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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). -
Southeast Texas: Reviews Gregg Andrews Hothouse of Zydeco Gary Hartman Roger Wood
et al.: Contents Letter from the Director As the Institute for riety of other great Texas musicians. Proceeds from the CD have the History of Texas been vital in helping fund our ongoing educational projects. Music celebrates its We are very grateful to the musicians and to everyone else who second anniversary, we has supported us during the past two years. can look back on a very The Institute continues to add important new collections to productive first two the Texas Music Archives at SWT, including the Mike Crowley years. Our graduate and Collection and the Roger Polson and Cash Edwards Collection. undergraduate courses We also are working closely with the Texas Heritage Music Foun- on the history of Texas dation, the Center for American History, the Texas Music Mu- music continue to grow seum, the New Braunfels Museum of Art and Music, the Mu- in popularity. The seum of American Music History-Texas, the Mexico-North con- Handbook of Texas sortium, and other organizations to help preserve the musical Music, the definitive history of the region and to educate the public about the impor- encyclopedia of Texas tant role music has played in the development of our society. music history, which we At the request of several prominent people in the Texas music are publishing jointly industry, we are considering the possibility of establishing a music with the Texas State Historical Association and the Texas Music industry degree at SWT. This program would allow students Office, will be available in summer 2002. The online interested in working in any aspect of the music industry to bibliography of books, articles, and other publications relating earn a college degree with specialized training in museum work, to the history of Texas music, which we developed in cooperation musical performance, sound recording technology, business, with the Texas Music Office, has proven to be a very useful tool marketing, promotions, journalism, or a variety of other sub- for researchers. -
09 1Bkrv.Donaghy.Pdf
book reviews 159 References Bickerton, Derek, and William H. Wilson. 1987. “Pidgin Hawaiian.” In Pidgin and Creole Lan- guages: Essays in Memory of John E. Reinecke, edited by Glenn G. Gilbert. Honolulu: Uni- versity of Hawai‘i Press. Drechsel, Emanuel J. 2014. Language Contact in the Early Colonial Pacific: Maritime Polynesian Pidgin before Pidgin English. Cambridge: Cambridge University Press. Massam, Diane. 2000. “VSO and VOS: Aspects of Niuean Word Order.” In The Syntax of Verb Initial Languages, 97–117. Edited by Andrew Carnie and Eithne Guilfoyle. Oxford: Oxford University Press. Roberts, [S.] J. M. 1995. “Pidgin Hawaiian: A Sociohistorical Study.” Journal of Pidgin and Creole Languages 10: 1–56. Amsterdam: John Benjamins Publishing. Romaine, Suzanne. 1988. Pidgin and Creole Languages. London: Longman. Hawaiian Music and Musicians (Ka Mele Hawai‘i A Me Ka Po‘e Mele): An Encyclopedic History, Second Edition. Edited by Dr. George S. Kanahele, revised and updated by John Berger. Honolulu: Mutual Publishing, 2012. xlix + 926 pp. Illus- trated. Appendix. Addendum. Index. $35.00 paper ‘Ōlelo Hō‘ulu‘ulu / Summary Ua puka maila ke pa‘i mua ‘ana o Hawaiian Music and Musicians ma ka MH 1979. ‘O ka hua ia o ka noi‘i lō‘ihi ma nā makahiki he nui na ke Kauka George S. Kanahele, ko The Hawaiian Music Foundation, a me nā kānaka ‘ē a‘e ho‘i he lehulehu. Ma ia puke nō i noelo piha mua ‘ia ai ka puolo Hawai‘i, me ka mana‘o, na ia puke nō e ho‘olako mai i ka nele o ka ‘ike pa‘a e pili ana i ka puolo Hawai‘i, kona mo‘olelo, kona mohala ‘ana a‘e, nā mea ho‘okani a pu‘ukani kaulana, a me nā kānaka kāko‘o pa‘a ma hope ona. -
Pacific Islands Program
/ '", ... it PACIFIC ISLANDS PROGRAM ! University of Hawaii j Miscellaneous Work Papers 1974:1 . BIBLIOGRAPHY OF HAWAIIAN LANGUAGE MATERIALS AT THE UNIVERSITY OF HAWAII, MANOA CAMPUS Second Printing, 1979 Photocopy, Summer 1986 ,i ~ Foreword Each year the Pacific Islands Program plans to duplicate inexpensively a few work papers whose contents appear to justify a wider distribution than that of classroom contact or intra-University circulation. For the most part, they will consist of student papers submitted in academic courses and which, in their respective ways, represent a contribution to existing knowledge of the Pacific. Their subjects will be as varied as is the multi-disciplinary interests of the Program and the wealth of cooperation received from the many Pacific-interested members of the University faculty and the cooperating com munity. Pacific Islands Program Room 5, George Hall Annex 8 University of Hawaii • PRELIMINARY / BIBLIOGRAPHY OF HAWAIIAN LANGUAGE MATERIALS AT THE UNIVERSITY OF HAWAII, MANOA CAMPUS Compiled by Nancy Jane Morris Verna H. F. Young Kehau Kahapea Velda Yamanaka , . • Revised 1974 Second Printing, 1979 PREFACE The Hawaiian Collection of the University of Hawaii Library is perhaps the world's largest, numbering more than 50,000 volumes. As students of the Hawaiian language, we have a particular interest in the Hawaiian language texts in the Collection. Up to now, however, there has been no single master list or file through which to gain access to all the Hawaiian language materials. This is an attempt to provide such list. We culled the bibliographical information from the Hawaiian Collection Catalog and the Library she1flists. We attempted to gather together all available materials in the Hawaiian language, on all subjects, whether imprinted on paper or microfilm, on tape or phonodisc. -
ピーター・バラカン 2012 年 6 月 2 日放送 01. Shak
ウィークエンド・サンシャイン PLAYLIST ARCHIVE DJ:ピーター・バラカン 2012 年 6 月 2 日放送 01. Shake Your Hips / Joan Osborne // Bring It On Home 02. Bring It On Home / Joan Osborne // Bring It On Home 03. My Back Pages / Joan Osborne & Jackson Browne // Steal This Movie 04. Little Broken Hearts / Norah Jones // Little Broken Hearts 05. Take It Back / Norah Jones // Little Broken Hearts 06. Band on the Run / The Langley Schools Music Project // Innocence & Despair 07. Desperado / The Langley Schools Music Project // Innocence & Despair 08. Anyhow I Love You / Lyle Lovett // This One's For Him 09. The Cape / Patty Griffin // This One's For Him 10. Cold Dog Soup / James McMurtry // This One's For Him 11. A Boy Named Sue / Johnny Cash // The Essential Johnny Cash 12. I Shall Be Released / The Brothers And Sisters // Dylan's Gospel 13. The Mighty Quinn (Quinn the Eskimo) / The Brothers And Sisters // Dylan's Gospel 14. Bruca Manigua / Arsenio Rodriguez // Quindembo-Afro Magic-La Magia De Arsenio Rodriguez 15. Ice Age / Dr. John // Locked Down 16. My Children, My Angels / Dr. John // Locked Down 17. Gris-Gris Gumbo Ya Ya / Dr. John // Gris-Gris 2012 年 6 月 9 日放送 01. House Of The Rising Sun / Doc Watson & Clarence Ashley // The Original Folkways Recordings, 1960-1962 02. Little Omie Wise / Doc Watson // Doc Watson 03. Intoxicated Rat / Doc Watson // Doc Watson 04. Blackberry Blossom / Doc Watson // Newport Folk Festival 1964: The Evening Concerts 05. Going Down This Road Feeling Bad / Doc Watson // Newport Folk Festival 1964: The Evening Concerts 06. Ramblin' Hobo / Doc Watson & Family // Treasures Untold 07. -
Puana 'Ia Me Ka 'Oko'a: a Comparative Analysis of Hawaiian
Vol. 5 (2011), pp. 107-133 http://nflrc.hawaii.edu/ldc/ http://hdl.handle.net/10125/4494 Puana ‘Ia me ka ‘Oko‘a: A Comparative Analysis of Hawaiian Language Pronunciation as Spoken and Sung Joseph Keola Donaghy University of Hawai‘i at Hilo and University of Otago, New Zealand In this paper I argue that the differences between spoken Hawaiian and vocal perfor- mance of western-influenced “traditional” Hawaiian music are representative of the linguistic diversity found within the Hawaiian language. It contains a comparative analysis of Hawaiian Language Pronunciation as Spoken and Sung, using transcriptions of recorded examples by John Kameaaloha Almeida, a native speaker of the Hawaiian language and a prominent composer, singer, and instrumentalist. It will provide a pho- nemic analysis of notable and predictable variations heard in Hawaiian language vocal performances that are not heard in spoken Hawaiian. Further, it will show that rhythmic arrangement of morae over strong beats in the musical measure is largely analogous to accent in spoken Hawaiian, with some predictable exceptions. The paper also documents how, during his vocal performance, Almeida added three non-lexical vocables not heard in spoken Hawaiian. I argue that these characteristics and variation are indicative of the linguistic diversity found within the Hawaiian language and, as such, are worthy of the same attention and scholarly scrutiny as spoken Hawaiian. The second goal of this applied research is to present the results in a manner that is accessible to practitioners of Hawaiian language performance. 1. INTRODUCTION.1 One day during my time as an undergraduate student in the Hawaiian Studies program at the University of Hawai‘i at Hilo, I was listening to a record- ing of Rev. -
Waikiki Wiki-Wiki Wire
Volume VII, No. 18 Waikiki Improvement Association May 4, 2006 — May 11, 2006 Waikiki Wiki-Wiki Wire Waikiki by Moonlight — Vintage Meets Vogue In the summer of 2005 the Waikiki Improvement hula of Ka Leo O Laka I Ka Association began a journey. WIA sought a way to Hikina O Ka La , led by Kumu present Waikiki to both visitors and residents in all Hula Kaleo Trinidad. her glory, an event that would portray the Following that tribute to the uniqueness of the host culture as well as the beauty ancient foundations of and history of this unique place. Through the Hawaiian culture, the generous contributions of key members and the audience will be treated to tireless efforts of their staff, as well as WIA’s friends the classic styling of the one and associates, that journey ends on Friday, May and only Aunty Genoa 12th, with the arrival of Waikiki’s new signature Keawe & Kupuna Halau. event, Waikiki by Moonlight — Vintage Meets From there we take a break Vogue! from music and dance to view the Vintage Meets Under the nearly full moon of a tropical night, Henry Kapono Kalakaua Avenue near the Duke Kahanamoku Vogue Fashion Show statue will become a place of music, dance, cuisine presented by Hilo Hattie. and fashion. Gifted entertainers, top-flight chefs, Thereafter, the live music picks up again as Jeff and contemporary fashion Apaka pays tribute to the great star of the 40’s, leaders will all use there Alfred Apaka. Henry Kapono brings us up through immense talents to pay that heyday of the baby boomer generation, the tribute to the bygone eras of 70’s. -
5 MB HSFCA Annual Report for FY 2003-2004
HAWAI‘I STATE FOUNDATION ON CULTURE AND THE ARTS Annual Report Fiscal Year 2003-2004 The Hawai‘i State Foundation on Culture and the Arts mission is to promote, perpetuate, preserve and encourage culture and the arts, history and the humanities as central to the quality of life of the people of Hawai‘i. The Hawai‘i State Foundation on Culture and the Arts (HSFCA) was founded in 1965 as the official arts agency of the State of Hawai‘i. The HSFCA stimulates, guides, and promotes culture, the arts, history, and the humanities throughout the state. The HSFCA office is on the second floor of the historic No. 1 Capitol District Building at 250 South Hotel Street in downtown Honolulu, just Ewa of the Capitol Building. This building is also the home of the Hawai‘i State Art Museum which opened on November 1, 2002. The HSFCA, through its programs, offers biennium grants to support funding for projects that preserve and further culture, the arts, history, and the humanities; administers a public visual arts program for state public places; conducts an apprenticeship program to perpetuate folk traditions; grants fellowships to encourage artists; collaborates with organizations and educational institutions on arts in education projects; conducts workshops; and provides staff resource assistance. The HSFCA Commission is composed of nine members, each appointed by the Governor of Hawai‘i for a four-year term according to Section 9-2 (b), Hawai‘i Revised Statutes. From these members, who serve without compensation, the Governor appoints a chairperson. The HSFCA is a part of the Executive Branch of the State of Hawai‘i and is attached to the Department of Accounting and General Services for administrative purposes. -
Hip-Hop Timeline 1973 – Kool Herc Deejays His First Party in the Bronx
Hip-hop Timeline ➢ 1973 – Kool Herc deejays his first party in the Bronx, where his blending of breaks is first exhibited. The break dancers in attendance began to discover their style and form. ➢ 1975 – Grandmaster Flash begins the early forms of Turntabilism by blending and mixing, while Grandwizard Theodore invents what we now know as scratching. The first Emcee crews are formed. ➢ 1979 – The Sugarhill Gang, under the guidance of record label owner and former vocalist Sylvia Robinson, release Rapper’s Delight, the first commercially recognized rap song. *There is much debate over the first recorded rap song, but it’s widely believed to have been done sometime in 1977 or 1978. ➢ 1980 – Kurtis Blow releases the first best selling hip-hop album, The Breaks, and becomes the first star in hip-hop music. ➢ 1983 – Herbie Hancock, in collaboration with pioneer DeeJay GrandMixer DST (now known as GrandMixer DXT), creates the Grammy Award-winning song Rockit, which is the first time the public ever hears a DeeJay scratching on record. Pioneer hip-hop duo Run DMC releases their first single Sucker Emcee’s. ➢ 1988 – This year is considered the first golden year in hip-hop music with releases such as Public Enemy’s It Takes A Nation of Millions to Hold Us Back, Big Daddy Kane’s Long Live The Kane, Slick Rick’s The Great Adventures of Slick Rick, Boogie Down Production’s By All Means Necessary, Eric B And Rakim’s Follow the Leader and the first highly regarded non-New York hip-hop record, N.W.A.’s Straight Outta Compton. -
Read Liner Notes Here
LINER NOTES Martin Pahinui Ho'olohe One of Hawaiian music‘s most gifted vocalists, John Martin Pahinui has performed with a host of top performers, including his father‘s legendary Gabby Pahinui Hawaiian Band, The Peter Moon Band, The Pahinui Brothers, Nina Kealiçiwahamana, Bill Kaiwa and slack key super group Hui Aloha (with slack key guitarists George Kuo and Dennis Kamakahi). The youngest child of Gabby Pahinui (1921-1980) and Emily Pahinui, Martin grew up surrounded by music— not only the amazing kï höçalu (slack key) in his family home but also the many other styles floating on the wind in Waimänalo, where he grew up and still lives. Like many children of famous musicians, Martin is keenly aware of a double responsibility: to honor his family‘s musical legacy and to always be himself. ―My daddy is a very big influence on all of us,‖ Martin says, ―but he always did things his own way, and he taught us to trust our own instincts too. He loved Hawaiian music but he wasn‘t afraid to change something if he felt it was the right thing to do. Some people would grumble, but he‘d say, ‗So what, some people grumble no matter what you do.‘ He always said to respect the song and the composer and the people who taught you, but never be afraid to express your own feelings when you play.‖ Recently, when the local rap group Sudden Rush asked the Pahinui family for their blessings to use a recording of Gabby‘s classic rendition of Hiçilawe, Martin supported them. -
Hawaii Stories of Change Kokua Hawaii Oral History Project
Hawaii Stories of Change Kokua Hawaii Oral History Project Gary T. Kubota Hawaii Stories of Change Kokua Hawaii Oral History Project Gary T. Kubota Hawaii Stories of Change Kokua Hawaii Oral History Project by Gary T. Kubota Copyright © 2018, Stories of Change – Kokua Hawaii Oral History Project The Kokua Hawaii Oral History interviews are the property of the Kokua Hawaii Oral History Project, and are published with the permission of the interviewees for scholarly and educational purposes as determined by Kokua Hawaii Oral History Project. This material shall not be used for commercial purposes without the express written consent of the Kokua Hawaii Oral History Project. With brief quotations and proper attribution, and other uses as permitted under U.S. copyright law are allowed. Otherwise, all rights are reserved. For permission to reproduce any content, please contact Gary T. Kubota at [email protected] or Lawrence Kamakawiwoole at [email protected]. Cover photo: The cover photograph was taken by Ed Greevy at the Hawaii State Capitol in 1971. ISBN 978-0-9799467-2-1 Table of Contents Foreword by Larry Kamakawiwoole ................................... 3 George Cooper. 5 Gov. John Waihee. 9 Edwina Moanikeala Akaka ......................................... 18 Raymond Catania ................................................ 29 Lori Treschuk. 46 Mary Whang Choy ............................................... 52 Clyde Maurice Kalani Ohelo ........................................ 67 Wallace Fukunaga .............................................. -
Here She Is ... Miss Bennett Move Not Only with New Many Artists Shy Away Firom Chilee’ Hailes Music but a New Look
NOVEMBER 4, 1993 • BENNETT BANNER • 3 D’CHERIPS MUSIC REVIEW Salt N' Pepa is back By D’Cherie Lofton platinum. Bennett Banner Salt N’ Pepa have been If you’re searching for in the rap scene since 1986 flavor, search no more. and maturity has encom Salt N* Pepa is serving passed an impact on all of mad flavor with their new them. release “Very Necessary.” ‘We have to be more The first single from the al serious about the future with bum “Shoop” is keeping the children. We have to think request lines hot. Along with about the future because you their all-star cut “Whatta have someone depending on man” which is a collabora you," Salt said. tion with the funky divas Their concern for the EnVouge, “VeryNecessary” future is evident by the pub- has all the makings of what Uc service announcements I call “phat jams,” from the included in their new album pulsing reggae groove of that deal with AIDS. (It's Salt N‘ Pepa is back on the scene with their new release "Shoop, Shoop, Shoop." “Groove Me” to “Somma performed by WEATOC, a Time Man” to “Bresdc of teen outreach/activism Dawn.” group from Boston.) The ladies are on the "It’s a subject than Here she is ... Miss Bennett move not only with new many artists shy away firom Chilee’ Hailes music but a new look. These when recording." ing." tured Tammi McCall, a se Banner Reporter three mothers, business Salt N’ Pepa are fac Penny Speas, chair nior communications major Splendor, elegance, women and performers are ing reahty and deeding with person of the English and who presented a dramatic beauty and grace are just a committed to having as it with the skit called “I’ve Foreign Language Depart reading of Nikki Giovanni’s few words that come to mind much control over their ca Got AIDS." ment, and Miss Bennett Col “Ego-Trippin." when one thinks of the Coro reers and their lives as pos Salt N’Pepa brought lege 1985-1986 said, “This One of the most touch nation of Miss Bennett Col sible.