Example of Mumble Rap
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Williams, Hipness, Hybridity, and Neo-Bohemian Hip-Hop
HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Maxwell Lewis Williams August 2020 © 2020 Maxwell Lewis Williams HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA Maxwell Lewis Williams Cornell University 2020 This dissertation theorizes a contemporary hip-hop genre that I call “neo-bohemian,” typified by rapper Kendrick Lamar and his collective, Black Hippy. I argue that, by reclaiming the origins of hipness as a set of hybridizing Black cultural responses to the experience of modernity, neo- bohemian rappers imagine and live out liberating ways of being beyond the West’s objectification and dehumanization of Blackness. In turn, I situate neo-bohemian hip-hop within a history of Black musical expression in the United States, Senegal, Mali, and South Africa to locate an “aesthetics of existence” in the African diaspora. By centering this aesthetics as a unifying component of these musical practices, I challenge top-down models of essential diasporic interconnection. Instead, I present diaspora as emerging primarily through comparable responses to experiences of paradigmatic racial violence, through which to imagine radical alternatives to our anti-Black global society. Overall, by rethinking the heuristic value of hipness as a musical and lived Black aesthetic, the project develops an innovative method for connecting the aesthetic and the social in music studies and Black studies, while offering original historical and musicological insights into Black metaphysics and studies of the African diaspora. -
The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap
Open Cultural Studies 2018; 2: 122–135 Research Article Adam de Paor-Evans* The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap https://doi.org/10.1515/culture-2018-0012 Received January 27, 2018; accepted June 2, 2018 Abstract: In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and socio- political presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society. Keywords: dromosphere, dromology, Afrofuturism, electro-rap, thirdspace, fantasy, Newcleus, Strange U Introduction During the mid-1970s, the language of New York City’s pioneering hip hop practitioners brought them fame amongst their peers, yet the methods of its musical production brought heavy criticism from established musicians. -
JASIAH BIO the Era of Soundcloud Rap Ushered in a Golden Age of Teenage DIY Artists Who Make Music on Their Terms. to Grow From
JASIAH BIO The era of SoundCloud rap ushered in a golden age of teenage DIY artists who make music on their terms. To grow from the depths of SoundCloud to the mainstream stage, Jasiah used the audio distribution platform to connect with his fans, promoting his music as much as possible. When his self-produced, self-written songs started gaining traction online, it was a stroke of luck that one of those fans was Ugly God. Jasiah remembers when Ugly God Posted his “HAHAHAHAHA” freestyle on Soundcloud. “He was like, ‘The first time I open my DMs to listen to one of y’all wack ass rappers, and its actually a banger,’” He says with a laugh. The reaction was enough reassurance that he was on the right track. Originally from Dayton, Ohio, Jasiah, 22, is unlike any rapper associated with the SoundCloud rap movement. He considers himself to be an artist who can transcend genres. This means he can excel in any category, whether its making screamo songs like “Case 19,” which features Tekashi 6ix9ine, or agro anthems like “Crisis” that contains a familiar Courage the Cowardly Dog sample. The record got him his first music video with hip-hop’s sought-after director Cole Bennett, who shared it on the influential Lyrical Lemonade YouTube page. With over eight million views thus far, it’s clear Jasiah’s music is making an impact. “When I first dropped it, I only had 800 followers on SoundCloud at the time. And it was going up. It had 48,000 plays,” he says. -
Confessions of a Black Female Rapper: an Autoethnographic Study on Navigating Selfhood and the Music Industry
Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-8-2020 Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry Chinwe Salisa Maponya-Cook Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation Maponya-Cook, Chinwe Salisa, "Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry." Thesis, Georgia State University, 2020. https://scholarworks.gsu.edu/aas_theses/66 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CONFESSIONS OF A BLACK FEMALE RAPPER: AN AUTOETHNOGRAPHIC STUDY ON NAVIGATING SELFHOOD AND THE MUSIC INDUSTRY by CHINWE MAPONYA-COOK Under the DireCtion of Jonathan Gayles, PhD ABSTRACT The following research explores the ways in whiCh a BlaCk female rapper navigates her selfhood and traditional expeCtations of the musiC industry. By examining four overarching themes in the literature review - Hip-Hop, raCe, gender and agency - the author used observations of prominent BlaCk female rappers spanning over five deCades, as well as personal experiences, to detail an autoethnographiC aCCount of self-development alongside pursuing a musiC career. MethodologiCally, the author wrote journal entries to detail her experiences, as well as wrote and performed an aCCompanying original mixtape entitled The Thesis (available on all streaming platforms), as a creative addition to the research. -
Universal Music Group's Profit Margins Grew in 2020, Despite
BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; BrettENTERTAINMENT Young ‘Catc NEWSh UPDATE’-es Fifth AirplayMARCH 3, 2021 Page 1 of 31 Leader; Travis Denning Makes History INSIDE Universal Music Group’s Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music Group Nashville), debuts at No.Profit 1 on Billboard’s lion audienceMargins impressions, up 16%).Grew Top• Country TuneCore Albums Unveils chart dated April 18. In its first week (ending April 9), it earnedRewards 46,000 Program equivalent album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cordingas Indie to Nielsen Distributors Music/MRC Data. in 2020, Despiteand total Country Airplay No.Pandemic 1 as “Catch” (Big Machine Label Group) ascends SouthsideFend Off marks Major Hunt’s second No. 1 on the 2-1, increasing 13% to 36.6 million impressions. chartLabels: and fourth Exclusive top 10. It follows freshman LP BY ED CHRISTMAN Young’s first of six chart entries, “Sleep With- Montevallo, which arrived at the summit in No - out You,” reached No. 2 in December 2016. He • David Crosby Sells vember 2014 and reigned for nineEven weeks. in Toa nearly date, year-long economic downturn, the hit 1.487 billionfollowed euros with ($1.68 the multiweek billion), orNo. a 1s20% “In Casemargin. -
Hiphop Aus Österreich
Frederik Dörfler-Trummer HipHop aus Österreich Studien zur Popularmusik Frederik Dörfler-Trummer (Dr. phil.), geb. 1984, ist freier Musikwissenschaftler und forscht zu HipHop-Musik und artverwandten Popularmusikstilen. Er promovierte an der Universität für Musik und darstellende Kunst Wien. Seine Forschungen wurden durch zwei Stipendien der Österreichischen Akademie der Wissenschaften (ÖAW) so- wie durch den österreichischen Wissenschaftsfonds (FWF) gefördert. Neben seiner wissenschaftlichen Arbeit gibt er HipHop-Workshops an Schulen und ist als DJ und Produzent tätig. Frederik Dörfler-Trummer HipHop aus Österreich Lokale Aspekte einer globalen Kultur Gefördert im Rahmen des DOC- und des Post-DocTrack-Programms der ÖAW. Veröffentlicht mit Unterstützung des Austrian Science Fund (FWF): PUB 693-G Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Na- tionalbibliografie; detaillierte bibliografische Daten sind im Internet über http:// dnb.d-nb.de abrufbar. Dieses Werk ist lizenziert unter der Creative Commons Attribution 4.0 Lizenz (BY). Diese Li- zenz erlaubt unter Voraussetzung der Namensnennung des Urhebers die Bearbeitung, Verviel- fältigung und Verbreitung des Materials in jedem Format oder Medium für beliebige Zwecke, auch kommerziell. (Lizenztext: https://creativecommons.org/licenses/by/4.0/deed.de) Die Bedingungen der Creative-Commons-Lizenz gelten nur für Originalmaterial. Die Wieder- verwendung von Material aus anderen Quellen (gekennzeichnet -
Where to Next? a Dynamic Model of User Preferences
Where To Next? A Dynamic Model of User Preferences Francesco Sanna Passino∗ Lucas Maystre Dmitrii Moor Imperial College London Spotify Spotify [email protected] [email protected] [email protected] Ashton Anderson† Mounia Lalmas University of Toronto Spotify [email protected] [email protected] ABSTRACT 1 INTRODUCTION We consider the problem of predicting users’ preferences on on- Online platforms have transformed the way users access informa- line platforms. We build on recent findings suggesting that users’ tion, audio and video content, knowledge repositories, and much preferences change over time, and that helping users expand their more. Over three decades of research and practice have demon- horizons is important in ensuring that they stay engaged. Most strated that a) learning users’ preferences, and b) personalizing existing models of user preferences attempt to capture simulta- users’ experience to match these preferences is immensely valuable neous preferences: “Users who like 퐴 tend to like 퐵 as well”. In to increase engagement and satisfaction. To this end, recommender this paper, we argue that these models fail to anticipate changing systems have emerged as essential building blocks [3]. They help preferences. To overcome this issue, we seek to understand the users find their way through large collections of items and assist structure that underlies the evolution of user preferences. To this them in discovering new content. They typically build on user pref- end, we propose the Preference Transition Model (PTM), a dynamic erence models that exploit correlations across users’ preferences. model for user preferences towards classes of items. The model As an example within the music domain, if a user likes The Beatles, enables the estimation of transition probabilities between classes of that user might also like Simon & Garfunkel, because other users items over time, which can be used to estimate how users’ tastes are who listen to the former also listen to the latter. -
Music 103 Syllabus
MUS 103: HIP HOP SEMESTER/YEAR???? ?? Shepard Hall Prof. Chadwick Jenkins ([email protected]) Days/Times Office: 78B Shepard Hall; Phone: X7666 Office Hours: ?? Course Objectives: This course will explore the history of hip hop from the earliest formations of the genre in the 1970s to the current moment. This course will have four primary areas of emphasis. First, although we will be interested in other elements of hip hop culture (including dancing, graffiti, literature, etc.), our primary focus will be on the music (the DJ, MC, and production techniques that go into producing hip hop tracks and albums). Second, this class will emphasize the development of the business and promotional aspects of hip hop. Hip hop has become a major business venture for recording studios, record labels, fashion venues, etc. and has had a huge impact on Black and White business in the US. Third, we will devote a large portion of our time to the developing technologies surrounding hip hop including turn tables, drum machines, MPCs, etc. Fourth and finally, we will explore the cultural and political impact hip hop has had on representations of Blackness, political views of violence and equity, and constructions of gender, race, and authenticity. Thus, this class will contribute to the following Departmental Learning Outcomes: 1) Outline major periods in the development of hip hop and recall key facts, writers, performers, technological advances, producers, and ideas; 2) Identify the technological developments contributing to hip hop, the business of hip hop production, and the impact hip hop has had on the social and political life of the US and beyond; 3) Identify different genres, performers, and musical styles through listening; 4) Demonstrate proficiency in writing about key concepts in hip hop history with a focus on descriptive writing (accounting for the sounds of the musical tracks and not just the lyrics, history, and biographical background). -
3 Rap Subgenres
Jazyk černého britského a černého amerického rapu Bakalářská práce Studijní program: B7507 – Specializace v pedagogice Studijní obory: 7504R300 – Španělský jazyk se zaměřením na vzdělávání 7507R036 – Anglický jazyk se zaměřením na vzdělávání Autor práce: Jan Wolf Vedoucí práce: Christopher Muffett, M.A. Liberec 2019 The Language of Black British and Black American Rap Bachelor thesis Study programme: B7507 – Specialization in Pedagogy Study branches: 7504R300 – Spanish for Education 7507R036 – English for Education Author: Jan Wolf Supervisor: Christopher Muffett, M.A. Liberec 2019 Prohlášení Byl jsem seznámen s tím, že na mou bakalářskou práci se plně vzta- huje zákon č. 121/2000 Sb., o právu autorském, zejména § 60 – školní dílo. Beru na vědomí, že Technická univerzita v Liberci (TUL) nezasahuje do mých autorských práv užitím mé bakalářské práce pro vnitřní potřebu TUL. Užiji-li bakalářskou práci nebo poskytnu-li licenci k jejímu využití, jsem si vědom povinnosti informovat o této skutečnosti TUL; v tomto pří- padě má TUL právo ode mne požadovat úhradu nákladů, které vyna- ložila na vytvoření díla, až do jejich skutečné výše. Bakalářskou práci jsem vypracoval samostatně s použitím uvedené literatury a na základě konzultací s vedoucím mé bakalářské práce a konzultantem. Současně čestně prohlašuji, že texty tištěné verze práce a elektronické verze práce vložené do IS STAG se shodují. 23. 6. 2019 Jan Wolf Acknowledgements First of all, I would like to thank my supervisor, Christopher Muffett, M.A. for his advice, guidance and support. Also, I want to give thanks to my family for supporting me druing my studies. Lastly, I would like to show my appreciation to all the teachers at the English Department at the Faculty of Science, Humanities and Education of the Technical University in Liberec for allowing me to improve the level of my English. -
Gucci Gang and the Rise of Mumble Rap CS 221 Final Project - Cristobal Sciutto - Computer Science Dept
Gucci Gang and the Rise of Mumble Rap CS 221 Final Project - Cristobal Sciutto - Computer Science Dept. ANN and RNN approach to predicting the commerical success of hip-hop songs based on lyrics and Billboard charts Introduction With the recent surge in popularity of artists such as Lil Pump, Desiigner, and Lil Yachty, many "hip hop heads" have found themselves confused. Hip-hop has historically focused on spitting bars, with artist such as Eminem, Kendrick Lamar, and A Tribe Called Quest reigning as the greatest lyricists of all time. Figures 7, 8, 9: Score Calculation, Pre and Post Normalization Nevertheless, as of late, the songs most played according to Billboards charts and Spotify rankings show very little lyrical prowess. Just look at the lyrics of Infrastructure "Gucci Gang", the current #3 song on the Hot 100 Billboard. In an attempt to understand this transition, I used an ensemble of an ANN and RNN to predict commercial success of tracks based on lyrics. Approach The task being tackled is predicting the popularity of hip-hop songs based on their lyrics, using Billboard charts as a heuristic for commerical success. Lyrical features of songs in the three major categories of semantics, structure, and Figure 10: Data Pipeline vocabulary were extracted. The ideal end model that would be used was an ensemble of a recurrent neural-network (RNN) with a traditional neural network The data pipeline followed is roughly illustrated above. Summarized, data was (ANN). The ANN would take into consideration features related to the totality of a scraped from both the Billboard charts and Genius lyrics website. -
Gender and Sexuality Representations in Hip Hop Tia C.M
Teaching Media Quarterly Volume 1 Article 3 Issue 3 Sexuality in Hip Hop Culture 2013 Gender and Sexuality Representations in Hip Hop Tia C.M. Tyree Howard University, [email protected] Follow this and additional works at: http://pubs.lib.umn.edu/tmq Recommended Citation Tyree, Tia C.. "Gender and Sexuality Representations in Hip Hop." Teaching Media Quarterly 1, no. 3 (2013). http://pubs.lib.umn.edu/tmq/vol1/iss3/3 Teaching Media Quarterly is published by the University of Minnesota Libraries Publishing. Tyree: Gender and Sexuality Representations in Hip Hop Gender and Sexuality Representations in Hip Hop Music Teaching Media - Hip Hop Submission Dr. Tia C. M. Tyree March 2013 1. Summary and rationale for assignment When MTV aired in 1981, music videos took the stage in pop culture in a way that they had not prior to the channel’s inception. Since this time, music videos have become a staple in the music industry, and they provide the opportunity for record companies to promote new artists and songs. However, as a key part of pop culture, music videos, more specifically rap videos, have come under criticism, because they increasingly present often negative and controversial representations of women. Further, research shows youth learn about sexuality, gender roles, and relationship from them. As rap music is an international medium that influences how Black women are viewed in the world, it is critical for us to investigate its lyrics and representations. How gender and sex are characterized is a contentious space in Hip Hop. However, the analyses of voice and representation are critical in any mass medium. -
"" a N ¢ (,' S CRATCHING YOUR WAY to Is Flourishing
R &B Billboard OCTOBER 16, 1999 ARTISTS & MUSIC Hot Ra p SÌflgIes.. COMPILED FROM A NATIONAL SAMPLE OF RETAIL STORE SALES REPORTS z COLLECTED, COMPILED, AND PROVIDED BY rn o 1- SoundScan® U.K. Scratch DJs ITF Championship cn Eier p, w w = TITLE 1 i ARTIST H á IMPRINT & NUMBER/DISTRIBUTING LABEL "" _ a N ¢ (,' S CRATCHING YOUR WAY TO is flourishing. Turntable sales are THE TOP: Back in the day, pioneer- outstripping those of electric guitars, -- No. 1 a.- I WANT IT ALL WARREN G FEATURING MACK 10 O 1 1 5 ing DJs like Kool Herc, Afrika while this year's Mercury Music (CI (D) (T) G -FUNK 73721 /RESTLESS t 4 weeks at No. 1 Bambaataa, and Grandmaster prize winner -classically trained JIGGA MY N * * ** JAY -Z 2 2 2 7 Flash were able to rock the crowds musician Talvin Singh -counts the (C) (D) (T) ROC -A -FELLA 562201 /IDJMG SIMON SAYS PHAROAHE MONCH 3 3 3 5 with their record selection skills and turntable as one of his instruments. (C) (D) (T) RAWKUS 53567/PRIORITY t turntable dexterity. Now the hip -hop And the U.K. Musicians' Union U -WAY (HOW WE DO IT) YOUNGBLOODZ 4 4 4 11 or scratch DJ -also known as a recently announced it would now ICI (D) IT) (X) GHET -O-VISION /LAFACE 24413/ARISTA t JAMBOREE NAUGHTY BY NATURE FEATURING ZHANE 5 5 5 14 turntablist -is often replaced by a allow DJs to join its ranks. (C) (D) (T) (X) ARISTA 13712 t DAT machine at many live rap shows.