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Tom Jennings
12 | VARIANT 30 | WINTER 2007 Rebel Poets Reloaded Tom Jennings On April 4th this year, nationally-syndicated Notes US radio shock-jock Don Imus had a good laugh 1. Despite the plague of reactionary cockroaches crawling trading misogynist racial slurs about the Rutgers from the woodwork in his support – see the detailed University women’s basketball team – par for the account of the affair given by Ishmael Reed, ‘Imus Said Publicly What Many Media Elites Say Privately: How course, perhaps, for such malicious specimens paid Imus’ Media Collaborators Almost Rescued Their Chief’, to foster ratings through prejudicial hatred at the CounterPunch, 24 April, 2007. expense of the powerless and anyone to the left of 2. Not quite explicitly ‘by any means necessary’, though Genghis Khan. This time, though, a massive outcry censorship was obviously a subtext; whereas dealing spearheaded by the lofty liberal guardians of with the material conditions of dispossessed groups public taste left him fired a week later by CBS.1 So whose cultures include such forms of expression was not – as in the regular UK correlations between youth far, so Jade Goody – except that Imus’ whinge that music and crime in misguided but ominous anti-sociality he only parroted the language and attitudes of bandwagons. Adisa Banjoko succinctly highlights the commercial rap music was taken up and validated perspectival chasm between the US civil rights and by all sides of the argument. In a twinkle of the hip-hop generations, dismissing the focus on the use of language in ‘NAACP: Is That All You Got?’ (www.daveyd. -
Metric Ambiguity and Flow in Rap Music: a Corpus-Assisted Study of Outkast’S “Mainstream” (1996)
Metric Ambiguity and Flow in Rap Music: A Corpus-Assisted Study of Outkast’s “Mainstream” (1996) MITCHELL OHRINER[1] University of Denver ABSTRACT: Recent years have seen the rise of musical corpus studies, primarily detailing harmonic tendencies of tonal music. This article extends this scholarship by addressing a new genre (rap music) and a new parameter of focus (rhythm). More specifically, I use corpus methods to investigate the relation between metric ambivalence in the instrumental parts of a rap track (i.e., the beat) and an emcee’s rap delivery (i.e., the flow). Unlike virtually every other rap track, the instrumental tracks of Outkast’s “Mainstream” (1996) simultaneously afford hearing both a four-beat and a three-beat metric cycle. Because three-beat durations between rhymes, phrase endings, and reiterated rhythmic patterns are rare in rap music, an abundance of them within a verse of “Mainstream” suggests that an emcee highlights the three-beat cycle, especially if that emcee is not prone to such durations more generally. Through the construction of three corpora, one representative of the genre as a whole, and two that are artist specific, I show how the emcee T-Mo Goodie’s expressive practice highlights the rare three-beat affordances of the track. Submitted 2015 July 15; accepted 2015 December 15. KEYWORDS: corpus studies, rap music, flow, T-Mo Goodie, Outkast THIS article uses methods of corpus studies to address questions of creative practice in rap music, specifically how the material of the rapping voice—what emcees, hip-hop heads, and scholars call “the flow”—relates to the material of the previously recorded instrumental tracks collectively known as the beat. -
The Politics of Independent Hip-Hop a Dissertation Submitted in Partial
UNIVERSITY OF CALIFORNIA RIVERSIDE Just Say No to 360s: The Politics of Independent Hip-Hop A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Sociology by Christopher Sangalang Vito June 2017 Dissertation Committee: Dr. Ellen Reese, Chairperson Dr. Adalberto Aguirre, Jr. Dr. Lan Duong Dr. Alfredo M. Mirandé Copyright by Christopher Sangalang Vito 2017 The Dissertation of Christopher Sangalang Vito is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS I would like to thank my family and friends for their endless love and support, my dissertation committee for their care and guidance, my colleagues for the smiles and laughs, my students for their passion, everyone who has helped me along my path, and most importantly I would like to thank hip-hop for saving my life. iv DEDICATION For my mom. v ABSTRACT OF THE DISSERTATION Just Say No to 360s: The Politics of Independent Hip-Hop by Christopher Sangalang Vito Doctor of Philosophy, Graduate Program in Sociology University of California, Riverside, June 2017 Dr. Ellen Reese, Chairperson My dissertation addresses to what extent and how independent hip-hop challenges or reproduces U.S. mainstream hip-hop culture and U.S. culture more generally. I contend that independent hip-hop remains a complex contemporary subculture. My research design utilizes a mixed methods approach. First, I analyze the lyrics of independent hip-hop albums through a content analysis of twenty-five independent albums from 2000-2013. I uncover the dominant ideologies of independent hip-hop artists regarding race, class, gender, sexual orientation, and calls for social change. -
Best of 2014 Listener Poll Nominees
Nominees For 2014’s Best Albums From NPR Music’s All Songs Considered Artist Album ¡Aparato! ¡Aparato! The 2 Bears The Night is Young 50 Cent Animal Ambition A Sunny Day in Glasgow Sea When Absent A Winged Victory For The Sullen ATOMOS Ab-Soul These Days... Abdulla Rashim Unanimity Actress Ghettoville Adia Victoria Stuck in the South Adult Jazz Gist Is Afghan Whigs Do To The Beast Afternoons Say Yes Against Me! Transgender Dysphoria Blues Agalloch The Serpent & The Sphere Ages and Ages Divisionary Ai Aso Lone Alcest Shelter Alejandra Ribera La Boca Alice Boman EP II Allah-Las Worship The Sun Alt-J This is All Yours Alvvays Alvvays Amason Duvan EP Amen Dunes Love Ana Tijoux Vengo Andrew Bird Things Are Really Great Here, Sort Of... Andrew Jackson Jihad Christmas Island Andy Stott Faith In Strangers Angaleena Presley American Middle Class Angel Olsen Burn Your Fire For No Witness Animal Magic Tricks Sex Acts Annie Lennox Nostalgia Anonymous 4 David Lang: love fail Anthony D'Amato The Shipwreck From The Shore Antlers, The Familiars The Apache Relay The Apache Relay Aphex Twin Syro Arca Xen Archie Bronson Outfit Wild Crush Architecture In Helsinki NOW + 4EVA Ariel Pink Pom Pom Arturo O’Farrill & the Afro Latin Orchestra The Offense of the Drum Ásgeir In The Silence Ashanti BraveHeart August Alsina Testimony Augustin Hadelich Sibelius, Adès: Violin Concertos The Autumn Defense Fifth Avey Tare Enter The Slasher House Azealia Banks Broke With Expensive Taste Band Of Skulls Himalayan Banks Goddess Barbra Streisand Partners Basement Jaxx Junto Battle Trance Palace Of Wind Beach Slang Cheap Thrills on a Dead End Street Bebel Gilberto Tudo Beck Morning Phase Béla Fleck & Abigail Washburn Béla Fleck & Abigail Washburn Bellows Blue Breath Ben Frost A U R O R A Benjamin Booker Benjamin Booker Big K.R.I.T. -
Information Pack
INFORMATION PACK Dash Arts Unit 1 Toynbee Studios 28 Commercial Street London, E1 6AB Tel: 0207 377 6606 www.dasharts.org.uk Dash Arts Arabic Series In May 2010 Dash Arts, under the Artistic Direction of Josephine Burton and Tim Supple, launched the Dash Arabic Series: four major new commissions of work by artists from the Arabic-speaking world of theatre, contemporary dance and music. The series which will run over two years has been created in collaboration with venues including Sadler’s Wells, the Barbican, and the Roundhouse. Four years in the planning, these events of international significance will be accompanied by a wider programme of talks, films, participation projects and cafes. The Dash Arabic Series will be a vital celebration of Arabic artistic identity which will challenge pre-conceived notions of Arabic culture, offering new perspectives and unheard voices. Beginning in May 2010 at Sadler's Wells with Babel(words), a new work by Sidi Larbi Cherkaoui, Damien Jalet and Antony Gormley, the Dash Arabic Series will continue with Lyrical Alliance, a night of Arabic hop-hop at the Roundhouse, and at the Barbican with a major event in celebration of the unrivalled icon of Arabic song - Oum Kalsoum. The Dash Arabic Series will culminate in the autumn of 2011 with an epic production of One Thousand and One Nights / Alf Layla wa-Layla, dramatised and directed by Tim Supple, commissioned by Toronto’s Luminato Festival where it will have its world premiere. Dash Arts & Roundhouse present Lyrical Alliance Featuring Talib Kweli Premiere: Roundhouse, 16th October 2010, Doors 7pm Tickets £22.50 Lyrical Alliance is collaboration between leading hip hop artists from the Arab world alongside the cream of European hip hop with featured artists from the UK and US headline act Talib Kweli. -
Press It Through Our MUSIC, How We Feel
women. hip hop. life. SAY MY NAME A FILM BY MAMAMESS WMM Women Make Movies 462 Broadway, Suite 500 New York, NY 10013 Tel 212.925.0606 Fax 212.925.2052 www.wmm.com women. hip hop. life SAY MY NAME A film by Mamamess Synopsis Photo by Mamamess In a hip hop and R’n’B world dominated by men and noted for misogyny, the unstoppable female lyricists of Say My Name speak candidly about class, race, and gender in pursuing their passions as female MCs. This worldwide documentary takes viewers on vibrant tour of urban culture and musical movement, from hip hop’s birthplace in the Bronx, to grime on London’s Eastside and all points Philly, Detroit, Chicago, Atlanta, and L.A. in between. Featuring interviews and musical performances from a diverse cast of women including Remy Ma, Rah Digga, Jean Grae, Erykah Badu, Estelle and newcomers Chocolate Thai, Invincible and Miz Korona, this powerful documentary delves into the amazing personal stories of women balancing professional dreams with the stark realities of poor urban communities, race, sexism, and motherhood, as the more than 18 artist featured in Say My Name battle for a place in a society that creates few chances for women. From emerging artists filled with new creativity, to true pioneers like MC Lyte, Roxxanne Shante, and Monie Love, these are women turning adversity into art. WMM Women Make Movies 462 Broadway, Suite 500 New York, NY 10013 Tel 212.925.0606 Fax 212.925.2052 www.wmm.com women. hip hop. life SAY MY NAME A film by Mamamess Credits 2009, 73 MINUTES, COLOR Festivals, Screenings & UK/USA ENGLISH Awards DIRECTOR/PRODUCER • South by Southwest Film Festival Nirit Peled • AFI Dallas International Film Festival • Sarasota Film Festival PRODUCER • Full Frame Festival Dave Hemmingway/Mamamess WRITER Nirit Peled CINEMATOGRAPHER Dave Hemmingway Nirit Peled EDITORS Chris Scheer Christopher Hillswright MUSIC/SOUND Ronen Sabo Dave Hemmingway CAST Aaries Big Manda Chocolate Thai Dr. -
From Printed Page to Live Hip Hop: American Poetry and Politics Into the 21St Century
FROM PRINTED PAGE TO LIVE HIP HOP: AMERICAN POETRY AND POLITICS INTO THE 21ST CENTURY Michael Dowdy A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of English in the Department of English. Chapel Hill 2006 Approved by Advisor: Linda Wagner-Martin Reader: Maria DeGuzmán Reader: Nick Halpern Reader: Trudier Harris Reader: John McGowan © 2005 Michael Dowdy ALL RIGHTS RESERVED ii ABSTRACT MICHAEL DOWDY: From Printed Page to Live Hip Hop: American Poetry and Politics into the 21st Century (Under the direction of Linda Wagner-Martin) This project identifies and explains the major rhetorical strategies American poets from Vietnam to the present use to create political poems. It argues that there are many different, though overlapping, approaches to making sociopolitically engaged poetry. Understanding political poetry as a collection of multiple rhetorical strategies moves away from identity- based and subject-based criticism. This project thus considers a number of representative poems from each strategy in order to illuminate each strategy’s intricacies. Further, the contention that hip hop has the most political potential of contemporary poetries suggests convergences with strategies for making printed poetry political. The framework for understanding both hip hop and printed poetry is derived from theories of agency that negotiate the individual’s ability to act according to her purposes in relation to the determining economic, political, and social forces that constrain action. The strategies considered thus emerge from various types of poetic agency: embodied agency, including both experiential and authoritative agency; equivocal agency, including comprehensive and particular varieties; migratory agency; and contestatory urban agency, which includes strategies indigenous to hip hop. -
The Values of Independent Hip-Hop in the Post-Golden Era Hip-Hop’S Rebels
The Values of Independent Hip-Hop in the Post-Golden Era Hip-Hop’s Rebels Christopher Vito The Values of Independent Hip-Hop in the Post-Golden Era Christopher Vito The Values of Independent Hip-Hop in the Post-Golden Era Hip-Hop’s Rebels Christopher Vito Southwestern College Chula Vista, CA, USA ISBN 978-3-030-02480-2 ISBN 978-3-030-02481-9 (eBook) https://doi.org/10.1007/978-3-030-02481-9 Library of Congress Control Number: 2018958592 © The Editor(s) (if applicable) and The Author(s) 2019. This book is an open access publication. Open Access This book is licensed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made. The images or other third party material in this book are included in the book’s Creative Commons license, unless indicated otherwise in a credit line to the material. If material is not included in the book’s Creative Commons license and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifc statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. -
From Global Hip Hop Studies to Hip Hop Travis Harris
Harris: Can It Be Bigger Than Hip Hop?: From Global Hip Hop Studies to Hi Can It Be Bigger Than Hip Hop?: From Global Hip Hop Studies to Hip Hop Travis Harris Journal of Hip Hop Studies, Special Issue If I Ruled the World: Putting Hip Hop on the Atlas Volume 6, Issue 2, Winter 2019, pp. 17 – 70 DOI: https://doi.org/10.34718/27nk-bx98 Published by VCU Scholars Compass, 2019 1 Journal of Hip Hop Studies, Vol. 6, Iss. 2 [2019], Art. 7 Can It Be Bigger Than Hip Hop?: From Global Hip Hop Studies to Hip Hop Travis Harris Abstract Global Hip Hop Studies has grown tremendously since it started in 1984. Scholars from a number of disciplines have published numerous journal articles, books, dissertations and theses. They have also presented at multiple academic conferences and taught classes on global Hip Hop. “Can It Be Bigger Than Hip Hop?: From Global Hip Hop Studies to Hip Hop Studies” traces this history and examines the key authors, intellectual interventions, methods, and theories of this field. I used an interdisciplinary methodology entailing participant observations of local Hip Hoppas and the examination of more than five hundred scholarly texts that I assembled into a Global Hip Hop Studies bibliography. I conducted this study from the perspective of an Africana scholar who also identifies as Hip Hop. While analyzing Global Hip Hop Studies, I made two discoveries: scholars created artificial boundaries between Hip Hop Studies and Global Hip Hop Studies and they too narrowly focused on their specific region without accounting for Hip Hop’s global connections. -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Just Say No to 360s: The Politics of Independent Hip-Hop Permalink https://escholarship.org/uc/item/02h786r6 Author Vito, Christopher Sangalang Publication Date 2017 License https://creativecommons.org/licenses/by/4.0/ 4.0 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Just Say No to 360s: The Politics of Independent Hip-Hop A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Sociology by Christopher Sangalang Vito June 2017 Dissertation Committee: Dr. Ellen Reese, Chairperson Dr. Adalberto Aguirre, Jr. Dr. Lan Duong Dr. Alfredo M. Mirandé Copyright by Christopher Sangalang Vito 2017 The Dissertation of Christopher Sangalang Vito is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS I would like to thank my family and friends for their endless love and support, my dissertation committee for their care and guidance, my colleagues for the smiles and laughs, my students for their passion, everyone who has helped me along my path, and most importantly I would like to thank hip-hop for saving my life. iv DEDICATION For my mom. v ABSTRACT OF THE DISSERTATION Just Say No to 360s: The Politics of Independent Hip-Hop by Christopher Sangalang Vito Doctor of Philosophy, Graduate Program in Sociology University of California, Riverside, June 2017 Dr. Ellen Reese, Chairperson My dissertation addresses to what extent and how independent hip-hop challenges or reproduces U.S. mainstream hip-hop culture and U.S. culture more generally. -
Diary Mix Tracklist
Diary Mix Tracklist INTRO – 1979 to 1987 Sugarhill Gang – Rapper’s Delight (1979) The Sequence – Funk You Up (1979) Spoonie Gee Meets The Sequence – Monster Jam (1979) Fatback – King Tim III (Personlaity Jock) (1979) Sugarhill Gang – 8th Wonder (1980) Kurtis Blow – The Breaks (1980) Arka Bambaataa and the Jazzy 5 – Jazzy Sensation (1981) Grandmaster Flash – The Adventures Of Grandmaster Flash On The Wheels of Steel (1981) Blondie – Rapture (1981) Afrika Bambaataa And The Soul Sonic Force – Looking For The Perfect Beat (1982) Masterdon Committee – Funk Box Party (1982) Man Parrish – Hip Hop Be Bop (Don’t Stop) (1983) Run DMC – It’s Like That (1983) Art Of Noise – Beatbox (1983) Double Dee And Steinski – Play That Beat Mr DJ (Lesson 1: Payo Mix) (1983) Run DMC – Sucker MCs (1983) Newcleus – Jam On It (1984) Doug E Fresh And The Get Fresh Crew – The Show (1985) Whistle – (Nothing Serious) Just Buggin (1985) Eric B Featuring Rakim – Eric B Is President (1986) Run DMC – Peter Piper (1986) Epee MD – It’s My Thing (1987) Big Daddy Kane – Raw (1987) BDP – D Nice Rocks The House (1987) Eric B And Rakim – I Know You Got Soul (Double Trouble Remix) (1987) BDP – South Bronx (1987) 1988 1989 BDP - Jimmy EPMD – So Watcha Sayin BDP – Still Number 1 BDP feat D Nice – And You Don’t Stop Sweet Tee & Jazzy Joice – It’s My Beat Def Jef – Black To The Future Audio 2 – Top Billin Nice and Smooth – More And More Hits NWA – Compton’s In The House (Remix) LL Cool J – Droppin Em BDP – Stop The Violence Special Ed – Got It Made Marley Marl – The Symphony (Remix) -
April 4,2011
Sounding Blackness· Affect and the Sonic Unconscious Bertolain Elysee Maya Nadkarni April 4,2011 I would like to thank Maya Nadkarni for her extraordinary guidance throughout this entire process - it is quite impossible to envision this work existing without her help. I would also like to thank Anthony Foy and Robin Wagner-Pacifici for engaging with and pushing my ideas, both regarding this paper and more generally. Matthew Goodman, Daniel Symonds, and Andy Forrest have played an especially critical role in keeping me sane and grounded during the rough patches. Finally, special thanks are also due to Kethy Jules-Elysee, my mother, and Daniel Elysee, my father, who have sponsored and supported this and every other proj ect I have undertaken. Table of Contents Abstract 4 Introduction 4 Chapter 1: Black Music, Structure, Meaning 12 Chapter 2: Recording Black Sounds 26 Chapter 3: Voice and the Sonic Unconscious 40 Conclusion 64 Bibliography 67 Abstract: This paper interrogates the relationship between the histories ofblack musical production in the United States and the evolution of sound recording technology since the late 19th century through its successive mediations. The development ofcertain devices, such as the phonograph and the tape recorder, facilitated the spread and documentation ofdifferent genres of African-American music, while the formal innovations ofthese genres, particularly hip-hop, have also directly informed and altered the course and use ofthese technologies. After providing this history, the paper looks to the voice through the lens ofwhat I term the sonic unconscious, hearkening to Walter Benjamin's concept of"unconscious optics" in his famous artwork essay - different mediations ofthe voice through sound technologies allow listeners to hear the voice in novel ways.