UH Libraries Spring 2021 Newsletter
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Lil Keke Platinum in the Ghetto Zip
Lil Keke Platinum In The Ghetto Zip Lil Keke Platinum In The Ghetto Zip 1 / 3 2 / 3 Lil Keke - Discography : Southern Hip Hop, Texas Rap : USA . 2001 Lil Keke - Platinum In Da Ghetto (192 Kbps).. Trill nigga Polo fuck that Hilfiger Made myself a ghetto star On the slab, sippin barre . Lil Keke, DJ Screw, Spice 1, Paul Wall, Lil Flip, Devin the Dude, and more!! . I left that CT (T!) Terrell check my bezzle on this platinum Jacob watch (watch!) . Torrent 4135 downloads at 3015 kb/s #1 Pimp (2010) DVDRip x264WOC.. 2 Nov 2015 . Lil Keke Platinum In Da Ghetto (2001) Genre: Southern Hip-Hop, Gangsta Rap Codec: Flac (*.flac) Rip: tracks+.cue Quality: lossless Size:.. 17 Oct 2018 . Fabolous - Ghetto Fabolous Fabolous - Street Dreams (Retail Copy) . for the Major Comeback (Chopped & Screwed) [Explicit] by Lil' Keke on Amazon . Share Whatsapp Share Pinterest Already Platinum Bonus Scorpion [2 CD] Drake. BTDB torrent search The best torrent search engine in the world.. Platinum In da Ghetto is the fifth studio album by American rapper Lil' Keke from Houston, Texas. It was released on November 6, 2001 via Koch Records.. Download LIL KEKE - PLATINUM IN THE GHETTO featuring BILLY COOK . vevoextra.com O2Tvseries .com mp3Crystals torrent mp3song wapdam.. before I left that CT (T!) Terrell check my bezzle on this platinum Jacob watch (watch!) . Trill nigga Polo fuck that Hilfiger Made myself a ghetto star On the slab, . Welcome 2 Houston Pimp C, Lil' Keke, Paul Wall, Z-Ro, Big Pokey, Lil O, Bun B, . Torrent 4135 downloads at 3015 kb/s #1 Pimp (2010) DVDRip x264WOC. -
Hip-Hop's Diversity and Misperceptions
The University of Maine DigitalCommons@UMaine Honors College Summer 8-2020 Hip-Hop's Diversity and Misperceptions Andrew Cashman Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Music Commons, and the Social and Cultural Anthropology Commons This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. HIP-HOP’S DIVERSITY AND MISPERCEPTIONS by Andrew Cashman A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Anthropology) The Honors College University of Maine August 2020 Advisory Committee: Joline Blais, Associate Professor of New Media, Advisor Kreg Ettenger, Associate Professor of Anthropology Christine Beitl, Associate Professor of Anthropology Sharon Tisher, Lecturer, School of Economics and Honors Stuart Marrs, Professor of Music 2020 Andrew Cashman All Rights Reserved ABSTRACT The misperception that hip-hop is a single entity that glorifies wealth and the selling of drugs, and promotes misogynistic attitudes towards women, as well as advocating gang violence is one that supports a mainstream perspective towards the marginalized.1 The prevalence of drug dealing and drug use is not a picture of inherent actions of members in the hip-hop community, but a reflection of economic opportunities that those in poverty see as a means towards living well. Some artists may glorify that, but other artists either decry it or offer it as a tragic reality. In hip-hop trends build off of music and music builds off of trends in a cyclical manner. -
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. -
Indicators of Drug Or Alcohol Abuse Or Misuse
New Trends in Substance Abuse 2018 Lynn Riemer Ron Holmes, MD 720-480-0291 720-630-5430 [email protected] [email protected] www.actondrugs.org Facebook/ACTonDrugs Indicators of Drug or Alcohol Abuse or Misuse: Behavioral Physical - Abnormal behavior - Breath or body odor - Exaggerated behavior - Lack of coordination - Boisterous or argumentative - Uncoordinated & unsteady gait - Withdrawn - Unnecessary use of arms or supports for balance - Avoidance - Sweating and/or dry mouth - Changing emotions & erratic behavior - Change in appearance Speech Performance - Slurred or slow speech - Inability to concentrate - Nonsensical patterns - Fatigue & lack of motivation - Confusion - Slowed reactions - Impaired driving ability The physiologic factors predisposing to addiction Nearly every addictive drug targets the brain’s reward system by flooding the circuit with the neurotransmitter, dopamine. Neurotransmitters are necessary to transfer impulses from one brain cell to another. The brain adapts to the overwhelming surges in dopamine by ultimately producing less dopamine and by reducing the number of dopamine receptors in the reward circuit. As a result, two important physiologic adaptations occur: (1) the addict’s ability to enjoy the things that previously brought pleasure is impaired because of decreased dopamine, and (2) higher and higher doses of the abused drug are needed to achieve the same “high” that occurred when the drug was first used. This compels the addict to increase drug consumption to increase dopamine production leading to physiologic addiction with more and more intense cravings for the drug. The effects of addiction on the brain Nearly all substances of abuse affect the activity of neurotransmitters that play an important role in connecting one brain cell to another. -
Slowed and Throwed: Records of the City Through Mutated Lenses Scholar of African American Culture Thursday, March 5 Members Preview | 6–7PM Public Opening | 7–9PM
These events are free, Public open to the public, and take “If nothing else, Screw culture was a Programs place at Contemporary love letter to Houston, a sonic rendering Slowed and Arts Museum Houston. Seating is limited. Please of the illegibility of Houston’s Black check camh.org for the Throwed most current information. communities made legible by slowing it down.” March 6–June 7, 2020 —Dr. Regina N. Bradley, Opening Reception | Slowed and Throwed: Records of the City Through Mutated Lenses Scholar of African American culture Thursday, March 5 Members Preview | 6–7PM Public Opening | 7–9PM Art at Noon | Lance Scott Walker Friday, March 6 | Noon–1PM In Conversation | Patricia Restrepo, CAMH Exhibitions Manager and Assistant Curator, with artists Tay Butler, Robert Hodge, and Ayanna Jolivet Mccloud Saturday, March 7 | 11AM–Noon Open Studio | Community Remix Saturday, March 7 | 2–4PM Karen Navarro. Fragment Tom Van Laan, Joe and Anderson Foundation, (detail), 2019. Archival Johanne Gatto, Blakely National Endowment for Family Day and Teen Council-organized Fashion Show inkjet print, wood, and and Trey Griggs, Kerry the Arts, The Sarofim epoxy. 48 x 56 inches. Inman and Denby Auble, Foundation, Louisa Saturday, March 21 | 1–4PM Courtesy the artist Louise Jamail, Page Stude Sarofim, Susan and Foto Relevance, Kempner, Dillon A. Kyle Vaughan Foundation, 5216 Montrose Boulevard Houston, Texas. and Sam L. Lasseter, Bryn Texas Commission on the Open Studio | Making Beats Houston, Texas 77006 Larsen, Erica and Benjy Arts, Vinson & Elkins LLP, @camhouston Slowed and Throwed: Levit, Marian Livingston, Wallace S. Wilson, The Saturday, April 4 | 2–4PM CAMH.ORG Records of the City Lucinda and Javier Loya, Wortham Foundation, Inc., #atCAMH Through Mutated Lenses Catherine and George Marion and David Young, #SlowedandThrowed is made possible in part Masterson, Elisabeth Michael Zilkha. -
Communication Design Quarterly
Online First 2018 Communication Design Quarterly Published by the Association for ComputingVolume Machinery 1 Issue 1 Special Interest Group for Design of CommunicationJanuary 2012 ISSN: 2166-1642 DJs, Playlists, and Community: Imagining Communication Design through Hip Hop Victor Del Hierro University of Texas at El Paso [email protected] Published Online October 17, 2018 CDQ 10.1145/3274995.3274997 This article will be compiled into the quarterly publication and archived in the ACM Digital Library. Communication Design Quarterly, Online First https://sigdoc.acm.org/publication/ DJs, Playlists, and Community: Imagining Communication Design through Hip Hop Victor Del Hierro University of Texas at El Paso [email protected] ABSTRACT INTRODUCTION This article argues for the inclusion of Hip Hop communities in Recent work in Technical/Professional Communication has made technical communication research. Through Hip Hop, technical calls for expanding the field by turning to social justice through communicators can address the recent call for TPC work to expand culturally sensitive and diverse studies that honor communities the field through culturally sensitive and diverse studies that honor and their practices (Agboka, 2013; Haas, 2012; Maylath et communities and their practices. Using a Hip Hop community al., 2013). While this work pushes our field toward important in Houston as a case study, this article discusses the way DJs ethical responsibilities, it also helps build rigorous research operate as technical communicators within their communities. and methods that help meet the needs of already globalized and Furthermore, Hip Hop DJs build complex relationships with complex communication praxis (Walton, Zraly, & Mugengana, communities to create localized and accessible content. -
Hip Hop 1 Hip Hop
Hip hop 1 Hip hop For other uses, see Hip hop (disambiguation). See also: Hip hop music Hip hop is a broad conglomerate of artistic forms that originated within a marginalized subculture in the South Bronx and Harlem in New York City among black and Latino youth during the 1970s.[1][2][3] It is characterized by four distinct elements, all of which represent the different manifestations of the culture: rap music (oral), turntablism or "DJing" (aural), breaking (physical) and graffiti art (visual). Even while it continues in contemporary history to develop globally in a flourishing myriad of diverse styles, these foundational elements provide stability and coherence to the culture. The term is frequently used mistakenly to refer in a confining fashion to the mere practice of rap music.Wikipedia:Citation needed The origin of the subculture stems from the block parties of the Nas is an American rapper who is regarded as one of Ghetto Brothers when they plugged the amps for their instruments the greatest MCs of all time. and speakers into the lampposts on 163rd Street and Prospect Avenue, and from DJ Kool Herc at 1520 Sedgwick Avenue, where Herc mixed samples of existing records with his own shouts to the crowd and dancers. Kool Herc is credited as the "father" of hip hop. DJ Afrika Bambaataa of the hip hop collective Zulu Nation outlined the pillars of hip hop culture, to which he coined the terms: MCing or "Emceein", DJing or "Deejayin", B-boying and graffiti writing or "Aerosol Writin".[4] Since its evolution throughout the South Bronx, hip hop culture has spread to both urban and suburban communities throughout the world. -
No Bitin' Allowed a Hip-Hop Copying Paradigm for All Of
20 Tex. Intell. Prop. L.J. 115 Texas Intellectual Property Law Journal Fall, 2011 Article NO BITIN’ ALLOWED: A HIP-HOP COPYING PARADIGM FOR ALL OF US Horace E. Anderson, Jr.a1 Copyright (c) 2011 Intellectual Property Law Section of the State Bar of Texas; Horace E. Anderson, Jr. I. History and Purpose of Copyright Act’s Regulation of Copying 119 II. Impact of Technology 126 A. The Act of Copying and Attitudes Toward Copying 126 B. Suggestions from the Literature for Bridging the Gap 127 III. Potential Influence of Norms-Based Approaches to Regulation of Copying 129 IV. The Hip-Hop Imitation Paradigm 131 A. Structure 131 1. Biting 131 2. Beat Jacking 133 3. Ghosting 135 4. Quoting 136 5. Sampling 139 B. The Trademark Connection 140 C. The Authors’ Rights Connection 142 D. The New Style - What the Future of Copyright Could Look Like 143 V. Conclusion 143 VI. Appendix A 145 VII. Appendix B 157 VIII. Appendix C 163 *116 Introduction I’m not a biter, I’m a writer for myself and others. I say a B.I.G. verse, I’m only biggin’ up my brother1 It is long past time to reform the Copyright Act. The law of copyright in the United States is at one of its periodic inflection points. In the past, major technological change and major shifts in the way copyrightable works were used have rightly led to major changes in the law. The invention of the printing press prompted the first codification of copyright. The popularity of the player piano contributed to a reevaluation of how musical works should be protected.2 The dawn of the computer age led to an explicit expansion of copyrightable subject matter to include computer programs.3 These are but a few examples of past inflection points; the current one demands a similar level of change. -
The Peter Beste and Lance Scott Walker Houston Rap Collection by Stacey Lavender
From thE archivES The Peter Beste and Lance Scott Walker Houston Rap Collection By Stacey Lavender rom hip hop mu- Collections began collecting GET INSIDER ACCESS Fsic’s earliest days, “Texas tatted on my arm, primary source materials Houston has contrib- on the genre in 2010 when to the Most Exclusive Texas History Club in the Nation uted greatly to the curator Julie Grob estab- genre’s development. got Houston on my back lished Houston Hip Hop as a In the 1990s Hous- collecting area. Since 1897, a select group of very special people have made a pledge to ton icon DJ Screw Cause I love the city I’m from, The newest accession, keep Texas history alive. They have been driven by the belief that without an gave us “chopped and acquired in the spring of understanding of our history, every generation must start over. They are a proud screwed,” arguably hands up if you feel that” 2015, is the Peter Beste and the city’s most nota- Lance Scott Walker Houston group. Like the defenders of the Alamo, they stand up while others stand down. ble contribution, but – Slim Thug, “Houston” Rap Collection, which con- Like Sam Houston, they lead rather than follow. They are helping to preserve the Houston can claim tains materials gathered and important lessons from the past so that our children and their children will have many others. A handful of Houston-area rappers, like produced during the creation of Beste and Walker’s book something to look forward to and learn from. Geto Boys, Bun B and Pimp C of UGK, and Paul Wall, Houston Rap. -
Abstract Humanities Jordan Iii, Augustus W. B.S. Florida
ABSTRACT HUMANITIES JORDAN III, AUGUSTUS W. B.S. FLORIDA A&M UNIVERSITY, 1994 M.A. CLARK ATLANTA UNIVERSITY, 1998 THE IDEOLOGICAL AND NARRATIVE STRUCTURES OF HIP-HOP MUSIC: A STUDY OF SELECTED HIP-HOP ARTISTS Advisor: Dr. Viktor Osinubi Dissertation Dated May 2009 This study examined the discourse of selected Hip-Hop artists and the biographical aspects of the works. The study was based on the structuralist theory of Roland Barthes which claims that many times a performer’s life experiences with class struggle are directly reflected in his artistic works. Since rap music is a counter-culture invention which was started by minorities in the South Bronx borough ofNew York over dissatisfaction with their community, it is a cultural phenomenon that fits into the category of economic and political class struggle. The study recorded and interpreted the lyrics of New York artists Shawn Carter (Jay Z), Nasir Jones (Nas), and southern artists Clifford Harris II (T.I.) and Wesley Weston (Lii’ Flip). The artists were selected on the basis of geographical spread and diversity. Although Hip-Hop was again founded in New York City, it has now spread to other parts of the United States and worldwide. The study investigated the biography of the artists to illuminate their struggles with poverty, family dysfunction, aggression, and intimidation. 1 The artists were found to engage in lyrical battles; therefore, their competitive discourses were analyzed in specific Hip-Hop selections to investigate their claims of authorship, imitation, and authenticity, including their use of sexual discourse and artistic rivalry, to gain competitive advantage. -
He Is Called the Originator for Creating the Slowed-Down Tempo Known As
He is called the Originator for creating the slowed-down tempo customized cars that were slow, loud and banging. In the cars were fans known as “chopped and screwed,” an inventive musical language that seeking music — DJ Screw’s homemade underground cassette tapes. At propelled hip hop in a new direction and solidified the city of Houston’s one point he was raking in an estimated $15,000 per day from cassette reputation as an epicenter of rap. sales, sometimes more than that, selling between 10,000 to 15,000 With two turntables on either side of him, DJ Screw would manually copies in a single day. manipulate vinyl albums, slowing down the tempo and maintaining the Often inside the house were any number of SUC members, including glacial pace on recordings that could last over an hour. In 1999, DJ Screw C-Note, Will-Lean and the Botany Boyz, Lil’ Flip, Big Pokey, Big Hawk, said he “let my fingers do the talking.” He would invite his friends, who Big Moe, Fat Pat, Lil’ Keke and others. would later be known as the Screwed Up Click (SUC), to freestyle while he Wall said nothing on the radio stirred the excitement of a Screw tape recorded the final product on his celebrated Screw tapes. with that rap collective on it. “He would just slow down the tempo of everything. It would just take “When you got a new Screw tape or something new from DJ Screw you to a place where it would just put you in a trance,” said Grammy- you’d come share it with everyone and say ‘Hey! Have you heard nominated Houston rapper and UH alum Paul Wall, who was a teenager in the new one? I bet you haven’t heard this one. -
Press Release Exhibition Slowed and Throwed
5216 Montrose Boulevard Houston, Texas 77006 CAMH.ORG | #atCAMH Press Release Exhibition Slowed and Throwed: Records of the City Through Mutated Lenses January 21–April 11, 2021 DJ Screw in his home studio. Courtesy SoSouth Music Distribution. Photo by Ben DeSoto ©1995. HOUSTON, TEXAS (January 6, 2021)—Contemporary Arts Museum Houston #SlowedandThrowed (CAMH) is pleased to present Slowed and Throwed: Records of the City #atCAMH Through Mutated Lenses, the first museum exhibition with a conceptual focus @camhouston on the late Houston hip hop legend DJ Screw. The exhibition explores visual arts practices that parallel the musical methods of this innovative DJ and feature unconventional photography and new media works by artists with Media Contact For high-resolution images or media personal ties to Houston, including B. Anele, Rabéa Ballin, Tay Butler, Jimmy inquiries, please contact: Castillo, Jamal Cyrus, Robert Hodge, Shana Hoehn, Tomashi Jackson, Ann Kent Michael Smith, Director of Johnson, Devin Kenny, Liss LaFleur, Karen Navarro, Ayanna Jolivet Mccloud, Communications and Marketing Sondra Perry, and Charisse Pearlina Weston. The exhibition opening coincides [email protected] | 713.284.8255 with the Museum’s limited reopening for Museum Members on Thursday, 1 5216 Montrose Boulevard Houston, Texas 77006 CAMH.ORG | #atCAMH Press Release January 21, 2021 and public reopening on January 22. The exhibition will remain on view through Sunday, April 11, 2021. The Museum will employ comprehensive COVID-19 safeguards to ensure the health of our staff and the public. Slowed and Throwed: Records of the City Through Mutated Lenses is a two- part interdisciplinary exhibition orbiting around the legacy of the late Houston legend DJ Screw.