Xxxtentacion Official Police Report
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AWARDS PLATINUM ALBUM March // 3/1/18 - 3/31/18
RIAA GOLD & PLATINUM LOGIC // EVERYBODY AWARDS PLATINUM ALBUM March // 3/1/18 - 3/31/18 SZA // CTRL PLATINUM ALBUM In March, RIAA certified 199 Song Awards and 75 Album Awards. All RIAA Awards DEMI LOVATO // TELL ME YOU LOVE ME dating back to 1958, are available at GOLD ALBUM riaa.com/gold-platinum! Don’t miss the NEW riaa.com/goldandplatinum60 site celebrating 60 years of Gold & Platinum NF // PERCEPTION GOLD ALBUM Awards, and many #RIAATopCertified milestones for your favorite artists! JUSTIN TIMBERLAKE // MAN OF THE WOODS SONGS GOLD ALBUM www.riaa.com // // // GOLD & PLATINUM AWARDS MARCH // 3/1/18 - 3/31/18 MULTI PLATINUM SINGLE // 47 Cert Date// Title// Artist// Genre// Label// Plat Level// Rel. Date// R&B/ 3/15/2018 IT'S A VIBE 2 CHAINZ DEF JAM 3/14/2017 HIP HOP R&B/ 3/1/2018 CAROLINE AMINE REPUBLIC RECORDS 8/26/2016 HIP HOP SIDE TO SIDE 3/9/2018 ARIANA GRANDE POP REPUBLIC RECORDS 5/20/2016 (FEAT. NICKI MINAJ) 3/20/2018 HOW FAR I'LL GO AULI'I CRAVALHO SOUNDTRACK WALT DISNEY RECORDS 11/18/2016 MEANT TO BE (FEAT. 3/28/2018 BEBE REXHA POP WARNER BROS RECORDS 8/11/2017 FLORIDA GEORGIA LINE) BRUNO MARS & 3/28/2018 FINESSE POP ATLANTIC RECORDS 11/18/2016 CARDI B HEY MAMA (FEAT. PARLOPHONE/ 3/19/2018 NICKI MINAJ, BEBE DAVID GUETTA POP 11/21/2014 ATLANTIC RECORDS REXHA, & AFROJACK) 3/1/2018 SORRY NOT SORRY DEMI LOVATO POP ISLAND RECORDS 7/11/2017 R&B/ YOUNG MONEY/CASH MONEY/ 3/8/2018 FAKE LOVE DRAKE 10/24/2016 HIP HOP REPUBLIC RECORDS R&B/ YOUNG MONEY/CASH MONEY/ 3/8/2018 FAKE LOVE DRAKE 10/24/2016 HIP HOP REPUBLIC RECORDS R&B/ YOUNG MONEY/CASH -
Social Media to the Mainstream
1 SoundCloud Rap Narratives as Pop Star Narratives: From Social Media to the Mainstream Popular music meanings are dependent on the artist understood as a “total star text” (Dyer 1979). There has been much discussion in academia of how digital technology transforms formerly auteurist narratives of popular music creation into stories about collective authorship (Ahonen 2008, 107). Yet central fictions continue to involve the singular figure of the popular music star. Like new technologies before it, social media change how pop music stardom narratives are constructed. Narrative arcs (stories) and narrative forms (how those stories are told) have transformed alongside changes to the communication structures between artist and audience, and shifts in the authenticating mechanisms applied to pop stars. The transition of so-called SoundCloud rappers to the center of the American pop music landscape over the last five years epitomizes these changes. This study looks at how the narratives of SoundCloud rappers are constructed in the exchange between social media and traditional media publications; it assumes artist narratives to be constructed in this dialogic space. Social media events are articulated onto traditional structures of legitimation, and mainstream media canonize social media narratives. The results of this study indicate how artist narratives regularly unfold online, and how those patterns feed into the more familiar dramatic story arcs. Between January 2015 and June 2019, approximately 5–6% of unique artists that appeared on the Billboard Hot 100 could be categorized as “SoundCloud rappers.” This research focuses on a subset of these, artists who entered mainstream consciousness between 2016 and 2018, and can be broadly thought of as the second generation of SoundCloud rappers to make the transition to the mainstream. -
The Tusker Tribune the Student Newspaper of Somers Middle School
The Tusker Tribune The Student Newspaper of Somers Middle School Issue Number 14 http://somersschools.org/domain/995 Winter 2018 Have a terrific Neal Shusterman Visits SMS break! —The Tusker By Sofia DiMella where we ask him questions and he Tribune Tusker Tribune Staff answers. Editorial On Monday, December He told us how he became in- Staff 17, 2018, Author Neal Shus- terested in writing and fun facts terman came to visit us. In about his books. Some of his books the morning we all went to include Unwind, Full Tilt, the auditorium for a Challenger Deep and presentation. We got to Scythe. ask different questions We got to learn lots about his career as an au- of new things about writ- thor and about the books ing and what it takes to he wrote/is writing. write a story. He also But only a select shared some tips like how few of students got to have he comes up with his ideas a one on one lunch with and how he comes up with Neal Shusterman! his characters. Some of his Next issue: ideas are inspired by eve- 1/4/2019 Presentation ryday things. Like taking a test or watching a television show. During 3rd period the 7th grad- Continued on Page 6 ers went to meet Neal Shusterman. It was something like a Q and A, Westchester County’s Best Mexican Restaurant By Deanna DeCamp quick bite to eat if you have some Tusker Tribune Staff where to be right after. Have your parents Another great part about Salsa ever asked you where you Fresca is that they have a wide want to go to dinner one variety of things you can add into night and you respond that you your food. -
Does Emo Rap Makes You Less Emo? the Influence of Emo-Rap on Young Adults’ Emotions
Does emo rap makes you less emo? The influence of emo-rap on young adults’ emotions. Author: Christiaan van der Weijden Student number: 10625224 Master’s thesis Graduate School of Communication Master’s programme Communication Science Supervisor: Susanne Baumgartner Date: 26-6-2019 Abstract Emo-rap is currently gaining more and more popularity, especially among emerging adults. Taking into account the lack of research about this genre, the relationship between emo-rap and emerging adults’ emotions will be studied. Contrary to popular belief, sad music can also induce happy emotions among listeners. This study will research if this also holds for emo-rap. An online experiment (N=170) was conducted, with a 2 emotional valence (happy vs. sad) x 2 music genre (rap vs. pop) factorial design. After inducing sad mood, emerging adults had to listen to one of four songs. Results show that music in general lead to more happiness among participants, when in a sad mood. In contrast to the predictions, happy music lead to more happiness than sad music. Moreover, a high preference for the heard genre made participants happier than a low genre preference, when in a sad mood. 2 Introduction Nowadays, hip-hop and rap music are gaining more and more popularity, especially among adolescents and young adults (Statista, n.d.) in the Netherlands (NPO, 2018) and the United States (Nielsen, 2018). One could argue that these genres have become pop-music, regarding the presence of numerous rap and hip-hop songs in major Spotify charts. One of the popular sub-genres is called emo-rap, with Lil Uzi Vert and the late XXXTENTACION as one of the most popular right now. -
U.S. Music Mid-Year Report 2019
NIELSEN MUSIC MID-YEAR REPORT U.S. 2019 1 INTRODUCTION Welcome to the 2019 Nielsen Music Mid-Year Report, which provides an exclusive glimpse at the music industry’s leading trends, data and insights from the past six months. The first half of 2019 saw a six-month record of over 507 billion on-demand streams, an exciting new milestone led by singles and albums by Ariana Grande, Billie Eilish, Halsey, Khalid, BTS, Lil Nas X and Bad Bunny that span a wide array of genres, moods and even languages. LPs continue to show strength and lend resilience to physical albums, as independent retail events like Record Store Day continue to bring music fans in droves. This year’s celebration led to the highest non-holiday sales total at independent retail since 2005, and extended vinyl’s hot streak as the format increases 19% year-to-date. All data cited in this story is compiled by Nielsen Music. In this report, Nielsen is using a 24-week period for this year, running from Jan. 4 through June 20; while last year’s corresponding period ran THE FIRST HALF from Dec. 29, 2017, through June 14, 2018. Also, due to the fact that at mid-year 2018 Nielsen adapted different weighting for album OF 2019 SAW A consumption units for paid-audio streams (1,250 streams per unit), ad-supported streams and video streams (3,750 streams per unit), SIX-MONTH last year’s album consumption unit numbers were updated to reflect the current ratios for this story, in order to present an RECORD OF OVER apples-to-apples comparison. -
Censoring Hate in the Music Industry: Shifting Perspectives in Pursuit of Cultural Equity
Backstage Pass Volume 2 Issue 1 Article 21 2019 Censoring Hate in the Music Industry: Shifting Perspectives in Pursuit of Cultural Equity Joey A. Tan University of the Pacific, [email protected] Joey is a student advocate and leader within the LGBTQ+ community with a passion for empowering their peers through artistic expression and identity development. As a senior within the University ...Read More This article was written as part of the curriculum for the Bachelor of Music in Music Management and the Bachelor of Science in Music Industry Studies at University of the Pacific. Each student conducted research based on his or her own areas of interest and study. To learn more about the program, visit: go.pacific.edu/musicindustry Follow this and additional works at: https://scholarlycommons.pacific.edu/backstage-pass Part of the Arts Management Commons, First Amendment Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, Musicology Commons, Radio Commons, Social Influence and Political Communication Commons, and the Sociology of Culture Commons Recommended Citation Tan, Joey A. (2019) "Censoring Hate in the Music Industry: Shifting Perspectives in Pursuit of Cultural Equity," Backstage Pass: Vol. 2 : Iss. 1 , Article 21. Available at: https://scholarlycommons.pacific.edu/backstage-pass/vol2/iss1/21 This Opinion & Analysis is brought to you for free and open access by the Conservatory of Music at Scholarly Commons. It has been accepted for inclusion in Backstage Pass by an authorized editor of Scholarly Commons. For more information, please contact [email protected]. Tan: Censoring Hate in the Music Industry: Shifting Perspectives in Pu Censoring Hate Speech in the Music Industry: Shifting Perspectives in Pursuit of Cultural Equity By Joey Tan Music is intended to be expressive and unconstrained, a tool of communicating emotion and bridging humanity. -
We All Wanna Die, Too”: Emo Rap and Collective Despair in Adolescent America
“WE ALL WANNA DIE, TOO”: EMO RAP AND COLLECTIVE DESPAIR IN ADOLESCENT AMERICA A thesis submitted to the Kent State University Honors College in partial fulfillment of the requirements for University Honors by Nina Palattella May 2020 Thesis written by Nina Palattella Approved by ________________________________________________________________, Advisor ______________________________________________, Chair, Department of English Accepted by ___________________________________________________, Dean, Honors College ii iii TABLE OF CONTENTS LIST OF FIGURES……………………………………………………………………....v ACKNOWLEDGMENTS……………………………………………………….………vi CHAPTER I. INTRODUCTION…………………………………………………….…1 II. “I WANT EVERYONE TO KNOW THAT I DON’T CARE”: CASE STUDY OF LIL PEEP……………………………………….….16 III. “BETTER OFF DYING”: DOES EMO RAP ASSUAGE OR AMPLIFY MENTAL HEALTH PROBLEMS?…………………………………… 26 IV. “XANS DON’T MAKE YOU”: EMO RAP’S GLORIFICATION OF, AND RECKONING WITH, DRUG ABUSE……………………………43 V. “WE ALL WANNA DIE, TOO”: HOW IS EMO RAP BRANDED, AND WHAT KIND OF LEGACY ARE ITS STARS LEAVING? ...………….60 VI. “WHEN I DIE YOU’LL LOVE ME”: WHAT DOES EMO RAP MEAN, AND WHAT DIRECTIONS MIGHT IT TAKE IN THE FUTURE? ….80 WORKS CITED …………………………………………………………………………89 iv LIST OF FIGURES Fig. 1. Lil Peep (Gustav Åhr) …………………………………………………17 Fig. 2. Still from “Awful Things” Music Video ………………………………21 Fig. 3. XXXTentacion (Jahseh Onfroy) ……………………………………….29 Fig. 4. Lil Xan (Diego Leanos) ……...………………………………………...36 Fig. 5. nothing,nowhere. (Joe Mulherin) ……………………………………...50 Fig. 6. Still from “Lean Wit Me” Music Video ……………………………….52 Fig. 7. Lil Uzi Vert (Symere Woods) ………………………………………….76 v ACKNOWLEDGMENTS I would like to offer my sincere thanks to everyone who made this thesis possible and who supported me as I completed it. I am especially grateful to Dr. Ryan Hediger for advising this project and encouraging me throughout the long process. -
Molloy College Music Department Music Therapy Song List
Molloy College Music Department Music Therapy Song List Children's Songs: Old MacDonald, Down by the Bay, This Old Man, Alphabet Song (both versions), The Wheels on the Bus, If You’re Happy and You Know It, Itsy Bitsy Spider, Shake Your Sillies Out, Twinkle Twinkle, Head Shoulders Knees & Toes, The “Train Song,” 5 Little Monkeys Jumping on the Bed, Baby Shark, We All Sing With the Same Voice (Sesame Street), No One Like You (Sesame Street), You Are Special (Fred Rogers), Sing a Song (Sesame Street), Rubber Duckie (Sesame Street), Songs from Elizabeth Schwartz Book, Levin & Levin Book, NR Repertoire. Folk Songs: Down in the Valley, Oh Susanna, If I Had a Hammer, Blowin’ in the Wind, You Are My Sunshine, Home on the Range, On Top of Old Smokey, Red River Valley, This Land is Your Land, Greensleeves, America the Beautiful, Happy Birthday to You, Green Green Grass of Home Spirituals: Amazing Grace, Down by the Riverside, Nobody Knows the Trouble I’ve Seen, Swing Low Sweet Chariot, Go Tell it On the Mountain, He's Got the Whole World, Go Down Moses, This Little Light of Mine Holiday Songs: Dreidl, O Hanukkah, Let it Snow, Winter Wonderland, Feliz Navidad, All I Want for Christmas, Have Yourself a Merry Little Christmas, Silent Night, Frosty the Snowman, Jingle Bells Jazz-Pop: My Favorite Things (Julie Andrews), As Time Goes By (Dooley Wilson), All the Things You Are (Frank Sinatra), When I Fall in Love (Doris Day), The Girl from Ipanema (Antonio Carlos Jobim), Here's that Rainy Day (Wes Montgomery), Over the Rainbow (Judy Garland), When Sunny Gets Blue (Johnny Mathis), My Funny Valentine (Billie Holiday), Days of Wine and Roses (Andy Williams) Blues: Steam Roller Blues (James Taylor; Elvis), St. -
Art and Hip-Hop in the Age of the Opioid Crisis
Art and Hip-Hop in the Age of the Opioid Crisis Che Yeun Abstract Opioids saturate the language of rap music. Names of brand medications appear explicitly and frequently, across subgenres and generations. And a recent spate of Hip-Hop overdoses has further heightened the stakes for a genre already criticized for glamorizing antisocial values like violence and misogyny. This paper asks: How has the Hip-Hop community responded to these accusations? How is the opioid crisis shaping the aesthetics of Hip-hop practice? These questions matter because the art world has increasingly become involved in documenting and memorializing the victims lost to the opioid crisis. As art brings together practices of remembering, responding, and healing, art has also made vivid the struggle over how the opioid crisis will be remembered in the future. There is the palpable concern, even now, that in the construction of memorials, certain perspectives and experiences are being erased. The hostility and neglect towards rap music is perhaps one example of such erasures. With this in mind, it is all the more urgent that art archives of the opioid crisis incorporate rap lyrics, which have extensively documented opioid use for over two decades. This paper is then also a methodological proposition, to take seriously the knowledge, observations, and arguments presented in rap as archives of the history of substance use. Whether we interpret them as fictive fantasies or gritty realism, these texts exert tremendous influence over global pop culture, youth culture, and counterculture today. Attending to the world of imagination can be valuable in times of crisis, when medical visions of resolution, like artistic visions of resolution, may also contain normative prescriptions of health, sobriety, community, and morality. -
Popular Music Genres: the Past 70 Years to Now
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 12-2020 Popular Music Genres: The Past 70 Years to Now Natasha Lugo California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Recommended Citation Lugo, Natasha, "Popular Music Genres: The Past 70 Years to Now" (2020). Capstone Projects and Master's Theses. 967. https://digitalcommons.csumb.edu/caps_thes_all/967 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Lugo 1 Natasha Lugo MPA 475 Capstone Lanier Sammons 18 December, 2020 Popular Music Genres: The Past 70 Years to Now Each decade is connected to specific music genres that are remembered years later. Artists who imprint in listeners’ minds, album collections or playlists stand out within certain decades from when they were the most successful. Awards, charts, album sales and performances are some of the accomplishments that help the growth of their careers through the public. With pop and rap being the favored genres, proven in the charts from the last twenty years, what is today’s music genre? Using a few artists as reference along with collecting data, starting from the 1950s and ending with the 2010s, this paper will show the core of what was the most desired genre. -
Critical Literacy, Engagement, and Agency in Popular Music Consumption by Young Adults
Eastern Michigan University DigitalCommons@EMU Senior Honors Theses & Projects Honors College 2019 Critical literacy, engagement, and agency in popular music consumption by young adults Mackensi Crenshaw Follow this and additional works at: https://commons.emich.edu/honors Part of the Education Commons Recommended Citation Crenshaw, Mackensi, "Critical literacy, engagement, and agency in popular music consumption by young adults" (2019). Senior Honors Theses & Projects. 661. https://commons.emich.edu/honors/661 This Open Access Senior Honors Thesis is brought to you for free and open access by the Honors College at DigitalCommons@EMU. It has been accepted for inclusion in Senior Honors Theses & Projects by an authorized administrator of DigitalCommons@EMU. For more information, please contact [email protected]. Critical literacy, engagement, and agency in popular music consumption by young adults Abstract The education of an individual occurs in a multitude of places, including one’s cultural context. The interactions one has with cultural artifacts, such as music, can impact how individuals interact with larger social movements, power structures, and self-identification. As outlined by Giroux (2006) the meaningful integration of agency and critical cultural analysis are essential to critical engagement in citizens and is generally lacking within secondary and post-secondary curriculum. The goal of this study is to assess the engagement practices and experiences individuals have with popular culture, specifically music, and the relation these interactions have to individual, social, and political agency. Utilizing an online, anonymous survey, individuals within the 18-24 demographic will outline their current buying habits, motivations, preferences, and interactions with music and its surrounding industry. -
Is Hip-Hop Dead?
Regis University ePublications at Regis University All Regis University Theses Spring 2018 Is Hip-Hop Dead? Tim Kinoti Regis University Follow this and additional works at: https://epublications.regis.edu/theses Recommended Citation Kinoti, Tim, "Is Hip-Hop Dead?" (2018). All Regis University Theses. 861. https://epublications.regis.edu/theses/861 This Thesis - Open Access is brought to you for free and open access by ePublications at Regis University. It has been accepted for inclusion in All Regis University Theses by an authorized administrator of ePublications at Regis University. For more information, please contact [email protected]. Kinoti 1 Kinoti 2 TITLE IS HIP-HOP DEAD? A thesis submitted to Regis College The Honors Program in partial fulfillment of the requirements for Graduation with Honors by Tim Kinoti May 2018 Kinoti 3 Kinoti 4 TABLE OF CONTENTS ACKNOWLEDGEMENTS 5 I. INTRODUCTION 6 II. THE BEGININNG 1970s 11 III. GOLDEN ERA OF RAP 1980S and 1990S 18 IV.THE MODERN ERA 25 V. CLOSING 31 BIBLIOGRAPHY 33 Kinoti 5 Acknowledgements Advisor: Don Bush Reader: Professor Narcissi Advisory Board: Professor Kleier Regis Honors Program: Raeann Ramos, Thomas Howe Regis Library and Librarians Kinoti 6 Introduction “Sky is the limit and you know that you keep on Just keep on pressing on Sky is the limit and you know that you can have What you want, be what you want Sky is the limit and you know that you keep on Just keep on pressing on Sky is the limit and you know that you can have What you want, be what you want Have what you want, be what you want” -Sky’s The Limit- The Notorious B.I.G.