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In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998). -
Is Hip Hop Dead?
IS HIP HOP DEAD? IS HIP HOP DEAD? THE PAST,PRESENT, AND FUTURE OF AMERICA’S MOST WANTED MUSIC Mickey Hess Library of Congress Cataloging-in-Publication Data Hess, Mickey, 1975- Is hip hop dead? : the past, present, and future of America’s most wanted music / Mickey Hess. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-275-99461-7 (alk. paper) 1. Rap (Music)—History and criticism. I. Title. ML3531H47 2007 782.421649—dc22 2007020658 British Library Cataloguing in Publication Data is available. Copyright C 2007 by Mickey Hess All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2007020658 ISBN-13: 978-0-275-99461-7 ISBN-10: 0-275-99461-9 First published in 2007 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 CONTENTS ACKNOWLEDGMENTS vii INTRODUCTION 1 1THE RAP CAREER 13 2THE RAP LIFE 43 3THE RAP PERSONA 69 4SAMPLING AND STEALING 89 5WHITE RAPPERS 109 6HIP HOP,WHITENESS, AND PARODY 135 CONCLUSION 159 NOTES 167 BIBLIOGRAPHY 179 INDEX 187 ACKNOWLEDGMENTS The support of a Rider University Summer Fellowship helped me com- plete this book. I want to thank my colleagues in the Rider University English Department for their support of my work. -
Rakim the Militia Ii
The Militia Ii Rakim "A special guest" "It's the militia... It's the militia" This is a conquest, so I suggest you take a rest Or keep a breath, but definitely keep a vest on that chest Rymes I'm packin, just like a thug at a car-jackin' Shoot off your hat when I start cappin, this is no actin G-A-N-G, S-T-A double R And you don't want no trouble up in here, baby pa From the late-night drama, of the New York streets To the hoods of LA, real niggas likin Primo's beats Put suckers on glass, send em, back to class And kick hot shit, so we can stack the Johnny Cash I brought the God, Rakim, lyrically gunning you wanna dash? I got Dub C, from South C, what you doubt me? Travellin through warzones with my infrared microphone In the year One Mill, destroying, enemies chromozones Words burn through flesh, leavin nothing but skeletal You best pay resepect to the legends, boy I'm tellin you, Militia The illest Realest Representin Bringin the rukkus Let it be known The illest Realest Word up It's The Militia; Freddie Foxxx Makin a move, makin a move, who's that nigga thats makin a move? It's the Shadiest rhymin'-back, actin' a motherfucking fool Four-four packers, my jackets ?hittin the tag? saggin, baggin Foot on my rag, mess up a bag, leavin my enemies in bodybags You niggas was crackin, what y'all thought it wasn't gon' happen? Dub C and my East Coast sisters gettin together rappin Gun-clappin, chump smackin, kiss the ring of your highness Look while I'm in New York City, walkin with two of the Brooklyn's finest My two affiliates from the East -
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. -
Traditional Funk: an Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio
University of Dayton eCommons Honors Theses University Honors Program 4-26-2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Caleb G. Vanden Eynden University of Dayton Follow this and additional works at: https://ecommons.udayton.edu/uhp_theses eCommons Citation Vanden Eynden, Caleb G., "Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio" (2020). Honors Theses. 289. https://ecommons.udayton.edu/uhp_theses/289 This Honors Thesis is brought to you for free and open access by the University Honors Program at eCommons. It has been accepted for inclusion in Honors Theses by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Abstract Recognized nationally as the funk capital of the world, Dayton, Ohio takes credit for birthing important funk groups (i.e. Ohio Players, Zapp, Heatwave, and Lakeside) during the 1970s and 80s. Through a combination of ethnographic and archival research, this paper offers a pedagogical approach to Dayton funk, rooted in the styles and works of the city’s funk legacy. Drawing from fieldwork with Dayton funk musicians completed over the summer of 2019 and pedagogical theories of including black music in the school curriculum, this paper presents a pedagogical model for funk instruction that introduces the ingredients of funk (instrumentation, form, groove, and vocals) in order to enable secondary school music programs to create their own funk rooted in local history. -
Ecstatic Resilience and So the Party Continues
Ecstatic Resilience And so the party continues. Every night I dance to the triplet hi hat trap boi fantasy. A slow syrup oration, deceptively similar to my code swapped histories–punctuated by an 808. Every night I dance to the sex-laced crescendo as bands make her dance, or the desire for another’s body, as the heart decelerates and drugs slowly seep out of the system, I only want u when I’m coming down or fuck faces. There is a rhythm for everything. attention to each beat of the heart, harder and harder. And the Sensation, conjured by this dance, is void of history, geographic location and pain. It’s a sensation that is without my scars or muscle memory. The “party” is about a moment It is without his trauma of of suspension. Feeling a domestic violence. It is without rigorous sensation in the body, the memory of crack or our a pulsating tip-to-tip. Like 80’s birth. It is without those Paul B Preciado’s Testogel–the small deposits of rage. It is moment it seeps in is palpable. without because even the Like pins and needles all sweat releases something from prickly across the skin’s surface the body. Without–because we and a slow numb that calls are giving everything and to splurge is an act of depletion. I’ve listened to my peers recite remixed versions of the names of the recent fallen, lately. I’ve watched the faces in white spaces as the words leave lips. I moisten my lips to receive these names. -
Funk Is Its Own Reward": an Analysis of Selected Lyrics In
ABSTRACT AFRICAN-AMERICAN STUDIES LACY, TRAVIS K. B.A. CALIFORNIA STATE UNIVERSITY DOMINGUEZ HILLS, 2000 "FUNK IS ITS OWN REWARD": AN ANALYSIS OF SELECTED LYRICS IN POPULAR FUNK MUSIC OF THE 1970s Advisor: Professor Daniel 0. Black Thesis dated July 2008 This research examined popular funk music as the social and political voice of African Americans during the era of the seventies. The objective of this research was to reveal the messages found in the lyrics as they commented on the climate of the times for African Americans of that era. A content analysis method was used to study the lyrics of popular funk music. This method allowed the researcher to scrutinize the lyrics in the context of their creation. When theories on the black vernacular and its historical roles found in African-American literature and music respectively were used in tandem with content analysis, it brought to light the voice of popular funk music of the seventies. This research will be useful in terms of using popular funk music as a tool to research the history of African Americans from the seventies to the present. The research herein concludes that popular funk music lyrics espoused the sentiments of the African-American community as it utilized a culturally familiar vernacular and prose to express the evolving sociopolitical themes amid the changing conditions of the seventies era. "FUNK IS ITS OWN REWARD": AN ANALYSIS OF SELECTED LYRICS IN POPULAR FUNK MUSIC OF THE 1970s A THESIS SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THEDEGREEOFMASTEROFARTS BY TRAVIS K. -
Mash out Posse's Latest Release Keeps It Real Minority Warnings For
PAGE 22 THE RETRIEVER WEEKLY FEATURES October 24, 2000 Mash Out Posse's Latest Release Keeps It Real "We 're the voice of the streets, and The subsequent EP, Handle Ur Bizness, arms and step lightly. we're .not letting that title go anywhere," and the release First Family showed that I pop shots at foes Album Review says Mash Out MOP still knew how .to touch a vein. Soren that don't entice me," -------- Posse's Lil' Fame in Baker of the LA Times reported that MOP, warns Billy Danze in by Jada lokeman the Brooklyn rap besides of course Run D.M.C. and the the opener "Welcome group's fourth and latest release, Warriorz, Beastie Boys, "were the first to enjoy to Brownsville." from Loud Records. · respect in the hip-hop community while Here, a bass line And they haven't gone anywhere. combining rock and rap in tl:ieir music." Of ·ripped from a '70s Despite changes in the industry as well as today's acts that have found success in car chase television the group's own label switch, MOP contin combining hip-hop and rock, namely Limp show is interspersed ues to deliver the hardcore in abundance. Bizkit, Korn and Kid Rock, she observes with a one-handed Although their trademark style of "undilut that "these rockers were beaten to the piano riff and pun~tu ed, unapolegetically underground ·sounds punch by MOP." In this period, they uti ated with a screech for hip hop purists (i-Music)" is difficult to lized less of DJ Premier's vast resources ing carpet bomb justify as responsible music, Warriorz dis and cultivated their own unique sound. -
Smr Td Resume 2011
FILM | TELEVISION MUSIC VIDEOS PRODUCTION DESIGNER PRODUCTION DESIGNER Disney XD • Zero Displacement • Director: Pat Notaro DUFFY • Keeping the Baby • Director: Petro Pappa • DRAW PICTURES Babylon Beach • Infidelis Productions • Director: Eric Bergemann FRANKI LOVE • Shadows • Director: Bryan Robbins • DI POST Red Weather • ABC | Disney • Director : Jordan Downey (Pre - Production) • Super Duper Love • Director: David LaChapelle • HSI JOSS STONE Small Town News (pilot) • STN LLC • Directors : Holt Bailey & Eric Steele PLACEBO • Follow the ... • Director: Daniel Askill • RADICAL MEDIA Lost • SILVERCREST FILM • Director: Darren Lemke • Producer : Ralph Winter THRICE • Come All You... • Director : Zach Merck • RADICAL MEDIA Down South • BEDFORD FILMS • Director : Hank Bedford SWITCHFOOT • Oh! Gravity • Director: P.R. Brown • RADICAL MEDIA Emergency • EMERGENCY LLC • Director : Jordan Downey Way of the Tiger • THE MINE • Director: Chris Salzgeber TRANSPLANTS • What I Can’t... • Director: Estevan Oriol • HSI THE BRAVERY • Fearless • Director: Diane Martel • DNA THE ACADEMY IS • The Phrase...• Director: Marvin Jarrett • TOYSTORE ART DIRECTOR • [2nd Unit / Pick-Ups] SHANE M. RICHARDSON Harold and Kumar... • SENATOR FILMS • Director : Danny leiner VHS OR BETA • You Got Me • Director: Ryan Rickett • REFUSED TV [email protected] LIMBECK • People Don’t Change • Director: Ryan Rickett • REFUSED TV SET DECORATOR | PROPMASTER KARRI KIMMEL • Not Make Believe • Director: Garreth O’Neil • DISNEY www.tandemdesign.biz Jingles (reality gameshow) • MARK -
Racial Gatekeeping in Country & Hip-Hop Music
Portland State University PDXScholar University Honors Theses University Honors College 12-14-2020 Racial Gatekeeping in Country & Hip-Hop Music Cervanté Pope Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/honorstheses Part of the Mass Communication Commons, Race and Ethnicity Commons, Social Psychology and Interaction Commons, and the Sociology of Culture Commons Let us know how access to this document benefits ou.y Recommended Citation Pope, Cervanté, "Racial Gatekeeping in Country & Hip-Hop Music" (2020). University Honors Theses. Paper 957. https://doi.org/10.15760/honors.980 This Thesis is brought to you for free and open access. It has been accepted for inclusion in University Honors Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Racial Gatekeeping in Country & Hip-Hop Music By Cervanté Pope Student ID #: 947767021 Portland State University Pope 2 Introduction In mass communication, gatekeeping refers to how information is edited, shaped and controlled in efforts to construct a “social reality” (Shoemaker, Eichholz, Kim, & Wrigley, 2001). Gatekeeping has expanded into other fields throughout the years, with its concepts growing more and more easily applicable in many other aspects of life. One way it presents itself is in regard to racial inclusion and equality, and despite the headway we’ve seemingly made as a society, we are still lightyears away from where we need to be. Because of this, the concept of cultural property has become even more paramount, as a means for keeping one’s cultural history and identity preserved. -
GAZETTEOF CONGRESS a Weekly Publication for Staff INSIDE
Volume 32, No. 12 LIBRARY March 26, 2021 GAZETTEOF CONGRESS A weekly publication for staff INSIDE Curating Black Culture Three Howard University students are bringing African American history and culture to the fore this spring through the Archives, History and Heritage Advanced Internship Program. Courtesy ©Muppets Studio of and LC PAGE 3 New registry additions: "The Rainbow Connection," sung by Jim Henson as Kermit the Frog, and Janet Jackson's "Rhythm Nation 1814." New Registry Titles Librarian of Congress Carla Hayden announced 25 new additions to Janet Jackson and Kermit the the National Recording Registry on Wednesday. Frog Added to Recording Registry PAGE 4—5 New recordings bring the total number of titles on the registry to 575. Janet Jackson’s clarion call for to the nation’s recorded sound action and healing in “Rhythm heritage. Nation 1814” now joins other “The National Recording Registry groundbreaking sounds of his- will preserve our history through tory and culture on the Library’s these vibrant recordings of music National Recording Registry. The and voices that have reflected our album was inducted into the regis- humanity and shaped our culture,” try on Wednesday along with Louis Hayden said. Armstrong’s “When the Saints Go Marching In,” Labelle’s “Lady She noted that the Library Marmalade,” Nas’ “Illmatic,” Kool received about 900 nominations Researcher Story and the Gang’s “Celebration” and from the public for recordings to Miami University in Ohio history profes- Kermit the Frog’s “The Rainbow add to the registry. “We welcome sor Kimberly Hamlin researched her Connection.” the public’s input as the Library of new book about suffragist Helen Hamil- Congress and its partners pre- ton Gardener in the Manuscript Division. -
Motorcity Casino Hotel Proudly Welcomes the Ohio Players SOUND BOARD March 6, 2014
FOR IMMEDIATE RELEASE MEDIA CONTACT: Tracey Shavers or Jacci Woods 313.309.4610 [email protected] or [email protected] MotorCity Casino Hotel Proudly Welcomes The Ohio Players SOUND BOARD March 6, 2014 (Detroit- February 25, 2014) MotorCity Casino Hotel is proud to announce The Ohio Players, at Sound Board on Thursday, March 6 at 8:00 p.m. In 1959, legendary funk band The Ohio Players began in Dayton, OH as the Ohio Untouchables, led by vocalist/lead guitarist Leroy “Sugarfoot” Bonner – one of R&B’s most unique vocal stylists. Combining the genres of funk, rock, jazz and soul the group crafted a new sound, one that would be best described as “Street Funk” –a music that would eventually pave the way for the success of both Rap and Hip Hop. The Ohio Players emerged as one of the top American funk and R&B bands in the mid-70’s with No. 1 hits like “Fire” and “Love Rollercoaster” and has been providing fans with musical hits ever since. For more information on The Ohio players please visit: http://wfnk.com/ohioplayers/. Tickets ($35, $30 and $27) are on sale now via Ticketmaster. To charge tickets by phone, call (800) 745- 3000. Tickets are also available through the Sound Board Box Office on Wednesday and from Friday-Sunday. Guest must be at least 21 years old to attend this performance. SOUND BOARD, an intimate live performance venue is located at MotorCity Casino Hotel. The venue features four bars and several private suites that are available to create an unforgettable live entertainment event.