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Tom Jennings
12 | VARIANT 30 | WINTER 2007 Rebel Poets Reloaded Tom Jennings On April 4th this year, nationally-syndicated Notes US radio shock-jock Don Imus had a good laugh 1. Despite the plague of reactionary cockroaches crawling trading misogynist racial slurs about the Rutgers from the woodwork in his support – see the detailed University women’s basketball team – par for the account of the affair given by Ishmael Reed, ‘Imus Said Publicly What Many Media Elites Say Privately: How course, perhaps, for such malicious specimens paid Imus’ Media Collaborators Almost Rescued Their Chief’, to foster ratings through prejudicial hatred at the CounterPunch, 24 April, 2007. expense of the powerless and anyone to the left of 2. Not quite explicitly ‘by any means necessary’, though Genghis Khan. This time, though, a massive outcry censorship was obviously a subtext; whereas dealing spearheaded by the lofty liberal guardians of with the material conditions of dispossessed groups public taste left him fired a week later by CBS.1 So whose cultures include such forms of expression was not – as in the regular UK correlations between youth far, so Jade Goody – except that Imus’ whinge that music and crime in misguided but ominous anti-sociality he only parroted the language and attitudes of bandwagons. Adisa Banjoko succinctly highlights the commercial rap music was taken up and validated perspectival chasm between the US civil rights and by all sides of the argument. In a twinkle of the hip-hop generations, dismissing the focus on the use of language in ‘NAACP: Is That All You Got?’ (www.daveyd. -
UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Marginalized-Literature-Market-Life: Black Writers, a Literature of Appeal, and the Rise of Street Lit Permalink https://escholarship.org/uc/item/2d45f381 Author Norris, Keenan Franklin Publication Date 2013 Supplemental Material https://escholarship.org/uc/item/2d45f381#supplemental Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Marginalized-Literature-Market-Life: Black Writers, a Literature of Appeal, and the Rise of Street Lit A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Keenan Franklin Norris June 2013 Dissertation Committee: Dr. Erica Edwards, Chairperson Dr. Tiffany Lopez Dr. Toby Miller Copyright by Keenan Franklin Norris 2013 The Dissertation of Keenan Franklin Norris is approved: _____________________________________________ _____________________________________________ _____________________________________________ Committee Chairperson University of California, Riverside Acknowledgements This dissertation is the product of both my Ph.D. study at UC Riverside and my M.F.A. at Mills College. Therefore, I’d like to acknowledge people at both institutions that have helped me to conceptualize, craft and finalize this work. I’ve been very lucky to have Dr. Erica Edwards as my committee chair. I will forever be thankful to her for her generosity and all the work she’s done on my behalf. Likewise, the guidance of committee members Drs. Tiffany Lopez and Toby Miller has been a tremendous help in this process. I’m appreciative of the entire committee for allowing me the latitude to pursue this unique topic in a somewhat unconventional style— wedding scholarship with creative writing. -
STARS Rapitalism
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2006 Rapitalism Martin Smith University of Central Florida Part of the Sociology Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Smith, Martin, "Rapitalism" (2006). Electronic Theses and Dissertations, 2004-2019. 747. https://stars.library.ucf.edu/etd/747 RAPITALISM by MARTIN D. SMITH B.S. University of Washington, 2003 A thesis proposal submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Sociology in the College of Sciences at the University of Central Florida Orlando, Florida Fall Term 2006 © 2006 Martin D. Smith ii ABSTRACT My paper questions the degree to which the hip hop subculture is oppositional to mainstream American society and its ideals. Toward that end, I examine the structure of the hip hop industry and its subculture. While the hip hop subculture in America consistently has projected images of rebellion and resistance to many of the mores, constraints and values of dominant society, the actual structure and organization of the hip hop subculture have mirrored, supported and promoted the values of the dominant culture in the United States. I begin by examining the structure of the main elements of the hip hop subculture: deejaying, breakdancing, emceeing and graffiti art, and the practices within each to demonstrate that the hip hop subculture has a structure which supports capitalistic practices. -
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00:00:00 Music Transition Gentle, trilling music with a steady drumbeat plays under the dialogue. 00:00:01 Promo Promo Speaker: Bullseye with Jesse Thorn is a production of MaximumFun.org and is distributed by NPR. [Music fades out.] 00:00:11 Jesse Host I’m Jesse Thorn. It’s Bullseye. Thorn 00:00:14 Music Transition “Huddle Formation” from the album Thunder, Lightning, Strike by The Go! Team plays. A fast, upbeat, peppy song. Music plays as Jesse speaks, then fades out. 00:00:21 Jesse Host So. This week, we are coming to you from my home office, in Los Angeles, about a week into self-isolation. We figured now is as good a time as any to look back at some of our favorite Bullseye interviews. [Music ends.] So, a 2018 conversation with the great Boots Riley. Boots is, hands down, one of the most interesting people making art today. Among other things, he’s the front man of The Coup, one of my favorite rap groups of all time. The Coup make straightforward music. The beats never had a lot of frills. Boots, when he raps, does so plainly. But the central element of The Coup is its message. Boots told stories, when he rapped: painted pictures from his real life. He talked about social justice and poverty and racism. [Music fades in.] A lot of hip-hop is about prosperity, overcoming a system that’s been rigged against you for centuries. Success stories, in other words. The Coup—with Boots as the front man—want to the throw the system out entirely. -
Spitting Dialectical Analysis: Boots Riley's Radical Critique Of
View metadata, citation and similar papers at core.ac.uk brought to you by CORE Spitting Dialectical Analysis: Boots Riley’s Radical Critique of Contemporary Hip Hop and American Culture. ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ Spitting Dialectical Analysis: Boots Riley’s Radical Critique of Contemporary Hip Hop and American Culture. Yusuke Torii [要約] 米国カリフォルニア州オークランドを拠点とするヒップホップ・グループ「ザ・クー」を率 いるラッパー、ブーツ・ライリー (Boots Riley, 1971-)は、共産主義者を名乗り、自分の音楽活 動の最終的な目的は体制の根本的な変革であると公言し、様々な労働運動、反人種差別運動に 身を投じている。都心の貧困地区に暮らす黒人と移民のサブカルチャーとして出発した歴史を 持つヒップホップは元来政治的メッセージと無縁ではないが、アメリカの資本主義体制を否定 するような急進主義は決して一般的ではない。またライリーが音楽活動を始めた 1990 年代に は、新自由主義政策の下でアメリカの音楽産業の統合と寡占化が進み、ヒップホップという音 楽ジャンルもポピュラー音楽の主流に取り込まれ、政治色の強いヒップホップ・アーチストが 商業的な成功を収めることは既に困難になりつつあった。こうした中、ライリーがポピュラー 音楽市場におけるアーチストとして四半世紀にわたるキャリアを築いていることは特筆に値す る。本稿は、ライリーの作品群とメディアでの発言を主な資料とし、彼の標榜する「共産主義」 はいかなるビジョンであるのか、現代のヒップホップとアメリカ社会にいかなる批評を加えて いるのか、そして、いかに作品の批評性と、活動の維持に不可欠なエンタテイメント性を両立 しているのかを分析する。 ─ 75 ─ Yusuke Torii ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 1. Introduction On August 23, 2014, Mahall’s in Lakewood, Ohio, was hosting its annual Lakewood Music Festival. Prior to the show, Boots Riley of the Coup from Oakland, California, and Kelly Flamos, Mahall’s owner and show coordinator, were invited for an interview at the local Fox 8 Cleveland studio. Autumn Ziemba of Fox 8 opened the interview with a kind of question any interviewers would ask, “Tell us a little bit about your band and the lineup that people are gonna hear today.” Riley answered in a soft- spoken, cordial manner: Riley: Uhm, we are punk, funk / communist revolution band. Ziemba: Okay... Riley: And we are from Oakland, California. We make everybody dance, while telling them about how we need to get rid of the system, how exploitation is the primary contradiction in capitalism, and that if we wanna express our power, we’re gonna have to be more radical in our actions. We’re going to have to be able to withhold our labor collectively, to be able to demand and affect the changes that we need to make. -
AME/MUS 303 Hip Hop: Art, Culture, and Politics
ISSN: 1941-0832 Hip Hop Syllabus: AME/MUS 303 Hip Hop: Art, Culture, and Politics By Sarah Hentges *SEE NOTE RADICAL TEACHER 62 http://radicalteacher.library.pitt.edu No. 97 (Fall 2013) DOI 10.5195/rt.2013.42 “Hip-Hop is More than Just Music to Me. It’s the vehicle I hope will someday lead us to change.” —Gwendolyn Pough, Check It While I Wreck It Hip is to know It’s a form of intelligence To be hip is to be update and relevant Hop is a form of movement You can’t just observe a hop You gotta hop up and do it… —KRS-One and Marley Marl, “Hip Hop Lives” "I love the art of hip hop, I don't always love the message . Art can't just be a rear view mirror—it should have a headlight out there, according to where we need to go." —Jay-Z fan, American President Barack Obama University of Maine at Augusta College of Arts & Sciences Professor Sarah Hentges [email protected] COURSE DESCRIPTION Hip Hop is an umbrella term for art, music, dance, literature, identity, style and politics. We will begin to understand the art, culture, and politics of Hip Hop by looking at the movements and politics that inspired the birth of Hip Hop as a form of art and music. We will consider the art and aesthetics of Hip Hop and the musical styles that made Hip Hop music possible. Students will create a piece of art or music inspired by Hip Hop. The ways in which Hip Hop speaks to youth and speaks about oppression, violence, identity, culture, and power will also be considered. -
Boots Riley on Music/Media/Politics for the 21St Century
MEDIANZ ! VOL 15, NO 1 ! 2015 DOI: 10.11157/medianz-vol15iss1id2 - INTERVIEW - Boots Riley on music/media/politics for the 21st century Rosemary Overell Introduction Boots Riley is a hip-hop artist, activist and, most recently, a screenwriter and filmmaKer. He has made music with The Coup since 1991. As an MC, Riley has done solo work and featured on alBums By Atari Teenage Riot (2011), Ursus Minor (2005; 2011) and Muja Messiah. Alongside Tom Morello (Rage Against the Machine; Audioslave) Riley formed The Street Sweeper Social CluB in 2006. He is a committed socialist and has Been involved in diverse struggles in OaKland, California and globally for decades. Riley was a part of the Occupy OaKland movement and, most recently, has done a speaKing tour, hosted By Podemos, in Spain. The Coup’s most recent alBum Sorry To Bother You was released in 2012. Sorry To Bother You ties in with a screenplay of the same name that Riley wrote for McSweeney’s in 2014. The script is now in pre- production for a 2017 release and explores the exploitative world of telemarKeting, the importance of striKe action and what happens if a breed of ‘super workers’ (half-horse, half-human ‘equisapiens’) were created. Riley toured Aotearoa in 2014, supported By Radio One Dunedin; The Department of Media, Film and Communication at the University of Otago and the Otago Branch of the Tertiary Education Union. Not only did Riley play gigs, But he presented a Keynote address on ‘Hip Hop and Class Struggle’ at the music/media/politics symposium organised By The Department of Media, Film and Communication at the University of Otago. -
Mic Checks and Balances: Politically Conscious Hip
Popping the Question: The Question of Popular Culture Issue 4 – Spring 2015 | www.diffractions.net Mic Checks and Balances: Politically Conscious Hip- Hop’s Engagement with the Kareem R. Muhammad Presidency of Barack Livingstone College - North Carolina Obama Abstract | Hip-hop subculture has long existed as an anti-establishment space that has provided some of U.S. society’s strongest and most unfiltered critiques against the federal government. This adversarial posture has been most effectively communicated by hip-hop MC’s. While far from monolithic, the collective sentiment that has most consistently been communicated to the men residing in The Oval Office has ranged from hostile to ambivalent. The presidential check and balancing inherent to hip-hop has come in a variety of forms over the years through rap music, hip-hop’s most visible element. The election of the nation’s first black president, however, has presented an interesting quandary for the hip-hop nation. On one hand, hip-hop has an obligation to stand up to power. On the other hand, there is also a long standing tradition for hip-hop to mobilize and band together when its members are under attack from outsiders. This article tries to explore the extent that hip-hop artists view Barack Obama as an outsider or an insider. A qualitative content analysis will be conducted of politically conscious rap music in an attempt to find out now that Obama is in the White House, has hip-hop gone soft in its traditional role in challenging White House orthodoxy? The qualitative and quantitative data used here makes it hard to make the case that hip-hop has not gone soft on President Obama in comparison to previous presidents, specifically President George W. -
1 Viacom As a Firearm? Progressive Hip-Hop Lyrics
VIACOM AS A FIREARM? PROGRESSIVE HIP-HOP LYRICS, THE CONSTRUCTION OF SOCIAL PROBLEMS, AND THE CULTURE INDUSTRY By STEVEN M. JACOBS A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2011 1 © 2011 Steven M. Jacobs 2 To the idea that music . may be more than ―just music‖ 3 ACKNOWLEDGMENTS It does not require a Ph.D. in sociology to recognize that my completion of this milestone would have been impossible without the love, support, and guidance of some very, very special people. I hope that my successes, achievements, and progression to this pinnacle of my educational career stand as tributes to those who have inspired and assisted me along my journey. I would like to use this space to mention some of these people. First, I would like to acknowledge the entire Jacobs family. My incomparable, amazing parents, Ken and Madeline, deserve the most special of recognition. It is impossible for me to adequately convey here my appreciation for the opportunities they provided for me. My completion of a Ph.D. program is a credit to their love, faith, and support. My siblings, Alan, Jessica, and Michael, are my three life-long best friends, and they continue to challenge, strengthen, and inspire me. My grandparents, Bernie, Fay, Gil, and Rose, warrant special acknowledgement for the foundations they have built and for being living examples of the importance of love and family. I have been privileged to learn from some incredible teachers who over the years inspired me to pursue this particular career path. -
The 2003 RAW STAFF
The 2003 RAW STAFF, Siiri Sampson - RAW Coordinator Sonya Masinovsky - Student Art Coordinator MArgot Meyers - Program Writer Becky Weisman - Masquerade Ball Coordinator Rachel Wilsey - Design & Publicity Coordinator GEOFF finger - TECHNICAL DIRECTOR/stage manager Ariel Jacobs - Hospitality Coordinator PAIGE KRAUS- technical consultant WOULD LIKE TO PRESENT: manufacture 2003 the Table of Contents. Letter from RAW Coordinator 2 Schedule of events 3 Patrick Nagatani & Leigh Anne Langwell 4 Sue Moir, Bev Toledo, Diane Ahrendt, & 5 William Ray Jr. Sonia Sanchez & Pete Beeman 6 Student Art Listing (part I) 7 Student Art Map 8-9 Student Art Listing (part II) 10 The World Trade Organization 11 Andrew Dickson & The Yes Men 12 The Typing Explosion 13 The Coup 14 Masquerade Ball 15 Oslund + Co./Dance 16 ....... Vollum Lounge Gallery Hours: Wed. 10:00am-7:00pm, Thurs. 10:00am-3:00pm, Fri.-Sun. 10:00am-10:00pm 1. 2003 manufacture ATTN: THE MASSES FROM: RAW COORDINATOR RE: ART For the past 13 years, the Reed community has devoted a week to the creation, appreciation, and discovery of art in all its forms. Each year, students, professors, and professional artists inundate the campus with their work.[Our goal has been to take this year’s celebration a step further, not merely increasing the number of exhibits and performances as we’ve done, but to pick a theme which challenges both artists and viewers to reconsider their relationship with the creative process. For the fourteenth annual Reed Arts Week, I present the theme: MANUFACTURE. What is the difference between creating and manu- facturing? Does the concept behind the production of art distin- guish the final product? How much does our idea of art depend on the notion of an organic creative process? Can a manufactured product still be art? The answers to these questions, if indeed they even have answers, depend on what it is that the artist struggles to communicate through his or her work. -
Drb-1385 Nowplayingm
Now Playing Magazine Page 1 of 4 search... find Home Reviews DVD Review The Best Coup DVD Ever! Monday, 08 May 2006 WHATS NEW? The Best Coup DVD Ever! Music News Written by Brent Simon Steve Jobs Kicks Beatle-Ass Monday, 08 May 2006 Movie News While the representative sampling Weekend Box Office Round-Up population may be a little small, I can say with a solid nod of affirmation that The Best The Executive Sweet Tribeca: Poseidon and Pills But Coup DVD Ever! almost certainly lives up to No Jesus its billing. One of the more notoriously, fervently politically active groups of rap, the Comic Book Review Oakland-based Coup drew national attention Batman #652 in the fall of 2001, when their album Party DVD Review Music became a cultural flashpoint due to its Walt Disney’s Classic Cartoon original cover art. Completed three months Favorites Volumes 10-12 prior to the Sept. 11 terrorist attacks, but originally slated for release shortly after DVD Review that time, the photo-shopped cover depicted the crew setting off an explosion in front of The Best Coup DVD Ever! the World Trade Center using a guitar tuner and drumsticks. All sorts of misinformation Movie Blog: Shared Darkness spread like wildfire and the band’s indie label, 75 Ark, had to postpone its release and Mission: Promotional Overkill subsequently pull the record off shelves in some areas, killing its already uphill-battle The Executive Sweet commercial prospects. Tribeca: The Shorts The Best Coup DVD Ever! dovetails nicely with a new album from the group, and plans for a The Executive Sweet Tribeca: Mission Hip Hop Project month-long summer tour. -
Martin D. Smith B.S
RAPITALISM by MARTIN D. SMITH B.S. University of Washington, 2003 A thesis proposal submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Sociology in the College of Sciences at the University of Central Florida Orlando, Florida Fall Term 2006 © 2006 Martin D. Smith ii ABSTRACT My paper questions the degree to which the hip hop subculture is oppositional to mainstream American society and its ideals. Toward that end, I examine the structure of the hip hop industry and its subculture. While the hip hop subculture in America consistently has projected images of rebellion and resistance to many of the mores, constraints and values of dominant society, the actual structure and organization of the hip hop subculture have mirrored, supported and promoted the values of the dominant culture in the United States. I begin by examining the structure of the main elements of the hip hop subculture: deejaying, breakdancing, emceeing and graffiti art, and the practices within each to demonstrate that the hip hop subculture has a structure which supports capitalistic practices. The interactions between hip hop industry participants, their fans, and the marketplace are an embracing of the values of mainstream American society and capitalism. From its inception, the structure of the hip hop subculture and the actions of the artists within the structure essentially has made hip hop music capitalism set to a beat. iii Dedicated to my parents, William David Smith and Elizabeth Smith iv ACKNOWLEDGMENTS I would like to thank Dr. John P. Lynxwiler, Dr. Jay Corzine, Dr.