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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. -
University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 a Xerox Education Company 73-2103
INFORMATION TO USERS This dissertation was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Who Was 2Pac Dating Before He Died
Tupac Shakur died on September 13, in Las Vegas, Nevada. Rapper Tupac Shakur’s last words before he died several years ago in have been revealed by a former police officer of the Las Vegas Metropolitan Police Department. Sep 13, · Jones and Tupac’s relationship didn’t spark the “good vibe” with everyone, Jones’s father, Quincy Jones, was outraged when he found out that the two were a couple. Before the hook-up, Tupac had made some harsh remarks about Quincy Jones only dating white women in . Behind the day, radical political views, and i saw tupac shakur was killed. He was tupac, whom he'd been dating before his girlfriend at the items in - register and his death in los angeles. Even before he thinks. How does a dangerous reputation? Took of the true story of the rapper tupac, has died thinks. From to fuel a rainy. Sep 13, · He died at age Among those who last spoke with Tupac before he slipped into a coma: his fiancee, Kidada Jones, He apologized to her, and the pair began dating. Tupac Amaru Shakur (TOO-pahk shə-KOOR; born Lesane Parish Crooks, June 16, – September 13, ), also known by his stage names 2Pac and Makaveli, was an American rapper and actor. He is considered by many to be one of the greatest rappers of all time. Nov 13, · Who did Tupac Shakur date? Many famous women have dated Tupac Shakur, and this list will give you more details about these lucky ladies. Including Tupac Shakur's most recent girlfriend before his passing, past relationships (including a wife or two), pictures together, and dating rumors, this comprehensive dating history tells you everything you need to know about Tupac Shakur’s love life. -
3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (Guest Post)*
“3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (guest post)* De La Soul For hip-hop, the late 1980’s was a tinderbox of possibility. The music had already raised its voice over tensions stemming from the “crack epidemic,” from Reagan-era politics, and an inner city community hit hard by failing policies of policing and an underfunded education system--a general energy rife with tension and desperation. From coast to coast, groundbreaking albums from Public Enemy’s “It Takes a Nation of Millions to Hold Us Back” to N.W.A.’s “Straight Outta Compton” were expressing an unprecedented line of fire into American musical and political norms. The line was drawn and now the stage was set for an unparalleled time of creativity, righteousness and possibility in hip-hop. Enter De La Soul. De La Soul didn’t just open the door to the possibility of being different. They kicked it in. If the preceding generation took hip-hop from the park jams and revolutionary commentary to lay the foundation of a burgeoning hip-hop music industry, De La Soul was going to take that foundation and flip it. The kids on the outside who were a little different, dressed different and had a sense of humor and experimentation for days. In 1987, a trio from Long Island, NY--Kelvin “Posdnous” Mercer, Dave “Trugoy the Dove” Jolicoeur, and Vincent “Maseo, P.A. Pasemaster Mase and Plug Three” Mason—were classmates at Amityville Memorial High in the “black belt” enclave of Long Island were dusting off their parents’ record collections and digging into the possibilities of rhyming over breaks like the Honey Drippers’ “Impeach the President” all the while immersing themselves in the imperfections and dust-laden loops and interludes of early funk and soul albums. -
The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap
Open Cultural Studies 2018; 2: 122–135 Research Article Adam de Paor-Evans* The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap https://doi.org/10.1515/culture-2018-0012 Received January 27, 2018; accepted June 2, 2018 Abstract: In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and socio- political presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society. Keywords: dromosphere, dromology, Afrofuturism, electro-rap, thirdspace, fantasy, Newcleus, Strange U Introduction During the mid-1970s, the language of New York City’s pioneering hip hop practitioners brought them fame amongst their peers, yet the methods of its musical production brought heavy criticism from established musicians. -
Does a Song by Any Other Name Still Sound As Sweet?: Digital Sampling and Its Copyright Implications
DOES A SONG BY ANY OTHER NAME STILL SOUND AS SWEET?: DIGITAL SAMPLING AND ITS COPYRIGHT IMPLICATIONS RANDY S. KRAviS "So sampling is theft, right?"1 TABLE OF CONTENTS Introduction .................................... 232 I. Digital Sampling .............................. 237 II. Copyright Law . .............................. 239 A. What Qualifies for Copyright Protection? ........ 240 B. Rights of the Copyright Owner ............... 241 C. Infringement .............................. 243 1. Ownership ............................. 244 2. Copying ............................... 244 a. Access . ............................ 245 b. Substantial similarity .................. 245 3. The defense of fair use ................... 246 D. Remedies . ............................... 248 III. The Controversy Surrounding Digital Sampling ...... 250 A. The Debate Over Substantial Similarity .......... 250 B. The Debate Over Originality ................. 255 C. The Debate Over the Effect of Sampling on a Song's Market ............................. 258 D. The Copyright Act's Ambiguous Legislative History. 260 IV. The Case: Grand Upright Music Ltd. v. Warner Bros. Records, Inc. ............................. 262 A. The Factual Background .................... 263 1. J.D. Considine, LarcenousArt, ROLLING STONE,June 14, 1990, at 107, 107-09 (discussing controversy of whether sampling is "simple theft" or "appropriate artistic response to expanding technology"). THE AMERICAN UNivERSriY LAW REvIEW [Vol. 43:231 B. The Opinion .............................. 263 V. -
Various Tommy Boy Presents: Architects of Culture Mp3, Flac, Wma
Various Tommy Boy Presents: Architects Of Culture mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Tommy Boy Presents: Architects Of Culture Country: UK Released: 2000 MP3 version RAR size: 1485 mb FLAC version RAR size: 1426 mb WMA version RAR size: 1286 mb Rating: 4.3 Votes: 373 Other Formats: MP3 MMF ASF VOC AC3 AA XM Tracklist Hide Credits Hip Hop Hooray 1 –Naughty By Nature 1:27 Producer – Naughty By Nature Uptown Anthem 2 –Naughty By Nature 1:34 Producer – Naughty By Nature Live It Up 3 –Natural Elements 2:59 Producer – Charlemagne Talkin' All That Jazz 4 –Stetsasonic 2:59 Producer – Daddy-O Me Myself & I 5 –De La Soul 1:43 Co-producer – De La SoulProducer – Prince Paul Doowutchyalike 6 –Digital Underground 1:59 Producer – The Underground* Thick 7 –DITC* 3:52 Producer – DJ Premier H-O-S-T-Y-L-E 8 –Screwball 2:41 Producer – Mike Heron Body In A Trunk 9 –Noreaga 2:18 Featuring – NasProducer – Grease* Halfway Thugs 10 –Capone & Noreaga* 3:20 Producer – Charlemagne Wrath Of My Madness (Remix) 11 –Queen Latifah 2:00 Producer – The 45 KingRemix – DJ Premier Money (Dollar Bill) 12 –Everlast 2:41 Featuring – Sadat XProducer – Dante Ross, John Gamble The Piecemaker 13 –Tony Touch 2:27 Featuring – Gang StarrProducer – DJ Premier Diaz Bros 14 –Tony Touch Featuring – Doo Wop, Pain In Da AssProducer – Tony 3:11 Touch So Good 15 –De La Soul 1:27 Featuring – Camp LoProducer – De La Soul Holy Calamity –Handsome Boy Modeling 16 Producer – DJ Shadow, Dan The Automator, Prince 1:55 School PaulScratches – DJ Quest –Afrika Bambaataa & The Jazzy Jazzy Sensation 17 3:27 5 Producer – Arthur Baker Credits DJ Mix – DJ Swing Notes Promotional CD given away with Hip Hop Connection magazine issue #138 (June 2000) Related Music albums to Tommy Boy Presents: Architects Of Culture by Various Naughty By Nature - Craziest Naughty By Nature - Everything's Gonna Be Alright Naughty By Nature - Nineteen Naughty Nine - Nature's Fury Naughty By Nature - O.P.P. -
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. -
In Hip-Hop Published on Ethnomusicology Review (
Under the Blasphemous W(RAP): Locating the “Spirit” in Hip-Hop Published on Ethnomusicology Review (https://ethnomusicologyreview.ucla.edu) Under the Blasphemous W(RAP): Locating the “Spirit” in Hip-Hop By Christina Zanfagna - University of California, Los Angeles This article is an expanded version of the Ki Mantle Hood Prize-winning paper presented at the SEMSCC 2004 Conference in Los Angeles, California. Biography Christina Zanfagna is a Ph.D. student in ethnomusicology at UCLA. Her work has appeared in The Beat, fRoots, Afropop Quarterly, and she has a forthcoming article on krump dancing in The Social and Popular Dance Reader (University of Illinois Press, 2007). Her proposed doctoral dissertation explores themes of spirituality and commercialism in holy hip-hop music and culture. In addition, Christina has performed with the Gospel Workshop of America (GMWA) mass choir in New Orleans, the UCLA Music of Brazil Ensemble (batUCLAda), and co-organized the first Hip-Hop Film Festival at UCLA. Abstract Black popular music has always been a spiritual art form, from its sacred roots in the spirituals and gospel and extending to the blues, jazz, soul, and finally hip-hop. Despite its blasphemous w(rap), mainstream hip-hop percolates with unexpected and multifaceted religious inclinations. While many rap listeners experience a sense of spiritual ecstasy through its words and music, the sacred underbelly of rap music remains elusive to the outsider. As descendents of black music’s sacred-profane ideology, rap artists encode spiritual philosophies in the thorny arenas of sexuality, substance, and suffering. To accept this presupposes that popular culture could be a theological space— an arena in which one may encounter God even in what may be deemed unholy places. -
Tommy Boy Records
WHO'S WHO AT TOMMY BOY RECORDS TOM SILVERMAN - President 210 E. 90 St. Basement Mew York, N.Y. 10028 (212) 348-4700 INTERVIEW WITH TOM SILVERMAN Q: Give me some background on you personally. A: I started at Colby College in Maine as Music Director at the college radio station. Then I went to graduate school in western Michigan studying environmental geology because I really didn't think that the radio business was solid enough for me. While applying for jobs in environmental studies, my old roomate from Colby, Scott Anderson, called me from L.A. He was then doing the R&B charts at Cashbox. He said there were a lot of people interested in a dance music, or at that time, "disco" tip sheet. At that time disco was real big... He had great profit predictions so I said "What the Hell". ..I left graduate school, finishing everything but my thesis, and came back to New York and set up the business. A few months later Scott came in and we started Disco News in about 1978. Q: Why didn't you go to L.A. and join him there to start the publication? A: He was from the east and we both knew that disco was really happening here, not there. All of the records were coming out of the northeast, especially out of New York. Q: Go on from there. A: It was a weekly tip sheet. Then when the industry got hit hard and disco took the blame we changed to a bi-weekly. -
No Bitin' Allowed a Hip-Hop Copying Paradigm for All Of
20 Tex. Intell. Prop. L.J. 115 Texas Intellectual Property Law Journal Fall, 2011 Article NO BITIN’ ALLOWED: A HIP-HOP COPYING PARADIGM FOR ALL OF US Horace E. Anderson, Jr.a1 Copyright (c) 2011 Intellectual Property Law Section of the State Bar of Texas; Horace E. Anderson, Jr. I. History and Purpose of Copyright Act’s Regulation of Copying 119 II. Impact of Technology 126 A. The Act of Copying and Attitudes Toward Copying 126 B. Suggestions from the Literature for Bridging the Gap 127 III. Potential Influence of Norms-Based Approaches to Regulation of Copying 129 IV. The Hip-Hop Imitation Paradigm 131 A. Structure 131 1. Biting 131 2. Beat Jacking 133 3. Ghosting 135 4. Quoting 136 5. Sampling 139 B. The Trademark Connection 140 C. The Authors’ Rights Connection 142 D. The New Style - What the Future of Copyright Could Look Like 143 V. Conclusion 143 VI. Appendix A 145 VII. Appendix B 157 VIII. Appendix C 163 *116 Introduction I’m not a biter, I’m a writer for myself and others. I say a B.I.G. verse, I’m only biggin’ up my brother1 It is long past time to reform the Copyright Act. The law of copyright in the United States is at one of its periodic inflection points. In the past, major technological change and major shifts in the way copyrightable works were used have rightly led to major changes in the law. The invention of the printing press prompted the first codification of copyright. The popularity of the player piano contributed to a reevaluation of how musical works should be protected.2 The dawn of the computer age led to an explicit expansion of copyrightable subject matter to include computer programs.3 These are but a few examples of past inflection points; the current one demands a similar level of change. -
Mp3tag File Overview 2011-02-08
Mp3tag File Overview 2011-02-08 Title: You'll Loose A Good Thing Artist: Barbara Lynn Album: You'll Loose a Good Thing Year: 1962 Track: Genre: Oldies Comment: #8 on Billboard Hot 100 Title: Jobriath Artist: David Bowie Album: Unreleased Album (2000) Year: 2000 Track: Genre: Classic Rock Comment: Title: Freelove [Flood remix] Artist: Depeche Mode Album: Freelove Year: Track: Genre: Comment: Title: Jobriath Artist: Scott Walker & David Sylvian Album: Unreleased Album (2000) Year: 2000 Track: Genre: Classic Rock Comment: Title: La Femme D'Argent Artist: Air Album: Q - 1998-BEST Year: 1998 Track: 01 Genre: Rock Comment: Encoded by FLAC v1.1.2a with FLAC Frontend v1.7.1. Ripped by TCM Title: The State I Am In Artist: Belle And Sebastian Album: Tigermilk Year: 1996 Track: 01 Genre: Pop Comment: Track 1 Title: Lovely Day Artist: Bill Withers Album: Menagerie Year: 1977 Track: 01 Genre: Soul Comment: Title: Upp, Upp, Upp, Ner Artist: bob hund Album: bob hund Sover Aldrig [live] Year: 1999 Track: 01 Genre: Rock Comment: Encoded by FLAC v1.1.2a with FLAC Frontend v1.7.1. Ripped by TCM Title: Lloyd, I'm Ready To Be Heartbroken Artist: Camera Obscura Album: Sonically Speaking - vol. 29 Year: 2006 Track: 01 Genre: Pop Comment: Track 1 Title: Hands On The Wheel Artist: China Crisis Album: Warped By Success Year: 1994 Track: 01 Genre: Pop Comment: Track 1 Title: Geno Artist: Dexy's Midnight Runners Album: Let's Make This Precious [The Best Of] Year: 2003 Track: 01 Genre: Pop Comment: Track 1 Title: Walk On By Artist: Dionne Warwick Album: Dionne Sings Dionne Year: Track: 1 Genre: Comment: Title: Protection Artist: Massive Attack Album: Protection Year: 1994 Track: 01 Genre: Trip-Hop Comment: Encoded by FLAC v1.1.2a with FLAC Frontend v1.7.1.