Enacting Change Through Respect
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Bumbershoot Aesop Rock Niki&The Dove 11.09.12
11.09.12 page page page 6 bumbershoot 8 Aesop rock 10 niki&the dove cover art by lindsay stribling 2 in cue 11.09.12 college radio is the specialization and niche programming that it meet our about delivers to a broad audience. This blew my mind because it was so staff Top 5 Albums ever in cue profoundly accurate. YES! This is Welcome to In Cue, why radio matters. your campus radio College radio o#ers the cur- 1) Neutral Milk Hotel “Aeroplane over the Sea” station’s written con- rency that we all crave as well as nection to the masses. the education that accompanies 2) Wilco “Yankee Hotel Foxtrot” - a person telling you, “Hey, I chose 3) Elliot Smith “A basement on a Hill” views, articles, and these songs for you, I vouch for 4) T Rex “Electric Warrior” updates on what KUOI them. They are good.” If you be- FM has been up to this lieve, as I always have, that KUOI 5) Radiohead “The Bends” hosts some of the coolest kids on Nae Hakala year. We are here to STATION MANGER answer the question: campus, then you can have faith in what they are sharing with “Why does radio you. Sure, I initially tuned in for indie-rock and punk, but I stayed 1) Death Cab for Cutie “Transatlanticism” even matter, for garage and psych. Who knew 2) Death From Above 1979 “You’re a Women I’m a Machine” anymore?” these genres were still thriving? A 3) Animal Collective “Strawberry Jam” KUOI DJ knew, and he shared it with me. -
RJD2 2002-2010 Mp3, Flac, Wma
RJD2 2002-2010 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Hip hop Album: 2002-2010 Country: US Released: 2009 Style: Instrumental, Downtempo, Hip Hop MP3 version RAR size: 1316 mb FLAC version RAR size: 1167 mb WMA version RAR size: 1140 mb Rating: 4.1 Votes: 545 Other Formats: RA TTA WAV DTS MMF AAC AC3 Tracklist Hide Credits Deadringer A1 The Horror A2 Salud A3 Smoke & Mirrors Good Times Roll Pt.2 A4 Mixed By – John Chinn* Final Frontier B1 Featuring – Blueprint B2 Ghostwriter B3 Cut Out To FL B4 Shot In The Dark F.H.H. C1 Featuring – Jakki* C2 Chicken-Bone Circuit C3 The Proxy C4 2 More Dead D1 Take The Picture Off D2 Silver Fox June D3 Featuring – Copywrite D4 Work The Horror A1 The Horror A2 Ghostwriter Remix Final Frontier Remix A3 Featuring – Aesop Rock, Blueprint, Murs, Vast Aire A4 Bus Stop Bitties A5 Good Times Roll Pt.1 B1 Sell The World June Remix B2 Featuring – Copywrite B3 Counselling Inst. B4 Final Frontier Inst. B5 F.H.H. Inst. Since We Last Spoke A1 Since We Last Spoke A2 Exotic Walk A3 1976 B1 Ring Finger B2 Making Days Longer B3 Someone's Second Kiss C1 To All Of You C2 Clean Living C3 Iced Lightning D1 Intro D2 Through The Walls D3 One Day Tin Foil Hat A1 The Sleepaway A2 The Highest Of Courts The Move (Feat. Tage) A3 Vocals – Tage* A4 When It Wobbles B1 Thine Planetarium B2 Before Or Since B3 The Girls From Art School Credits Producer – RJD2 Notes Sticker on the front reads: "1000 pc. -
Adult Fiction
Adult Fiction Heroes of the Frontier The Woman in Cabin 10 Dave Eggers Ruth Ware When travel journalist Lo Blacklock is Josie is on the run with her invited on a boutique luxury cruise children. She's left her husband, around the Norwegian fjords, it seems her failing dental practice, and the like a dream job. But the trip takes a rest of her Ohio town to explore nightmarish turn when she wakes in Alaska in a rickety RV. the middle of the night to hear a body being thrown overboard. With his trademark insight, humor, and pathos, Dave Eggers explores Brit Ruth Ware has crafted her second this woman's truly heroic gripping, dark thriller in the Christie adventure, all the while exploring tradition. This page-turner toys with the concept of heroism in general. the classic plot of "the woman no one Brilliant, unpretentious, and highly would believe" with incredible language readable. and fun twists. Also a terrific, ~Alan’s and Leslie’s pick unabridged audiobook. ~Alan’s pick They May Not Mean To, But Barkskins They Do Annie Proulx Cathleen Schine Spanning hundreds of years, this When Joy Bergman's husband dies, ambitious work tells the often brutal her children are shocked that she story of the Canadian and New doesn't agree with their ideas for England lumber industry and all her. The book's title is from a those whom it enriched or displaced. Philip Larkin poem, and this funny and compassionate look at the Annie Proulx’s writing never ceases Bergman family brings Larkin's to thrill me. -
ND Screens Controversial Chinese Film
THE The Independent Newspaper Serving Notre Dame and Saint Mary's VOLUME 38: ISSUE 51 WEDNESDAY. NOVEMBER 12.2003 NDSMCOBSERVER.COM ND screens controversial Chinese film Johnson, who is a personal shot underground in privately By ANDREW THAGARD friend of Yang, is partly responsi owned mines without the Assistant News Editor ble for today's screening of the approval of the government and film. He worked with Yang to at great personal risk for the Notre Dame's Department of translate the film and write crew. Many of the characters are East Asian Languages and English subtitles, and he assisted played by amateur actors who IJteratures will host a screening of in bringing the work to the atten also work ip the mine or live in filmmaker IJ Yang's "Blind Shaft" tion of foreign diplomats and jour the village. Ying has not disclosed at 8 p.m. tonight in DeBartolo nalists in Beijing. the identity of the village in order Hall. The film, which showcases The film, according to Noble, to protect the identity of these the lives of workers in China's utilizes a documentary style to tell actors. mining industry, was denounced the story of two con-artists who While the film is not officially by the communist nation. concoct a scam to collect money "banned" in China, Chinese gov "I think [the screening] is a from a coal mining company in ernment officials have criticized unique opportunity and a good rural China. The duo meets a the film's subject manner and way for students at Notre Dame to child whose kiridness causes one Ymg's failure to seek approval for have a glimpse of what certain of the members to think twice production and distribution. -
Aesop Rock, We're Famous
Aesop Rock, We're Famous [El-P] I brought that genuine shit in '96 Before you knew the underground or independent existed I watched the whole scene straight jump on the dick After stepping to KCR lit and flexing my shit No gun talk, no gimmicks, just rounds of raw-dogging Dirty dusty intelligent wit and word murdering A hardcore poetic informed without burglary Potent and shook the shit out of rappers who just learned of me Everytime I prescribe a new pill, revolution Quickly defined the standard for indie rap distribution Arrogant unafraid shit developed riding a train thinking of brain fucks "Bad Touch Example" that soon became bucks Had everybody sprung wondering where I came from Screaming out "Independent is fucked" with an insane tongue With an indelible squad of design monsters Innovating the styles that made biters look like imposters So we scripted an album and signed to Rawkus Selling a hundred thousand without a radio chart hit Imposterous sonics taking the world hostage Classic hip-hop bombage dirty with style progress Now I've come from the '80s juvenile Brooklyn Where cats was like: "Gimme that subway pass, kid. Good lookin." Now someone else is taking a ride with what's mine So I had to develop styles with a death device cooked in So when I battled in basements I had eight sentences Waiting way before the four you had laced in And I was taught to wait patient (Why?) Only faggots make shit up just to get famous So when I finally blew up I remained sick Earning respect in ghettos and 'burbs for -
Adam Bradley, Book of Rhymes
MediaTropes eJournal Vol III, No 1 (2011): 151–153 ISSN 1913-6005 Adam Bradley. Book of Rhymes: The Poetics of Hip Hop. New York: Basic Civitas Books, 2009. 272 pages; paper $16.95. ISBN 978-0-4650-0347-1. “Rap is poetry” (xii). To any avid fan of the genre, it is a statement that seems obvious. The words could easily be the musings of a listener first introduced to the art form, not the focal point of an entire work of contemporary criticism. Yet in Book of Rhymes: The Poetics of Hip Hop, Adam Bradley’s primary focus is this very point, the recognition of traditional poetic elements within rap music. With the global cultural and economic phenomenon that hip hop has become, it is easy to forget that the style of music is barely thirty years old, that scholarly criticism of it has existed for only half of that time. When viewed within this relatively new arena of scholarship, the importance of Bradley’s text is clear. He attempts to lay the foundation for future work, to provide a formal language of lyrical and performative analysis. It is for this achievement that we must recognize Book of Rhymes as a landmark text, despite the somewhat surface treatment it applies to its subject. Bradley divides his work into two sections, beginning with the formal or structural elements of rap music, namely, “Rhythm, Rhyme and Wordplay,” and ending with the thematic or representational components, classified as “Style, Storytelling and Signifying.” The first section is the decisively stronger of the two, based around carefully chosen examples and meticulously broken down lyrics. -
Reinforced Rap Clichés | Norient.Com 25 Sep 2021 13:26:15
Reinforced Rap Clichés | norient.com 25 Sep 2021 13:26:15 Reinforced Rap Clichés by Tara Mahadevan Many clichés exist within hip hop, particularly that it’s a genre bent on discussing wealth. Sure, that’s true, but the same can be said for any musical genre or industry. But, in fact, no one in hip hop wants to talk about money anymore. In the last years, rap is slowly moving away from being money-centric to again, being about the music. This is what Rob Sonic and Aesop Rock aka Hail Mary Mallon completely miss with their 2014 music video «Whales», an ironic view on wealth in hip hop culture. From the Norient book Seismographic Sounds (see and order here). Take something as simple as the media, which encompasses everything from social media to print media to television talk shows and the news. Wealth is everywhere. What extravagant thing did Kim Kardashian buy this week for her daughter North West? What luxurious, indulgent vacation did Beyonce and Jay-Z go on this time? Our society is obsessed with wealth, regardless of how much or little money you have. From the standpoint of hip hop, the topic of money comes off as cliché. From hip hop’s outset, the genre has expressed a desire for money. Wealth is a prevalent theme in the first popularized rap song from 1979, «Rapper’s Delight» by the Sugarhill Gang, «I got a color TV so I can see the Knicks play basketball / Hear me talking 'bout checkbooks, credit cards, more money than a sucker could ever spend», raps Big Bank Hank. -
PDF Examples
MTO 26.2 Examples: Adams, Harmonic, Syntactic, and Motivic Parameters of Phrase in Hip-Hop (Note: audio, video, and other interactive examples are only available online) https://mtosmt.org/issues/mto.20.26.2/mto.20.26.2.adams.html Example 1a. Kurtis Blow, “Basketball” (1984), verse 1, 0:25–0:35 (borrowed from Adams 2009) Example 1b. Eric B. and Rakim, “Paid in Full” (1987), 0:46–1:10 Example 3. Danger Doom, “Sofa King” (from The Mouse and the Mask, 2005), 1:12–1:48 (produced by Danger Mouse [Brian Burton]) Example 4. Repetitive beat: De La Soul, “The Grind Date” (from The Grind Date, 2005), 0:28–0:49 (produced by Dave West) Example 5a. Oscillating beat, alternating by second: A Tribe Called Quest, “Excursions“ (from The Low End Theory, 1990), 0:28–0:52 (produced by Ali Shaheed Muhammad) Example 5b. Oscillating beat, alternating by third: Aesop Rock (Ian Bavitz), “None Shall Pass” (from None Shall Pass, 2007), 0:15–0:34 (produced by Blockhead [Tony Simon]) Example 5c. Oscillating beat, alternating by fourth: People under the Stairs, “Montego Slay” (from O.S.T., 2002), 0:20–0:44 (produced by Thes One [Christopher Portugal]) Example 5d. Oscillating beat, sequential: Cunninlynguists, “Lynguistics” (from Will Rap for Food, 2001), 0:18–0:46 (produced by Kno [Ryan Wisler]) Example 5e. Oscillating beat, uneven: Migos, “Bad and Boujee,” (from Culture, 2017), 0:15–0:30 (produced by DY and Tre Pounds [Dwan Avery and Jeffrey LaCroix]) Example 6a. Expansional beat, I → iv: Atmosphere, “The Best Day” (from To All My Friends, Blood Makes the Blade Holy: The Atmosphere EP’s [sic], 2010), 2:17–2:41 (produced by Ant [Anthony Davis]) Example 6b. -
The Intertextuality and Translations of Fine Art and Class in Hip-Hop Culture
arts Article The Intertextuality and Translations of Fine Art and Class in Hip-Hop Culture Adam de Paor-Evans Faculty of Culture and the Creative Industries, University of Central Lancashire, Lancashire PR1 2HE, UK; [email protected] Received: 24 October 2018; Accepted: 12 November 2018; Published: 16 November 2018 Abstract: Hip-hop culture is structured around key representational elements, each of which is underpinned by the holistic element of knowledge. Hip-hop emerged as a cultural counter position to the socio-politics of the urban condition in 1970s New York City, fuelled by destitution, contextual displacement, and the cultural values of non-white diaspora. Graffiti—as the primary form of hip-hop expression—began as a political act before morphing into an artform which visually supported the music and dance elements of hip-hop. The emerging synergies graffiti shared with the practices of DJing, rap, and B-boying (breakdancing) forged a new form of art which challenged the cultural capital of music and visual and sonic arts. This article explores moments of intertextuality between visual and sonic metaphors in hip-hop culture and the canon of fine art. The tropes of Michelangelo, Warhol, Monet, and O’Keefe are interrogated through the lyrics of Melle Mel, LL Cool J, Rakim, Felt, Action Bronson, Homeboy Sandman and Aesop Rock to reveal hip-hop’s multifarious intertextuality. In conclusion, the article contests the fallacy of hip-hop as mainstream and lowbrow culture and affirms that the use of fine art tropes in hip-hop narratives builds a critical relationship between the previously disparate cultural values of hip-hop and fine art, and challenges conventions of the class system. -
Jožef Kolarič
05 University of Maribor Jožef Kolarič Literary Intertextuality in the Lyrics of GZA, MF DOOM, Aesop Rock and Billy Woods JOŽEF KOLARIČ / 81 Literary Intertextuality in the Lyrics of GZA, MF DOOM, Aesop Rock and Billy Woods Abstract: Rap and literature have always been intertwined with each other. To a degree, that is not surprising as rap music is an indirect successor of the Black Arts Movement of the late 1960s. The generation of children that started hip-hop as a youth movement in South Bronx was the frst one after the civil rights movement. Rap developed as part of the hip-hop culture and was never at its forefront. This article describes the manner in which literature has been integrated into rap records with regard to the socio-historical circumstances at times of their development. GZA, MF DOOM, Aesop Rock, and Billy Woods are the rappers analysed as they substantially infuenced contemporary rap writing. Before the analysis is made, the main concepts are defned. A short description of the origin of hip-hop is given. Allusion, intertextuality, and sampling are defned and explained in the context of hip-hop as a genre. A short overview of research on intertextuality in rap is made. Keywords: Hip-Hop, Rap, Intertextuality, Allusion, Sampling NOTE The article is partially based on the author’s MA thesis Intertextuality of Literature in Billy Woods`s Lyrics accessible on the following link: https://dk.um.si/dokument.php?id=119169. Parts of this article have been modifed and appear in the author’s upcoming monograph Billy Woods: Virtuoso of Intertextuality. -
Aesop Rock Boom Bip with Sole, Demune, Ancient Mith, Demune Jahbitat & Others & Otem Rellik II Deadmagazine Deadon 1 Deadon
08/2007/ISSUE III XNDL inklusive Audio88 Kool Keith CD-Compilation Free The Robots .......................... Project Mooncircle Aesop Rock Boom Bip with Sole, Demune, Ancient Mith, Demune Jahbitat & others & Otem Rellik II deadmagazine deadon 1 deadon „Ich war dabei. Ich war sein wohl die lächerlichste Antwort auf diese späte wütend. Ich war macht- Erkenntnis wäre. Ich entschied mich somit voerst für blinde Wut, um dann später erhobenen Hauptes behaup- los und schrecklich ten zu können: „Ich war dabei. Ich war wütend. Ich war deprimiert.“ machtlos und schrecklich deprimiert.“ Was bleibt? Endlose Diskussionen über Internet- Tage, die die Welt verändern, zeichnen Tauschbörsen, die „Daseinsberechtigung“ von Major- sich wohl vor Allem dadurch aus, dass labels und die gefühlte Fairness eines angeblich so viel sie nicht existieren. Sollten ein paar der offeneren Umgangs mit Kunst. Seit Jahren schwelen die derzeit kursierenden Negativ-Prognosen immerselben Argumente vor sich hin. Von Zeit zu Zeit über die Plattenindustrie im Großen wie schafft es eine markante Stimme, ihnen mehr Aufmerk- im Kleinen wahr werden, wird es uns im samkeit zu garantieren – ihre eigentliche Kraft jedoch nachhinein wahrscheinlich wieder ein- scheint verloren gegangen zu sein. Wirklich dämlich mal schwer fallen, einen solchen Anker- sehen dabei nur DRM-Hardliner der Plattenindustrie und tag festzulegen. Mein Teil der Geschichte die ignoranten Pseudo-Idealisten unter den Downloadern begann mit dem Tag, an dem ich sowohl aus und man beginnt sich zu fragen, welche Position meine Musik, als auch die einiger Freun- überhaupt noch haltbar ist und ob man nicht lieber, de und Bekannter auf einer mir fremden anstatt hier zu diskutieren, auf das Konzert einer Band russischen Seite zum kostenpflichtigen gegangen wäre, deren Namen man noch nie vorher Download gefunden habe. -
4948 Songs, 13 Days, 33.04 GB
Page 1 of 17 Music 4948 songs, 13 days, 33.04 GB Artist Album # Items Total Time A.Dd+ DiveHiFlyLo: Every Man Is King 1 3:23 Action Bronson SAAAB STORIES produced by Harry Fraud 7 25:14 Aesop Rock Daylight 8 37:34 After The Smoke After The Smoke EP 5 15:46 Amerigo Gazaway of Gummy Soul Bizarre Tribe: A Quest to The Pharcyde 14 54:50 Andrew Bird's Bowl Of Fire Oh! The Grandeur 15 54:46 Angel Haze New York EP 1 4:30 Angus Music From The Motion Picture "Angus" 1 1:52 The Antlers Burst Apart 1 3:25 Arcade Fire The Suburbs 16 1:04:06 Arctic Monkeys AM 12 41:47 ASAP Rocky LiveLoveA$AP 16 53:49 ASAP Rocky Long.Live.ASAP 15 1:01:26 The Avett Brothers I and Love and You 13 50:45 Aziz Ansari Intimate Moments For A Sensual Evening 22 54:46 Azizi Gibson Singles 1 5:06 Band of horses Cease to Begin 10 34:54 Band of horses Everything All The Time 2 8:03 Baths Cerulean 14 50:35 Baths Obsidian 10 43:22 The Beach Boys The Greatest Hits, Volume 1: 20 Good Vibrations 20 49:03 Beach House iTunes Session - EP 6 25:25 Beach House Teen Dream 10 48:47 Beastie Boys Beastie Boys Anthology: The Sounds of Science… 21 1:02:06 Beastie Boys The Sounds Of Science (CD2) 21 1:02:25 The Beatles Abbey Road 17 47:26 The Beatles The Beatles 30 1:33:37 The Beatles Beatles for Sale 14 34:14 The Beatles Sgt.