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Hip-Hop's Diversity and Misperceptions
The University of Maine DigitalCommons@UMaine Honors College Summer 8-2020 Hip-Hop's Diversity and Misperceptions Andrew Cashman Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Music Commons, and the Social and Cultural Anthropology Commons This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. HIP-HOP’S DIVERSITY AND MISPERCEPTIONS by Andrew Cashman A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Anthropology) The Honors College University of Maine August 2020 Advisory Committee: Joline Blais, Associate Professor of New Media, Advisor Kreg Ettenger, Associate Professor of Anthropology Christine Beitl, Associate Professor of Anthropology Sharon Tisher, Lecturer, School of Economics and Honors Stuart Marrs, Professor of Music 2020 Andrew Cashman All Rights Reserved ABSTRACT The misperception that hip-hop is a single entity that glorifies wealth and the selling of drugs, and promotes misogynistic attitudes towards women, as well as advocating gang violence is one that supports a mainstream perspective towards the marginalized.1 The prevalence of drug dealing and drug use is not a picture of inherent actions of members in the hip-hop community, but a reflection of economic opportunities that those in poverty see as a means towards living well. Some artists may glorify that, but other artists either decry it or offer it as a tragic reality. In hip-hop trends build off of music and music builds off of trends in a cyclical manner. -
Sonic Jihadâ•Flmuslim Hip Hop in the Age of Mass Incarceration
FIU Law Review Volume 11 Number 1 Article 15 Fall 2015 Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt Follow this and additional works at: https://ecollections.law.fiu.edu/lawreview Part of the Other Law Commons Online ISSN: 2643-7759 Recommended Citation SpearIt, Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration, 11 FIU L. Rev. 201 (2015). DOI: https://dx.doi.org/10.25148/lawrev.11.1.15 This Article is brought to you for free and open access by eCollections. It has been accepted for inclusion in FIU Law Review by an authorized editor of eCollections. For more information, please contact [email protected]. 37792-fiu_11-1 Sheet No. 104 Side A 04/28/2016 10:11:02 12 - SPEARIT_FINAL_4.25.DOCX (DO NOT DELETE) 4/25/16 9:00 PM Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt* I. PROLOGUE Sidelines of chairs neatly divide the center field and a large stage stands erect. At its center, there is a stately podium flanked by disciplined men wearing the militaristic suits of the Fruit of Islam, a visible security squad. This is Ford Field, usually known for housing the Detroit Lions football team, but on this occasion it plays host to a different gathering and sentiment. The seats are mostly full, both on the floor and in the stands, but if you look closely, you’ll find that this audience isn’t the standard sporting fare: the men are in smart suits, the women dress equally so, in long white dresses, gloves, and headscarves. -
“THEY WASN't MAKIN' MY KINDA MUSIC”: HIP-HOP, SCHOOLING, and MUSIC EDUCATION by Adam J. Kruse a DISSERTATION Submitted T
“THEY WASN’T MAKIN’ MY KINDA MUSIC”: HIP-HOP, SCHOOLING, AND MUSIC EDUCATION By Adam J. Kruse A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2014 ABSTRACT “THEY WASN’T MAKIN’ MY KINDA MUSIC”: HIP-HOP, SCHOOLING, AND MUSIC EDUCATION By Adam J. Kruse With the ambition of informing place consciousness in music education by better understanding the social contexts of hip-hop music education and illuminating potential applications of hip-hop to school music settings, the purpose of this research is to explore the sociocultural aspects of hip-hop musicians’ experiences in music education and music schooling. In particular, this study is informed by the following questions: 1. How do sociocultural contexts (particularly issues of race, space, place, and class) impact hip-hop musicians and their music? 2. What are hip-hop musicians’ perceptions of school and schooling? 3. Where, when, how, and with whom do hip-hop musicians develop and explore their musical skills and understandings? The use of an emergent design in this work allowed for the application of ethnographic techniques within the framework of a multiple case study. One case is an amateur hip-hop musician named Terrence (pseudonym), and the other is myself (previously inexperienced as a hip-hop musician) acting as participant observer. By placing Terrence and myself within our various contexts and exploring these contexts’ influences on our roles as hip-hop musicians, it is possible to understand better who we are, where and when our musical experiences exist(ed), and the complex relationships between our contexts, our experiences, and our perceptions. -
Born and Raised in Detroit MI, Joylette Hunter Has Always Been Attuned to the Needs and Challenges of the Urban Community, and T
Born and raised in Detroit MI, Joylette Hunter has always been attuned to the needs and challenges of the urban community, and the issues that faced social classes within the city. A product of the Detroit public school system, Joylette attended Northwestern High School and participated in several community youth programs. After graduating, she began to work in the nonprofit sector for organizations such as City of Detroit Youth Department; Safe Center, a nonprofit whose mission was to help the under privileged residents of Detroit; and the Detroit Association Of Black Organizations, a nonprofit that empowered, equipped, and served, other local organizations. Along with doing work for nonprofits, Joylette always remained a dedicated youth advocate. She spent her free time running latchkey and tutorial programs for local children and also worked in a day care. Joylette met her life partner James "J Dilla" Yancey at an early age and the two quickly became inseparable. While sharing a home with Yancey, Joylette had the privilege and duty of hosting some of Hip Hop and R&B's biggest stars at Yancey's famous home studio. Q-Tip, Dwele, Busta, Common, Slum Village, ?uestlove, Guru, and Mos Def, were among some that graced her home. Although her living room became a literal who's who in music, Joylette always remained focused on her nonprofit work and involvement in community programs. She went on to continue her college education at Wayne State University and later at University of Phoenix. In October of 2001 Joylette and James' daughter Ja'Mya Yancey was born and Joylette dedicated her life to her most important role, being a mother. -
Westminsterresearch Synth Sonics As
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-Skool’ to Trap Exarchos, M. This is an electronic version of a paper presented at the 2nd Annual Synthposium, Melbourne, Australia, 14 November 2016. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 2nd Annual Synthposium Synthesisers: Meaning though Sonics Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-School’ to Trap Michail Exarchos (a.k.a. Stereo Mike), London College of Music, University of West London Intro-thesis The literature on synthesisers ranges from textbooks on usage and historiogra- phy1 to scholarly analysis of their technological development under musicological and sociotechnical perspectives2. Most of these approaches, in one form or another, ac- knowledge the impact of synthesisers on musical culture, either by celebrating their role in powering avant-garde eras of sonic experimentation and composition, or by mapping the relationship between manufacturing trends and stylistic divergences in popular mu- sic. The availability of affordable, portable and approachable synthesiser designs has been highlighted as a catalyst for their crossover from academic to popular spheres, while a number of authors have dealt with the transition from analogue to digital tech- nologies and their effect on the stylisation of performance and production approaches3. -
Austrian Rap Music and Sonic Reproducibility by Edward
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ETD - Electronic Theses & Dissertations The Poetic Loop: Austrian Rap Music and Sonic Reproducibility By Edward C. Dawson Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in German May 11, 2018 Nashville, Tennessee Approved: Christoph M. Zeller, Ph.D. Lutz P. Koepnick, Ph.D. Philip J. McFarland, Ph.D. Joy H. Calico, Ph.D. Copyright © 2018 by Edward Clark Dawson All Rights Reserved ii For Abby, who has loved “the old boom bap” from birth, and whose favorite song is discussed on pages 109-121, and For Margaret, who will surely express a similar appreciation once she learns to speak. iii ACKNOWLEDGEMENTS This work would not have been possible without an Ernst Mach Fellowship from the Austrian Exchange Service (OeAD), which allowed me to spend the 2015-16 year conducting research in Vienna. I would like to thank Annagret Pelz for her support, as well as all the participants in the 2015-2016 Franz Werfel Seminar, whose feedback and suggestions were invaluable, especially Caroline Kita and organizers Michael Rohrwasser and Constanze Fliedl. During my time in Vienna, I had the opportunity to learn about Austrian rap from a number of artists and practitioners, and would like to thank Flip and Huckey of Texta, Millionen Keys, and DJ Taekwondo. A special thank you to Tibor Valyi-Nagy for attending shows with me and drawing my attention to connections I otherwise would have missed. -
GERAÇÃO BOOM BAP Sampling E Produção Musical De Rap Em Belo Horizonte
UNIVERSIDADE DO ESTADO DE MINAS GERAIS Programa de Pós-Graduação em Artes GERAÇÃO BOOM BAP Sampling e Produção Musical de Rap em Belo Horizonte Michel Antônio Brasil Teixeira Orientador: Luiz Alberto Bavaresco de Naveda Belo Horizonte 2018 Michel Antônio Brasil Teixeira GERAÇÃO BOOM BAP Sampling e Produção Musical de Rap em Belo Horizonte Dissertação apresentada ao Programa de Pós- Graduação em Artes da Universidade do Estado de Minas Gerais, como requisito para obtenção do título de Mestre em Artes. Área de Concentração: Artes/Música Linha de pesquisa: Dimensões Teóricas e Práticas da Produção Artística Orientador: Luiz Alberto Bavaresco de Naveda Bolsista FAPEMIG – Programa de Apoio à Pós- Graduação Belo Horizonte 2018 FICHA CATALOGRÁFICA Teixeira, Michel Antônio Brasil T266 Geração Boom Bap: sampling e produção musical de rap em Belo Horizonte / Michel Antônio Brasil Teixeira. – Belo Horizonte, 2018. 195 f. il. Orientador: Luiz Alberto Bavaresco de Naveda Dissertação (mestrado) – Universidade do Estado de Minas Gerais 1.Música – Belo Horizonte (MG) 2. Rap (Música) 3. Hip Hop (Música) 4. Música – produção I. Naveda, Luiz Alberto Bavaresco de II. Universidade do Estado de Minas Gerais (UEMG) Mestrado em Artes. III. Título CDD: 780.9151 Bibliotecária responsável: Cleide A. Fernandes CRB6/2334 Agradecimentos Gostaria de agradecer a Deus e a todas as forças superiores. Agradeço imensamente a Paula e Pedrinho, meus companheiros de todas as jornadas. Obrigado pelo carinho, paciência e compreensão. Este trabalho não seria possível sem o apoio e a presença de vocês. Agradeço ao meu pai, minha mãe e minha irmã por todo suporte ao longo da vida. Obrigado Regina, Paulo, e Fabiano pelo suporte diário nos últimos anos. -
Bio Akua Naru
BIO AKUA NARU Hailing from New Haven, Connecticut (USA), Akua Naru’s journey to global poet began in an early upbringing in the Pentecostal church. The oldest of three, Naru began attending church with her grandmother as an infant. Steeped in gospel music, it was there that a young Naru was introduced to a world of black female leaders, from pastor to choir director, who were steeped in African American musical and oratorical traditions. Encouragement from her family to recite scriptures before the church congregation during holidays quickly, however, soon took an unexpected direction when an Uncle, just 3 years her senior, began sneaking hip hop records into the house in defiance of the family ban on secular music. Already enamored with literature and poetry Naru found in hip hop a power to describe her experiences with unmatched eloquence, so much so that she and her Uncle immediately began performing as a duo at backyard parties around the neighborhood. Her Uncle, an aspiring producer, would supply the beats for a then 9 year old Akua Naru on the microphone. Honing her writing in her teenage years combined with an expanding political education, Naru began participating in youth programs that raised awareness around pressing community issues. There, she engaged in passionate discussions with other young moderated by seasoned activists who had taken part in the civil rights and black power movements, sparking her enduring interest in revolutionary thought. In her late teens she began studying the works of cultural theorists and political activists like Frantz Fanon, Angela Davis, Malcolm X and Assata Shakur. -
Lo Fi Drum Kit Free Download
lo fi drum kit free download Free Boom Bap Drum Kit (Old School Samples) “Old School” is a free Boom Bap drum kit inspired by the likes of influential Hip Hop producers like J. Dilla, The Alchemist, 9th Wonder, DJ Premier, Havoc or Pete Rock. It’s filled with 106 royalty-free old school samples, including kicks, snares and everything else you need to create head nodding drum beats. Click on the button below to grab your copy. About the Kit. To compile this Boom Bap drum kit we cut out samples from old vinyl records and recorded a bunch of drum machines. Then we refined all samples using both analog and digital equipment. As typical for the genre, we aimed for hard-hitting kick drums and snappy snares. Although the idea behind “Old School” was to produce a drum kit specifically made for Boom Bap it can certainly also be used for styles like West Coast Old School or Lo-Fi Hip Hop. Tip: Following up this freebie, we released a huge (1000+ files) Boom Bap sample pack, called “Artifacts” via bvker.com. What You Get. Contents. 25 Hats 30 Kicks 20 Percs 31 Snares. Details: License: Royalty-Free Genres: Boom Bap, Old School & Lo-Fi 106 Total Files. Get To Work. In addition to the sample pack we want to share a few paragraphs on making Boom Bap beats. Just follow all of the steps below and you should get some decent results. How To Make a Boom Bap Beat. Pick some cool drum samples. If you want to make a Boom Bap beat you need some fitting drum samples. -
The Future Is History: Hip-Hop in the Aftermath of (Post)Modernity
The Future is History: Hip-hop in the Aftermath of (Post)Modernity Russell A. Potter Rhode Island College From The Resisting Muse: Popular Music and Social Protest, edited by Ian Peddie (Aldershot, Hampshire: Ashgate Publishing, 2006). When hip-hop first broke in on the (academic) scene, it was widely hailed as a boldly irreverent embodiment of the postmodern aesthetics of pastiche, a cut-up method which would slice and dice all those old humanistic truisms which, for some reason, seemed to be gathering strength again as the end of the millennium approached. Today, over a decade after the first academic treatments of hip-hop, both the intellectual sheen of postmodernism and the counter-cultural patina of hip-hip seem a bit tarnished, their glimmerings of resistance swallowed whole by the same ubiquitous culture industry which took the rebellion out of rock 'n' roll and locked it away in an I.M. Pei pyramid. There are hazards in being a young art form, always striving for recognition even while rejecting it Ice Cube's famous phrase ‘Fuck the Grammys’ comes to mind but there are still deeper perils in becoming the single most popular form of music in the world, with a media profile that would make even Rupert Murdoch jealous. In an era when pioneers such as KRS-One, Ice-T, and Chuck D are well over forty and hip-hop ditties about thongs and bling bling dominate the malls and airwaves, it's noticeably harder to locate any points of friction between the microphone commandos and the bourgeois masses they once seemed to terrorize with sonic booms pumping out of speaker-loaded jeeps. -
Making Music
Making Music Playing, writing and producing music 1 SONG WRITING Song writing is a creative outlet which can help you express emotions, convey messages and immerse listeners into feeling and understanding new perspectives. It can be a therapeutic and fun. Song writing involves writing poetic lyrics and making rhythmic musical compositions. Song writing is choices about words, rhythm and sound using your ‘musical compass’ ‘4 simple steps to writing a song’ : https://www.youtube.com/watch?v=u0K_xcSqhxQ Hip Hop Production: How to arrange beats https://www.youtube.com/watch? v=YxKORwf69xI Writing Lyrics Writing Lyrics involves using poetic techniques to create parts in particular structures (ie. verse, chorus, bridge) to form a song. Poetic Techniques Songwriting uses poetic techniques to construct a story which can be performed by artists. Some of the most used poetic devices used in music include: Rhyme – Words ending with similar sounds You better lose yourself in the music, the moment You own it, you better never let it go Lose Yourself – Eminem Alliteration – repetition of a consonant sound/letter at the start of multiple words And I’m so sick of love songs So tired of tears So Sick – Neyo Similes – comparison of two different things using “like” or “as” Shine bright like a diamond Diamonds - Rhianna Metaphors – comparing two different things, stating that one “is” something else My heart's a stereo It beats for you, so listen close Stereo Hearts – Gym Class Heroes ft Adam Levine Hyperbole – extreme exaggeration Cause you know I'd walk -
NMG 5764 SLUM VILLAGE Fan-Tas-Tic CD
SLUM VILLAGE • THE FAN-TAS-TIC CD SET This Extensive Collection From The Group’s Dilla-helmed Era Is A Comprehensive Overview Of Fan-Tas-Tic V.1 and V.2. The contributions of the late Detroit producer James DeWitt Yancey -better known to the world as J Dilla- to the world of hip-hop can't be overstated, and nowhere is his legacy more apparent than his work as a member of Slum Village. A founding member of the trio, (Alongside rappers T3 and Baatin) Dilla provided the group's distinctly esoteric, free-wheeling sound, built around winding basslines, quirky drumbeats, subtle low-end frequencies, and classic jazz & soul samples. Against the backdrop of Dilla's rich production, T3 and Baatin's free-flowing style of rhyming would also earn wide critical praise, leading to comparisons as the successors to A Tribe Called Quest. (A label they themselves have rejected.) Dilla himself went on to earn his own legend of brilliance, inspiring a slew of classic artists like Nas and The Pharcyde, to newcomers like Kanye West and Kendrick Lamar. It would be a gratuitous task to encapsulate the full magnificence of the material Dilla produced with Slum Village, but Ne'Astra Media Group have accomplished such a feat, with the arrival of the Fan-Tas-Tic Collection! A comprehensive overview of the underground group's Dilla-produced tracks across four compact discs. The CD includes the entirety of the namesake albums Fan-Tas-Tic Volumes 1 & 2, instrumental versions, and a bonus fourth collection of remixes and obscurities, featuring collaborations with Madlib & Pete Rock, and select cuts from Best Kept Secret, the group's rare release under the name J-88.