Sundance Institute Announces Film and Music Lineup for Sundance
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Why Hip-Hop Is Queer: Using Queer Theory to Examine Identity Formation in Rap Music
Why Hip-Hop is Queer: Using Queer Theory to Examine Identity Formation in Rap Music Silvia Maria Galis-Menendez Advisor: Dr. Irene Mata Submitted in Partial Fulfillment of the Prerequisite for Honors in the Department of Women’s and Gender Studies May 2013 © Silvia Maria Galis-Menendez 2 Table of Contents Introduction 3 “These Are the Breaks:” Flow, Layering, Rupture, and the History of Hip-Hop 6 Hip-Hop Identity Interventions and My Project 12 “When Hip-Hop Lost Its Way, He Added a Fifth Element – Knowledge” 18 Chapter 1. “Baby I Ride with My Mic in My Bra:” Nicki Minaj, Azealia Banks and the Black Female Body as Resistance 23 “Super Bass:” Black Sexual Politics and Romantic Relationships in the Works of Nicki Minaj and Azealia Banks 28 “Hey, I’m the Liquorice Bitch:” Challenging Dominant Representations of the Black Female Body 39 Fierce: Affirmation and Appropriation of Queer Black and Latin@ Cultures 43 Chapter 2. “Vamo a Vence:” Las Krudas, Feminist Activism, and Hip-Hop Identities across Borders 50 El Hip-Hop Cubano 53 Las Krudas and Queer Cuban Feminist Activism 57 Chapter 3. Coming Out and Keepin’ It Real: Frank Ocean, Big Freedia, and Hip- Hop Performances 69 Big Freedia, Queen Diva: Twerking, Positionality, and Challenging the Gaze 79 Conclusion 88 Bibliography 95 3 Introduction In 1987 Onika Tanya Maraj immigrated to Queens, New York City from her native Trinidad and Tobago with her family. Maraj attended a performing arts high school in New York City and pursued an acting career. In addition to acting, Maraj had an interest in singing and rapping. -
Interview by Olivia Jasmine Singer Photography by Ronald Dick
tameka norris Interview by Olivia Jasmine Singer Photography by Ronald Dick 24 tameka Norris is a New orleans-based artist livia Jasmine Singer: How did you get into making art? More in line with theirs because you are similar on that tangible who deals with complex issues of race, gender Otameka Norris: When I was a little girl I would dress up and pretend to level… be Cindy Lauper or Michael Jackson: I would take on characters and Exactly. But on the other hand, if I stand up for ‘my people’ – and they’re all and economic inequality in her multidisciplinary wanted to navigate space within them. My mum was a radio DJ, and she my people, everybody’s my people, both sides are my people – but if I stand work. With pieces ranging from collage relating was a single mother so I would sleep at the radio station with her. She’d do up for the black community, the organisations are like, “well, we didn’t invite her job playing urban contemporary music and I would go into the empty you here to do that, we want you to fulfill our quota but still play by our rules.” to a home destroyed by hurricane Katrina booth, put a spotlight on and perform. then, when I was in my early 20s at It’s really complicated and it’s hurtful to see the politics of what is expected to hip-hop video-art and Drake remixes, her community college in Los Angeles, a girl walked up to me and told me she of me because of the position that I’m in and the opportunities that I have, wanted to photograph me. -
Understanding Black Feminism Through the Lens of Beyoncé’S Pop Culture Performance Kathryn M
Seattle aP cific nivU ersity Digital Commons @ SPU Honors Projects University Scholars Spring June 7th, 2018 I Got Hot Sauce In My Bag: Understanding Black Feminism Through The Lens of Beyoncé’s Pop Culture Performance Kathryn M. Butterworth Follow this and additional works at: https://digitalcommons.spu.edu/honorsprojects Part of the Feminist, Gender, and Sexuality Studies Commons, and the Race, Ethnicity and Post- Colonial Studies Commons Recommended Citation Butterworth, Kathryn M., "I Got Hot Sauce In My Bag: Understanding Black Feminism Through The Lens of Beyoncé’s Pop Culture Performance" (2018). Honors Projects. 81. https://digitalcommons.spu.edu/honorsprojects/81 This Honors Project is brought to you for free and open access by the University Scholars at Digital Commons @ SPU. It has been accepted for inclusion in Honors Projects by an authorized administrator of Digital Commons @ SPU. I GOT HOT SAUCE IN MY BAG: UNDERSTANDING BLACK FEMINISM THROUGH THE LENS OF BEYONCÉ’S POP CULTURE PREFORMANCE by KATHRYN BUTTERWORTH FACULTY ADVISOR, YELENA BAILEY SECOND READER, CHRISTINE CHANEY A project submitted in partial fulfillment of the requirements of the University Scholars Program Seattle Pacific University 2018 Approved_________________________________ Date____________________________________ Abstract In this paper I argue that Beyoncé’s visual album, Lemonade, functions as a textual hybrid between poetry, surrealist aesthetics and popular culture—challenging the accepted understanding of cultural production within academia. Furthermore, Lemonade centers black life while presenting mainstream audiences with poetry and avant-garde imagery that challenge dominant views of black womanhood. Using theorists bell hooks, Stuart Hall, Patricia Hill- Collins and Audre Lorde, among others, I argue that Beyoncé’s work challenges the understanding of artistic production while simultaneously fitting within a long tradition of black feminist cultural production. -
Beyoncé's Lemonade Collaborator Melo-X Gives First Interview on Making of the Album.” Pitchfork, 25 Apr
FACULTADE DE FILOLOXÍA DEPARTAMENTO DE FILOLOXÍA INGLESA GRAO EN INGLÉS: ESTUDOS LINGÜÍSTICOS E LITERARIOS Beyoncé’s Lemonade: “A winner don’t quit” ANDREA PATIÑO DE ARTAZA TFG 2017 Vº Bº COORDINADORA MARÍA FRÍAS RUDOLPHI Table of Contents Abstract 1. Introduction 3 2. Methodology 4 3. Beyonce's Lemonade (2016) 5 3.1 Denial: “Hold Up” 6 3.2 Accountability: “Daddy Lessons” 12 3.3 Hope: “Freedom” 21 3.4 Formation 33 4. Conclusion 44 5. Works Cited 46 Appendix 49 Abstract Beyoncé’s latest album has become an instant social phenomenon worldwide. Given its innovative poetic, visual, musical and socio-politic impact, the famous and controversial African American singer has taken an untraveled road—both personal and professional. The purpose of this essay is to provide a close reading of the poetry, music, lyrics and visuals in four sections from Beyoncé’s critically acclaimed Lemonade (2016). To this end, I have chosen what I believe are the most representative sections of Lemonade together with their respective songs. Thus, I focus on the song “Hold Up” from Denial; “Daddy Lessons” from Accountability, “Freedom” from Hope, and “Formation,” where Beyoncé addresses topics such as infidelity, racism, women’s representation, and racism and inequality. I analyse these topics through a close-reading and interpretation of Warsan Shire’s poetry (a source of inspiration), as well as Beyoncé’s own music, lyrics, and imagery. From this analysis, it is safe to say that Lemonade is a relevant work of art that will perdure in time, since it highlights positive representations of African-Americans, at the same time Beyoncé critically denounces the current racial unrest lived in the USA. -
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 . -
Nas Song Writting a Letter to His Friendin Jail
Nas Song Writting A Letter To His Friendin Jail Intern Claudio sometimes transfigure any smasher rases edifyingly. Is Gunter always unconstrainable and Brahmanical when expertizing some bannerol very deservedly and jollily? Bjorne remains reciprocative: she stage-managing her friendly gentles too epidemically? Structured as letters to a friend from prison Nas bridges the crank between senseless. Hill bought it for 30 and spent three month so what became pretty Town Road Wanting an anthemic song with viral appeal he crafted lyrics built. And garden news outlets, lack of this would keep the areas of independent voice, every lie here to a nas to his jail time or feather? Moses References in Rap Songs Ranked Alma Hey Alma. On fortune Love he updated the verb a bit ad-libbing We used to write letters to. Kane Brown was inspired to write Homesick while telling his. Redbone do have good then later friend into her Lil Wayne. To the 1994 hit a World is Yours by Nas and couldn't remember all love lyrics Sean. Songs featuring 2pac Lake County Fish & Game. In an era when a majority of hip-hop pain is working more than. How Prodigy Told His Life access The Ringer. As someone that's always on the fortunate of breaking out each song. 195 cuts scenes of its protagonist joining his friends in boys-will-be-boys. Through his lyrical prowess and social awareness his first flow that a magnificent piece for beats he's crafted some add the greatest songs of all time dimension as. With Nas about dad he wrote the advice and during violent lyrics in general own death might. -
Writing@SVSU 2016–2017
SAGINAW VALLEY STATE UNIVERSITY 2016-2017 7400 Bay Road University Center, MI 48710 svsu.edu ©Writing@SVSU 7400 Bay Road University Center, MI 48710 CREDITS Writing@SVSU is funded by the Office of the Dean of the College of Arts & Behavioral Sciences. Editorial Staff Christopher Giroux Associate Professor of English and Writing Center Assistant Director Joshua Atkins Literature and Creative Writing Major Alexa Foor English Major Samantha Geffert Secondary Education Major Sara Houser Elementary Education and English Language Arts Major Brianna Rivet Literature and Creative Writing Major Kylie Wojciechowski Professional and Technical Writing Major Production Layout and Photography Tim Inman Director of Marketing Support Jennifer Weiss Administrative Secretary University Communications Cover Design Justin Bell Graphic Design Major Printing SVSU Graphics Center Editor’s Note Welcome to the 2016-2017 issue of Writing@SVSU, our yearly attempt to capture a small slice of the good writing that occurs at and because of SVSU. Whether the pieces in Writing@SVSU are attached to a prize, the works you’ll find here emphasize that all writing matters, even when it’s not done for an English class (to paraphrase the title of an essay that follows). Given the political climate, where commentary is often delivered by our leaders through late- night or early-a.m. tweets, we hope you find it refreshing to read the pieces on the following pages. Beyond incorporating far more than 140 characters, these pieces encourage us to reflect at length, as they themselves were the product of much thought and reflection. Beyond being sources and the product of reflection, these texts remind us that the work of the university is, in part, to build bridges, often through words. -
Michael Isaacson Collection
MICHAEL ISAACSON COLLECTION RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Processed by Gail E. Lowther, spring-summer 2018 1 Photograph of Michael Isaacson with Samuel Adler (ca. 1972). Photograph by Louis Ouzer, from Michael Isaacson Collection, Box 31, Folder 13 Photograph of Michael Isaacson conducting the Israel Pops Orchestra during recording session for the Museum of Jewish Heritage (1997). From Michael Isaacson Collection, Box 31, Folder 14. 2 TABLE OF CONTENTS Description of Collection . 5 Description of Series . 8 INVENTORY Series 1: Manuscripts and Sketches Sub-series A: Numbered Works . 14 Sub-series B: Orchestral Arrangements . 58 Sub-series C: Unnumbered Manuscripts . 62 Series 2: Papers Sub-series A: Correspondence. 95 Sub-series B: Composition Projects . 101 Sub-series C: Lectures and Pedagogical Materials . 119 Sub-series D: Writings . 124 Sub-series E: Professional Papers . 128 Sub-series F: Milken Papers . 159 Sub-series G: Milken Recording Project . 166 Sub-series H: Photographs and Images . 174 Series 3: Publicity and Press Materials Sub-series A: Scrapbooks . 179 Sub-series B: Concert Programs . 187 Sub-series C: Press Clippings . 190 Series 4: Library Sub-series A: Study Scores . 200 3 Sub-series B: Literature. 232 Series 5: Audio-Visual Materials Sub-series A: 5” Reel-to-Reel Audio Tapes . 233 Sub-series B: 7” Reel-to-Reel Audio Tapes. 233 Sub-series C: 10.5” Magnetic Tape. 236 Sub-series D: 12” LPs . 236 Sub-series E: 7” EPs . 237 Sub-series F: Cassette Tapes . 238 Sub-series G: Compact Discs (CDs) . 253 Sub-series H: Digital Audio Tapes (DATs) . -
From Bandannas to Berets: a Critical Analysis of Beyoncé's “Formation” Music Video by Kesha Shalyn James a Thesis Submit
From Bandannas to Berets: A Critical Analysis of Beyoncé’s “Formation” Music Video by Kesha Shalyn James A thesis submitted to the Graduate Faculty of Auburn University in partial fulfillment of the requirements for the Degree of Master of Arts in Communication Auburn, Alabama August 5, 2017 Keywords: Beyoncé, Formation, Black women, Black music, Black culture, media representations Copyright 2017 by Kesha Shalyn James Approved by Susan L. Brinson, Chair, Professor of Communication & Journalism George Plasketes, Professor of Communication & Journalism Kevin Smith, Associate Professor of Communication & Journalism Abstract The release of Beyoncé’s “Formation” music video as well as her debut performance of the song at the 2016 Super Bowl has incited debate and controversy across the United States. While some feel empowered and prideful, others are angered and outraged by the lyrical and visual messages Beyoncé communicates in this mediated text. Applying a critical/cultural studies perspective lens, this study explains how Beyoncé challenges the sexist and racist dominant ideology in the United States. Critically analyzing the visual and lyrical composition of “Formation,” this analysis interrogates the messages of both race and gender as well as the representation of Black Women. The findings indicate a direct challenge to white androcentric power as the visuals and lyrics re-appropriate stereotypical images of Black Women, thus demonstrating Black Women’s power and dominance in society. The implications of explaining the ways in which Beyoncé communicates what and how it means to be a Black Woman in “Formation” inform and explain the social, political, and economic reality of Black Women in the United States today, as mediated texts re-present everyday reality. -
Summerstage 2019 Schedule
SummerStage 2019 Schedule Day Date Time Artist Park Boro Genre Saturday 6/1/19 6:00 PM Opening Show: Emily King / Central Park MN Music Durand Jones and the Indications / Madison McFerrin / DJ Reborn Saturday 6/8/19 7:00 PM Parquet Courts / Sachiko Central Park MN Music Kanenobu / ARP / Prince of Queens (DJ set) Monday 6/10/19 8:00 PM Met Opera Summer Recital Series Central Park MN Music featuring Ying Fang, Ben Bliss, Nathan Gunn, and Dan Saunders Tuesday 6/1 1/19 7:00PM SummerStage on the Rocks: Kes Ford BKLN Music the Band / Lyrikal / Sounds 4 Life Amphitheater / Max Glazer at Coney Island Wednesday 6/12/19 7:00 PM The New York Cantors with Central Park MN Music Special Guests Shulem and Frank London conducted by Zalmen Mlotek presented by the National Yiddish Theatre Folksbiene Wednesday 6/12/19 7:00 PM Met Opera Summer Recital Series Brooklyn BKLN Music featuring Met Opera stars Ying Bridge Park Fang, Ben Bliss, Nathan Gunn, and Dan Saunders Thursday 6/13/19 7:00 PM Big Freedia / MikeQ x Qweenbeat Central Park MN Music / BATEKOO Thursday 6/13/19 7:00 PM Met Opera Summer Recital Series Jackie MN Music featuring Leah Hawkins, Mario Robinson Park Bahg, Joseph Lim, and Dimitri Dover Saturday 6/15/19 7:00 PM Jack DeJohnette, Ravi Coltrane Central Park MN Music and Matt Garrison Trio, Brandee Younger in association with Sony presents Blue Note Jazz Festival Saturday 6/15/19 4:00 PM Met Opera Summer Recital Series Williamsbridg BX Music featuring Leah Hawkins, Mario e Oval Bahg, Joseph Lim, and Dimitri Dover Monday 6/17/19 7:00 PM Met -
Big Freedia, Known As the Queen of Bounce, Is a New Orleans-Based Rapper and Ambassador of Bounce Music
ABOUT Big Freedia, known as the Queen of Bounce, is a New Orleans-based rapper and ambassador of Bounce music. A vibrant twist on hip-hop, Bounce music is characterized by call-and-response lyrics over rapid-fire beats and booty-shaking. After running the New Orleans club scene for over two decades, Big Freedia is now bringing the Bounce movement to a world-wide stage with her hit reality show, Big Freedia Bounces Back on Fuse. The weekly docu-series, now in its sixth season, follows the life of a gay choirboy turned Bounce rapper and remains the highest rated original series on the network. In 2015, Freedia collaborated with Beyonce on the Grammy-nominated single, “Formation.” A collaboration with pop-vocalist Sia for “Eye of the Needle” was released in 2015 as part of the Adult Swim Series and Big Freedia’s single “I Heard” was released in February. Freedia’s first LP, “Just Be Free” was named one of the ‘best electronic releases of 2014’ by Rolling Stone and was critically acclaimed in outlets such as Pitchfork, SPIN, USA Today, and Consequence of Sound. In 2015, Big Freedia penned her first memoir, Big Freedia: God Save the Queen Diva! on Gallery Books/ Simon & Schuster. The book was hailed in the press by outlets from Rolling Stone and Pitchfork to Out and Bust. Big Freedia’s sophomore album will be released in 2017. HIGHLIGHTS • Season 6 of top rated TV show Big Freedia Bounces Back • Authored memoir God Save the Queen Diva! • Appeared on Jimmy Kimmel Live! • Appeared on Watch What Happens Live, Andy Cohen • Appeared on The Real • GLAAD -
Issue — Nov. 1, 2019
THE ROSPECTOR 801 WEST KENSINGTONP ROAD, MOUNT PROSPECT, ILLINOIS 60056 THE VOICE OF PROSPECT HIGH SCHOOL SINCE 1959 VOLUME 59, ISSUE 3 FRIDAY, NOVEMBER 1, 2019 DIMINISHING OUR FOOTPRINT larger facilities like Prospect are anyone asks me, I want to be able Efficient lighting helps to reduce asked to participate in “blackout to tell them.” days” and turn off the power of the Slightly discouraged by the building for a few hours of the day. amount of times she sees plas- energy waste, carbon emissions According to Minter, Prospect tic water bottles being thrown participates in these days when into the garbage, Palomo feels ELIZABETH KEANE place of the previous 400 and 250 watt high pressure sodium light they occur — about five times a as though the most effective way Copy Editor bulbs that were being used. year, typically in the summer. to combat this ignorance is by According to Principal Greg As for our heating system, gas spreading awareness of the im- enior Lauren Ellstrand Minter, before they were replaced, is used to heat water that circu- portance of recycling to younger and her friends decided the lights in those areas used to lates through pipes around the generations. Sto go to North Avenue stay on from the morning and into building. Fans then blow this heat Through Environmental Club, Beach on the last day of their ju- the night. Now, the lights have through the vents. This system is Palomo wants to have club mem- nior year. After lounging for two dimmers. switched to “cooling mode” once bers visit the local middle and el- hours and growing bored amongst The locker rooms and academ- the weather starts getting warmer.