ABSTRACT COLLECT by Jacob Carl Harksen This Collection of Poems
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Hip Hop Pedagogies of Black Women Rappers Nichole Ann Guillory Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 Schoolin' women: hip hop pedagogies of black women rappers Nichole Ann Guillory Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Education Commons Recommended Citation Guillory, Nichole Ann, "Schoolin' women: hip hop pedagogies of black women rappers" (2005). LSU Doctoral Dissertations. 173. https://digitalcommons.lsu.edu/gradschool_dissertations/173 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. SCHOOLIN’ WOMEN: HIP HOP PEDAGOGIES OF BLACK WOMEN RAPPERS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Curriculum and Instruction by Nichole Ann Guillory B.S., Louisiana State University, 1993 M.Ed., University of Louisiana at Lafayette, 1998 May 2005 ©Copyright 2005 Nichole Ann Guillory All Rights Reserved ii For my mother Linda Espree and my grandmother Lovenia Espree iii ACKNOWLEDGMENTS I am humbled by the continuous encouragement and support I have received from family, friends, and professors. For their prayers and kindness, I will be forever grateful. I offer my sincere thanks to all who made sure I was well fed—mentally, physically, emotionally, and spiritually. I would not have finished this program without my mother’s constant love and steadfast confidence in me. -
I'm Gonna Keep Growin'
always bugged off of that like he always [imi tated] two people. I liked the way he freaked that. So on "Gimme The Loot" I really wanted to make people think that it was a different person [rhyming with me]. I just wanted to make a hot joint that sounded like two nig gas-a big nigga and a Iii ' nigga. And I know it worked because niggas asked me like, "Yo , who did you do 'Gimme The Loot' wit'?" So I be like, "Yeah, well, my job is done." I just got it from Slick though. And Redman did it too, but he didn't change his voice. What is the illest line that you ever heard? Damn ... I heard some crazy shit, dog. I would have to pick somethin' from my shit, though. 'Cause I know I done said some of the most illest rhymes, you know what I'm sayin'? But mad niggas said different shit, though. I like that shit [Keith] Murray said [on "Sychosymatic"]: "Yo E, this might be my last album son/'Cause niggas tryin' to play us like crumbs/Nobodys/ I'm a fuck around and murder everybody." I love that line. There's shit that G Rap done said. And Meth [on "Protect Ya Neck"]: "The smoke from the lyrical blunt make me ugh." Shit like that. I look for shit like that in rhymes. Niggas can just come up with that one Iii' piece. Like XXL: You've got the number-one spot on me chang in' the song, we just edited it. -
Marygold Manor DJ List
Page 1 of 143 Marygold Manor 4974 songs, 12.9 days, 31.82 GB Name Artist Time Genre Take On Me A-ah 3:52 Pop (fast) Take On Me a-Ha 3:51 Rock Twenty Years Later Aaron Lines 4:46 Country Dancing Queen Abba 3:52 Disco Dancing Queen Abba 3:51 Disco Fernando ABBA 4:15 Rock/Pop Mamma Mia ABBA 3:29 Rock/Pop You Shook Me All Night Long AC/DC 3:30 Rock You Shook Me All Night Long AC/DC 3:30 Rock You Shook Me All Night Long AC/DC 3:31 Rock AC/DC Mix AC/DC 5:35 Dirty Deeds Done Dirt Cheap ACDC 3:51 Rock/Pop Thunderstruck ACDC 4:52 Rock Jailbreak ACDC 4:42 Rock/Pop New York Groove Ace Frehley 3:04 Rock/Pop All That She Wants (start @ :08) Ace Of Base 3:27 Dance (fast) Beautiful Life Ace Of Base 3:41 Dance (fast) The Sign Ace Of Base 3:09 Pop (fast) Wonderful Adam Ant 4:23 Rock Theme from Mission Impossible Adam Clayton/Larry Mull… 3:27 Soundtrack Ghost Town Adam Lambert 3:28 Pop (slow) Mad World Adam Lambert 3:04 Pop For Your Entertainment Adam Lambert 3:35 Dance (fast) Nirvana Adam Lambert 4:23 I Wanna Grow Old With You (edit) Adam Sandler 2:05 Pop (slow) I Wanna Grow Old With You (start @ 0:28) Adam Sandler 2:44 Pop (slow) Hello Adele 4:56 Pop Make You Feel My Love Adele 3:32 Pop (slow) Chasing Pavements Adele 3:34 Make You Feel My Love Adele 3:32 Pop Make You Feel My Love Adele 3:32 Pop Rolling in the Deep Adele 3:48 Blue-eyed soul Marygold Manor Page 2 of 143 Name Artist Time Genre Someone Like You Adele 4:45 Blue-eyed soul Rumour Has It Adele 3:44 Pop (fast) Sweet Emotion Aerosmith 5:09 Rock (slow) I Don't Want To Miss A Thing (Cold Start) -
Language Contact and US-Latin Hip Hop on Youtube
City University of New York (CUNY) CUNY Academic Works Publications and Research York College 2019 Choutouts: Language Contact and US-Latin Hip Hop on YouTube Matt Garley CUNY York College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/yc_pubs/251 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Choutouts: Language contact and US-Latin hip hop on YouTube Matt Garley This paper presents a corpus-sociolinguistic analysis of lyrics and com- ments from videos for four US-Latinx hip hop songs on YouTube. A ‘post-varieties’ (Seargeant and Tagg 2011) analysis of the diversity and hybridity of linguistic production in the YouTube comments finds the notions of codemeshing and plurilingualism (Canagarajah 2009) useful in characterizing the language practices of the Chicanx community of the Southwestern US, while a focus on the linguistic practices of com- menters on Northeastern ‘core’ artists’ tracks validate the use of named language varieties in examining language attitudes and ideologies as they emerge in commenters’ discussions. Finally, this article advances the sociolinguistics of orthography (Sebba 2007) by examining the social meanings of a vast array of creative and novel orthographic forms, which often blur the supposed lines between language varieties. Keywords: Latinx, hip hop, orthography, codemeshing, language contact, language attitudes, language ideologies, computer-mediated discourse. Choutouts: contacto lingüístico y el hip hop latinx-estadounidense en YouTube. Este estudio presenta un análisis sociolingüístico de letras de canciones y comentarios de cuatro videos de hip hop latinx-esta- dounidenses en YouTube. -
8123 Songs, 21 Days, 63.83 GB
Page 1 of 247 Music 8123 songs, 21 days, 63.83 GB Name Artist The A Team Ed Sheeran A-List (Radio Edit) XMIXR Sisqo feat. Waka Flocka Flame A.D.I.D.A.S. (Clean Edit) Killer Mike ft Big Boi Aaroma (Bonus Version) Pru About A Girl The Academy Is... About The Money (Radio Edit) XMIXR T.I. feat. Young Thug About The Money (Remix) (Radio Edit) XMIXR T.I. feat. Young Thug, Lil Wayne & Jeezy About Us [Pop Edit] Brooke Hogan ft. Paul Wall Absolute Zero (Radio Edit) XMIXR Stone Sour Absolutely (Story Of A Girl) Ninedays Absolution Calling (Radio Edit) XMIXR Incubus Acapella Karmin Acapella Kelis Acapella (Radio Edit) XMIXR Karmin Accidentally in Love Counting Crows According To You (Top 40 Edit) Orianthi Act Right (Promo Only Clean Edit) Yo Gotti Feat. Young Jeezy & YG Act Right (Radio Edit) XMIXR Yo Gotti ft Jeezy & YG Actin Crazy (Radio Edit) XMIXR Action Bronson Actin' Up (Clean) Wale & Meek Mill f./French Montana Actin' Up (Radio Edit) XMIXR Wale & Meek Mill ft French Montana Action Man Hafdís Huld Addicted Ace Young Addicted Enrique Iglsias Addicted Saving abel Addicted Simple Plan Addicted To Bass Puretone Addicted To Pain (Radio Edit) XMIXR Alter Bridge Addicted To You (Radio Edit) XMIXR Avicii Addiction Ryan Leslie Feat. Cassie & Fabolous Music Page 2 of 247 Name Artist Addresses (Radio Edit) XMIXR T.I. Adore You (Radio Edit) XMIXR Miley Cyrus Adorn Miguel Adorn Miguel Adorn (Radio Edit) XMIXR Miguel Adorn (Remix) Miguel f./Wiz Khalifa Adorn (Remix) (Radio Edit) XMIXR Miguel ft Wiz Khalifa Adrenaline (Radio Edit) XMIXR Shinedown Adrienne Calling, The Adult Swim (Radio Edit) XMIXR DJ Spinking feat. -
Mediamonkey Filelist
MediaMonkey Filelist Track # Artist Title Length Album Year Genre Rating Bitrate Media # Local 1 Kirk Franklin Just For Me 5:11 2019 Gospel 182 Disk Local 2 Kanye West I Love It (Clean) 2:11 2019 Rap 4 128 Disk Closer To My Local 3 Drake 5:14 2014 Rap 3 128 Dreams (Clean) Disk Nellie Tager Local 4 If I Back It Up 3:49 2018 Soul 3 172 Travis Disk Local 5 Ariana Grande The Way 3:56 The Way 1 2013 RnB 2 190 Disk Drop City Yacht Crickets (Remix Local 6 5:16 T.I. Remix (Intro 2013 Rap 128 Club Intro - Clean) Disk In The Lonely I'm Not the Only Local 7 Sam Smith 3:59 Hour (Deluxe 5 2014 Pop 190 One Disk Version) Block Brochure: In This Thang Local 8 E40 3:09 Welcome to the 16 2012 Rap 128 Breh Disk Soil 1, 2 & 3 They Don't Local 9 Rico Love 4:55 1 2014 Rap 182 Know Disk Return Of The Local 10 Mann 3:34 Buzzin' 2011 Rap 3 128 Macc (Remix) Disk Local 11 Trey Songz Unusal 4:00 Chapter V 2012 RnB 128 Disk Sensual Local 12 Snoop Dogg Seduction 5:07 BlissMix 7 2012 Rap 0 201 Disk (BlissMix) Same Damn Local 13 Future Time (Clean 4:49 Pluto 11 2012 Rap 128 Disk Remix) Sun Come Up Local 14 Glasses Malone 3:20 Beach Cruiser 2011 Rap 128 (Clean) Disk I'm On One We the Best Local 15 DJ Khaled 4:59 2 2011 Rap 5 128 (Clean) Forever Disk Local 16 Tessellated Searchin' 2:29 2017 Jazz 2 173 Disk Rahsaan 6 AM (Clean Local 17 3:29 Bleuphoria 2813 2011 RnB 128 Patterson Remix) Disk I Luh Ya Papi Local 18 Jennifer Lopez 2:57 1 2014 Rap 193 (Remix) Disk Local 19 Mary Mary Go Get It 2:24 Go Get It 1 2012 Gospel 4 128 Disk LOVE? [The Local 20 Jennifer Lopez On the -
“Ready to Die” 1994–2017 MA CCC CENTRAL SAINT MARTINS
“Ready To Die” 1994–2017 MA CCC CENTRAL SAINT MARTINS 1 F.Sargentone march 2017 ed: /2 2 READY TO BE The Anti-Cinematographic eye Writing an introduction to this publication has probably been one of the most difficult things I have ever done in the recent years. I thought it could have been easy to talk about one of the most influential records of the whole music history. It turned out that this loose, A5 –sized, home printed book- let is the only existing monographic work on Notorius B.I.G.’s Ready To Die. By stating this at the beginning of the sup- posed dissertation, I want to make sure that the reader could read these lines as the raw output of a deep, although instinc- tive, research on one of the milestones of hip-hop cultural history. The research pro- cess, of which this booklet testifies the ma- terial result, has been spontaneous, in the sense that did not started as a canonical research question, but instead it happened a posteriori, being the record a very famil- iar matter for me since ages. As you will see, the lyrics of the songs contained within Ready To Die are formal- ly printed –without any additional editing– from RapGenius, a world famous website collecting lyrics and anecdotes of hip-hop songs from users. The oral history com- ponent of this platform is an essential el- ement shared with early hip-hop culture, in which realities existed and formalised themselves only via word of mouth or so- cio-cultural affinity with the hip-hop phe- nomenon. -
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. -
ENERGY MASTERMIX - Playlists Vom 03.04.2020
ENERGY MASTERMIX - Playlists vom 03.04.2020 MORGAN NAGOYA Keine Playlist vorhanden FLIP CAPELLA 1. Melsen – Find You 2. Galantis, Hook n Sling, Dotan – Never Felt A Love Like This (VIP Mix) 3. Mabel – Boyfriend (Tiesto Remix) 4. Ava Max x Denis First – Salt x Brigade (Flip Capella Smash) 5. Jonas Brothers x Will Sparks – What A Man Gotta Do x Send It (Flip Capella Smash) 6. Calvo & Dazz – No Scrubs (Jolyon Petch Remix) 7. Meduza, Shells – Born To Love 8. Mark Sixma – Meet Again (Vivid Remix) 9. Mark Ronson ft Miley Cyrus x Tujamo x Far East Movement – Nothing Breaks Like A Heart x Candy x G6 (Flip Capella x Medusa Smash) 10. Calvin Harris x W&W – Giant x Raveheart (Flip Capella Smash) 11. Coone & Brennan Heart – Fine Day 12. Alan Walker x Deniz Koyu, Magnificence x Flo Rida – Alone x Feel It x GDFR (Flip Capella Smash) 13. Flip Capella, Otray & Vinze ft Ashley Jana – Going Crazy 14. Sa Feldt ft Ella Henderson – Hold Me Close 15. Timmy Trumpet & 22Bullets ft Ghost – Everybody In The Party 16. Steve Lima ft Joe Jury – Moonlight 17. Da Tweekaz x Harris & Ford – Moskau 18. Apache 207 x Mike Candys x Jason Derulo – 200 KMH x Like That x Whatcha Say (Flip Capella Edit) 19. Topic & A7S x Martin Garrix & Jay Hardway – Breakin Me x Spotless (Levex & Flip Capella Smash) 20. David Guetta vs Halsey x Rage Mode – You Sould Be Sad x Without You x Boss (Medusa Smash) 21. Firebeatz – Bad Habit (Club Mix) 22. Bassjackers x DJ Furax – Big Orgus 2020 23. -
CNTL+Alt(RIGHT)+DEL Sheldon Shaw
CNTL+AlT(RIGHT)+DEL ________________________ A full-length play By Sheldon Shaw Contact: 340 E. 29th St. Apt 4F New York NY 10016 646-824-6986 [email protected] Characters: Kenny. 50's, white southerner, slow witted. Karl. White southerner, Younger brother of Kenny. Runs he trailer park. Eloise. 50's, Sister in-law of Karl and Kenny. Helps run the trailer park. Katie Mae. Early 20's College student. Daughter of Karl. Armando. Mid to Late 20's, African, college student. Katie Mae's Boyfriend. Man. 30's, man dressed in Klu Klux Klan outfit. The actor who play's Kenny can double. Boy. 8yrs Boy dressed in Klu Klux Klan outfit. The actor who plays Katie Mae can double. News reporter.(OS and voice only.) SETTINGS The play takes place in Port Arthur Texas. In the Waterview RV Resort, right off the TB Ellison Parkway. The resort sits right on the edge of the Intracoastal waterway, which spills into the Gulf of Mexico. It’s the only RV park that didn’t get flooded during hurricane Harvey. The resort in fairly good condition except that on Yelp customers complained about the grass not being kept up. The climate in Port Arthur is humid, extremely humid. One of the most humid areas in the US. And where it is located it’s susceptible to many hurricanes. Then why would anyone want to live there? One word. Oil. When oil was discovered in Port Arthur, it became one of the largest oil refineries in the world. SCENE 1 Act 1 Scene 1 Port Arthur Texas. -
BRK 097 BLACASTAN the Master of Reality CD
01. Intro 02. The Wire 03. The Villain 04. Crac-a-stan 05. Dynamic Duo feat. Colombeyond 06. Warning - Blac In Your Face Freestyle 07. Stop Frontin’ 08. One Life To Live 09. Change My Name Interlude 10. Why, Why, Why feat. Apathy 11. It’s A Khrysis feat. Krumbsnatcha + Lex 12. Mirrors feat. Nvus + Prestige 13. Martyrs feat. Colombeyond 14. Macko’s Theme 15. On And Off The Mic feat. Apathy 16. If You Only Knew feat. Big Stat 17. Ressy Dogs feat. Colombeyond + Mad Flo 18. Big East feat. Mad Flo, Colombeyond + Steede Chinan 19. Only The Real feat. Correct 1 + Colombeyond LIMITED EDITION CD ONLY (NO DIGITAL!!!) MIXED & ARRANGED BY DJ 7L OF THE BLADERUNNERS Brick Records is proud to announce a limited number Colombeyond, Esoteric, Apathy, DJ Doom, Blacastan of Blacastan’s The Master Of Reality will be available himself and more. Vocal contributions come from in March. The full length CD mixed by DJ 7L Of The Apathy, Columbeyond, Krumbsnatcha and Blac’s Bladerunners was originally slated as a Japanese-only Branch Davidians crew. promo teaser and used as tour and show support. Brick has decided to make a few hundred copies of This is a prelude and serves as what Blac calls “... the the mix (packaged in a retro ‘paste on’ style thick meal before the meal ...” referring to his upcoming full sleeve with obi card) available to their key accounts length opus entitled Blac Sabbath. The debut album stateside. Only these key accounts are being offered boasts production and vocals from some of the elite this and there is no digital version available. -
Vol. 7 Critical Theory and Social Justice Critical Theory and Social Justice Journal of Undergraduate Research Vol
CTSJ CRITICAL THEORY AND SOCIAL JUSTICE JOURNAL OF UNDERGRADUATE RESEARCH OCCIDENTAL COLLEGE SPRING‘18 VOL. 7 CRITICAL THEORY AND SOCIAL JUSTICE CRITICAL THEORY AND SOCIAL JUSTICE JOURNAL OF UNDERGRADUATE RESEARCH VOL. 7 JOURNAL OF UNDERGRADUATE RESEARCH OCCIDENTAL COLLEGE CTSJ | OCCIDENTAL COLLEGE The Politics of Madvillainy: Queer Interventions in Hip-Hop BENNETT BRAZELTON | Tufts University ABSTRACT: Clay Cane writes of hip-hop in The Advocate, “one cannot forget its homophobia, a contagious infection in an art form that once stood for positivity.” This reactionary sentiment to hip-hop masculinity implies a sort of cognitive dissonance toward its intersection with queer theory. In line with the thinking of Moya Bailey and Mark Anthony Neal, I contend that hip-hop should be viewed––rather than dismissed––in terms of opportunities to disrupt oppressive structures within the genre. Little scholarship has used this framework to address disruptive performances outside of queer bodies. This paper attempts to fill this gap by analyzing the enigmatic, comical, at times oppressive, works of rapper MF DOOM. I specifically analyze DOOM’s creation and embrace of villainous identities, his subversions of capitalist mentalities in music, and his complex, transgressive sexualities, juxtaposed with the violent homophobia found in his later work. Ultimately, the purpose of this essay is to qualify archetypes of queer disruption in hip-hop, using DOOM as a case study of both transgression and oppression. “The Illest Villains” Villains who possess supernatural abilities––villains who were the personification of carnage. Madvillain, more accurately, the dark side of our beings. – an excerpt from the album intro, “Illest Villains” on 2004’s Madvillainy José Esteban Muñoz writes in the opening words of Cruising Utopia, “Queerness is not yet here” but is in fact an imagination of futuristic potentiality.