J.Period Produces Original Theme Music for Nba Tv's The

Total Page:16

File Type:pdf, Size:1020Kb

J.Period Produces Original Theme Music for Nba Tv's The J.PERIOD PRODUCES ORIGINAL THEME MUSIC FOR NBA TV’S THE DOCTOR NEW DOCUMENTARY ON NBA LEGEND JULIUS ERVING FEATURES GROUNDBREAKING MUSIC FROM ACCLAIMED PRODUCER J.PERIOD FEAT. THE ROOTS’ GRAMMY-WINNING SONGWRITER JAMES POYSER New York, NY (June 3, 2013) – After a game-changing season as Music Supervisor for the NBA’s Brooklyn Nets—and producer of the team’s highly-touted theme song—J.PERIOD is paying musical tribute to one of basketball’s greatest living legends, Julius Erving, with original theme music composed and produced exclusively for NBA TV’s upcoming documentary, The Doctor (Monday, June 10 on NBA TV). Airing between Games 2 and 3 of this year’s NBA Finals, The Doctor arrives on the 30th anniversary of the Philadelphia 76ers’ 1983 title, and looks back on the life and storied career of the team’s leader, Dr. J. The Doctor includes highlights from Erving’s NBA years, rare and spectacular footage from his days in the ABA, and never-before-heard interviews about the challenges of his off the court life. Continuing his groundbreaking approach to the sports “soundtrack”—featured in publications from Rolling Stone to ESPN Magazine to The New York Times this year—J.PERIOD is once again flipping conventional wisdom on its head with his musical approach to The Doctor. Co-writing music for the film with The Roots’ Grammy-winning composer James Poyser, J.PERIOD has produced an original theme built for the next generation of sports documentaries: an emotional, melodic score and high-energy anthem at once—the soundtrack and its own remix fused into one. The results are as compelling and innovative as the film’s subject: Dr. J’s revolutionary style of play and high-flying acrobatics set the stage for modern day luminaries like Michael Jordan and LeBron James. “If you ever hear Michael Jordan talk,” LeBron explains, “he always says he looked up to and aspired to be like Dr. J. So if there was no Dr. J, then Mike would have never had someone to look up to, and if there was no Mike, then there’s no guys like myself who looked up to Mike.” Directed by Zak Levitt, whose previous credits include the Emmy-nominated The Dream Team, The Doctor is the latest in the long line of NBA TV Originals, critically-acclaimed documentaries and specials, including Sir Charles at 50, One-on-One with Ahmad Rashad: Michael Jordan, as well as the popular series Open Court and The Association. Tune into NBA TV at 9PM EST on Monday, June 10 to watch The Doctor and hear J.PERIOD’s original theme music. For more information on The Doctor, visit: http://www.nba.com/2013/news/04/17/nbatv-dr-j- documentary-official-release/index.html For more information on J.PERIOD, visit: http://www.jperiod.com. On Twitter: @JPeriodBK @OfficialDrJ6 @NBATV ### For All Press Inquiries, Please Contact: Tasha Stoute Strong Arm Media [email protected] [email protected] .
Recommended publications
  • THE TUFTS DAILY Est
    Where You Rain Read It First 49/46 THE TUFTS DAILY Est. 1980 VOLUME LXI, NUMBER 40 MONDAY, APRIL 4, 2011 TUFTSDAILY.COM BY MICK B. KREVER document. She did, however, financial document online. Daily Editorial Board tell the Daily in an email that New group leaksthe university does confidential not currently A new player A group of current and for- hold any direct investments. This In his interview with the Daily, mer Tufts students identifying would mean that the Jumboleaks Ramsdell was opaque about the Tuftsthemselves as “Jumboleaks”financial on document information is wholly outdated. makeup of onlineJumboleaks. He said Saturday posted online an out- Ramsdell rejected the signifi- that the organization consists dated list of university financial cance of this fact. of Tufts students and people holdings, citing financial trans- “I don’t really think that that’s whom he believed to be Tufts parency and responsible invest- relevant to the issue here,” he graduates. ment among their motivations. said. “The 2010 list is still a valid Ramsdell described the The list, posted to the web- representation of what the Tufts organization as a group of like- site Jumboleaks.org, comprises endowment represents.” minded individuals who were 35 companies ranging from CVS The initial Saturday post on drawn together by a common Caremark to Monsanto, a pro- Jumboleaks.org did not identify interest when the document vider of agricultural products the list as specifically reflecting surfaced. that has often been linked to information from 2010, nor did “The organization formed controversial business prac- it acknowledge that the infor- around the existence of the leak tices.
    [Show full text]
  • The Philadelphia Sound This Is the Fourth Article in a Series Highlighting ASA’S 50S, and 60S
    VOLUME 33 JULY/AUGUST 2005 NUMBER 6 2005 ASA Annual Meeting . Our 100th Meeting! The Philadelphia Sound This is the fourth article in a series highlighting ASA’s 50s, and 60s. The city was home to more African-American sound than they had upcoming 2005 centennial meeting in Philadelphia. jazz musicians than perhaps any city, previously heard in the California- save New York. Musicians found each centric “cool” jazz movement, East by Jerome Hodos, Franklin and Marshall protected, fertile enclave in which other gigs and played together—John Coast jazz musicians in the mid-1950s College, and David Grazian, cultural production can germinate. Coltrane, for example, played in both created a roots-oriented jazz—called University of Pennsylvania Musical innovation has relied on the Jimmy Heath’s and Jimmy Smith’s hard bop—that incorporated significant vitality of largely segregated community bands, and later hired local talents elements from blues and black church Since World War II, music has been institutions such as the black church. For Jimmy Garrison and McCoy Tyner for music. Philadelphia was a main center Philadelphia’s public face to the world. instance, rhythm-and-blues pioneer his own classic quartet. In search of a for hard bop, home to crucial performers While fulfilling their duties as unofficial Solomon Burke long led his own more urban, gritty, and what was like Clifford Brown, Benny Golson, John representatives of the “City of Brotherly congregation in the city. (Another thought of as a more authentically See Philadelphia, page 7 Love”, local musicians worked to codify example: the white, teen pop of the late and symbolize the state of the city’s 1950s was made popular via Dick black community through a succession Clark’s TV show American Bandstand, of distinct musical styles.
    [Show full text]
  • Complete Band and Panel Listings Inside!
    THE STROKES FOUR TET NEW MUSIC REPORT ESSENTIAL October 15, 2001 www.cmj.com DILATED PEOPLES LE TIGRE CMJ MUSIC MARATHON ’01 OFFICIALGUIDE FEATURING PERFORMANCES BY: Bis•Clem Snide•Clinic•Firewater•Girls Against Boys•Jonathan Richman•Karl Denson•Karsh Kale•L.A. Symphony•Laura Cantrell•Mink Lungs• Murder City Devils•Peaches•Rustic Overtones•X-ecutioners and hundreds more! GUEST SPEAKER: Billy Martin (Medeski Martin And Wood) COMPLETE D PANEL PANELISTS INCLUDE: BAND AN Lee Ranaldo/Sonic Youth•Gigi•DJ EvilDee/Beatminerz• GS INSIDE! DJ Zeph•Rebecca Rankin/VH-1•Scott Hardkiss/God Within LISTIN ININ STORESSTORES TUESDAY,TUESDAY, SEPTEMBERSEPTEMBER 4.4. SYSTEM OF A DOWN AND SLIPKNOT CO-HEADLINING “THE PLEDGE OF ALLEGIANCE TOUR” BEGINNING SEPTEMBER 14, 2001 SEE WEBSITE FOR DETAILS CONTACT: STEVE THEO COLUMBIA RECORDS 212-833-7329 [email protected] PRODUCED BY RICK RUBIN AND DARON MALAKIAN CO-PRODUCED BY SERJ TANKIAN MANAGEMENT: VELVET HAMMER MANAGEMENT, DAVID BENVENISTE "COLUMBIA" AND W REG. U.S. PAT. & TM. OFF. MARCA REGISTRADA./Ꭿ 2001 SONY MUSIC ENTERTAINMENT INC./ Ꭿ 2001 THE AMERICAN RECORDING COMPANY, LLC. WWW.SYSTEMOFADOWN.COM 10/15/2001 Issue 735 • Vol 69 • No 5 CMJ MUSIC MARATHON 2001 39 Festival Guide Thousands of music professionals, artists and fans converge on New York City every year for CMJ Music Marathon to celebrate today's music and chart its future. In addition to keynote speaker Billy Martin and an exhibition area with a live performance stage, the event features dozens of panels covering topics affecting all corners of the music industry. Here’s our complete guide to all the convention’s featured events, including College Day, listings of panels by 24 topic, day and nighttime performances, guest speakers, exhibitors, Filmfest screenings, hotel and subway maps, venue listings, band descriptions — everything you need to make the most of your time in the Big Apple.
    [Show full text]
  • From Jay-Z to Dead Prez: Examining Representations of Black
    JBSXXX10.1177/0021934714528953Journal of Black StudiesBelle 528953research-article2014 Article Journal of Black Studies 2014, Vol. 45(4) 287 –300 From Jay-Z to Dead © The Author(s) 2014 Reprints and permissions: Prez: Examining sagepub.com/journalsPermissions.nav DOI: 10.1177/0021934714528953 Representations of jbs.sagepub.com Black Masculinity in Mainstream Versus Underground Hip-Hop Music Crystal Belle1 Abstract The evolution of hip-hop music and culture has impacted the visibility of Black men and the Black male body. As hip-hop continues to become commercially viable, performances of Black masculinities can be easily found on magazine covers, television shows, and popular websites. How do these representations affect the collective consciousness of Black men, while helping to construct a particular brand of masculinity that plays into the White imagination? This theoretical article explores how representations of Black masculinity vary in underground versus mainstream hip-hop, stemming directly from White patriarchal ideals of manhood. Conceptual and theoretical analyses of songs from the likes of Jay-Z and Dead Prez and Imani Perry’s Prophets of the Hood help provide an understanding of the parallels between hip-hop performances/identities and Black masculinities. Keywords Black masculinity, hip-hop, patriarchy, manhood 1Columbia University, New York, NY, USA Corresponding Author: Crystal Belle, PhD Candidate, English Education, Teachers College, Columbia University, 525 West 120th Street, New York, NY 10027, USA. Email: [email protected] Downloaded from jbs.sagepub.com at Mina Rees Library/CUNY Graduate Center on January 7, 2015 288 Journal of Black Studies 45(4) Introduction to and Musings on Black Masculinity in Hip-Hop What began as a lyrical movement in the South Bronx is now an international phenomenon.
    [Show full text]
  • Finding Aid to the Historymakers ® Video Oral History with James Poyser
    Finding Aid to The HistoryMakers ® Video Oral History with James Poyser Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Poyser, James, 1967- Title: The HistoryMakers® Video Oral History Interview with James Poyser, Dates: May 6, 2014 Bulk Dates: 2014 Physical 7 uncompressed MOV digital video files (3:06:29). Description: Abstract: Songwriter, producer, and musician James Poyser (1967 - ) was co-founder of the Axis Music Group and founding member of the musical collective Soulquarians. He was a Grammy award- winning songwriter, musician and multi-platinum producer. Poyser was also a regular member of The Roots, and joined them as the houseband for NBC's The Tonight Show Starring Jimmy Fallon. Poyser was interviewed by The HistoryMakers® on May 6, 2014, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2014_143 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Songwriter, producer and musician James Jason Poyser was born in Sheffield, England in 1967 to Jamaican parents Reverend Felix and Lilith Poyser. Poyser’s family moved to West Philadelphia, Pennsylvania when he was nine years old and he discovered his musical talents in the church. Poyser attended Philadelphia Public Schools and graduated from Temple University with his B.S. degree in finance. Upon graduation, Poyser apprenticed with the songwriting/producing duo Kenny Gamble and Leon Huff. Poyser then established the Axis Music Group with his partners, Vikter Duplaix and Chauncey Childs. He became a founding member of the musical collective Soulquarians and went on to write and produce songs for various legendary and award-winning artists including Erykah Badu, Mariah Carey, John Legend, Lauryn Hill, Common, Anthony Hamilton, D'Angelo, The Roots, and Keyshia Cole.
    [Show full text]
  • 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.
    [Show full text]
  • Biographical Description for the Historymakers® Video Oral History with James Poyser
    Biographical Description for The HistoryMakers® Video Oral History with James Poyser PERSON Poyser, James, 1967- Alternative Names: James Poyser; Life Dates: January 30, 1967- Place of Birth: Sheffield, England Work: Philadelphia, PA Occupations: Producer; Musician; Songwriter Biographical Note Songwriter, producer and musician James Jason Poyser was born in Sheffield, England in 1967 to Jamaican parents Reverend Felix and Lilith Poyser. Poyser’s family moved to West Philadelphia, Pennsylvania when he was nine years old and he discovered his musical talents in the church. Poyser attended Philadelphia Public Schools and graduated from Temple University with his B.S. degree in finance. Upon graduation, Poyser apprenticed with the songwriting/producing duo Kenny Gamble and Leon Huff. Poyser then established the Axis Music Group with his partners, Vikter Duplaix and Chauncey Childs. He became a founding member of the musical collective Soulquarians and went on to write and produce songs for various legendary and award- winning artists including Erykah Badu, Mariah Carey, John Legend, Lauryn Hill, Common, Anthony Hamilton, D'Angelo, The Roots, and Keyshia Cole. He was credited as writer/producer for multiple songs on Erykah Badu’s debut album, Baduizm; has writer, producer and musician credits on Lauryn Hill’s multiple Grammy-winning album, The Miseducation of Lauryn Hill; was a musician on Adele’s acclaimed album, 21; and served as executive co-producer and writer on Al Green’s Lay it Down. He was also the executive producer on Badu's highly celebrated albums, Mama's Gun and Worldwide Underground. He is an active session musician and has contributed to the works of other artists such as Norah Jones, Eric Clapton, Joss Stone, Ziggy Marley, Macy Gray and Femi Kuti.
    [Show full text]
  • FOR IMMEDIATE RELEASE IDS Proudly Announces Questlove To
    FOR IMMEDIATE RELEASE IDS Proudly Announces Questlove to Saturday Speaker Lineup Caption Drummer, DJ, producer, culinary entrepreneur, New York Times best-selling author, and co-founder of The Roots - Questlove – will join IDS19 as a keynote speaker Toronto, Canada – December 6, 2018 – On Saturday, January 19, 2019, Interior Design Show 2019 (IDS19) will welcome creative chameleon, Questlove, to the Caesarstone Stage to Questlove speak to IDS19 attendees from 11:00 a.m. – 12:00 p.m. EST. Questlove will speak in conversation with Adam Sandow, CEO of SANDOW, and partner in Questlove’s new venture, CREATIVE HOUSE. Launching in 2019, CREATIVE HOUSE will unite a diverse mix of artists, designers, and inventors to inspire, connect, bringing new and inspired brands and product to market. This new venture will use a plurality of means to engage innovative solutions and gather inspiring individuals from across platforms such as printed publications, fireside chats, conferences and an agency for product development. Experiential and transformative, IDS19 brings together compelling concepts, innovative products, upcoming talent and key experts in the industry so the best of the future can inspire guests. Questlove’s commitment to creativity and diverse background will present a dynamic and forward-thinking view of how creativity can extend through many disciplines and inspire design. Questlove will be onsite after his talk for a special book signing of his New York Times bestseller Creative Quest. Questlove is the Musical Director for The Tonight Show Starring Jimmy Fallon, where his beloved Roots crew serves as the house band. Beyond that, this 5-time GRAMMY Award-winning musician’s indisputable reputation has landed him musical directing positions with everyone from D’Angelo to Eminem to Jay-Z.
    [Show full text]
  • From Colorism to Conjurings: Tracing the Dust in Beyoncé's Lemonade Cienna Davis Freie Universitat, Berlin, Germany, [email protected]
    Taboo: The Journal of Culture and Education Volume 16 | Issue 2 Article 4 September 2017 From Colorism to Conjurings: Tracing the Dust in Beyoncé's Lemonade Cienna Davis Freie Universitat, Berlin, Germany, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/taboo Recommended Citation Davis, C. (2018). From Colorism to Conjurings: Tracing the Dust in Beyoncé's Lemonade. Taboo: The Journal of Culture and Education, 16 (2). https://doi.org/10.31390/taboo.16.2.04 Taboo,Cienna Fall Davis 2017 7 From Colorism to Conjurings Tracing the Dust in Beyoncé’s Lemonade Cienna Davis Abstract Colorism creates relentless tension and pressure in the lives of Black women. Pop-star Beyoncé Gisele Knowles-Carter is an interesting case in the discussion of colorism because her career has expressed a rich intimacy to Southern Black cul- ture and female empowerment while also playing into tropes of the mulatta “fancy girl,” whose relative proximity to whiteness adheres social value within mainstream culture. Finding aesthetic and thematic parallels between Beyoncé’s recent project Lemonade (2016) and Julie Dash’s cult-classic film Daughters of the Dust (1991) I draw a critical connection between Yellow Mary Peazant and Beyoncé, the prodigal child and the licentious “post-racial,” pop-star to argue that while Lemonade may not present the same critique of exclusionary Black womanhood present within Daughters of the Dust, reactions to the Beyoncé’s visual album and the “Formation” music video inadvertently demonstrate the longevity of harmful colorist prejudices and the disparaging of Black female sexual and creative agency within the Black community.
    [Show full text]
  • Roots and Branches Handout SESSIONS Revnov20
    THE LIVING, BREATHING ART OF MUSIC HISTORY: THE ROOTS AND BRANCHES COURTESY OF WWW.THESESSIONS.ORG COUNTRY: THE ROOTS: The Carter Family/Roy Acuff/Kitty Wells/Hank Williams/Bob Wills & His Texas Playboys BRANCHES: Men: Johnny Cash/George Jones/Waylon Jennings/Conway Twitty/Charlie Pride/The Everly Brothers (see also Rock n’ Roll) WOMEN: Patsy Cline/Loretta Lynn/June Carter/Tammy Wynette/ Dolly Parton INFLUENCED: Jack White, Zac Brown TRIBUTARY: BLUEGRASS : Bill Monroe/Ralph & Carter Stanley/Ricky Scaggs/Allison Krauss TRIBUTARY: COUNTRY ROCK: The Byrds (“Sweetheart Of The Rodeo”)/Poco/early Eagles/Graham Parsons/Emmylou Harris THE BLUES: THE ROOTS (Men): (Delta) Robert Johnson /Son House /Charlie Patton/Mississippi John Hurt/WC Handy/Lonnie Johnson (Chicago) Muddy Waters/Howlin’ Wolf/Little Walter /Buddy Guy/Otis Rush/Elmore James/Jimmy Reed - (Detroit) John Lee Hooker - (Mississippi) BB King/Albert King - (Texas) Freddie King BRANCHES: Stevie Ray Vaughn/Jimi Hendrix/Led Zepplin/ The Fabulous Thunderbirds/Cream/Eric Clapton/early Fleetwood Mac/Allman Brothers/Santana/Paul Butterfield Blues Band MODERN: Robert Cray/Joe Bonamassa/ Warren Haynes/Keb Mo TRIBUTARY- TRANCE BLUES-Oxford MS -Black Possum Records—RL Burnside, Junior Kimbrough (The Black Keys are their disciples) THE BLUES: THE ROOTS (Women): Ma Rainey/Bessie Smith/Sister Rosetta Tharpe (see also “Rock and Roll”) Memphis Minnie (influenced Led Zepplin) BRANCHES (including Jazz) : Billie Holiday/ Dinah Washington/Peggy Lee/Lena Horne/Janis Joplin/Paul Butterfield Blues Band/Michael
    [Show full text]
  • Kevin Ryan, Dallasobserver.Com: Chaka Khan Emerged Like A
    Kevin Ryan, dallasobserver.com: Chaka Khan emerged like a flamenco dancer, fluttering a silken hand-fan with “CHAKA” etched into its folds. She was the surprise guest for The Roots’ collaboration with the Dallas Pops at The Pavilion at Toyota Music Factory on Tuesday night, and when she strode onto the stage an hour into the show, the audience lost their minds. Behind her, a 50-piece orchestra sweated in tuxedos. “OK, this next song I’m sure most of you over 30 are familiar with,” she said, her gold sequin dress reflecting light. Chimes rang. Strings undulated. Robert Glasper spun - one-handed - through a synth lead in a beanie, fingers spidering across the keyboard. It took a moment for the crowd to recognize the song “I Know You, I Live You.” With the orchestra, it sounded like Les Fleur-era Minnie Riperton. The beat wasn’t the electronic pulse of the original; it was exotic. Khan sang in perfect bursts, with a rowdy but angelic voice that induced shivers. She didn’t even need a microphone. The show had begun much quieter, with a lone synth and a sample from a poem about death, possibilities and dreaming. Black Thought dove into “Web” over strings, which animated the song. The beat stomped hard as the cellos swayed with Sam Cooke grace. A sea of heads nodded to the sweeping sounds of violins. Each song blended seamlessly into the next. No stops, no chatter, no politics, no time wasted - just music. The Roots’ “Star” melded into Miles Davis, melded into “20 Feet Tall.” Erykah Badu strode onstage in a Tom Petty top hat and majestic jewelry.
    [Show full text]
  • Outkast'd and Claimin' True
    OUTKAST’D AND CLAIMIN’ TRUE: THE LANGUAGE OF SCHOOLING AND EDUCATION IN THE SOUTHERN HIP­HOP COMMUNITY OF PRACTICE by JOYCELYN A. WILSON (Under the direction of Judith Preissle) ABSTRACT The hip­hop community of practice encompasses a range of aesthetic values, norms, patterns, and traditions. Because of its growth over the last three decades, the community has come to include regionally­specific networks linked together by community members who engage in meaningful practices and experiences. Expressed through common language ideologies, these practices contribute to the members’ communal and individual identity while simultaneously providing platforms to articulate social understandings. Using the constructs of community of practice and social networks, this research project is an interpretive study grounded primarily in the use of lyrics and interviews to investigate the linguistic patterns and language norms of hip­ hop’s southern network, placing emphasis on the Atlanta, Georgia southern hip­hop network. The two main goals are to gain an understanding of the role of school in the cultivation of the network and identify the network’s relationship to schooling and education. The purpose is to identify initial steps for implementing a hip­hop pedagogy in curriculum and instruction. INDEX WORDS: Hip­hop community of practice, social network, language ideology, hip­hop generation, indigenous research, schooling, education OUTKAST’D AND CLAIMIN’ TRUE: THE LANGUAGE OF SCHOOLING AND EDUCATION IN THE SOUTHERN HIP­HOP COMMUNITY OF PRACTICE by JOYCELYN A. WILSON B.S., The University of Georgia, 1996 M.A., Pepperdine University, 1998 A Dissertation Submitted to the Graduate Faculty of the University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2007 ã 2007 Joycelyn A.
    [Show full text]