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2/5/2019 MAIKO FUKUDA | MSA AGENCY MUSIC VIDEOS Nicky Jam ft. Ozuna "Te Robare" Choreographer Dir. Jessy Terrero Maluma Choreographer Cinema Giants Fat Joe & Remy Ma ft. French Montana " All The Way Up" Choreographer Dir. Eif Rivera Fat Joe & Remy Ma ft. French Montana "Cookin" Choreographer Dir. Eif Rivera Gucci Mane ft. Chris Brown "Tone it Down" Choreographer Dir. Eif Rivera Wisin ft. Timbaland & Bad Bunny "Move Your Body" Choreographer Dir. Jessy Terrero Julian ft. Jeremiah "Got it On Your Own" Choreographer Dir. Tarik Freitekh Maluma ft. Wisin y Yandel "La Luz" Choreographer Dir. Jessy Terrero Kumia Koda "Party" Director/Choreographer Kumi Koda "Dance in the Train" Choreographer London Design Fair, Tent London Iconic "Bye Now" Creative Director/Choreographer 2011 Japan Record Award Nominated AWARD SHOWS 2017 Grammy Awards w/Fat Joe & Remy Ma ft. French Montana " All The Way Up" Choreographer Grammy Nominated: Best Rap Performance 2016 BET Awards "All The Way Up" Creative Director/Choreographer/Costume Designer http://msaagency.com/portfolio/maiko-fukuda/ 1/2 2/5/2019 MAIKO FUKUDA | MSA AGENCY 2011 Mnet Asian Music Awards ft. Kumi Koda "V.I.P." Choreographer 2016 BET Awards w/Fat Joe & Remy Ma ft. French Montana " All The Way Up" Choreographer BET Nominated: Best Hip Hop Video TELEVISION Jimmy Kimmel Live ft. Trippie Redd "Topanga & Taking a Walk" Choreographer ABC COMMERCIALS Smart Phone ELUGA Choreographer Panasonic Pepsi Nex Choreographer Suntory Maserati, Starbucks, ANA, Kitson and Shiseido Collaboration Movement Coach CONCERTS/TOURS/EVENTS 2016 Hot 97 Summer Jam w/ Fat Joe & Remy Ma "All the Way Up" Creative Director/Choreographer/Costumer Designer Kumi Koda Tour 2007-2018 Creative Director/Choreographer http://msaagency.com/portfolio/maiko-fukuda/ 2/2.

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WISIN Y YANDEL Nuevamente Juntos
28 • NOVIEMBRE 15, 2018 MMÚSICAÚSICA Y ESPECTÁCULOSESPECTÁCULOS WISIN Y YANDEL nuevamente juntos l icónico dúo de música ur- bana Wisin y Yandel lanzó E recientemente, “Reggaetón en lo Oscuro”, el primer sencillo ofi cial como dúo después de cinco años de separación. “Reggaetón en lo Oscuro” es de la autoría de Wisin, Yandel, Luis Ángel O’Neill, Víctor Viera Moore y José To- rres Castro. El tema, se convierte en el primer sencillo ofi cial del nuevo ál- bum de Wisin y Yandel, aunque ambos colaboraron en otros sencillos en sus carreras como solistas el año pasado. Wisin y Yandel recientemente anun- ciaron su regreso como dúo con su “Como Antes Tour” y no les tomó mucho tiempo para nuevamente hacer historia juntos, estableciendo el récord de ocho concier- tos vendidos en el prestigioso Coliseo de Puerto Rico, y logrando un nuevo récord con la cantidad de más conciertos con- secutivos vendidos en ese local de nin- gún otro género musical o artista alguno. y como dúo disfrutaron de un éxito sin GRAMMYs; así como diez #1s en las Sus más recientes colaboraciones El “Como Antes Tour” llevó a Wisin precedentes, convirtiéndose en los ar- listas de Billboard Latin Airplay. musicales incluyen los temas “Como y Yandel en el mes de marzo al Anfi - tistas latinos urbanos líderes en ventas En los escenarios, Wisin y Yandel Antes” (Yandel ft. Wisin); “Todo Co- teatro Altos de Chavón en la República de música y conciertos a nivel mundial. han demostrado ser una fuerza que mienza en la Disco” (Wisin ft. Yandel y Dominicana y en el verano abarrotaron Durante sus 14 años de carrera co- hay que respetar, convirtiéndose en Daddy Yankee); y “Fiebre” (Ricky Mar- el famoso Madison Square Garden en mo dúo, Wisin y Yandel recibieron nu- los únicos artistas en el género urba- tin featuring Wisin y Yandel) y las tres esta ciudad.
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Skildringen av den våta fittan En granskning av amerikanska reaktioner på raplåten WAP Hedda-Louise Birgersson Wagner Avdelningen för mänskliga rättigheter Historiska institutionen Kurskod: MRSK62 Termin: Höstterminen 2020 Handledare: Dan-Erik Andersson Omfång: Antal ord: 13785 Abstract The Depiction of the Wet Pussy An analysis of the american reception of the rap-song WAP In August 2020, american female rappers Cardi B and Megan Thee Stallion released a new hit-song, called WAP – short for Wet Ass Pussy. The song sparked an international debate about the sexually explicit content of the lyrics. American reviews of the song include sceptisism from conservatives, as well as praise from liberals. However, this analysis is not based on an examination of ideologies. Instead it is focused on the more wide debate about race, gender, sexuality and class in the US political context. Based on research made in the field of hiphop feminism, hiphop has long served as a tool of ex- pression for oppressed groups in the US, and this song is no exception. Using a content analysis, four articles from the american press will be analysed from an intersectional theoretical framework, which will conclude in the findings that the song is an express- ion of female lust as much as it is a political statement against discriminating structures and oppression. Moreover, the song can be understood as both empowering and limiting for (black) female bodies, simultaneously. Key words: Popular culture, hip-hop, intersectionality, Cardi B, Megan Thee Stallion, sexuality, USA Abstrakt I augusti 2020 släpper de kvinnliga hiphopartisterna Cardi B och Megan Thee Stallion låten WAP (Wet Ass Pussy).
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Spanglish code-switching in Latin pop music: functions of English and audience reception A corpus and questionnaire study Magdalena Jade Monteagudo Master’s thesis in English Language - ENG4191 Department of Literature, Area Studies and European Languages UNIVERSITY OF OSLO Spring 2020 II Spanglish code-switching in Latin pop music: functions of English and audience reception A corpus and questionnaire study Magdalena Jade Monteagudo Master’s thesis in English Language - ENG4191 Department of Literature, Area Studies and European Languages UNIVERSITY OF OSLO Spring 2020 © Magdalena Jade Monteagudo 2020 Spanglish code-switching in Latin pop music: functions of English and audience reception Magdalena Jade Monteagudo http://www.duo.uio.no/ Trykk: Reprosentralen, Universitetet i Oslo IV Abstract The concept of code-switching (the use of two languages in the same unit of discourse) has been studied in the context of music for a variety of language pairings. The majority of these studies have focused on the interaction between a local language and a non-local language. In this project, I propose an analysis of the mixture of two world languages (Spanish and English), which can be categorised as both local and non-local. I do this through the analysis of the enormously successful reggaeton genre, which is characterised by its use of Spanglish. I used two data types to inform my research: a corpus of code-switching instances in top 20 reggaeton songs, and a questionnaire on attitudes towards Spanglish in general and in music. I collected 200 answers to the questionnaire – half from American English-speakers, and the other half from Spanish-speaking Hispanics of various nationalities.
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