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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. -
NSR 006 CELPH TITLED & BUCKWILD Nineteen Ninety Now CD
01. The Deal Maker 02. Out To Lunch (feat. Treach of Naughty By Nature) 03. Eraserheads (feat. Vinnie Paz of Jedi Mind Tricks) 04. F*ckmaster Sex 05. Swashbuckling (feat. Apathy, Ryu & Esoteric) 06. I Could Write A Rhyme 07. Hardcore Data 08. Mad Ammo (feat. F.T. & R.A. The Rugged Man) 09. Tingin' 10. There Will Be Blood (feat. Sadat X, Grand Puba, A.G., O.C. & Diamond) 11. Miss Those Days 12. Step Correctly 13. Wack Juice 14. Styles Ain't Raw (feat. Apathy & Chino XL) 15. Where I Are 16. Time Travels On (feat. Majik Most & Dutchmassive) Nineteen Ninety Now is finally here and a Hip Hop renaissance is about to begin! The art form is brought KEY SELLING POINTS: full-circle through this groundbreaking collaboration • Long awaited debut album from Celph Titled, who between underground giant Celph Titled and production already has gained a huge underground following as a legend Buckwild of D.I.T.C. fame! Showing that the core member of Jedi Mind Tricks' Army of the Pharaohs crew and his own trademark Demigodz releases. Also lessons from the past can be combined with the as a part of Mike Shinoda's Fort Minor project and tour, innovations of the present, these two heavyweight his fanbase has continued to grow exponentially artists have joined forces to create a neo-classic. By • Multi-platinum producer Buckwild from the legendary Diggin’ In The Crates crew (D.I.T.C.) has produced having uninhibited access to Buckwild’s original mid-90s countless classics over the last two decades for artists production, Celph Titled was able to select and record ranging from Artifacts, Organized Konfusion, and Mic to over 16 unreleased D.I.T.C. -
Objects of Desire
Special Senior, End Of TheYear Issue Volume I • Number XVI Atlanta, Georgia May 2, 1994 FAREWELL CAU P2 May 2, 1994 The Panther AmeriCorps is the new domestic AmeriCorps... Peace Corps where thousands of young people will soon be getting the new National Service things done through service in exchange for help in financing movement that will their higher education or repaying their student loans. get things done. Starting this fall, thousands Watch for of AmeriCorps members will fan out across the nation to meet AmeriCorps, coming the needs of communities everywhere. And the kinds of soon to your community... things they will help get done can truly change America- and find out more things like immunizing our infants...tutoring our teenagers... by calling: k keeping our schools safe... restoring our natural resources 1-800-94-ACORPS. ...and securing more independent ^^Nives for our and our elderly. TDD 1-800-833-3722 Come hear L L Cool J at an AmeriCorps Campus Tour Rally for Change with A.U.C. Council of Presidents and other special guests. May 5,12 noon Morehouse Campus Green The Panther May 2, 1994 P3 Seniors Prepare The End Of The Road For Life After College By Johane Thomas AUC, and their experiences in the Contributing Writer classroom and their own personal experiences will carry over into the the work place. That special time of the year is here Eric Brown of Morehouse College again. As students prepare for gradua tion, they express concern over find plans to attend UCLA in the fall. As a ing jobs, respect in the workplace and Pre-Med major, Eric feels that his their experiences while attending learned skills will help him to suceed school here in the AUC. -
Williams, Justin A. (2010) Musical Borrowing in Hip-Hop Music: Theoretical Frameworks and Case Studies
Williams, Justin A. (2010) Musical borrowing in hip-hop music: theoretical frameworks and case studies. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11081/1/JustinWilliams_PhDfinal.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. -
Underground Rap Albums 90S Downloads Underground Rap Albums 90S Downloads
underground rap albums 90s downloads Underground rap albums 90s downloads. 24/7Mixtapes was founded by knowledgeable business professionals with the main goal of providing a simple yet powerful website for mixtape enthusiasts from all over the world. Email: [email protected] Latest Mixtapes. Featured Mixtapes. What You Get With Us. Fast and reliable access to our services via our high end servers. Unlimited mixtape downloads/streaming in our members area. Safe and secure payment methods. © 2021 24/7 Mixtapes, Inc. All rights reserved. Mixtape content is provided for promotional use and not for sale. The Top 100 Hip-Hop Albums of the ’90s: 1990-1994. As recently documented by NPR, 1993 proved to be an important — nay, essential — year for hip-hop. It was the year that saw 2Pac become an icon, Biz Markie entangled in a precedent-setting sample lawsuit, and the rise of the Wu-Tang Clan. Indeed, there are few other years in hip- hop history that have borne witness to so many important releases or events, save for 1983, in which rap powerhouse Def Jam was founded in Russell Simmons’ dorm room, or 1988, which saw the release of about a dozen or so game-changing releases. So this got us thinking: Is there really a best year for hip-hop? As Treble’s writers debated and deliberated, we came up with a few different answers, mostly in the forms of blocks of four or five years each. But there was one thing they all had in common: they were all in the 1990s. Now, some of this can be chalked up to age — most of Treble’s staff and contributors were born in the 1980s, and cut their musical teeth in the 1990s. -
Africana Studies Review
AFRICANA STUDIES REVIEW JOURNAL OF THE CENTER FOR AFRICAN AND AFRICAN AMERICAN STUDIES SOUTHERN UNIVERSITY AT NEW ORLEANS VOLUME 6 NUMBER 1 SPRING 2019 ON THE COVER DETAIL FROM A PIECE OF THE WOODEN QUILTS™ COLLECTION BY NEW ORLEANS- BORN ARTIST AND HOODOO MAN, JEAN-MARCEL ST. JACQUES. THE COLLECTION IS COMPOSED ENTIRELY OF WOOD SALVAGED FROM HIS KATRINA-DAMAGED HOME IN THE TREME SECTION OF THE CITY. ST. JACQUES CITES HIS GRANDMOTHER—AN AVID QUILTER—AND HIS GRANDFATHER—A HOODOO MAN—AS HIS PRIMARY INFLUENCES AND TELLS OF HOW HEARING HIS GRANDMOTHER’S VOICE WHISPER, “QUILT IT, BABY” ONE NIGHT INSPIRED THE ACCLAIMED COLLECTION. PIECES ARE NOW ON DISPLAY AT THE AMERICAN FOLK ART MUSEUM AND OTHER VENUES. READ MORE ABOUT ST. JACQUES’ JOURNEY BEGINNING ON PAGE 75 COVER PHOTOGRAPH BY DEANNA GLORIA LOWMAN AFRICANA STUDIES REVIEW JOURNAL OF THE CENTER FOR AFRICAN AND AFRICAN AMERICAN STUDIES SOUTHERN UNIVERSITY AT NEW ORLEANS VOLUME 6 NUMBER 1 SPRING 2019 ISSN 1555-9246 AFRICANA STUDIES REVIEW JOURNAL OF THE CENTER FOR AFRICAN AND AFRICAN AMERICAN STUDIES SOUTHERN UNIVERSITY AT NEW ORLEANS VOLUME 6 NUMBER 1 SPRING 2019 TABLE OF CONTENTS About the Africana Studies Review ....................................................................... 4 Editorial Board ....................................................................................................... 5 Introduction to the Spring 2019 Issue .................................................................... 6 Funlayo E. Wood Menzies “Tribute”: Negotiating Social Unrest through African Diasporic Music and Dance in a Community African Drum and Dance Ensemble .............................. 11 Lisa M. Beckley-Roberts Still in the Hush Harbor: Black Religiosity as Protected Enclave in the Contemporary US ................................................................................................ 23 Nzinga Metzger The Tree That Centers the World: The Palm Tree as Yoruba Axis Mundi ........ -
0 Musical Borrowing in Hip-Hop
MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. Williams, BA, MMus Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2009 0 Musical Borrowing in Hip-hop Music: Theoretical Frameworks and Case Studies Justin A. Williams ABSTRACT ‗Musical Borrowing in Hip-hop‘ begins with a crucial premise: the hip-hop world, as an imagined community, regards unconcealed intertextuality as integral to the production and reception of its artistic culture. In other words, borrowing, in its multidimensional forms and manifestations, is central to the aesthetics of hip-hop. This study of borrowing in hip-hop music, which transcends narrow discourses on ‗sampling‘ (digital sampling), illustrates the variety of ways that one can borrow from a source text or trope, and ways that audiences identify and respond to these practices. Another function of this thesis is to initiate a more nuanced discourse in hip-hop studies, to allow for the number of intertextual avenues travelled within hip-hop recordings, and to present academic frameworks with which to study them. The following five chapters provide case studies that prove that musical borrowing, part and parcel of hip-hop aesthetics, occurs on multiple planes and within myriad dimensions. These case studies include borrowing from the internal past of the genre (Ch. 1), the use of jazz and its reception as an ‗art music‘ within hip-hop (Ch. 2), borrowing and mixing intended for listening spaces such as the automobile (Ch. 3), sampling the voice of rap artists posthumously (Ch. 4), and sampling and borrowing as lineage within the gangsta rap subgenre (Ch. -
Baby Driver Soundtrack Download Zip Mediafire Download Various Artists - Baby Driver (Music from the Motion Picture) (2017) Album
baby driver soundtrack download zip mediafire Download Various Artists - Baby Driver (Music from the Motion Picture) (2017) Album. 1. Bellbottoms 2. Easy 3. Debora 4. Debra 5. Bongolia 6. Baby Let Me Take You (In My Arms) 7. Early in the Morning 8. The Edge 9. Nowhere To Run 10. Tequila 11. When Something Is Wrong With My Baby 12. Harlem Shuffle 13. Every Little Bit Hurts 14. Intermission 15. Hocus Pocus 16. Radar Love 17. Never, Never Gonna Give Ya Up 18. Know How 19. Brighton Rock 20. Easy 21. Baby Driver 22. "Was He Slow?" 23. Egyptian Reggae 24. Chase Me (feat. Run The Jewels & Big Boi) 25. Smokey Joe's La La 26. Let's Go Away For Awhile 27. B-A- B-Y 28. Kashmere 29. Unsquare Dance 30. Neat Neat Neat. Producto Ilícito. A1 Grandmaster Melle Mel and The Furious Five -- Beat Street A2 The System -- Baptise The Beat A3 Jenny Burton and Patrick Jude -- Strangers In A Strange World (Love Theme From Beat Street) A4 Afrika Bambaataa and Soulsonic Force Feat. Shango -- Frantic Situation (Frantic Mix) B1 Juicy -- Beat Street Strut B2 Debbie D; Lisa Counts; Sharon Green -- Us Girls B3 Cindy Mizelle -- This Could Be The Night B4 Arthur Baker -- Breaker's Revenge B5 Rubeñ Blades -- Tu Cariño-Carmen's Theme. Beat Street (Original Motion Picture Soundtrack) - Volume 2 (1984) (320kbps) BoyZ N The Hood (Soundtrack) (1991) (320 kbps) 01. Ice Cube - How to Survive in South Central 02. Tevin Campbell - Just ask me to 03. Yo-Yo - Mama Don't Take No Mess 04. -
Representations and Discourses of Black Motherhood in Hip Hop and REPRESENTATIONS and DISCOURSES
Chaney and Brown: Representations and Discourses of Black Motherhood in Hip Hop and REPRESENTATIONS AND DISCOURSES . Representations and Discourses of Black Motherhood in Hip Hop and R&B over Time Cassandra Chaney and Arielle Brown This study will examine how representations and discourses regarding Black motherhood have changed in the Hip Hop and R&B genres over time. Specifically, this scholarly work will contextualize the lyrics of 79 songs (57 Hip Hop songs; 18 R&B songs; 2 songs represented the Hip Hop and R&B genre; 2 songs represented artists who produce music in 5 or 6 genres) from 1961-2015 to identify the ways that Black male and Black female artists described motherhood. Through the use of Black Feminist Theory, and by placing the production of these songs within a sociohistorical context, we provide an in-depth qualitative examination of song lyrics related to Black motherhood. Results gave evidence that representations and discourse of motherhood have been largely shaped by patriarchy as well as cultural, political, and racial politics whose primary aim was to decrease the amount of public support for poor, single Black mothers. In spite of the pathological framing of Black mothers, most notably through the “welfare queen” and “baby mama” stereotypes, a substantial number of Hip Hop and R&B artists have provided a strong counter narrative to Black motherhood by highlighting their positive qualities, acknowledging their individual and collective struggle, and demanding that these women be respected. How has patriarchy influenced the production and release of Hip Hop and R&B songs related to Black motherhood? In what ways has Hip Hop and R&B supported and challenged dominant representations and discourses surrounding Black 1 motherhood? How has Black Feminist Theory validated the experiences of Black mothers in Hip Hop and R&B? This manuscript will respond to these three questions by examining how societal changes have directly influenced how Black mothers in Hip Hop and R&B2 are intellectualized. -
City of Angels
ZANFAGNA CHRISTINA ZANFAGNA | HOLY HIP HOP IN THE CITY OF ANGELSHOLY IN THE CITY OF ANGELS The publisher gratefully acknowledges the generous support of the Lisa See Endowment Fund in Southern California History and Culture of the University of California Press Foundation. Luminos is the Open Access monograph publishing program from UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org Holy Hip Hop in the City of Angels MUSIC OF THE AFRICAN DIASPORA Shana Redmond, Editor Guthrie P. Ramsey, Jr., Editor 1. California Soul: Music of African Americans in the West, edited by Jacqueline Cogdell DjeDje and Eddie S. Meadows 2. William Grant Still: A Study in Contradictions, by Catherine Parsons Smith 3. Jazz on the Road: Don Albert’s Musical Life, by Christopher Wilkinson 4. Harlem in Montmartre: A Paris Jazz Story between the Great Wars, by William A. Shack 5. Dead Man Blues: Jelly Roll Morton Way Out West, by Phil Pastras 6. What Is This Thing Called Jazz?: African American Musicians as Artists, Critics, and Activists, by Eric Porter 7. Race Music: Black Cultures from Bebop to Hip-Hop, by Guthrie P. Ramsey, Jr. 8. Lining Out the Word: Dr. Watts Hymn Singing in the Music of Black Americans, by William T. Dargan 9. Music and Revolution: Cultural Change in Socialist Cuba, by Robin D. -
Hip Hop in the Language Arts Classroom B Cord Mckeithen Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2010 Play it loud: hip hop in the language arts classroom B Cord McKeithen Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Education Commons Recommended Citation McKeithen, B Cord, "Play it loud: hip hop in the language arts classroom" (2010). LSU Master's Theses. 2696. https://digitalcommons.lsu.edu/gradschool_theses/2696 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. PLAY IT LOUD: HIP-HOP IN THE LANGUAGE ARTS CLASSROOM A Thesis Submitted to then Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The Department of Education by B. Cord McKeithen B.A., Louisiana State University, 2001 May 2010 Acknowledgements First, I would like to thank my family for supporting my decision to return to graduate school and being more than encouraging in my goal to become a teacher. Next, I would like to thank my close friends who, without, would not have been able to make it through this two year course. I would also like to thank Destiny Cooper, who opened up her classroom to me to do research, as well as her students. Also, thank you to Dr. -
Nobody Has to Know
ONRA Nobody Has To Know LP BUMPED TO 3/16 KEY SELLING POINTS • On his fifth album for All City Records, Onra created music that reflects on the various aspects of a secret relationship pulling from R&B, New Jack Swing and Funk • “Nobody Has To Know” picks up from the future Funk style Onra originated on his 2010 album “Long Distance” • Released the third volume of Chinoiseries in May 2017 using analogue MPC production combined with the somewhat restrictive record sampling of strictly Chinese music records DESCRIPTION ARTIST: Onra Few artforms are as apt to describing the fervour and tumult of human emotions as music is. Songs transport us to real and imaginary places, TITLE: Nobody Has To Know living someone else’s experiences as our own, connecting with thoughts CATALOG: CD-ACOLPX5 / C-ACOLPX5 and feelings through melodies, rhythm and words. As a producer working LABEL: All City Records primarily with the tools of traditional Hip-Hop – samplers, records, synthesizers – Onra has distinguished himself over the past decade GENRE: Hip-Hop/Instrumental as one of the best of his generation, capable of creating vivid music BARCODE: 7573475306524 / N/A ACOLPX5 that sparks the mind of the listener and brings them along to uniquely FORMAT: CD / Cassette detailed spaces, both real and imagined. On “Nobody Has To Know”, his HOME MARKET: France fifth album for All City Records, the versatile French producer created music that reflects on the various aspects of a secret relationship pulling RELEASE: 3/2/2018 from R&B, New Jack Swing and Funk to soundtrack the passions of LIST PRICE: $12.98 / AL / $12.98 / AL attraction.