DOCSLIB.ORG

Conscious Rap Music: Movement Music Revisited a Qualitative Study of Conscious Rappers and Activism

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Conscious Rap Music: Movement Music Revisited a Qualitative Study of Conscious Rappers and Activism Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies Spring 5-6-2012 Conscious Rap Music: Movement Music Revisited A Qualitative Study of Conscious Rappers and Activism Ife J. Mohammed-Akinyela Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation Mohammed-Akinyela, Ife J., "Conscious Rap Music: Movement Music Revisited A Qualitative Study of Conscious Rappers and Activism." Thesis, Georgia State University, 2012. https://scholarworks.gsu.edu/aas_theses/14 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CONSCIOUS RAP MUSIC: MOVEMENT MUSIC REVISITED A QUALITATIVE STUDY OF CONSCIOUS RAPPERS AND ACTIVISM by IFE J. MOHAMMED Under the Direction of Dr. Sarita K. Davis ABSTRACT The purpose of this study is to explore how conscious rap is used as a form of activism. Ethnographies of conscious rappers based in the Atlanta, GA area will be used to understand this relationship. In order to complete this investigation, ten unsigned conscious rappers will be given a series of questions to explore their involvement as activists; some of these artists were also recruited due their affiliations with political organizations also based in Atlanta, GA. By gathering interviews from conscious rappers who consider their music as a form of activism, scholars of African American Studies may further understand the role of music and political activism when mobilizing the African American and minority communities. INDEX WORDS: Hip Hop, Conscious Rap, Activism CONSCIOUS RAP MUSIC: MOVEMENT MUSIC REVISITED A QUALITATIVE STUDY OF CONSCIOUS RAPPERS AND ACTIVISM by IFE J. MOHAMMED A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the College of Arts and Sciences Georgia State University 2012 Copyright by Ife J. Mohammed 2012 CONSCIOUS RAP MUSIC: MOVEMENT MUSIC REVISITED A QUALITATIVE STUDY OF CONSCIOUS RAPPERS AND ACTIVISM by IFE J. MOHAMMED Committee Chair: Dr. Sarita K. Davis Committee: Dr. Lakeyta Bonnette Dr. Johnathan Gayles Electronic Version Approved: Office of Graduate Studies College of Arts and Sciences Georgia State University May 2012 iv DEDICATION This paper is dedicated to my family, Zayd A. S. Akinyela, Zayd Y. O. Akinyela and Zayd Y. J. Akinyela. I could not have accomplished any of this without the three of you. Family First and in loving memory of Arvitis Jackson Mohammed, I am because you are. This is also dedicated to NuAfrikan ENT., much love to the lifestyle: Zayd Malik and Ife Jie. v ACKNOWLEDGEMENTS I would like to acknowledge all of the conscious rappers out there that have dedicated their careers to going against the mainstream grain and choosing to stand outside the box. vi TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................................................................................................ v LIST OF TABLES ....................................................................................................................................... viii CHAPTER 1 INTRODUCTION .................................................................................................................... 1 1.1 BACKGROUND .................................................................................................................................. 3 1.2 PROBLEM STATEMENT ................................................................................................................... 4 1.3 PURPOSE ........................................................................................................................................... 5 1.4 SIGNIFICANCE OF THE STUDY ...................................................................................................... 7 1.5 NATURE OF STUDY .......................................................................................................................... 8 1.6 RESEARCH QUESTION ..................................................................................................................... 9 1.7 THEORETICAL FRAMEWORK ......................................................................................................... 9 1.8 ASSUMPTIONS ................................................................................................................................ 13 1.9 SCOPE AND LIMITATIONS ............................................................................................................ 14 1.10 CHAPTER SUMMARY ................................................................................................................... 14 CHAPTER 2 LITERATURE REVIEW......................................................................................................... 16 2.1 TITLE SEARCHES ............................................................................................................................ 16 2.2 RESEARCH DOCUMENTS, JOURNALS RESEARCHED ............................................................... 17 2.3 HISTORICAL OVERVIEW ............................................................................................................... 18 2.4 MUSIC AS A FORMAL INFLUENCE – GOSPEL MOVEMENT MUSIC ....................................... 19 CHAPTER 3 METHODS ............................................................................................................................ 40 3.1 DESIGN APPROPRIATNESS ........................................................................................................... 41 3.2 POPULATION .................................................................................................................................. 43 3.3 SAMPLE ............................................................................................................................................ 44 3.4 DATA COLLECTION and PROCEDURES ...................................................................................... 45 3.5 RATIONALE...................................................................................................................................... 46 3.6 VALIDITY- INTERNAL AND EXTERNAL ........................................................................................ 47 3.7 DATA ANALYSIS .............................................................................................................................. 47 3.8 CHAPTER SUMMARY ..................................................................................................................... 48 CHAPTER 4 RESULTS ............................................................................................................................... 50 4.1 PARTICIPANTS ................................................................................................................................ 51 4.2 THEMES AND SUB-THEMES ......................................................................................................... 55 4.3 A TOOL TO EDUCATE, EMPOWER AND INSPIRE ...................................................................... 55 4.4 EVERYBODY’S MUSIC HAS ENERGY ........................................................................................... 57 vii 4.5 I WANT TO TEACH WITHOUT YOU KNOWING IM TEACHING .............................................. ...58 4.6 POLITICAL RAP CONCERNS THE REPRESENTATION OF THE PEOPLE ......................... .......59 4.7 NEW AFRIKAN – ITS IN MY BLOOD ............................................ .................................................60 4.8 THE MUSIC IS FOR EVERYONE…....…………………………….………………………...…...……….63 4.9 I WANT TO CHANGE THE WORLD................................................................................................65 4.10 I HAVE TO TELL OUR STORY.......................................................................................................66 4.11 IMPORTANT FOR US TO MAKE GOOD MUSIC.........................................................................67 4.12 DON’T EXPECT TO BE THE NEXT BEYONCE’...........................................................................68 4.13 BEING ABLE TO BE MYSELF........................................................................................................69 4.14 CHAPTER SUMMARY ....................................................................................................................70 CHPATER 5 CONCLUSION.......................................................................................................................70 5.1 IMPLICATIONS AND STUDY RESULTS ........................................................................................73 5.2 THEORY.............................................................................................................................................73 5.3 PARTICIPANTS AND APPROACH .................................................................................................74 5.4 THEMES ...........................................................................................................................................75 5.5 FUTURE RESEARCH .......................................................................................................................78 5.6 CHAPTER
Load more

Recommended publications
  • Global Hip-Hop Class
    AAAS 135b: GLOBAL HIP-HOP Wed 6:30-9:20 pm Mandel G03 Spring 2012 Wayne Marshall [email protected] office hours: by appointment DESCRIPTION Examining how hip-hop travels and is embraced, represented, and transformed in various locales around the world, this course approaches hip-hop as itself constituted by international flows and as a product and set of practices that circulate globally in complex ways, cast variously as American, African-American, and/or black, and recast through the cultural logics of the new spaces it enters, the soundscapes it permeates. A host of questions arise when we consider hip-hopʼs global scope and significance: What does the genre in its various forms (audio, video, sartorial, gestural) carry beyond the US? What do people bring to it in new local contexts? How are US notions of race and nation mediated by hip-hop's global reach? Why do some global (which is to say, local) hip-hop scenes fasten onto the genre's well-rehearsed focus on place, community, and righteous opposition to structural and representational forms of violence, while others appear more enamored with slick portrayals of hustler archetypes, cool machismo, and ruggedly individualist, conspicuous consumption? How can hip-hop circulate in such contradictory forms? In what ways do hip-hop scenes differ from North to South America, West to East Africa, Europe to Asia? What threads unite them? In pursuit of such questions, we will read across the emerging literature on global hip- hop as we explore the growing resources available via the internet, where websites and blogs, MySpace and YouTube and the like have facilitated a further efflorescence of international (and peer-to-peer) exchanges around hip-hop.
    [Show full text]
  • Celebrity and Race in Obama's America. London
    Cashmore, Ellis. "To be spoken for, rather than with." Beyond Black: Celebrity and Race in Obama’s America. London: Bloomsbury Academic, 2012. 125–135. Bloomsbury Collections. Web. 29 Sep. 2021. <http://dx.doi.org/10.5040/9781780931500.ch-011>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 29 September 2021, 05:30 UTC. Copyright © Ellis Cashmore 2012. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 11 To be spoken for, rather than with ‘“I’m not going to put a label on it,” said Halle Berry about something everyone had grown accustomed to labeling. And with that short declaration she made herself arguably the most engaging black celebrity.’ uperheroes are a dime a dozen, or, if you prefer, ten a penny, on Planet SAmerica. Superman, Batman, Captain America, Green Lantern, Marvel Girl; I could fi ll the rest of this and the next page. The common denominator? They are all white. There are benevolent black superheroes, like Storm, played most famously in 2006 by Halle Berry (of whom more later) in X-Men: The Last Stand , and Frozone, voiced by Samuel L. Jackson in the 2004 animated fi lm The Incredibles. But they are a rarity. This is why Will Smith and Wesley Snipes are so unusual: they have both played superheroes – Smith the ham-fi sted boozer Hancock , and Snipes the vampire-human hybrid Blade . Pulling away from the parallel reality of superheroes, the two actors themselves offer case studies.
    [Show full text]
  • Khalid Releases “Otw” Feat. Ty Dolla $Ign & 6Lack Today—Click Here to Listen Khalid Nominated for Five 2018 Billboard
    KHALID RELEASES “OTW” FEAT. TY DOLLA $IGN & 6LACK TODAY—CLICK HERE TO LISTEN KHALID NOMINATED FOR FIVE 2018 BILLBOARD MUSIC AWARDS (Los Angeles, CA)—Today, Multi-platinum global superstar Khalid releases a brand-new track entitled “OTW” featuring Ty Dolla $ign and 6lack. The song is available now at all digital retail providers via Right Hand Music Group/RCA Records. Click HERE to listen. This past Tuesday, Khalid appeared on the Today Show (Click HERE) to announce the 2018 Billboard Music Award nominations for which he has been nominated for five awards including Top New Artist, Top R&B Artist, Top R&B Male Artist, Top R&B Album for American Teen, and Top R&B Song for “Young Dumb & Broke.” Khalid’s most recent release “Love Lies” with Keep Cool/RCA Records’ Normani is off to an explosive start having debuted at #43 on the Billboard Hot 100 and it has already received over 200 million streams worldwide since its release on February 14th. The track, which was just certified GOLD by the RIAA, is garnering critical acclaim with MTV calling it “a match made in musical heaven” and The FADER calling it a “slow-burning R&B ballad”. Since its release, the track has racked up over 150 million streams on Spotify alone, and the song’s official video has over 30 million views on YouTube. “Love Lies” also broke the Top 5 on the streaming platform’s US (#2) and Global (#3) Viral Charts. Additionally, Khalid he will be hitting the road again on “The Roxy Tour”, which will be making a number of stops in major cities including Los Angeles, Atlanta, and Philadelphia.
    [Show full text]
  • The Inheritance CONNECTICUT ROOTS, CONNECTICUT CONNECTICUT with DEEP
    NEWS / CULTURE / HEALTH / COMMUNITY / TRAVEL / FASHION / FOOD / YOUTH / HISTORY / FEATURES CONNECTICUT VOICE CONNECTICUT CONNECTICUT VOICETM WITH DEEP CONNECTICUT ROOTS, The Inheritance BROADWAY’S WHAT’S IN A NAME? IN A WORD, GAY EPIC EVERYTHING IN HIS OWN WORDS SPRING 2020 GEORGE TAKEI SHARES HIS STORY more happy in your home There have never been more ways to be a family, or more ways to keep yours healthy — like our many convenient locations throughout Connecticut. It’s just one way we put more life in your life. hartfordhealthcare.org Let’s go over some things. Did you know we have a mobile app? That means you can bank from anywhere, like even the backseat of your car. Or Fiji. We have Kidz Club Accounts. Opening one would make you one smart Motherbanker. Retiring? Try a Nutmeg IRA. We have low rates on auto loans, first mortgages, & home equity loans. Much like this We can tiny space squeeze we have in even smallfan-banking-tastic more business fantastic deals here. BankingAwesome.com loans. We offer our wildly popular More-Than-Free Checking. And that’s Nutmeg in a nutshell. And, for the record, we have to have these logos on everything, cuz we’re banking certified. TWO-TIME ALL-STAR JONQUEL JONES 2020 SEASON STARTS MAY 16TH! GET YOUR TICKETS: 877-SUN-TIXX OR CONNECTICUTSUN.COM EXPERIENCE IT ALL Book a hotel room on foxwoods.com using code SPIRIT for 15% OFF at one of our AAA Four-Diamond Hotels. For a complete schedule of events and to purchase tickets, go to foxwoods.com or call 800.200.2882.
    [Show full text]
  • Suriano.Pmd 113 01/12/2011, 15:11 114 Africa Development, Vol
    Africa Development, Vol. XXXVI, Nos 3 & 4, 2011, pp. 113–126 © Council for the Development of Social Science Research in Africa, 2011 (ISSN 0850-3907) Hip-Hop and Bongo Flavour Music in Contemporary Tanzania:Youths’ Experiences, Agency, Aspirations and Contradictions1 Maria Suriano* Abnstract The beginning of Tanzanian hip-hop along with a genre known as Bongo Flavour (also Bongo Flava, or Fleva, according to the Swahili spelling), can be traced back to the early 1990s. This music, characterised by the use of Swahili lyrics (with a few English and slang words) is also re- ferred to as the ‘music of the new generation’ (muziki wa kikazi kipya). Without the intention to analyse a complex and multifaceted reality, this article aims to make a sense of this popular music as an overall phenom- enon in contemporary Tanzania. From the premise that music, perform- ance and popular culture can be used as instruments to innovate and produce change, this article argues that Bongo Flavour and hip-hop are not only music genres, but also cultural expressions necessary for the understanding of a substantial part of contemporary Tanzanian youths. The focus here is on young male artists living in urban environments. Résumé Le début du hip-hop en Tanzanie ainsi que d’un genre musical appelé Bongo Flavour (aussi Bongo Flava ou Fleva, selon l’orthographe en Swahili) date du début des années 1990. Caractérisée par l’utilisation de textes en swahili (avec quelques mots en anglais et en argot), cette musique est considérée comme ‘la musique de la nouvelle génération’ (muziki wa kikazi kipya).
    [Show full text]
  • 1. Summer Rain by Carl Thomas 2. Kiss Kiss by Chris Brown Feat T Pain 3
    1. Summer Rain By Carl Thomas 2. Kiss Kiss By Chris Brown feat T Pain 3. You Know What's Up By Donell Jones 4. I Believe By Fantasia By Rhythm and Blues 5. Pyramids (Explicit) By Frank Ocean 6. Under The Sea By The Little Mermaid 7. Do What It Do By Jamie Foxx 8. Slow Jamz By Twista feat. Kanye West And Jamie Foxx 9. Calling All Hearts By DJ Cassidy Feat. Robin Thicke & Jessie J 10. I'd Really Love To See You Tonight By England Dan & John Ford Coley 11. I Wanna Be Loved By Eric Benet 12. Where Does The Love Go By Eric Benet with Yvonne Catterfeld 13. Freek'n You By Jodeci By Rhythm and Blues 14. If You Think You're Lonely Now By K-Ci Hailey Of Jodeci 15. All The Things (Your Man Don't Do) By Joe 16. All Or Nothing By JOE By Rhythm and Blues 17. Do It Like A Dude By Jessie J 18. Make You Sweat By Keith Sweat 19. Forever, For Always, For Love By Luther Vandros 20. The Glow Of Love By Luther Vandross 21. Nobody But You By Mary J. Blige 22. I'm Going Down By Mary J Blige 23. I Like By Montell Jordan Feat. Slick Rick 24. If You Don't Know Me By Now By Patti LaBelle 25. There's A Winner In You By Patti LaBelle 26. When A Woman's Fed Up By R. Kelly 27. I Like By Shanice 28. Hot Sugar - Tamar Braxton - Rhythm and Blues3005 (clean) by Childish Gambino 29.
    [Show full text]
  • (Anesthesia) Pulling Teeth Metallica
    (Anesthesia) Pulling Teeth Metallica (How Sweet It Is) To Be Loved By You Marvin Gaye (Legend of the) Brown Mountain Light Country Gentlemen (Marie's the Name Of) His Latest Flame Elvis Presley (Now and Then There's) A Fool Such As I Elvis Presley (You Drive ME) Crazy Britney Spears (You're My) Sould and Inspiration Righteous Brothers (You've Got) The Magic Touch Platters 1, 2 Step Ciara and Missy Elliott 1, 2, 3 Gloria Estefan 10,000 Angels Mindy McCreedy 100 Years Five for Fighting 100% Pure Love Crystal Waters 100% Pure Love (Club Mix) Crystal Waters 1‐2‐3 Len Barry 1234 Coolio 157 Riverside Avenue REO Speedwagon 16 Candles Crests 18 and Life Skid Row 1812 Overture Tchaikovsky 19 Paul Hardcastle 1979 Smashing Pumpkins 1985 Bowling for Soup 1999 Prince 19th Nervous Breakdown Rolling Stones 1B Yo‐Yo Ma 2 Become 1 Spice Girls 2 Minutes to Midnight Iron Maiden 2001 Melissa Etheridge 2001 Space Odyssey Vangelis 2012 (It Ain't the End) Jay Sean 21 Guns Green Day 2112 Rush 21st Century Breakdown Green Day 21st Century Digital Boy Bad Religion 21st Century Kid Jamie Cullum 21st Century Schizoid Man April Wine 22 Acacia Avenue Iron Maiden 24‐7 Kevon Edmonds 25 or 6 to 4 Chicago 26 Miles (Santa Catalina) Four Preps 29 Palms Robert Plant 30 Days in the Hole Humble Pie 33 Smashing Pumpkins 33 (acoustic) Smashing Pumpkins 3am Matchbox 20 3am Eternal The KLF 3x5 John Mayer 4 in the Morning Gwen Stefani 4 Minutes to Save the World Madonna w/ Justin Timberlake 4 Seasons of Loneliness Boyz II Men 40 Hour Week Alabama 409 Beach Boys 5 Shots of Whiskey
    [Show full text]
  • Ice Cube Hello
    Hello Ice Cube Look at these Niggaz With Attitudes Look at these Niggaz With Attitudes Look at these Niggaz With Attitudes Look at these Niggaz With Attitudes {Hello..} I started this gangsta shit And this the motherfuckin thanks I get? {Hello..} I started this gangsta shit And this the motherfuckin thanks I get? {Hello..} The motherfuckin world is a ghetto Full of magazines, full clips, and heavy metal When the smoke settle.. .. I'm just lookin for a big yellow; in six inch stilletos Dr. Dre {Hello..} perculatin keep em waitin While you sittin here hatin, yo' bitch is hyperventilatin' Hopin that we penetratin, you gets natin cause I never been to Satan, for hardcore administratin Gangbang affiliatin; MC Ren'll have you wildin off a zone and a whole half a gallon {Get to dialin..} 9 1 1 emergency {And you can tell em..} It's my son he's hurtin me {And he's a felon..} On parole for robbery Ain't no coppin a plea, ain't no stoppin a G I'm in the 6 you got to hop in the 3, company monopoly You handle shit sloppily I drop a ki properly They call me the Don Dada Pop a collar, drop a dollar if you hear me you can holla Even rottweilers, follow, the Impala Wanna talk about this concrete? Nigga I'm a scholar The incredible, hetero-sexual, credible Beg a hoe, let it go, dick ain't edible Nigga ain't federal, I plan shit while you hand picked motherfuckers givin up transcripts Look at these Niggaz With Attitudes Look at these Niggaz With Attitudes {Hello..} I started this gangsta shit And this the motherfuckin thanks I get? {Hello..} I started
    [Show full text]
  • Marygold Manor DJ List
    Page 1 of 143 Marygold Manor 4974 songs, 12.9 days, 31.82 GB Name Artist Time Genre Take On Me A-ah 3:52 Pop (fast) Take On Me a-Ha 3:51 Rock Twenty Years Later Aaron Lines 4:46 Country Dancing Queen Abba 3:52 Disco Dancing Queen Abba 3:51 Disco Fernando ABBA 4:15 Rock/Pop Mamma Mia ABBA 3:29 Rock/Pop You Shook Me All Night Long AC/DC 3:30 Rock You Shook Me All Night Long AC/DC 3:30 Rock You Shook Me All Night Long AC/DC 3:31 Rock AC/DC Mix AC/DC 5:35 Dirty Deeds Done Dirt Cheap ACDC 3:51 Rock/Pop Thunderstruck ACDC 4:52 Rock Jailbreak ACDC 4:42 Rock/Pop New York Groove Ace Frehley 3:04 Rock/Pop All That She Wants (start @ :08) Ace Of Base 3:27 Dance (fast) Beautiful Life Ace Of Base 3:41 Dance (fast) The Sign Ace Of Base 3:09 Pop (fast) Wonderful Adam Ant 4:23 Rock Theme from Mission Impossible Adam Clayton/Larry Mull… 3:27 Soundtrack Ghost Town Adam Lambert 3:28 Pop (slow) Mad World Adam Lambert 3:04 Pop For Your Entertainment Adam Lambert 3:35 Dance (fast) Nirvana Adam Lambert 4:23 I Wanna Grow Old With You (edit) Adam Sandler 2:05 Pop (slow) I Wanna Grow Old With You (start @ 0:28) Adam Sandler 2:44 Pop (slow) Hello Adele 4:56 Pop Make You Feel My Love Adele 3:32 Pop (slow) Chasing Pavements Adele 3:34 Make You Feel My Love Adele 3:32 Pop Make You Feel My Love Adele 3:32 Pop Rolling in the Deep Adele 3:48 Blue-eyed soul Marygold Manor Page 2 of 143 Name Artist Time Genre Someone Like You Adele 4:45 Blue-eyed soul Rumour Has It Adele 3:44 Pop (fast) Sweet Emotion Aerosmith 5:09 Rock (slow) I Don't Want To Miss A Thing (Cold Start)
    [Show full text]
  • January 26, 2020 — 11 Am Sanctuary Worship Third Sunday After Epiphany
    EAST LIBERTY PRESBYTERIAN CHURCH 116 South Highland Ave., Pittsburgh, PA 15206 412.441.3800 www.ELPC.church As a diverse community of believers, we strive to follow God – the Creator who calls us, Jesus who teaches us, and the Spirit who empowers us. We show God’s unconditional love by providing a refuge for spiritual growth, ardently pursuing justice, and extending Christ’s radical hospitality to all. (Strategic Vision mission statement, 2011) JANUARY 26, 2020 — 11 AM SANCTUARY WORSHIP THIRD SUNDAY AFTER EPIPHANY TIME OF PREPARATION “The trivial, the mundane, the distractions, the shiny object, the squirrel flitting from branch to branch. These are almost like a drug, reaching out to you, interrupting, For over 30 years engrossing, diverting, interfering, confusing and preoccupying your thinking and Dr. Gerre Edward focus. Distractions keep you from your real mission. Prevent you from concentrating Hancock (1934-2012) on and accomplishing the truly important things in your life.” was Organist and — Enrique Fiallo (Life coach, speaker, writer) Choirmaster at St. Thomas Episcopal Church, New York City. MINISTRY OF MUSIC Dr. Edward Alan Moore, organ Dr. Ed Moore studied “Schönster Herr Jesu (Beautiful Savior)” Gerre Hancock with him at the Eastman Our worship begins with the Ministry of Music/Prelude. School of Music. The Please use this time to fill out the red Friendship pads and for quiet worship preparation. tune Schönster Herr Jesu (Beautiful Savior) WELCOME & CHURCH NEWS The Rev. Patrice Fowler-Searcy is based on a Silesian folk song from the early * SHARING GOD’S PEACE The Rev. Fowler-Searcy 19th Century. Leader: La paz de Cristo esté con ustedes.
    [Show full text]
  • Black Rage VI Denison University
    Denison University Denison Digital Commons Writing Our Story Black Studies 2005 Black Rage VI Denison University Follow this and additional works at: http://digitalcommons.denison.edu/writingourstory Recommended Citation Denison University, "Black Rage VI" (2005). Writing Our Story. 98. http://digitalcommons.denison.edu/writingourstory/98 This Book is brought to you for free and open access by the Black Studies at Denison Digital Commons. It has been accepted for inclusion in Writing Our Story by an authorized administrator of Denison Digital Commons. ~It ...... 1 ei ll e:· CU· st. C jll eli [I C,I ei l .J­ C.:a, •.. a4 II a.il .. a,•• as II at iI Uj 'I Uj iI ax cil ui 11 a: c''. iI •a; a,iI'. u,· u,•• a: • at , 3,,' .it Statement of Purpose: To allow for a creative outlet for students of the Black Student Union of Denison University. Dedicated to Introduction The Black Student Union The need for this publication came about when the expres· Spring 2005 sions of a number of Black students were denied from other campus publications without any valid justification. As his­ tory has proven, when faced With limitations, we as Black people then create a means for overcoming that limitation­ a means that is significant to our own interests and beliefs. Therefore, we came together as a Black community in search of resolution, and decided on Black Rage as the instrument by which we would let our creative voices sing. This unprecedented publication serves as a refuge for the Black students at Denison University, by offering an avenue for our poetry, prose, short stories as well as other unique writings to be read, respected, and held in utmost regard.
    [Show full text]
  • 8123 Songs, 21 Days, 63.83 GB
    Page 1 of 247 Music 8123 songs, 21 days, 63.83 GB Name Artist The A Team Ed Sheeran A-List (Radio Edit) XMIXR Sisqo feat. Waka Flocka Flame A.D.I.D.A.S. (Clean Edit) Killer Mike ft Big Boi Aaroma (Bonus Version) Pru About A Girl The Academy Is... About The Money (Radio Edit) XMIXR T.I. feat. Young Thug About The Money (Remix) (Radio Edit) XMIXR T.I. feat. Young Thug, Lil Wayne & Jeezy About Us [Pop Edit] Brooke Hogan ft. Paul Wall Absolute Zero (Radio Edit) XMIXR Stone Sour Absolutely (Story Of A Girl) Ninedays Absolution Calling (Radio Edit) XMIXR Incubus Acapella Karmin Acapella Kelis Acapella (Radio Edit) XMIXR Karmin Accidentally in Love Counting Crows According To You (Top 40 Edit) Orianthi Act Right (Promo Only Clean Edit) Yo Gotti Feat. Young Jeezy & YG Act Right (Radio Edit) XMIXR Yo Gotti ft Jeezy & YG Actin Crazy (Radio Edit) XMIXR Action Bronson Actin' Up (Clean) Wale & Meek Mill f./French Montana Actin' Up (Radio Edit) XMIXR Wale & Meek Mill ft French Montana Action Man Hafdís Huld Addicted Ace Young Addicted Enrique Iglsias Addicted Saving abel Addicted Simple Plan Addicted To Bass Puretone Addicted To Pain (Radio Edit) XMIXR Alter Bridge Addicted To You (Radio Edit) XMIXR Avicii Addiction Ryan Leslie Feat. Cassie & Fabolous Music Page 2 of 247 Name Artist Addresses (Radio Edit) XMIXR T.I. Adore You (Radio Edit) XMIXR Miley Cyrus Adorn Miguel Adorn Miguel Adorn (Radio Edit) XMIXR Miguel Adorn (Remix) Miguel f./Wiz Khalifa Adorn (Remix) (Radio Edit) XMIXR Miguel ft Wiz Khalifa Adrenaline (Radio Edit) XMIXR Shinedown Adrienne Calling, The Adult Swim (Radio Edit) XMIXR DJ Spinking feat.
    [Show full text]