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“BUDWEISER MADE IN AMERICA” FESTIVAL LINEUP ANNOUNCED – Kanye West, Kings of Leon to Headline in Philadelphia – – Imagine Dragons, John Mayer to Headline in Los Angeles – – Tickets for Simultaneous Bi-Coastal Labor Day Festival on Sale Now Through the Live Nation Mobile APP and www.livenation.com – LOS ANGELES and PHILADELPHIA (May 22, 2014) – What: “Budweiser Made In America,” the JAY Z curated two-day music festival that has become a staple of Labor Day Weekend, unveils its divergent 2014 lineup with a series of custom, 3D neon posters created by designer, Rizon Parein. New this year, the festival, will be bi- coastal – with artists performing simultaneously in both Philadelphia and Los Angeles on August 30 & 31. Tickets on sale now through the Live Nation Mobile APP and www.livenation.com. “Budweiser Made In America” festivals will benefit United Way of Greater Los Angeles, United Way of Greater Philadelphia and Southern New Jersey and United Way of Lancaster County. Who: Philadelphia Lineup: Kanye West, Kings of Leon, Tiësto, The National, Steve Aoki, Pharrell Williams, J. Cole, Girl Talk, Spoon, Chromeo, City and Colour, Grimes, AWOLNATION, R3HAB, Gareth Emery, De La Soul, Baauer, Tommy Trash, Mayer Hawthorne, Kongos, 3LAU, The Neighborhood, Danny Brown, YG, Holy Ghost, Penguin Prison, Destructo, Bleachers, DJ Cassidy, Cherub, Will Sparks, Young & Sick, Vacationer, Cut Snake, Kaneholler Los Angeles Lineup: Imagine Dragons, John Mayer, Steve Aoki, Juanes, Afrojack, Kendrick Lamar, Rise Against, Weezer, Sublime w/ Rome, Metric, Capital Cities, Chance the Rapper, Cypress Hill, Gareth Emery, R3HAB, Schoolboy Q, Wolfgang Gartner, Borgore, DVBBS, 12th Planet, YG, Mute Math, Rita Ora, Nipsey Hussle, Dr. Dog, Terraplane Sun, ZZ Ward, Classixx, Hit-Boy, DJ Mustard, Ab-Soul, Isaiah Rashad, Jay Rock, SZA, Yellowclaw, Grits & Biscuits, Will Sparks, Cut Snake, Scavenger Hunt, A Tribe Called Red When: Labor Day Weekend, August 30 – 31, 2014 Where: Benjamin Franklin Parkway in Philadelphia Grand Park in Downtown Los Angeles Festival Information: The festival site, madeinamericafest.com, will be updated with information. Contacts: Shawn “JAY Z” Carter/Roc Nation – Jana Fleishman, [email protected] Budweiser – Jeff Grass, [email protected]; Rory Roth Honigfeld, [email protected] Live Nation – Victor Trevino, [email protected]; Jacqueline Peterson, [email protected] United Way of Philadelphia and Southern New Jersey -- Chris Murray, [email protected] United Way of Lancaster -- Patrick Jinks, [email protected] United Way of Greater Los Angeles – Mae Tuck, [email protected] MSO – Marcee Rondan, [email protected] About Live Nation Entertainment Live Nation Entertainment (NYSE: LYV) is the world’s leading live entertainment company comprised of global market leaders: Ticketmaster, Live Nation & House of Blues Concerts, LN Media and Artist Nation Management. For additional information, visit: www.livenationentertainment.com. Follow us @twitter.com/LiveNationInc SOURCE: Live Nation Entertainment .

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Williams, Hipness, Hybridity, and Neo-Bohemian Hip-Hop
HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Maxwell Lewis Williams August 2020 © 2020 Maxwell Lewis Williams HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA Maxwell Lewis Williams Cornell University 2020 This dissertation theorizes a contemporary hip-hop genre that I call “neo-bohemian,” typified by rapper Kendrick Lamar and his collective, Black Hippy. I argue that, by reclaiming the origins of hipness as a set of hybridizing Black cultural responses to the experience of modernity, neo- bohemian rappers imagine and live out liberating ways of being beyond the West’s objectification and dehumanization of Blackness. In turn, I situate neo-bohemian hip-hop within a history of Black musical expression in the United States, Senegal, Mali, and South Africa to locate an “aesthetics of existence” in the African diaspora. By centering this aesthetics as a unifying component of these musical practices, I challenge top-down models of essential diasporic interconnection. Instead, I present diaspora as emerging primarily through comparable responses to experiences of paradigmatic racial violence, through which to imagine radical alternatives to our anti-Black global society. Overall, by rethinking the heuristic value of hipness as a musical and lived Black aesthetic, the project develops an innovative method for connecting the aesthetic and the social in music studies and Black studies, while offering original historical and musicological insights into Black metaphysics and studies of the African diaspora.
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Diamonds Are Forever!
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