub byl v roce 2018 podpořen částkou 2 000 000,- od MHMP, 150 000,- od MKČR a 15 000,- od MČP7. CROSSCLUB 2018 Chcete zažít pocit Berlína a nechce se vám jezdit tak daleko? Crossclub v Holešovicích vám to umožní… Klára Nemravová, zpěvačka (zdroj ReFlex) Crossclub je jedinečně koncipované multikulturní centrum, které nabízí skutečnou kříženinu kultur, žánrů a přístupů uprostřed pražských Holešovic. Za svojí jedenáctiletou existenci se nedělitelně zařadil mezi přední pražskou scénu, kde je utvářena velká část alternativní produkce. V současné době je zároveň odbornou i laickou veřejností vnímáno jako spoluurčující v rámci evropského alternativního kulturního dění. Základem dramaturgie je otevřenost různým uměleckým formám – divadlu, hudbě, výtvarnému umění – a jejich vzájemnému propojování. V rámci rozsáhlé mezinárodní spolupráce Crossclub systematicky prezentuje nejnovější trendy v alternativním umění a uvádí na své sceně desítky významných světových umělců, čímž se Crossclub stává důvodem návštěvy metropole i pro stále se zvyšující počet zahraničních turistů, kteří centrum vnímají jako místo reprezentující kreativitu Prahy a České republiky. Neformální prostředí s naprosto unikátním designem obohacuje nabídku společenského a kulturního života v centru Prahy. Program je určený převážně pro mladší a střední generaci, nicméně některé pořady jsou připravované pro děti, mládež, nebo zahraniční návštěvníky Prahy. I díky širokému spektru návštěvníků i různorodé dramaturgii narůstá publicita v domácím tisku, rozhlasu, na webových portálech. Mediální ohlasy zaznamenává multikulturní centrum Cross stále častěji také v zahraničí. Obsah projektu Crossclub 2018 byl souhrnem dílčích dramaturgických bloků, které se vzájemně prolínaly v různých komponovaných a žánrově přesahových projektech mezinárodního významu. Celkem se v Crossu představilo 886 dramaturgických celků, které se konaly na horní stagei, spodní stagei, půdě klubu Cross, kavárně klubu Cross. -
A Masterpiece M +++++ Mojomagazine U S I C W E E K
Cover11.01.13_cover template 07/01/13 15:49 Page 1 1 0 6 3 1 6 7 7 9 6 6 6 7 7 9 THE BUSINESS OF MUSIC www.musicweek.com 11.01.13 £5.15 A masterpiece +++++ Mojo Magazine Project1_Layout 1 07/01/2013 15:48 Page 1 the multi award winning album Re-released on January 28th On multiple formats DELUXE 3 CD DIGI PACK ;:9876548382:18350/.:/-:4,8:/30+0.6*:6*)(7 ;:'.38*86582:*018:&83-/376.%85:-3/7:4,8:$#"":4/(3 ;:'.38*86582:46!85:-3/7:4,8:9(7/(35:58550/.5 e '9:':: $$0.* ;:9876548382:18350/.:/-:4,8:/30+0.6*:6*)(7 ;:'.38*86582:*018:&83-/376.%85:-3/7:4,8:$#"":4/(3 ;:'.38*86582:46!85:-3/7:9(7/(35:58550/.5 ;:9/(+,5:6.2:(446!85:-3/7:4,8::38055(8 ;::/-:,8:9/58)(2:0*7 :): 0%,68*:/**0.5 ;:0.*: e 9 9: ' :/.: e : e ':': : e 9 9:6.2 DELUXE 18350/.5:6*5/:6160*6)*8: e **:18350/.5:6160*6)*8:-/3:5438670.+ ,8:6*)(7:0**:)8:*6(.%,82:04, 6:-(**:763!840.+::&3/7/40/.6*:%67&60+. 6%8)//!%/7*884//2 6% 0.%*(20.+::0.4831085:6.2:.640/.6* 884//276%%/7 :621834050.+:&3855:625/.*0.8 FM MW Inside Cover 2 indd 1 07/01/2013 15:32 Cover_v3_cover template 08/01/13 19:22 Page 1 01 9 776669 776136 THE BUSINESS OF MUSIC www.musicweek.com 11.01.13 £5.15 NEWS BIG INTERVIEW ANALYSIS 02 10 12 Newly-promoted Universal Petula Clark discusses seven Music Week’s six page Music International boss Max decades in showbiz - and what it’s investigation into last Hole on his ambitions for EMI like to meet Elvis and John Lennon year’s record sales BMG: we’re still majorly hungry MUTE AND VIRGIN BOUGHT OVER CHRISTMAS - BUT THE RIGHTS GROUP’S NOT DONE YET ACQUISITIONS A bigger shock was BMG’s acquisition of Mute Records, the David Bowie announced a TALKING MUTE I BY TIM INGHAM shock new album this label sold by founder Daniel week - but his catalogue is Mute founder Daniel Miller up for grabs in the licensed back the label’s name he battle to acquire Miller to EMI in 2002 for £23m. -
Conspicuous Consumption, New-School Hip-Hop and "The New Rock & Roll"
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 6-21-2019 1:00 PM "I Need to Fight the Power, But I Need that New Ferrari": Conspicuous Consumption, New-School Hip-hop and "the New Rock & Roll" Emmett H. Robinson Smith The University of Western Ontario Supervisor Keightley, Keir The University of Western Ontario Coates, Norma The University of Western Ontario Graduate Program in Popular Music and Culture A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts ©Follow Emmett this andH. Robinson additional Smithworks at:2019 https:/ /ir.lib.uwo.ca/etd Part of the African American Studies Commons, American Material Culture Commons, American Popular Culture Commons, Art Practice Commons, Cultural History Commons, Music Performance Commons, Music Practice Commons, Other Feminist, Gender, and Sexuality Studies Commons, Other Languages, Societies, and Cultures Commons, and the Social History Commons Recommended Citation Robinson Smith, Emmett H., ""I Need to Fight the Power, But I Need that New Ferrari": Conspicuous Consumption, New-School Hip-hop and "the New Rock & Roll"" (2019). Electronic Thesis and Dissertation Repository. 6322. https://ir.lib.uwo.ca/etd/6322 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract 2017 marked the year in which hip-hop officially became the most listened-to genre in the United States. This thesis explores hip-hop music’s rise to its now-hegemonic position within the music industry, seeking to provide insight into the increasingly popular sentiment that hip-hop is “the new rock & roll”. -
Kanye West and Male Emotionality 1 the Department of Communication
Kanye West and Male Emotionality 1 The Department of Communication Arts and Sciences Kanye West, Emotionality, & Individualism – Pioneering a Paradigm Shift Amongst Rap’s Elite Cory Steinle The Pennsylvania State University Kanye West and Male Emotionality 2 Abstract By analyzing countless song lyrics, criminal data, and investigate interviews from popular rappers, I was able to draw the conclusion that Kanye West had a significant and quantifiable impact on the frequency of emotionality & individualism within popular rap music. His status as a celebrity allowed for the cathartic release of emotions throughout his music career to be labeled as “revolutionary.”. At the time he released his freshman album, The College Dropout (2004), violence and hate were two emotions largely represented in the popular rap sphere. This was the aftermath of a previous decade of rap music besieged by violent, criminalistics themes inspired by rap’s very best – Biggie, Tupac, Snoop Dogg, and N.W.A. However, with Kanye’s new “pink polo” Chicago style, he was successfully able to enter the marketplace with a unique, individualistic style and sound. Themes of individualism and healthy emotionality can be found throughout his career, from his 2002 single “Through the Wire” through his seventh solo studio album, The Life of Pablo (2016). He stayed true to these themes throughout his first three studio albums, but it was his fourth album, 808’s & Heartbreak, that truly shifted the paradigm of rap music. This album cemented West’s place in history as one of the most influential artists of his time, inspiring many of his peers to adopt similar styles and motives as his own. -
Top 40 Singles Top 40 Albums Sexy and I Know It Hangover 21 Nothing but the Beat: Christmas Edit
02 January 2012 CHART #1806 Top 40 Singles Top 40 Albums Sexy And I Know It Hangover 21 Nothing But The Beat: Christmas Edit... 1 LMFAO 21 Taio Cruz feat. Flo Rida 1 Adele 21 David Guetta Last week 1 / 15 weeks Platinum x2 / Universal Last week 27 / 11 weeks Gold / Universal Last week 2 / 49 weeks Platinum x8 / XL/Rhythm Last week 31 / 17 weeks Virgin/EMI Young, Wild And Free Don't Forget Your Roots Lioness: Hidden Treasures All For You: The Best Of 2 Wiz Khalifa And Snoop Dogg feat. Br... 22 Six60 2 Amy Winehouse 22 Cold Chisel Last week 3 / 9 weeks Gold / WEA/Warner Last week 24 / 24 weeks Platinum x2 / Massive/Universal Last week 3 / 4 weeks Gold / Universal Last week 22 / 10 weeks Gold / WEA/Warner We Found Love Everything's Gonna Be Alright - The... Gravel And Wine Teenage Dream 3 Rihanna feat. Calvin Harris 23 The Babysitters Circus 3 Gin Wigmore 23 Katy Perry Last week 2 / 15 weeks Platinum x2 / Universal Last week 20 / 14 weeks Gold / ControlFreak/EMI Last week 5 / 8 weeks Platinum / Universal Last week 23 / 70 weeks Platinum x2 / Capitol/EMI What Makes You Beautiful - The Sin... Without You Doo-Wops And Hooligans: Tour Editi... Who You Are 4 One Direction 24 David Guetta feat. Usher 4 Bruno Mars 24 Jessie J Last week 4 / 10 weeks Platinum / SonyMusic Last week 23 / 18 weeks Platinum / Virgin/EMI Last week 4 / 63 weeks Platinum x4 / WEA/Warner Last week 32 / 42 weeks Universal Paradise The One That Got Away Six60 - The Album Let The Music Play 5 Coldplay 25 Katy Perry 5 Six60 25 Stan Walker Last week 5 / 13 weeks Platinum / Parlophone/EMI Last week 28 / 13 weeks Gold / Capitol/EMI Last week 7 / 12 weeks Platinum / Massive/Universal Last week 24 / 6 weeks SonyMusic Titanium What Doesn't Kill You (Stronger) Up All Night Under The Mistletoe 6 David Guetta feat. -
English Hit Pack Vol. 2
ENGLISH HIT PACK VOL. 2 Song Title No. Popularized by COMPOSER / LYRICIST Brad Arnold/Todd Harrell/ C. DJ Smooth HERE WITHOUT YOU 11541 3 DOORS DOWN Henderson/MaD Roberts INVISIBLE MAN 11772 98 DEGREES Dave Deviller/Sean Hosein/Steve KiPner THE HARDEST THING 11798 98 DEGREES EVERY TIME 11585 A1 Ben Adams/ChrisQan Ingebrigsten/Mark Read ONE LAST SONG 11571 A1 B. Adams/Ingebristen C./ChrisQan Ingebrigsten/Paul ONE MORE TRY 11584 A1 Marazzi/Mark Read WALKING IN THE RAIN 260 A1 Ben Adams/ChrisQan Ingebrigsten TRY AGAIN 11624 AALIYAH FEAT.TIMBERLAND S. GarreD/Tim Mosley CHANCES 11749 AIR SUPPLY Graham Russell BANANZA(BELLY DANCER) 240 AKON Golding,L./Hall T./Staples, N./Thiam, A. DON’T MATTER 11674 AKON Lawson, A./Aliaune "Akon" Thiam LOCKED UP 11652 AKON Aliaune "Akon" Thiam SORRY, BLAME IT ON ME 11651 AKON LOOK AT ME NOW 11650 AKON FEAT. SNOOP DOGG G. Allen, A thiam, B. ViQon THE SWEET ESCAPE 11573 AKON FEAT.GWEN STEFAN Gwen Stefani/Aliaune "akon" Thiam/Girogio TUinfort TIME PASSAGES 11701 AL STEWART HEAD OVER FEET 11564 ALANIS MORISSETTE Glen Ballard/Alanis MorisseDe I LOVE THE NIGHT LIFE 11565 ALICIA BRIDGES Alicia Bridges/SUsan Hutcheson NO ONE 241 ALICIA KEYS Brothers, Kerry Jr./Harry, George M./Alicia Keys TEENAGE LOVE AFFAIR 11697 ALICIA KEYS BABY, NOW THAT I'VE FOUND YOU 11591 ALISON KRAUSS Tony Macaulay/John Macleod Walter Becker/Donald Fagen/Karl Gordon/Paul I KNOW WHERE IT'S AT 11608 ALL SAINTS Griffin/Shaznay Lewis NEVER EVER 11589 ALL SAINTS Robert Jazayeri/Shaznay Lewis/Sean Mystro MaDher UNDER THE BRIDGE 11805 ALL SAINTS IMAGINARY LOVER 11723 ATLANTA RHYTHM SECTION BUddy BUie/Dean Daughtry/Robert Nix ALWAYS 256 ATLANTIC STAR David Lewis/Jonathan Lewis/Wayne Lewis MASTERPIECE 11612 ATLANTIC STARR Kenny Nolan GIRLFRIEND 11603 AVRIL LAVIGNE LUkasz "Doctor LUke" GoDwald/Avril Lavigne HOT 11764 AVRIL LAVIGNE Avril Lavigne/Evan Taubenfeld NOBODY'S HOME 11560 AVRIL LAVIGNE WHEN YOU'RE GONE 11810 AVRIL LAVIGNE ROLLERCOASTER 11789 B*WITHCHED I JUST CAN'T HELP BELIEVING 11725 B.J.