Hip-Hop Education Center to Launch Campaign Asking President Obama
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112. Na Na Na 112. Only You Remix 112. Come See Me Remix 12
112. Na Na Na 112. Only You Remix 112. Come See Me Remix 12 Gauge Dunkie Butt 12 Gauge Dunkie Butt 2 Live Crew Sports Weekend 2nd II None If You Want It 2nd II None Classic 220 2Pac Changes 2Pac All Eyez On Me 2Pac All Eyez On Me 2Pac I Get Around / Keep Ya Head Up 50 Cent Candy Shop 702. Where My Girls At 7L & Esoteric The Soul Purpose A Taste Of Honey A Taste Of Honey A Tribe Called Quest Unreleased & Unleashed Above The Law Untouchable Abyssinians Best Of The Abyssinians Abyssinians Satta Adele 21. Adele 21. Admiral Bailey Punanny ADOR Let It All Hang Out African Brothers Hold Tight (colorido) Afrika Bambaataa Renegades Of Funk Afrika Bambaataa Planet Rock The Album Afrika Bambaataa Planet Rock The Album Agallah You Already Know Aggrolites Rugged Road (vinil colorido) Aggrolites Rugged Road (vinil colorido) Akon Konvicted Akrobatik The EP Akrobatik Absolute Value Al B. Sure Rescue Me Al Green Greatest Hits Al Johnson Back For More Alexander O´Neal Criticize Alicia Keys Fallin Remix Alicia Keys As I Am (vinil colorido) Alicia Keys A Woman´s Worth Alicia Myers You Get The Best From Me Aloe Blacc Good Things Aloe Blacc I Need A Dollar Alpha Blondy Cocody Rock Althea & Donna Uptown Top Ranking (vinil colorido) Alton Ellis Mad Mad Amy Winehouse Back To Black Amy Winehouse Back To Black Amy Winehouse Lioness : The Hidden Treasures Amy Winehouse Lioness : The Hidden Treasures Anita Baker Rapture Arthur Verocai Arthur Verocai Arthur Verocai Arthur Verocai Augustus Pablo King Tubby Meets Rockers Uptown Augustus Pablo In Fine Style Augustus Pablo This Is Augustus Pablo Augustus Pablo Dubbing With The Don Augustus Pablo Skanking Easy AZ Sugar Hill B.G. -
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998). -
Is Hip Hop Dead?
IS HIP HOP DEAD? IS HIP HOP DEAD? THE PAST,PRESENT, AND FUTURE OF AMERICA’S MOST WANTED MUSIC Mickey Hess Library of Congress Cataloging-in-Publication Data Hess, Mickey, 1975- Is hip hop dead? : the past, present, and future of America’s most wanted music / Mickey Hess. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-275-99461-7 (alk. paper) 1. Rap (Music)—History and criticism. I. Title. ML3531H47 2007 782.421649—dc22 2007020658 British Library Cataloguing in Publication Data is available. Copyright C 2007 by Mickey Hess All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2007020658 ISBN-13: 978-0-275-99461-7 ISBN-10: 0-275-99461-9 First published in 2007 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 CONTENTS ACKNOWLEDGMENTS vii INTRODUCTION 1 1THE RAP CAREER 13 2THE RAP LIFE 43 3THE RAP PERSONA 69 4SAMPLING AND STEALING 89 5WHITE RAPPERS 109 6HIP HOP,WHITENESS, AND PARODY 135 CONCLUSION 159 NOTES 167 BIBLIOGRAPHY 179 INDEX 187 ACKNOWLEDGMENTS The support of a Rider University Summer Fellowship helped me com- plete this book. I want to thank my colleagues in the Rider University English Department for their support of my work. -
Tom Jennings
12 | VARIANT 30 | WINTER 2007 Rebel Poets Reloaded Tom Jennings On April 4th this year, nationally-syndicated Notes US radio shock-jock Don Imus had a good laugh 1. Despite the plague of reactionary cockroaches crawling trading misogynist racial slurs about the Rutgers from the woodwork in his support – see the detailed University women’s basketball team – par for the account of the affair given by Ishmael Reed, ‘Imus Said Publicly What Many Media Elites Say Privately: How course, perhaps, for such malicious specimens paid Imus’ Media Collaborators Almost Rescued Their Chief’, to foster ratings through prejudicial hatred at the CounterPunch, 24 April, 2007. expense of the powerless and anyone to the left of 2. Not quite explicitly ‘by any means necessary’, though Genghis Khan. This time, though, a massive outcry censorship was obviously a subtext; whereas dealing spearheaded by the lofty liberal guardians of with the material conditions of dispossessed groups public taste left him fired a week later by CBS.1 So whose cultures include such forms of expression was not – as in the regular UK correlations between youth far, so Jade Goody – except that Imus’ whinge that music and crime in misguided but ominous anti-sociality he only parroted the language and attitudes of bandwagons. Adisa Banjoko succinctly highlights the commercial rap music was taken up and validated perspectival chasm between the US civil rights and by all sides of the argument. In a twinkle of the hip-hop generations, dismissing the focus on the use of language in ‘NAACP: Is That All You Got?’ (www.daveyd. -
Jesuit Church in G.” a Painter Per- Forms the Heroic Feat First of Constructing Perspective Under Tech- Nically Difficult Conditions
Introduction Laurence A. Rickels “On the Genealogy of Media” invokes a tradition for thinking about technology, which passes from Nietzsche through Heidegger and Freud. As a collection on media, however, these texts gath- ered together in this special issue include few Nietzsche readings— or even Nietzsche references—in their thread count. Indeed, Nietzsche is not typically considered a thinker of media technol- ogies. But his genealogical interpretation of the Mass media as being on one uncanny continuum of valuation from Christianity to nihilism influenced, together with either Freud’s or Heidegger’s input, the media essays of Walter Benjamin as much as the media oeuvre of Friedrich Kittler. Following Nietzsche, then, a genealogy of media means, as in Heidegger’s questioning of technicity, that whatever technology may be it presupposes assumption of a certain (discursive) ready positioning for (and before) its advent as actual machines to which the understanding of technologization cannot be reduced. Freudian psychoanalysis views media technologies as prosthetically modeled after body parts and partings. A primary relationship to loss (as the always-new frontier of mourning where reality, the future, the other begin or begin again) is, on Freud’s turf and terms, the psychic ready position that is there before the event or advent of machinic externalities. In “A Mathematics of Finitude” Friedrich Kittler generates genealogies of “progress” in science, mathematics, and media span- ning centuries out of a single story by E. T. A. Hoffmann. Media machines are shown to intervene as makeshift stopgaps where the Discourse, 31.1 & 2, Winter & Spring 2009, pp. 3–8. -
The Life & Rhymes of Jay-Z, an Historical Biography
ABSTRACT Title of Dissertation: THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 Omékongo Dibinga, Doctor of Philosophy, 2015 Dissertation directed by: Dr. Barbara Finkelstein, Professor Emerita, University of Maryland College of Education. Department of Teaching and Learning, Policy and Leadership. The purpose of this dissertation is to explore the life and ideas of Jay-Z. It is an effort to illuminate the ways in which he managed the vicissitudes of life as they were inscribed in the political, economic cultural, social contexts and message systems of the worlds which he inhabited: the social ideas of class struggle, the fact of black youth disempowerment, educational disenfranchisement, entrepreneurial possibility, and the struggle of families to buffer their children from the horrors of life on the streets. Jay-Z was born into a society in flux in 1969. By the time Jay-Z reached his 20s, he saw the art form he came to love at the age of 9—hip hop— become a vehicle for upward mobility and the acquisition of great wealth through the sale of multiplatinum albums, massive record deal signings, and the omnipresence of hip-hop culture on radio and television. In short, Jay-Z lived at a time where, if he could survive his turbulent environment, he could take advantage of new terrains of possibility. This dissertation seeks to shed light on the life and development of Jay-Z during a time of great challenge and change in America and beyond. THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 An historical biography: 1969-2004 by Omékongo Dibinga Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2015 Advisory Committee: Professor Barbara Finkelstein, Chair Professor Steve Klees Professor Robert Croninger Professor Derrick Alridge Professor Hoda Mahmoudi © Copyright by Omékongo Dibinga 2015 Acknowledgments I would first like to thank God for making life possible and bringing me to this point in my life. -
The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap
Open Cultural Studies 2018; 2: 122–135 Research Article Adam de Paor-Evans* The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap https://doi.org/10.1515/culture-2018-0012 Received January 27, 2018; accepted June 2, 2018 Abstract: In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and socio- political presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society. Keywords: dromosphere, dromology, Afrofuturism, electro-rap, thirdspace, fantasy, Newcleus, Strange U Introduction During the mid-1970s, the language of New York City’s pioneering hip hop practitioners brought them fame amongst their peers, yet the methods of its musical production brought heavy criticism from established musicians. -
Dj Issue Can’T Explain Just What Attracts Me to This Dirty Game
MAC MALL,WEST CLYDEOZONE COAST:CARSONPLUS E-40, TURF TALK OZONE MAGAZINE MAGAZINE OZONE FIGHT THE POWER: THE FEDS vs. DJ DRAMA THE SECOND ANNUAL DJ ISSUE CAN’T EXPLAIN JUST WHAT ATTRACTS ME TO THIS DIRTY GAME ME TO ATTRACTS JUST WHAT MIMS PIMP C BIG BOI LIL FLIP THREE 6 MAFIA RICK ROSS & CAROL CITY CARTEL SLICK PULLA SLIM THUG’s YOUNG JEEZY BOSS HOGG OUTLAWZ & BLOODRAW: B.G.’s CHOPPER CITY BOYZ & MORE APRIL 2007 USDAUSDAUSDA * SCANDALOUS SIDEKICK HACKING * RAPQUEST: THE ULTIMATE* GANGSTA RAP GRILLZ ROADTRIP &WISHLIST MORE GUIDE MAC MALL,WEST CLYDEOZONE COAST:CARSONPLUS REAL, RAW, & UNCENSORED SOUTHERN RAP E-40, TURF TALK FIGHT THE POWER: THE FEDS vs. DJ DRAMA THE SECOND ANNUAL DJ ISSUE MIMS PIMP C LIL FLIP THREE 6 MAFIA & THE SLIM THUG’s BOSS HOGG OUTLAWZ BIG BOI & PURPLE RIBBON RICK ROSS B.G.’s CHOPPER CITY BOYZ YOUNG JEEZY’s USDA CAROL CITY & MORE CARTEL* RAPQUEST: THE* SCANDALOUS ULTIMATE RAP SIDEKICK ROADTRIP& HACKING MORE GUIDE * GANGSTA GRILLZ WISHLIST OZONE MAG // 11 PUBLISHER/EDITOR-IN-CHIEF // Julia Beverly CHIEF OPERATIONS OFFICER // N. Ali Early MUSIC EDITOR // Randy Roper FEATURES EDITOR // Eric Perrin ART DIRECTOR // Tene Gooden ADVERTISING SALES // Che’ Johnson PROMOTIONS DIRECTOR // Malik Abdul MARKETING DIRECTOR // David Muhammad LEGAL CONSULTANT // Kyle P. King, P.A. SUBSCRIPTIONS MANAGER // Destine Cajuste ADMINISTRATIVE // Cordice Gardner, Kisha Smith CONTRIBUTORS // Alexander Cannon, Bogan, Carlton Wade, Charlamagne the God, Chuck T, E-Feezy, Edward Hall, Felita Knight, Iisha Hillmon, Jacinta Howard, Jaro Vacek, Jessica INTERVIEWS Koslow, J Lash, Jason Cordes, Jo Jo, Joey Columbo, Johnny Louis, Kamikaze, Keadron Smith, Keith Kennedy, Kenneth Brewer, K.G. -
Green the Green Book
Book # 1 THE GREEN BOOK Universal Zulu Nation Infinity Lessons Archive 1973 - 2000 FOR THE MASSES Compiled By : King Mark Luv & Malika Saphire Table of Contents Myths and Misconceptions ..................................................................................................................................................... 2 Laws and Regulations of the Universal Zulu Nation Part 1 (1 – 20) ........................................................................................ 4 Laws and Regulations of the Universal Zulu Nation Part 2 (21 – 46) ...................................................................................... 5 INFINITY LESSON ONE ............................................................................................................................................................. 6 ABOUT ZULU NATION ......................................................................................................................................................... 6 Message to the People........................................................................................................................................................ 7 INFINITY LESSON TWO ............................................................................................................................................................ 8 THE HISTORY OF AFRIKA BAMBAATAA ............................................................................................................................... 8 INFINITY LESSON THREE ....................................................................................................................................................... -
Rino Art District Art
RiNo Art District Fall/Winter Field Guide Field Fall/Winter 2016/17 Where art is made. Together, we are making a big impact. DISCOVER RiNo Together, we are making a big impact. p.1–3 Behind the walls of the RiNo neighborhood is a community of people that knows the importance of giving Learn More Back Cover back. RiNo’s stakeholders, artists, developers, businesses and residents will collectively invest more than Find in RiNo/Did You Know? p.6, 19, 24, 34, 35 $1.25 million this year back into the neighborhood via contributions to the RiNo Art District, the RiNo RiNo Tours p.31 Business Improvement District (BID) and the RiNo General Improvement District (GID). FEATURES Where are those dollars going? To catalyze some big ideas for RiNo. p.7 Annual Event Brings Color and Community To RiNo p.14 MOTH Contemporary Circus Center p.22–23 Interview with Crush founder, Robin Munro Advocacy + Policy p.10–11,16–17, 26–27, 36–37 Crush 2016: Dulk, Thomas ‘Detour’ Evans (also on cover), Beo Hake, Mr. Cenz/Dread/Jose Mertz/Woes • Density In 2016 RiNo worked with Councilman Albus Brooks and surrounding neighborhoods to support a rezoning that increases MEMBERS OF RiNo density around the newly opened 38th and Blake commuter rail station. Development of up to 16 stories will be allowed and will be tied to both design and affordability requirements. Galleries & Studio Buildings p. 4–6 • Affordability The challenges of affordability are real all over Denver, and we’re p. 8–13 Member Artists feeling that particularly hard in RiNo. -
The Evolution of Hip Hop 1980’S
The Evolution of Hip Hop 1980’s Sugar Hill Gang Rapper’s Delight Kurtis Blow The Breaks Sugar Hill Gang Apache (Jump On It) Herbie Hancock Rockit West Street Mob Let’s Dance (Make Your Body Move) Whodini Magic’s Wand Afrika Bambaataa & Soulsonic Force Renegades of Funk Royal Cash Radio Active Rockmaster Scott & the Dynamic 3 Request Line West Street Mob Break Dance Mann Parish Boogie Down Bronx Afrika Bambaataa & Soulsonic Force Looking For the Perfect Beat Newcleus Jam On It Strafe Set It Off COD In The Bottle Jonzun Crew Pack Jam (Look Out For The OVC) LA Dream Team Rockberry Jam Freestyle Don’t Stop The Rock Rockmaster Scott & the Dynamic 3 The Roof Is On Fire Divine Sounds What People Do For Money Run DMC It’s Like That UTFO Beats & Rhymes Hashim Al-Naafiysh (The Soul) Cybotron Clear Kano Holly Dolly Afrika Bambaataa & Soulsonic Force Planet Rock Planet Patrol Play At Your Own Risk Ice-T Reckless Pretty Tony Fix It In The Mix Egyptian Lover Egypt Egypt Twilight 22 Electric Kingdom Twilight 22 Siberian Nights Grandmaster Melle Mel Survival (The Message II) Quadrant Six Body Mechanic World Class Wreckin Cru Surgery Arthur Baker Breaker’s Revenge Planet Patrol I Didn’t Know You Loved Me Fat Boys Fat Boys Jonzun Crew Space Cowboy Grandmaster Flash & the Furious 5 The Message Run DMC Sucker MC’s Davy DMX One For The Treble Doug E Fresh & Slick Rick Lodi Dodi Dr Jeckyl & Mr Hyde Genius Rap Run DMC King Of Rock Whodini Freaks Come Out At Night Dana Dane Cinderfella Dana Dane Schooly D PSK… What Does It Mean? Boogie Boys Fly Girl UTFO Roxanne -
Report to the Minnesota State Legislature Fiscal 2012
This document is made available electronically by the Minnesota Legislative Reference Library as part of an ongoing digital archiving project. http://www.leg.state.mn.us/lrl/lrl.asp Report to the Minnesota State Legislature Fiscal 2012 Report to the Minnesota State Legislature for the Minnesota Arts and Cultural Heritage Fund Fiscal Year 2012 Summary of Activities January 15, 2013 Submitted To: Representative Paul Thissen, Chair, Legislative Coordinating Commission Senator Sandy Pappas, Vice-Chair, Legislative Coordinating Commission Senator Richard Cohen, Chair, Senate Finance Committee Senator Michelle Fischbach, Ranking Minority Member, Senate Finance Committee Members of the Finance Committee in the Minnesota Senate Representative Phyllis Kahn, Chair, House Legacy Committee Representative Dean Urdahl, Ranking Minority Member, House Legacy Funding Division Members of the Legacy Committee in the Minnesota House of Representatives Cc: Greg Hubinger, Director, Legislative Coordinating Commission Submitted By: James Gullickson, Ampers President, KMSU-FM General Manager Joel Glaser, Ampers Executive Director Ampers, 2175 Cool Stream Circle, Eagan, MN 55122 (651) 686-5367 Regarding: Minnesota Statute 129D.19, Subdivision 5: “A noncommercial radio station receiving funds appropriated under this section must report annually by January 15 to the commissioner, the Legislative Coordinating Commission, and the chairs and ranking minority members of the senate and house of representatives committees and divisions having jurisdiction over arts and cultural heritage policy and finance regarding how the previous year's grant funds were expended. In addition to all information required of each recipient of money from the arts and cultural heritage fund under section 3.303, subdivision 10, the report must contain specific information for each program produced and broadcast, including the cost of production, the number of stations broadcasting the program, estimated number of listeners, and other related measures.