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Regional Variation in West and East Coast African-American English Prosody and Rap Flows
LAS0010.1177/0023830919881479Language and SpeechGilbers et al. 881479research-article2019 Language Original Article and Speech Language and Speech 1 –33 Regional Variation in West and © The Author(s) 2019 East Coast African-American Article reuse guidelines: sagepub.com/journals-permissions English Prosody and Rap Flows https://doi.org/10.1177/0023830919881479DOI: 10.1177/0023830919881479 journals.sagepub.com/home/las Steven Gilbers Department of Applied Linguistics, Center for Language and Cognition Groningen, Research School of Behavioural and Cognitive Neurosciences, University of Groningen, the Netherlands Nienke Hoeksema Neurobiology of Language Department, Max Planck Institute for Psycholinguistics, the Netherlands Kees de Bot Wander Lowie Department of Applied Linguistics, Center for Language and Cognition Groningen, Research School of Behavioural and Cognitive Neurosciences, University of Groningen, the Netherlands Abstract Regional variation in African-American English (AAE) is especially salient to its speakers involved with hip-hop culture, as hip-hop assigns great importance to regional identity and regional accents are a key means of expressing regional identity. However, little is known about AAE regional variation regarding prosodic rhythm and melody. In hip-hop music, regional variation can also be observed, with different regions’ rap performances being characterized by distinct “flows” (i.e., rhythmic and melodic delivery), an observation which has not been quantitatively investigated yet. This study concerns regional variation in AAE speech and rap, specifically regarding the United States’ East and West Coasts. It investigates how East Coast and West Coast AAE prosody are distinct, how East Coast and West Coast rap flows differ, and whether the two domains follow a similar pattern: more rhythmic and melodic variation on the West Coast compared to the East Coast for both speech and rap. -
ENG 350 Summer12
ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, 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 two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. 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 is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog. -
Death Row Records
The New Kings of Hip-Hop Death Row Records “You are now about to witness the strength of street knowledge.” —N.W.A. Contents Letter from the Director ................................................................................................... 4 Mandate .......................................................................................................................... 5 Background ...................................................................................................................... 7 Topics for Discussion ..................................................................................................... 10 East Coast vs. West Coast .................................................................................... 10 Internal Struggles................................................................................................. 11 Turmoil in Los Angeles ........................................................................................ 12 Positions ........................................................................................................................ 14 Letter from the Director Dear Delegates, Welcome to WUMUNS XII! I am a part of the class of 2022 here at Washington University in St. Louis, and I’ll be serving as your director. Though I haven’t officially declared a major yet, I’m planning on double majoring in political science and finance. I’ve been involved with Model UN since my freshman year of high school, and I have been an active participant ever since. I am also involved -
The Transition of Black One-Dimensional Characters from Film to Video Games
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 2016 The ewN Black Face: The rT ansition of Black One- Dimensional Characters from Film to Video Games Kyle A. Harris Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Harris, Kyle A. "The eN w Black Face: The rT ansition of Black One-Dimensional Characters from Film to Video Games." (Spring 2016). This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. THE NEW BLACK FACE: THE TRANSITION OF BLACK ONE-DIMENSIONAL CHARACTERS FROM FILM TO VIDEO GAMES By Kyle A. Harris B.A., Southern Illinois University, 2013 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Master of Science Department of Mass Communications and Media Arts in the Graduate School Southern Illinois University Carbondale May 2016 RESEARCH PAPER APPROVAL THE NEW BLACK FACE: THE TRANSITION OF BLACK ONE-DIMENSIONAL CHARACTERS FROM FILM TO VIDEO GAMES By Kyle A. Harris A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science in the field of Professional Media, Media Management Approved by: Dr. William Novotny Lawrence Department of Mass Communications and Media Arts In the Graduate School Southern Illinois University Carbondale -
Alumni Gather to Rally Funding
University of South Carolina Scholar Commons March 2008 3-27-2008 The aiD ly Gamecock, THURSDAY, MARCH 27, 2008 University of South Carolina, Office oftude S nt Media Follow this and additional works at: https://scholarcommons.sc.edu/gamecock_2008_mar Recommended Citation University of South Carolina, Office of Student Media, "The aiD ly Gamecock, THURSDAY, MARCH 27, 2008" (2008). March. 3. https://scholarcommons.sc.edu/gamecock_2008_mar/3 This Newspaper is brought to you by the 2008 at Scholar Commons. It has been accepted for inclusion in March by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Sports The Mix Opinion..................4 Puzzles................... 7 The Gamecocks try to keep focused on Tha Doggfather is back... and he’s Comics....................7 the fall despite Steven Garcia’s antics funky? “Ego Trippin” has us trippin’ in Horoscopes..............7 off the fi eld. See page 8 a good way. See page 9 Classifi ed..............10 dailygamecock.com THE UNIVERSITY OF SOUTH CAROLINA THURSDAY, MARCH 27, 2008 VOL. 101, NO. 108 ● SINCE 1908 USC student Alumni gather to rally funding dies in accident Former USC professors and scientists, Liz Segrist according to the Web site ASSISTANT NEWS EDITOR http://www.endowedchairs. students lobby state A 20-year-old org/ University of South legislators for money “It brings the best and Carolina student from brightest faculty,” said Anderson died when he former Student Body Paul Bowers fell from a moving CSX MIX EDITOR President Tommy Preston, train between 4 a.m. and who is currently USC’s 5 a.m. -
Hip Hop Club Songs
Hip Hop Club Songs Did you Know? The credit of coining the term 'Hip-Hop' lies with Keith 'Cowboy' Wiggins, a member of Grandmaster Flash and the Furious Five. Around 1978, he used to tease his friend who was in the US Army by singing hip/hop/hip/hop. He was mimicking the cadence rhythm of the soldiers. Initially known as Disco Rap, hip-hop music is a stylized download mp3 rocket pro free 2010 rhythmic music form which contains rapping and beat boxing as its elements. This music developed as a part of the 'hip-hop culture' in New York, particularly among the African-Americans. Today, hip hop music has become extremely popular among the masses. With the commercialization of this genre of music, a new era of talent paved its path to give music a new feel and rhythm by using words in the interim as a form of expression. Artists like Snoop Dog, Eminem, Nicki Minaj, Black- Eyed Peas have popularized this particular genre even further. Certain artists, who were known for performing other genres also started experimenting with rap and hip-hop. Couple of such examples would be Beyonce and none other than the King of Pop, Michael Jackson. Another factor that has added to hip-hop's popularity is that this music is ideal for nightclubs and dance floors. So, are you arranging one such party for your friends and wondering which songs to play? Then here is a list of various hip-hop club songs that you can play. ? Baby Don't Do It - Lloyd ? Best Kept Secret - Raheem DeVaughn ? Bedroom Walkin' - Ne-Yo ? Tonight - Jason Derulo ? Almost There - Alicia Keys ? Stillettos And A Tee - Bobby Valentino ? Help Somebody - Maxwell Feat. -
Issue 1 Page 8 FINAL.Indd
PAGE 8 Entertainment ‘Compton’ brings rapper Dr. Dre full circle Compton: A he got in the studio. Elliot Bauman Soundtrack by Dr. Before I noticed anything PRINT EDITOR-IN- Dre. Wow, the day sonically from this project though, CHIEF has finally come. before I even pressed play I was in awe Dre has released by the crazy features list. Dr. Dre is so a new album. For good about taking both superstars and the first time since I was two years old, underground artists and producers and Andre Young from Compton, California melding their talents to make some has produced and released a full-length great music. This is a recurring theme LP. stemming from the respect anyone in As alluded to, Compton is rapper/ the rap game must pay Dr. Dre. Names producer Dr. Dre’s first commercial like Snoop Dogg, XZibit and some release since the widely acclaimed of Compton’s own like The Game, release of his album “2001” in 1999. Kendrick Lamar, Anderson .Paak and, of Contrary to popular belief, it is not course, N.W.A. partner Ice Cube. The list a soundtrack for the movie “Straight is insane but all the credit goes to Dre Outta Compton,” although the two do for figuring out how to manage all of make nice companions. The album is a the egos and truly get the best qualities separate project dealing with Dr. Dre’s from everyone. The result is some of early life in Compton while alluding to the best feature work I’ve heard in 2015. -
A Stylistic Analysis of 2Pac Shakur's Rap Lyrics: in the Perpspective of Paul Grice's Theory of Implicature
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2002 A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature Christopher Darnell Campbell Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Rhetoric Commons Recommended Citation Campbell, Christopher Darnell, "A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature" (2002). Theses Digitization Project. 2130. https://scholarworks.lib.csusb.edu/etd-project/2130 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English: English Composition by Christopher Darnell Campbell September 2002 A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino by Christopher Darnell Campbell September 2002 Approved.by: 7=12 Date Bruce Golden, English ABSTRACT 2pac Shakur (a.k.a Makaveli) was a prolific rapper, poet, revolutionary, and thug. His lyrics were bold, unconventional, truthful, controversial, metaphorical and vulgar. -
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The Adventure Zone: Commitment – Episode 3 Published on November 16th, 2017 Listen on TheMcElroy.family [theme music plays] Griffin: Let‘s just get into it! Let‘s just get on it. Travis: Roll your ball! Griffin: Roll that fuckin‘ ball! Clint: Are we… are we good, or should we just charge right in? Griffin: Let‘s just do it! We‘re about to fight a big fucking robot unicorn and I‘m ready! Travis: Yeah, if you want to know the ―Previously on…‖ go back and re- listen to the episode! Clint: Good point. Griffin: Things Remy has done since he got superpowers: jumped into a wall, and then solved a riddle from a big St. Peter. Things he has not done: jumped and fought. It‘s time. It is now. Justin: I would appreciate reminding us of what we‘re doing. Travis: No, we‘re fighting a unicorn and a robot or whatever, let‘s gooo! Clint: I‘ll make it very simple. You‘re in a field of lilies of the valley; the golden road has kinda fallen into disrepair. Right ahead of you is this thick line of trees. A robot Salome has come in, riding on a unicorn. She jumps off the unicorn, she drops John the Baptist‘s head—ah, I forgot to put John the Baptist‘s head on the— Travis: No, but let‘s just say, Dad— Clint: —the map. Travis: Your map game is— Griffin: It‘s improving! You‘re gonna be— Travis: And I just want to say, I love how you see all the little flowers everywhere. -
Video Monitor
FOR WEEK ENDING MAY 13, 2001 Music Video BiIIboard Video Monitor P R O G R A M M I N G THE MOST-PLAYED CLIPS AS MONITORED BY BROADCAST DATA SYSTEMS NEW ONS" ARE REPORTED BY THE NETWORKS (NOT BY BDS) FOR THE WEEK AHEAD Dúß Disney Channel Scales Back MUSIC FIRST Continuous Programming Continuous programming Continuous programming Continuous rogramming Videos, Concert Programming W. NE 1235 Street, 2806 Opryland Dr. 1515 Broadpway, NY, NY 10036 1515 Broadway,p NY, NY 10036 D.C. 20018 Washington, Nashville, TN 37214 1 Destiny's Child, Survivor 1 Janet, All For You 1 Ray J Wait A Minute original programming Gary Marsh 1 Brooks & Dunn, Ain't Nothing 'Bout You 2 Chndina Aguikra, UI' Kim, Mya L Pk*, Lady Marmalade 2 Lifehouse, Hanging By A Moment D ISNEY'S MUSIC CUTBACK 2 112, Peaches & Cream 2 Gary Allan, Right Where I Need To Be 3 Eve, Let Me Blow Ya Mind 3 Destiny's Child, Survivor 3 2Pac, Until The End Of Time Say goodbye to music videos and explains the network's decision to 3 Jamie O'Neal, When I Think About Angels* 4 Nelly, Ride Wit Me 4 Dido, Thank You Ja Rule, I Cry 4 4 Mark McGuinn, Mrs. Steven Rudy 5 Staind, It's Been Awhile 5 Uncle Kracker, Follow Me 5 Eve, Let Me Blow Ya Mind regular concerts on Disney Channel. drop music videos and regular con- 5 Travis Tritt, It's A Great Day To Be Alive 6 Snoop Dogg, Lay Low 6 Aerosmith, Jaded 6 Aaliyah, We Need Resolution A 6 Faith Hill, If My Heart Had Wings 7 Janet, All For You 7 Matchbox Twenty, Mad Season 7 Lil Bow Wow, As of June 1, the network will no cert specials: "We just don't want Puppy Love 7 Kenny Chesney Don't Happen Twice 8 Dave Matthews Band, The Space Between 8 Train, Drops Of Jupiter 8 Christina Aguilera, UI' Kim, Mya & PiJ& Lady Marmalade 8 Pv toy Bottom Boys, I Am A Man Of Constant Sorrow 9 Linkin Park, Crawling 9 Jennifer Lopez, Play have same programming our 9 Three TThe.. -
What Did Rap's First Grammy Award Represent
GRAMMY AWARDS What did rap’s first Grammy GRAYSON Exactly. People felt that N.W.A later came to the forefront. Award represent, commercially “real” hip-hop, so to speak, wasn’t [Jazzy Jeff and The Fresh Prince] and culturally? being recognized — which is were hip-hop; we [radio DJs] were DRAKE It put rap culture on the actually a knock to Jazzy Jeff and playing that. And hip-hop was mainstream map. But it was the The Fresh Prince. They were more being recognized. If you pull up lighthearted version of rap. You commercial, and commercial hip- the category’s [nominees] then, also had N.W.A [which was not hop at that time wasn’t necessarily it was different parts of hip-hop, nominated] talking about taboo respected in the same way. like J.J. Fad and Kool Moe Dee. But subjects like oppression and it wasn’t [like], “Man, we’re not W police brutality. This highlighted BIG BOY Being probably the oldest being represented.” Jazzy Jeff and Grammy’s true relationship with one sitting here, I remember that Fresh Prince took the stance that, rap and hip-hop culture: to not Jazzy Jeff and The Fresh Prince “They’re not giving out the award air [more] categories and really were the shit in 1989. It wasn’t [on TV], so we’re not going.” We WHEN THE GRAMMY AWARDS support rap. Will Smith was the like, “Oh, they’re corny” or “Fuck weren’t saying, “Why them?” return to Los Angeles from New zeitgeist, but he was just one part. -
Filed 8/19/03 Brumflield V. Death Row Records CA2/2 NOT to BE PUBLISHED in the OFFICIAL REPORTS
Filed 8/19/03 Brumflield v. Death Row Records CA2/2 NOT TO BE PUBLISHED IN THE OFFICIAL REPORTS California Rules of Court, rule 977(a), prohibits courts and parties from citing or relying on opinions not certified for publication or ordered published, except as specified by rule 977(b). This opinion has not been certified for publication or ordered published for purposes of rule 977. IN THE COURT OF APPEAL OF THE STATE OF CALIFORNIA SECOND APPELLATE DISTRICT DIVISION TWO LAMONT BRUMFIELD et al., B149561 Plaintiffs and Appellants, (Los Angeles County Super. Ct. No. BC135461) v. DEATH ROW RECORDS, INC., et al., Defendants and Appellants. APPEAL from the judgment and order of the Superior Court of Los Angeles County. Emilie H. Elias, Judge. Affirmed. Christensen, Miller, Fink, Jacobs, Glaser, Weil & Shapiro, Sean Riley and Steven L. Weinberg for Defendants and Appellants. Esner & Chang, Stuart B. Esner and Andrew N. Chang for Plaintiffs and Appellants. * * * * * * Death Row Records, Inc. (hereafter Death Row Records), and its owner Marion Knight (hereafter Knight; sometimes collectively referred to as Death Row) appeal from a judgment entered after a jury found Death Row liable for: (1) interference with contract; (2) interference with prospective economic advantage; and (3) false promise. The jury awarded plaintiffs Lamont and Kenneth Brumfield (individually, Lamont and Kenneth, collectively the Brumfields) $14,344,000. The trial court reduced the damage award to $5,519,000, finding that the damages were duplicative and in excess of the