Overstandin: Upscaling Reading Positions and Rescaling Texts/Signs
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Ethnic Studies Review
esr37-38_cv_esr37-38_cv 7/28/2017 1:37 PM Page 2 COLOR IS FOR APPROXIMATION ONLY – DO NOT USE FOR COLOR APPROVAL Volumes 37 and 38 Volumes National Association For Ethnic Studies Ethnic Studies Review Ethnic Studies Review Pages 1–154 Pages 2014-2015 2014-2015 Volumes 37 and 38 ISSN: 1555-1881 esr37-38_cv_esr37-38_cv 7/28/2017 1:37 PM Page 3 The National Association For Ethnic Studies Ethnic Studies Review (ESR) is the journal of the National Association For Ethnic Studies (NAES). ESR is a multi-disciplinary international journal devoted to the study of ethnicity, ethnic groups and their cultures, and inter-group relations. NAES has as its basic purpose the promotion of activities and scholarship in the field of Ethnic Studies. The Association is open to any person or institution and serves as a forum for its members in promoting research, study, and curriculum as well as producing publications of interest in the field. NAES sponsors an annual spring Ethnic Studies Review conference. Journal Information Editorial Board Editor Associate Editors Ron Scapp, College of Mount Saint Vincent David Aliano, College of Mount Saint Vincent Guidelines for Submitting Manuscripts Ravi Perry, Virginia Commonwealth University ESR uses a policy of blind peer review. All papers are read by at least two Book Review Editor reviewers who are experts in the area. Manuscripts must not have been Emily M. Drew, Willamette University published previously or be under consideration by other publications. ESR seeks manuscripts of 7500 words or less, inclusive of notes and works cited. Editorial Advisory Board Endnotes rather than footnotes should be utilized, although these should be Edna Acosta-Belen Rosanne Kanhai kept to a minimum. -
Sonic Jihadâ•Flmuslim Hip Hop in the Age of Mass Incarceration
FIU Law Review Volume 11 Number 1 Article 15 Fall 2015 Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt Follow this and additional works at: https://ecollections.law.fiu.edu/lawreview Part of the Other Law Commons Online ISSN: 2643-7759 Recommended Citation SpearIt, Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration, 11 FIU L. Rev. 201 (2015). DOI: https://dx.doi.org/10.25148/lawrev.11.1.15 This Article is brought to you for free and open access by eCollections. It has been accepted for inclusion in FIU Law Review by an authorized editor of eCollections. For more information, please contact [email protected]. 37792-fiu_11-1 Sheet No. 104 Side A 04/28/2016 10:11:02 12 - SPEARIT_FINAL_4.25.DOCX (DO NOT DELETE) 4/25/16 9:00 PM Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt* I. PROLOGUE Sidelines of chairs neatly divide the center field and a large stage stands erect. At its center, there is a stately podium flanked by disciplined men wearing the militaristic suits of the Fruit of Islam, a visible security squad. This is Ford Field, usually known for housing the Detroit Lions football team, but on this occasion it plays host to a different gathering and sentiment. The seats are mostly full, both on the floor and in the stands, but if you look closely, you’ll find that this audience isn’t the standard sporting fare: the men are in smart suits, the women dress equally so, in long white dresses, gloves, and headscarves. -
Talking to Songwriters About Copyright and Creativity
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2013-01-25 Taking Inspiration: Talking to Songwriters About Copyright and Creativity Hemminger, Peter Hemminger, P. (2013). Taking Inspiration: Talking to Songwriters About Copyright and Creativity (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/27972 http://hdl.handle.net/11023/478 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Taking Inspiration Talking to Songwriters About Copyright and Creativity by Peter Hemminger A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF COMMUNICATION AND CULTURE CALGARY, ALBERTA JANUARY, 2013 c Peter Hemminger 2013 Abstract In the debate surrounding contemporary approaches to copyright law, the voice of songwriters has been significantly under-represented. This thesis presents the findings of seven interviews with practising Western Canadian singer-songwriters regarding the use of pre-existing intellectual property in their creative process, as well as their understanding of and attitudes towards copyright law. These findings are placed within the context of current theoretical approaches to creativity, and are compared to the beliefs about creativity inherent in current copyright law. -
ENG 350 Summer11
ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Mondays and Wednesdays, 6:00-9:00, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our one required textbook, Bradley and DuBois’s Anthology of Rap (Yale University Press) is AVAILABLE AT THE OFF-CAMPUS BOOKSTORE ON SMITH ST. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will also be a Blog with a discussion board and a wide array of links to audio and text resources. -
Hip Hop As Oral Literature Patrick M
Bates College SCARAB Honors Theses Capstone Projects Spring 5-2016 "That's the Way We Flow": Hip Hop as Oral Literature Patrick M. Smith Bates College, [email protected] Follow this and additional works at: http://scarab.bates.edu/honorstheses Recommended Citation Smith, Patrick M., ""That's the Way We Flow": Hip Hop as Oral Literature" (2016). Honors Theses. 177. http://scarab.bates.edu/honorstheses/177 This Open Access is brought to you for free and open access by the Capstone Projects at SCARAB. It has been accepted for inclusion in Honors Theses by an authorized administrator of SCARAB. For more information, please contact [email protected]. “That’s the Way We Flow”: Hip Hop as Oral Literature An Honor Thesis Presented to The Faculty of the Program of African American Studies Bates College in partial fulfillment of the requirements for the Degree of Bachelor of Arts by Patrick Miller Smith Lewiston, Maine 3/28/16 2 Acknowledgments I would like to thank all of my Bates Professors for all of their help during my career at Bates College. Specifically, I would like to thank my thesis advisor, Professor Sue Houchins, for all her hard work, helping me wrestle with this thesis, and for being a source of friendship and guidance since I first met her. Professor Nero, I would also like to send a big thank you to you, you have inspired me countless times and have pushed me since day one. Professors Rubin, Chapman, Jensen, and Carnegie, thank you all very much, each of you helped me on my way to this point and I am very grateful for your guidance. -
The Future Is History: Hip-Hop in the Aftermath of (Post)Modernity
The Future is History: Hip-hop in the Aftermath of (Post)Modernity Russell A. Potter Rhode Island College From The Resisting Muse: Popular Music and Social Protest, edited by Ian Peddie (Aldershot, Hampshire: Ashgate Publishing, 2006). When hip-hop first broke in on the (academic) scene, it was widely hailed as a boldly irreverent embodiment of the postmodern aesthetics of pastiche, a cut-up method which would slice and dice all those old humanistic truisms which, for some reason, seemed to be gathering strength again as the end of the millennium approached. Today, over a decade after the first academic treatments of hip-hop, both the intellectual sheen of postmodernism and the counter-cultural patina of hip-hip seem a bit tarnished, their glimmerings of resistance swallowed whole by the same ubiquitous culture industry which took the rebellion out of rock 'n' roll and locked it away in an I.M. Pei pyramid. There are hazards in being a young art form, always striving for recognition even while rejecting it Ice Cube's famous phrase ‘Fuck the Grammys’ comes to mind but there are still deeper perils in becoming the single most popular form of music in the world, with a media profile that would make even Rupert Murdoch jealous. In an era when pioneers such as KRS-One, Ice-T, and Chuck D are well over forty and hip-hop ditties about thongs and bling bling dominate the malls and airwaves, it's noticeably harder to locate any points of friction between the microphone commandos and the bourgeois masses they once seemed to terrorize with sonic booms pumping out of speaker-loaded jeeps. -
Culture and Contempt: the Limitations of Expressive Criminal Law
Culture and Contempt: The Limitations of Expressive Criminal Law Ted Sampsell-Jones* The law is the master teacher and guides each generation as to what is acceptable conduct. - Asa Hutchinson' The law of the land in America is full of shit. - Chuck D' I. INTRODUCTION Over the past decade, legal scholars have paid increasing attention to ways that criminal law affects social norms and socialization. While these ideas are not entirely original,1 the renewed focus on criminal law's role in social construction has been illuminating nonetheless. The recent scholarship has reminded us that criminal laws prevent crime not only by applying legal sanctions ' The author received an A.B. from Dartmouth, a J.D. from Yale Law School, and is currently clerking for Judge William Fletcher on the Ninth Circuit Court of Appeals. Thanks to Michelle Drake, Bob Ellickson, Elizabeth Emens, Owen Fiss, David Fontana, Bernard Harcourt, Neal Katyal, Heather Lewis, Richard McAdams, Brian Nelson, and Sara Sampsell-Jones for their suggestions and comments. Asa Hutchinson, Administrator, U.S. Drug Enforcement Admin., Debate with Gov. Gary Johnson (N.M.) at the Yale Law School (Nov. 15, 2001), available at http://www.usdoj.gov/dea/speeches/sl 11501.html. 'CHUCK D, FIGHT THE POWER: RAP, RACE, AND REALITY 14 (1997). 1. See Mark Tushnet, Everything Old Is New Again, 1998 WISC. L. REV. 579. By tracing the ideological development of the "new" school of criminal law scholarship, Bernard Harcourt has questioned its originality. BERNARD E. HARCOURT, ILLUSION OF ORDER: THE FALSE PROMISE OF BROKEN WINDOWS POLICING 1-16, 24-56 (2001). -
A Socialist, Feminist, and Anti-Racist Journal on the Theory
ISSN: 1941-0832 Teaching Black Lives in College When Black Lives Didn’t Matter that Much K through 12 by Sarah Trembath PHOTO BY AIDEN MARPLES ON UNSPLASH RADICAL TEACHER 18 http://radicalteacher.library.pitt.edu No. 116 (Winter 2020) DOI 10.5195/rt.2020.663 learning, and Hip Hop scholarship. My offering has long been the Hip Hip course. The Ivory Tower and the ‘hood. The outside and the middle. Privilege and poverty. Knowledge and ignorance. That course has had many versions—Hip Hop Poetics, The truth and a lie. Dichotomies as extreme as the colors Hip Hop Scholarship, Golden Era Hip Hop—but all treat the black and white. Sometimes my profession has me both subculture as worthy of serious study and rich with areas of skating and crossing these lines, considering how to do so exploration for students’ research-based writing. It’s a with my dignity and my students’ needs simultaneously popular class, with long waiting lists and people talking central in the decisions I make as a teacher. about it on and even off campus. After all, it has primary source material like Queen Latifah’s “Ladies First” and Eric B. and Rakim’s Paid in Full on the syllabus. It’s got cool book Teaching Composition, Teaching Black titles like Prophets of the Hood and Black Noise on the Life required reading list. The first assignment on the schedule is often, “Watch Lupe Fiasco’s ‘Bitch Bad’ and, using text I teach composition and the occasional literature class support from the lyrics and the video imagery, take a to undergraduate students. -
Sonic Modernities of Our Present By
Remixing Relationality: ‘Other/ed’ Sonic Modernities of our Present by Mark V. Campbell A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Sociology and Equity Studies Ontario Institute for Studies in Education University of Toronto © Copyright by Mark V. Campbell 2010 Remixing Relationality: ‘Other/ed’ Sonic Modernities of our Present Doctor of Philosophy 2010 Mark V. Campbell Sociology and Equity Studies University of Toronto Abstract Far from simply playing music, the turntable has, in recent decades, been transformed into a musical instrument. Those that play these new instruments, called Turntablists, alter existing sounds to produce new sonic arrangements, exceeding the assumed use value of the turntable. The turntable’s transformation from record player to instrument captures one of the ways in which Afrosonic sound making activities refuse to conform to existing paradigms of music making in the western world. Throughout the African diaspora, it has been the musics from various regions and nations that continually capture the attention of the world’s music connoisseurs. This dissertation examines the ways in which careful consideration of the sonic innovations in Afrodiasporic cultures produce alternative paradigms through which we might analyze contemporary life. The following chapters interrogate turntablism, remix culture and hip hop music as subtexts that elaborate a foundational narrative of Afrodiasporic life. These subtexts are used as tools to examine the various ethnoscapes of Black Canadian life, official multiculturalism and notions of home within the African diaspora in Canada. The dominant narrative of the African diaspora explored in this work, housed within the sonic, elaborates a relational conception of freedom and modernity born out of the ii particularities of Afrodiasporic life in the west. -
Krsone Edutainment Full Album Zip
KRS-One, Edutainment Full Album Zip 1 / 5 KRS-One, Edutainment Full Album Zip 2 / 5 3 / 5 Led by the often brilliant and incendiary MC KRS-One, BDP were pioneers of both . Boogie Down Productions - My 9mm Goes Bang / Criminal Minded . "Crack Attack," and they soon completed a full-length album for the small indie label B.. May 9, 2017 . The World Is MIND by KRS-One, released 09 May 2017 1. banger from the Hip Hop legend. www.krs-one.com Tracklist: 1. "Show . Both my kids (daughters) recite criminal minded from the dome. Full Digital Discography.. 19 Sep 2016 KRS One - Live at the Haunt - Brighton, U.K. Zip : BN1 1NJ . Tragically, the duo only made one album together Criminal Minded (an unadulterated . (Duck Down Records) which will be an album full of Hip-Hop conversation,.. .mediafire.com/download/u7dg9leeecz5a6z/BoogieDownProductions-Edutainment-1990.rar.. Feb 10, 2018 - 47 min - Uploaded by Hip Hop Zoo(Tracklist and album deatils coming soon) . Boogie Down Productions (BDP) - ' By All .. Edutainment (CD, Album) album cover . Boogie Down Productions Edutainment. Label: . Tracklist Hide Credits . Engineer D-SquareProducer KRS-One.. May 10, 2017 . KRS-One the lyrical legend drops his new 2017 album 'The World Is Mind'. with The World Is MIND his 13th solo-album, his 23rd full album counting 5 . Purchase The Album here: Tracklist: 1. Classic Hip Hop: Boogie Down Productions' Criminal Minded.. Mar 14, 2014 . Boogie Down Productions - Edutainment review: The teacher is in effect. Release Date: 1990 Tracklist . the word 'productions' is plural and indicates that there is more than one person on this album. -
ON the RECORD: a Conversation with Directors Kirby Dick and Amy Ziering
ON THE RECORD Directed by Kirby Dick & Amy Ziering USA / 2020 / 97 mins Press Contacts Sales Contact - UTA Ryan Mazie, 609-410-2067 Rena Ronson, [email protected] [email protected] SYNOPSIS With their groundbreaking films on sexual assault in the military (The Invisible War) and on college campuses (The Hunting Ground), directors Kirby Dick and Amy Ziering shook the established view of sexual assault in America, moving it from an isolated “he said-she said” narrative to a sweeping indictment of systemic violence and rape culture. Now, in the #MeToo era that their films helped to usher in, comes ON THE RECORD, their third documentary in the trilogy. A searing examination of the costs of coming forward, the film follows Drew Dixon as she wrestles with the decision to go public and share her story with the NYTimes. ON THE RECORD takes you into the world of Def Jam Records in the ‘90s, where Dixon was a rising star in an industry rife with misogyny and sexual harassment. As Dixon recounts in the film, from her first day on the job, she managed to deflect and move past ongoing harassment, until she was wholly caught off guard one fateful night and brutally accosted by Simmons. More than two decades later, ON THE RECORD documents the devastating toll this recounted act exacted not only on Drew’s life but on the lives of several other women who describe having been assaulted by Simmons. Deeply illuminating and packed with powerful and revelatory insights, ON THE RECORD’s narrative tale is punctuated by interviews with prominent black thought leaders, activists, journalists and academics, who speak about the unique binds African-American women face when dealing with sexual violence in a society still plagued by racism. -
The Power of the Hip-Hop Narrative in Mainstream Rap Morgan Klatskin Brigham Young University, Provo, [email protected]
Criterion: A Journal of Literary Criticism Volume 11 Article 7 Issue 1 Volume 11, Issue 1 (Winter 2018) 4-2018 Reclaiming the Black Personhood: the Power of the Hip-Hop Narrative in Mainstream Rap Morgan Klatskin Brigham Young University, Provo, [email protected] Follow this and additional works at: https://scholarsarchive.byu.edu/criterion Part of the African American Studies Commons, American Popular Culture Commons, Civil Rights and Discrimination Commons, English Language and Literature Commons, Law and Race Commons, Other Music Commons, Other Rhetoric and Composition Commons, Race and Ethnicity Commons, and the Social Influence and Political Communication Commons BYU ScholarsArchive Citation Klatskin, Morgan (2018) "Reclaiming the Black Personhood: the Power of the Hip-Hop Narrative in Mainstream Rap," Criterion: A Journal of Literary Criticism: Vol. 11 : Iss. 1 , Article 7. Available at: https://scholarsarchive.byu.edu/criterion/vol11/iss1/7 This Article is brought to you for free and open access by the All Journals at BYU ScholarsArchive. It has been accepted for inclusion in Criterion: A Journal of Literary Criticism by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Reclaiming the Black Personhood: the Power of the Hip-Hop Narrative in Mainstream Rap Cover Page Footnote Thank you to my husband, who helped me through the countless late nights at the library. Thank you to Professor Peter Leman, who encouraged me to follow my passion and be adventurous and unconventional in my research. This article is available in Criterion: A Journal of Literary Criticism: https://scholarsarchive.byu.edu/criterion/vol11/iss1/7 Reclaiming the Black Personhood The Power of the Hip-Hop Narrative in Mainstream Rap Music Morgan Klatskin In response to acutely visible injustice, music has long served as a method of resistance for the Black community.