Janfeb2021 Digital
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Rose, T. Prophets of Rage: Rap Music & the Politics of Black Cultural
Information Services & Systems Digital Course Packs Rose, T. Prophets of Rage: Rap Music & the Politics of Black Cultural Expression. In: T.Rose, Black noise : rap music and black culture in contemporary America. Hanover, University Press of New England, 1994, pp. 99-145. 7AAYCC23 - Youth Subcultures Copyright notice This Digital Copy and any digital or printed copy supplied to or made by you under the terms of this Staff and students of King's College London are Licence are for use in connection with this Course of reminded that copyright subsists in this extract and the Study. You may retain such copies after the end of the work from which it was taken. This Digital Copy has course, but strictly for your own personal use. All copies been made under the terms of a CLA licence which (including electronic copies) shall include this Copyright allows you to: Notice and shall be destroyed and/or deleted if and when required by King's College London. access and download a copy print out a copy Except as provided for by copyright law, no further copying, storage or distribution (including by e-mail) is Please note that this material is for use permitted without the consent of the copyright holder. ONLY by students registered on the course of study as stated in the section above. All The author (which term includes artists and other visual other staff and students are only entitled to creators) has moral rights in the work and neither staff browse the material and should not nor students may cause, or permit, the distortion, mutilation or other modification of the work, or any download and/or print out a copy. -
Rap & Hip-Hop Music Video &
Rap & Hip-Hop Music Video & Concerts: Public Enemy - It Takes a Nati... http://superbrap.blogspot.com/2008/12/public-enemy-it-takes-nation-lond... SEARCH BLOG FLAG BLOG Next Blog» Create Blog | Sign In RAP & HIP-HOP MUSIC VIDEO & CONCERTS MONDAY, DECEMBER 15, 2008 Public Enemy - It Takes a Nation: London Invasion 1987 Public Enemy - It Takes a Nation: London Invasion 1987 [2005] [DVD] Starring : Public Enemy Studio : Mvd Visual Format : Closed-captioned, Color, DVD-Video, Live, NTSC Aspect Ratio : 1.33:1 Run Time : 60 minutes Rating : NR (Not Rated) Check out and follow Public Enemy on their very first embarkment upon the Euro-UK shores during the Def Jam tour of 1987. Thatcher was Prime Minister, Nelson Mandela was still in a South African prison, Reagan was US president, the Wall was still up and Before they released It Takes a Nation of Millions to Hold Us Back , Public Enemy invaded London as part of the Def Jam '87 Tour (along with L.L. Cool J and Eric B. & Rakim). The landmark recording that followed incorporates a number of concert excerpts, including, "London, England, consider yourself warned," "I like that from the people up top," and "Bass for your face, London." In case you ever wondered where those snippets came from, London Invasion '87 is the answer. Along with their exhortations to the Hammersmith Odeon's capacity crowd, this 48-minute film features live performances of early hits, like "My Uzi Weighs a Ton" ( Yo! Bum Rush the Show ), and soon-to-be-classics, like "Bring the Noise," along with backstage banter from Chuck D, Flavor Flav, and Professor Griff. -
He's Got the Flavor and the Fav(Or)
small fleet business [ PROFILE He’s Got the Flavor and ] the Fav(or) “Big Rick” heads up a Las Vegas limousine company that has served celebrities, weekend partygoers, and a rapper star from a hit reality VH1 series By Conor Izzett hen your nickname is ance as driver and sidekick to rapper Big Rick, you tend to Flavor Flav on VH1’s hit reality show, get noticed. But Rick B. “Flavor of Love.” Opportunity fi rst Head, standing 6 feet, 9 knocked when the production compa- Winches tall, never expected the kind of ny working for VH1 was looking for a attention he gets now. His wife, Ursula driver for Flav’s original show, “Strange Head, explains. Love,” co-starring former supermodel “We were staying at the Four Sea- Brigitte Nielsen. ■ Big Rick got lots of attention for sons, and these ladies had all their “They wanted a driver who knew his role as chauffeur sidekick to rap- bags, and they all dropped them and Vegas, someone who was not camera per Flavor Fav on VH1. His experi- ence working with celebrities and said, ‘Oh my god, are you Big Rick?’ shy, and was comfortable around ce- partygoers led to steady corporate And he said yes. So then these ladies lebrities,” Big Rick says. “They needed work. start digging though their luggage right someone to do their job and not be in- there in front of the hotel, looking for timidated by the camera. I said, ‘What ‘you’re‘you’re one bigbig mother—’ And the rest their cameras. It was just funny.” camera?’” is history.” Big Rick, owner of Head Limo in Las After that, the audition was simple. -
“We Wanted Our Coffee Black”: Public Enemy, Improvisation, and Noise
Critical Studies in Improvisation / Études critiques en improvisation, Vol 10, No 1 (2014) “We Wanted Our Coffee Black”: Public Enemy, Improvisation, and Noise Niel Scobie Introduction Outside of academic circles, “noise” often has pejorative connotations in the context of music, but what if it was a preferred aesthetic with respect to music making? In addition, what if the preferred noise aesthetic was a direct result of group improvisation? Caleb Kelly claims that “Subjective noise is the most common understanding of what noise is. Put simply, it is the sound of the complaint from a stereotypical mother screaming to her teenage son to ‘turn that noise off. To the parent, the aggravating noise is the sound of the music, while it is his mother’s’ voice that is noise to the teenager enjoying his music” (72-73). In Music and Discourse, Jean-Jacques Nattiez goes further to state that noise is not only subjective, its definition, and that of music itself, is culturally specific: “There is never a singular, culturally dominant conception of music; rather, we see a whole spectrum of conceptions, from those of the entire society to those of a single individual” (43). Nattiez quotes from René Chocholle’s Le Bruit to define “noise” as “any sound that we consider as having a disagreeable affective character”—making “the notion of noise [. .] first and foremost a subjective notion” (45). Noise in this context is, therefore, most often positioned as the result of instrumental or lyrical/vocal sounds that run contrary to an established set of musical -
Public Enemy's Views on Racism As Seen Trough Their Songlyrics Nama
Judul : Public enemy's views on racism as seen trough their songlyrics Nama : Rasti Setya Anggraini CHAPTER I INTRODUCTION A. Background of Choosing The Subject Music has become the most popular and widespread entertainment product in the world. As the product of art, it has performed the language of emotions that can be enjoyed and understood universally. Music is also well known as a medium of expression and message delivering long before radio, television, and sound recordings are available. Through the lyrics of a song, musicians may express everything they want, either their social problems, political opinions, or their dislike toward something or someone. As we know, there are various music genres existed in the music industries nowadays : such as classic, rock, pop, jazz, folk, country, rap, etc. However, not all of them can be used to accommodate critical ideas for sensitive issues. Usually, criticism is delivered in certain music genre that popular only among specific community, where its audience feels personal connection with the issues being criticized. Hip-hop music belongs to such genre. It served as Black people’s medium 1 2 for expressing criticism and protest over their devastating lives and conditions in the ghettos. Yet, hip-hop succeeds in becoming the most popular mainstream music. The reason is this music, which later on comes to be synonym with rap, sets its themes to beats and rivets the audience with them. Therefore, for the audiences that do not personally connected with black struggle (like the white folks), it is kind of protect them from its provocative message, since “it is possible to dig the beats and ignore the words, or even enjoy the words and forget them when it becomes too dangerous to listen” (Sartwell, 1998). -
Journal of Hip Hop Studies
et al.: Journal of Hip Hop Studies Published by VCU Scholars Compass, 2017 1 Journal of Hip Hop Studies, Vol. 4 [2017], Iss. 1, Art. 1 Editor in Chief: Daniel White Hodge, North Park University Senior Editorial Advisory Board: Anthony Pinn, Rice University James Paterson, Lehigh University Book Review Editor: Gabriel B. Tait, Arkansas State University Associate Editors: Cassandra Chaney, Louisiana State University Jeffrey L. Coleman, St. Mary’s College of Maryland Monica Miller, Lehigh University Associate & Copy Editor: Travis Harris, Doctoral Candidate, College of William and Mary Editorial Board: Dr. Rachelle Ankney, North Park University Dr. Shanté Paradigm Smalls, St. John’s University (NYC) Dr. Jim Dekker, Cornerstone University Ms. Martha Diaz, New York University Mr. Earle Fisher, Rhodes College/Abyssinian Baptist Church, United States Mr. Jon Gill, Claremont University Dr. Daymond Glenn, Warner Pacific College Dr. Deshonna Collier-Goubil, Biola University Dr. Kamasi Hill, Interdenominational Theological Center Dr. Andre Johnson, Memphis Theological Seminary Dr. David Leonard, Washington State University Dr. Terry Lindsay, North Park University Ms. Velda Love, North Park University Dr. Anthony J. Nocella II, Hamline University Dr. Priya Parmar, SUNY Brooklyn, New York Dr. Soong-Chan Rah, North Park University Dr. Rupert Simms, North Park University Dr. Darron Smith, University of Tennessee Health Science Center Dr. Jules Thompson, University Minnesota, Twin Cities Dr. Mary Trujillo, North Park University Dr. Edgar Tyson, Fordham University Dr. Ebony A. Utley, California State University Long Beach, United States Dr. Don C. Sawyer III, Quinnipiac University https://scholarscompass.vcu.edu/jhhs/vol4/iss1/1 2 et al.: Journal of Hip Hop Studies Sponsored By: North Park Universities Center for Youth Ministry Studies (http://www.northpark.edu/Centers/Center-for-Youth-Ministry-Studies) Save The Kids Foundation (http://savethekidsgroup.org/) Published by VCU Scholars Compass, 2017 3 Journal of Hip Hop Studies, Vol. -
“My Logo Is Branded on Your Skin”: the Wu-Tang Clan, Authenticity, Black Masculinity, and the Rap Music Industry
“MY LOGO IS BRANDED ON YOUR SKIN”: THE WU-TANG CLAN, AUTHENTICITY, BLACK MASCULINITY, AND THE RAP MUSIC INDUSTRY By Ryan Alexander Huey A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of History – Master of Arts 2014 ABSTRACT “MY LOGO IS BRANDED ON YOUR SKIN”: THE WU-TANG CLAN, AUTHENTICITY, BLACK MASCULINITY, AND THE RAP MUSIC INDUSTRY By Ryan Alexander Huey The rap group, the Wu-Tang Clan came out of a turbulent period of time in both the rap music industry and American society in the early 1990s. Lawsuits over sampling in rap music forced producers to rethink the ways they made music while crack cocaine and the War on Drugs wreaked havoc in urban communities across the nation, as it did in the Clan’s home borough of Staten Island, New York. Before the formation of the group, Gary “GZA” Grice, had managed to land a recording contract as a solo artist, but his marketing was mismanaged and his career stagnated. He returned in 1992 as one of the nine member collective, who billed themselves as kung fu movie buffs melding low-fi, eerie productions with realistic raps about ghetto life. Drawing from the vibrant underground rap scene of New York City in the 1970s and 1980s, Brooklyn’s rich African American chess tradition, the teachings of the Five Percenters, and the cult following for Hong Kong action cinema, the Clan became a huge hit across the country. Each member fashioned a unique masculine identity for himself, bolstering their hardcore underground image while pushing the boundaries of acceptable expressions of manhood in rap music. -
Public Enemy 2013.Pdf
PERFORMERS Due to Public Enemy’s work, hip-hop established itself as a global force. ------------------------------------------- ---------------------------- By Alan Light _________________________________ UN-DM C had a more revolutionary impact on the way records are made. N.W . A spawned more imitators. The Death Row and Bad Boy juggernauts sold more R albums. Jay-Z has topped the charts for many more years. But no act in the history of hip-hop ever felt more important than Public Enemy. A t the top o f its game, PE redefined not just what a rap group could accomplish, but also the very role pop musicians could play in contemporary culture. Lyrically, sonically, politi cally, onstage, on the news - never before had musicians been considered “radical” across so many different platforms. The mix of agitprop politics, Black Panther-meets-arena-rock packaging, high drama, and low comedy took the group places hip-hop has never been before or since. For a number of years in the late eighties and early nineties, it was, to sample a phrase from the Clash, the only band that mattered. I put them on a level with Bob Marley and a handful of other artists,” wrote the late Adam Yauch (the Beastie Boys were one of Public Enemy's earliest champions). “[It’s a] rare artist who can make great music and also deliver a political and social message. But where Marley’s music sweetly lures you in, then sneaks in the message, Chuck D grabs you by the collar and makes you listen.” Behind, beneath, and around it all was that sound. -
Public Enemy Turns 25 Era
“Don’t Worry, Flavor- Vision Ain’t Blurry” IT ALMOst DIDN’T HAPPEN. Chuck D was an increasingly dense collection of sonic arguably remains a high-water They Even Had It On The News already 26 when Def Jam’s Rick Rubin alarms that would become their trademark. mark for rap music. Made during first heard the taped single “Public Each track combined a staggering number what is regarded as the golden age Enemy No. 1” by Chuck D and Spectrum of samples—beats, grooves, sound effects of hip-hop, when clearing samples VOL. PE25 ROOSEVELT, LONG ISLAND, 1987-2012 NO $ELL OUT City. So when Rubin called to sign him, and piercing sound bites that infused the was not as heavily monitored, The Chuck told the hip-hop label maestro that music with as much urgency as the lyrics. Bomb Squad created a massive he was too old, noting that the recently Encouraged by Rubin, other Def Jam collage of sound that reached BROTHERS signed LL Cool J was only 16, and that he artists had found success combining rap beyond the scope of pop music and SHIT HITS was instead considering his options as a and rock; PE took it further, sampling into the avant garde. Chuck’s raps GONNA WORK graphic designer. But after six months of and collaborating with heavy-metal were increasingly political, taking a The hip-hop group, Public Enemy. relentless attempts by Rubin (and despite acts like Slayer and eventually Anthrax. sharp bead on society’s ills, racism THE FAN! IT OUT the ambivalence of Rubin’s partner at Def Tracks like “Louder than a Bomb” and and the self-inflicted wounds of the African Black the next year. -
Hip Hop Generations
Hip Hop Generation highlights How The Youth Can Change The World Hip Hop Call to Action The Universal Zulu Nation is an international hip hop awareness group formed and headed by hip hop pioneer Afrika Bambaataa. Originally known simply as the Organization, it arose in the 1970s as reformed New York City gang members began to organize cultural events for youths, combining local dance and music movements into what would become known as the various elements of hip hop culture. By the 1980s, hip hop had spread globally, and the Zulu Nation has since established (autonomous) branches in Japan, France, the UK, Australia and South Korea. (Read more) You can change the world only when you are willing to change yourself... Lil Wayne Jay Z Kanye West T.I. Erykah Badu Rihanna Missy Elliott Lil' Kim Ice-T Nelly Snoop Dogg LL Cool J Roxanne Shanté Nicki Minaj Brandy Foxy Brown André 3000 Lupe Fiasco Ludacris Soulja boy Queen Latifah Sister Souljah Trina India Arie Jadakiss Ja Rule Will Smith DMX Kurtis Blow M.C. Hammer Kool Moe Dee Eminem Niggaz With Attitude Videos: N.W.A. Fuck Da Police N.W.A. - Straight Outta Compton N.W.A (Niggaz With Attitude) was a Compton, California-based hip hop group widely considered one of the seminal acts of the gangsta rap sub- genre. Active from 1986 to 1991, the group endured controversy due to the explicit, violent, and often misogynistic nature of their lyrics. They were subsequently banned from many mainstream U.S. radio stations and even at times prevented from touring - yet the group still sold over 9 million units in the U.S. -
Carlton Douglas Ridenhour (Born August 1, 1960), Known Professionally As Chuck D, Is an American Rapper, Author, and Producer. A
Carlton Douglas Ridenhour (born August 1, 1960), known professionally as Chuck D, is an American rapper, author, and producer. As the leader of the rap group Public Enemy, he helped create politically and socially conscious hip hop music in the mid 1980s. Chuck D has a powerful, resonant voice that is often acclaimed as one of the most distinct and impressive in hip-hop. About.com ranked him at No. 9 on their list of the Top 50 MCs of All Time, while The Source ranked him at No. 12 on their list of the Top 50 Hip-Hop Lyricists of All Time. Ridenhour was born in Queens, New York. He began writing rhymes after the New York City blackout of 1977. After graduating from Roosevelt Junior-Senior High School, he went to Adelphi University on Long Island to study graphic design, where he met William Drayton (Flavor Flav). He received a B.F.A. from Adelphi in 1984 and later received an honorary doctorate from Adelphi in 2013. While at Adelphi, Ridenhour co-hosted hip hop radio show the Super Spectrum Mix Hour as Chuck D on Saturday nights at Long Island rock radio station WLIR, designed flyers for local hip-hop events, and drew a cartoon called Tales of the Skind for Adelphi student newspaper The Delphian. Upon hearing Ridenhour's demo track "Public Enemy Number One", fledgling producer/upcoming music-mogul Rick Rubin insisted on signing him to his Def Jam label. Public Enemy’s major label albums were Yo! Bum Rush the Show (1987), It Takes a Nation of Millions to Hold Us Back (1988), Fear of a Black Planet (1990), Apocalypse 91.. -
Clamor Magazine
'*^- * SPECIAL EOmOl ,, IVE YEARS OF CLAMOR INTERVIEWS: Howard Zinn • Chuck D • Mikte Davis Studs Terkel • Dead Prez • Boots Riley Laura Flanders •Elizabeth Martinez • Parenti • Derrick Jensen Christian John K. SamsQi^ Carol Leigh The Revolution of Everyday Life (years of t interviews PI-US:. * ,u > Fall 2005 • Issue 33.5 1 new interviews with JftmSO US/ $6.95 Canada^ 9> Ian MacKaye & 1 Todd SolQitdz 1 ' 25274 96769 8 , USTSEE[]S.()f?Gl PRINTS - GRAFFITI - ZINES - BOOKS - STENCILS CELEBRATE PEOPLE'S HISTORY POSTERS - POLITICAL T-SHIRTS 4 wm^ ^'m, 2 C^Pd--^"^ 1 free T-Shirt (men's I /M^ women's sizes on u.s made shirts) $15 (€ Cochabamba poster bj Swoon $3 tc»W to PRISONS ''*,-rrr- X/.euT Cut and Paint Stencil Zii atlTOKCIMSi on D f IIVMIEK«NE 'Cx*^\ Prisons: Slaveships ^'VAn^alusia ^« "lii'V liwfn^ii-^ ';if(//lll\\\\\n\M SJAVF SHIPS -t5 >1^to/;(7/77yT-Shirt(mens ' women's sizes on u. I \ \ \\X <i'i ()SDin'L\ND » » ^Ml made shirts) NEW RADICAL CULTURE - WWW.3USTSEEDS.DR -— v^ A >^^ \A >i '1 (jku K We've spent all day crunching the numbers, and It's true. You can save $1.50 off the cover price of each issue of Clamor when you subscribe. It's also the single-best way to support your favorite independent mag. Subscribe online at www.clamormagazine.org. Or simply send a check payable to Clamor to: Clamor • PO Box 20128 • Toledo, OH 43610 : EOlTORyPUBLISHERS Jen Angel & Jason Kucsma from your editors CULTURE EDITOR WEB DESIGN EncZassenhaus Oerel( Hogue We thought that the best way to celebrate Clamor's first five years was to look back to some of ECONOMICS EDITOR INTERNS the you have forgotten or missed.