The Coup's Boots Riley Talks Funk, Domestic Espionage
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Hear Tom Morello Across Siriusxm, with New Streaming Channels, Weekly Show and Podcast
NEWS RELEASE Hear Tom Morello Across SiriusXM, with New Streaming Channels, Weekly Show and Podcast 2/24/2021 Renowned rock guitarist Morello, of Rage Against the Machine and Audioslave, launches suite of audio content exploring music, activism, and personal musical inuences New podcast will examine the music and world movements that dene Morello NEW YORK, Feb. 24, 2021 /PRNewswire/ -- SiriusXM announced today a new collaboration with groundbreaking rock guitarist and acoustic troubadour, Tom Morello, including all-original content that spans three new streaming music channels and a new additional weekly show beginning March 2, and an original podcast, beginning March 3. The content hand-crafted by Morello includes streaming music channels that are part of SiriusXM's Xtra Channels oering, which has expanded even more since its debut of 100 curated music channels in early 2019. Morello's music channels will amplify the intersection where music and activism collide, a wide-range of heavy metal music, and will explore his personal inuences and musical collection. See channel info below. "When SiriusXM approached me about doing a new slate of shows, I only had one condition: I say what I wanna say and I play what I wanna play," said Morello. "When the right combination of rhythm and rhyme washes over a huge throng or transmits through an ear bud it can provide a spark for action or a life raft for survival. Music MATTERS. And I'm very much looking forward to inicting on listeners the music that matters to me." "We are more than excited for Tom to bring his unique and respected voice in both music and activism across multiple platforms to our listeners," said Scott Greenstein, President and Chief Content Ocer, SiriusXM. -
MTO 7.4: Walker, Review of Krims
Volume 7, Number 4, July 2001 Copyright © 2001 Society for Music Theory Jonathan Walker KEYWORDS: hip-hop, cultural studies, pop music, African-American music, textural analysis, Ice Cube [1] By the end of the 1960s, the coalition of forces involved in civil rights campaigning had dissolved: white liberals who were happy to call for voting rights and an end to de jure segregation blanched when Malcolm X and eventually Martin Luther King condemned government and business interests in northern cities for their maintenance of economic inequality and de facto segregation; SNCC and CORE expelled their white members and came under increasing police surveillance and provocation; the Black Panthers seized the moment by putting into practice the kind of self defense Malcolm X had called for, but even they collapsed under sustained and violent FBI suppression. At the same time Nixon encouraged the suppression of radical black movements, he finessed the Black Power movement, turning it into a mechanism for generating black entrepreneurs and professionals to be co-opted by the system under the cloak of radical rhetoric.(1) [2] Black musical culture may have become big business in the 60s, but it was still responsive to changes in the black community. The non-violence of the early-60s campaigns had been dependent on its appeal to the conscience of the Washington political establishment, or on its threat to their international image (it certainly wasn’t going to pull on the heartstrings of the southern police and Citizens’ Councils); when this strategy -
Love and Struggle
LoVE AND StruGGLE My Life in SDS, the Weather Underground, and Beyond David Gilbert Introduction by Boots Riley A nice Jewish boy from suburban Boston—hell, an Eagle Scout!—David Gilbert arrived at Columbia University just in time for the explosive Sixties. From the early anti-Vietnam War protests to the founding of SDS, from the Columbia Strike to the tragedy of the Townhouse, Gilbert was on the scene: as organizer, theoretician, and above all, activist. He was among the first militants who went underground to build the clandestine resistance to war and racism known as “Weatherman.” And he was among the last to emerge, in captivity, after the disaster of the 1981 Brinks robbery, an attempted expropriation that resulted in four deaths and long prison terms. In this extraordinary memoir, written from the maximum-security prison where he has lived for almost thirty years, David Gilbert tells the intensely personal story of his own Long March from liberal to radical to revolutionary. SUBJECT CATEGORY Today a beloved and admired mentor to a new generation of activists, he AutObIOgrAPHY/ assesses with rare humor, with an understanding stripped of illusions, and POlItICS-actIvISM with uncommon candor the errors and advances, terrors and triumphs of the Sixties and beyond. It’s a battle that was far from won, but is still PRICE not lost: the struggle to build a new world, and the love that drives that $22.00 effort. A cautionary tale and a how-to as well, Love and Struggle is a book as candid, as uncompromising, and as humane as its author. -
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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. -
PRESS RELEASE What: the Sound Strike Press Conference
PRESS RELEASE What: The Sound Strike Press Conference When: Wednesday July 21st 11am Where: Hollywood Palladium 6215 W. Sunset Blvd. Hollywood, CA 90028 Who: • Zack de la Rocha, Vocalist Rage Against the Machine • Tom Morello, Guitarist Rage Against the Machine • Conor Oberst, Vocalist Mystic Valley Band • Dolores Huerta, Co-Founder United Farm Workers (UFW) Contact: Javier Gonzalez, [email protected]. Phone: (213) 598-8907 SOUNDSTRIKE ARTISTS RAGE AGAINST THE MACHINE, CONOR OBERST AND THE MYSTIC VALLEY BAND HOLD PRESS CONFERENCE REGARDING BENEFIT CONCERT TO SUPPORT ORGANIZATIONS FIGHTING ARIZONA ANTI-IMMIGRANT LAW SB 1070. LOS ANGELES, CA July 21: Rage Against the Machine will play their first concert in Los Angeles in 10 years at the Hollywood Palladium Friday with all proceeds going to benefit Arizona organizations fighting SB 1070. Oberst and The Mystic Valley Band will also perform. Benefit concert performers will be joined by long time civil and immigrant rights activists Tom Seanz, President of the Mexican American Legal Defense and Education Fund (MALDEF), Dolores Huerta, Co- Founder of the United Farm Workers (UFW), Arizona grass roots leader Sal Reza of Puente, and other community leaders. This will be the Soundstrike’s first official press conference. The SoundStrike artist boycott of Arizona has gained international attention and support. Hundreds of artists have committed to exercise their conscious and their collective power to both reverse the punitive, discriminatory and misguided Arizona law as well as to help lead a more productive national debate on diversity and unity. Soundstrike participant and Rage vocalist Zack de la Rocha said, “SB 1070 if enacted would legalize racial profiling in Arizona. -
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. -
1 from the Cambridge Companion to Pop and Rock Simon Frith and William Straw, Editors Soul Into Hip-Hop Russell A. Potter Rhode
From The Cambridge Companion to Pop and Rock Simon Frith and William Straw, editors Soul into Hip-Hop Russell A. Potter Rhode Island College Call it soul, call it funk, call it hip-hop; the deep-down core of African-American popular music has been both a center to which performers and audiences have continually returned, and a centrifuge which has sent its styles and attitudes outwards into the full spectrum of popular music around the world. The pressure -- both inward and outward -- has often been kept high by an American music industry slow to move beyond the apartheid-like structures of its marketing systems, which, though ostensibly abandoned in the days since the "race records" era (the 1920's through the 1950's), continue to shadow the industry's practices. However much cross-over there has been between black and white audiences, the continual reiteration of racial and generic boundaries in radio formats, retailing, and chart-making has again and again forced black artists and producers to navigate between a vernacular aesthetic (often invoked as "the street") and what the rapper Guru calls "mass appeal" -- the watering-down of style targeted at an supposedly "broader" (read: white) audience. So it has been that, within black communities, there has been an ongoing need to name and claim a music whose strategic inward turns refused what was often seen as a "sell-out" appeal to white listeners, a music that set up shop right in the neighborhood, via black (later "urban contemporary") radio, charts, and retailers, and in the untallied vernacular traffic in dubbed tapes, DJ mixes, and bootlegs. -
A Critical Approach to Rap Music
Running head: CRITICAL APPROACH TO RAP MUSIC A Critical Approach to Rap Music Kristen Porterfield A Senior Thesis submitted in partial fulfillment of the requirements for graduation in the Honors Program Liberty University Fall 2017 CRITICAL APPROACH TO RAP MUSIC 2 Acceptance of the Senior Honors Thesis This Senior Honors Thesis is accepted in partial fulfillment of requirements for graduating from the Honors Program of Liberty University. __________________________ Lynnda S. Beavers, Ph.D. Thesis Chair __________________________ Kristen Hark, Ph.D. Committee Member _________________________ Michael Jones, Ph.D. Committee Member _________________________ James H. Nutter, D.A Honors Director ________________________ Date CRITICAL APPROACH TO RAP MUSIC 3 Abstract People have used music to tell stories and share ideas for ages, making it an influential means of communication (Delaney, 2007). Rap music in particular came on the scenes in the late twentieth century in New York and continues to be a popular form of expression into the 21st century (Blanchard, 1999). However, many remain divided on whether rap music should have a place in society. Some claim rap is harmful and promoting of violent lifestyles (Richardson & Scott, 2002). Others, however, believe rap is useful in education and counseling settings for promoting discussion about life choices (Silvera, 2015). These conflicting opinions will be examined in depth in this thesis leading into a more specific look at these viewpoints in the context of critical theory. Many critical theorists reject rap music, seeing it as demeaning and harmful while others have praised it for being a way to undermine society’s mistaken perceptions on sex and personhood (Mendoza, 2016). -
Bigger Than Hip-Hop: Music and Politics in the Hip-Hop Generation
Copyright by Marnie Ruth Binfield 2009 The Dissertation Committee for Marnie Ruth Binfield Certifies that this is the approved version of the following dissertation: Bigger Than Hip-Hop: Music and Politics in the Hip-Hop Generation Committee: Janet Staiger, Supervisor Jennifer Fuller Mary Kearney Jürgen Streeck Christine Williams Bigger Than Hip-Hop: Music and Politics in the Hip-Hop Generation by Marnie Ruth Binfield, B.A. M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2009 Dedication To Zoe and Harper The Future Acknowledgements My deepest thanks and gratitude are due to the members of the National Hip Hop Political Convention, especially to those who continue to grind for the NHHPC. Thank you for inviting me into the community and for sharing your beliefs, your dreams, and your disappointments. Props to the Austin crew for always stepping up when I had questions and needed help. Thanks especially to KC, Debbie, and Clifford for always representing and always holding it down. Austin is lucky to have y’all. The Carver Library and The Victory Grill regularly supplied meeting spaces, for which I am grateful. Mystic quickly responded to my request to quote her lyrics and kindly read an earlier draft of chapter three. Thanks to her for permission to use her work and for her interest in mine. All of my committee members have been patient and constructive as I worked through the challenges of researching and writing while raising a family. -
RECEIVED Office of the Secretary MAY 2 3 2003 445 Street, S.W
Marlene H. Doitch, Sccretary Federal Communications Commission RECEIVED Office of the Secretary MAY 2 3 2003 445 Street, S.W. Washington, DC 20554 Federal Commumeatis Commission Officeof the Secretary Re: MB Docket No. 02-277; MM Docket Nos. 01-235,Ol-317.00-244 Dcar Ms. Dortch: Please place this document from Youth Media Council, entitled “Is KMEL the People’s Station” on the official record for the proceeding of MB Docket 02-277. Fall 2002 A community survey authored by the Youth Media Council INTRODUCTION 106.1 KMEL is the primary radio station for Bay Area youth and people of color, listened to by more than 600,000 people. Though it calls itself the “People’s Station,” a 2002 community assessment of KMEL content led by youth organizers, community groups and local artists found otherwise, While KMEL claims to provide access, accountability, and voice to Bay Area communities, the assessmenr shows: - KMEL content routinely excludes the voices of youth organizers and local artists, - KMEL neglects discussion of policy debates affecting youth and people of color, - KMEL focuses disproporrionately on crime and violence, and KMEL has no clear avenues for listeners to hold the starion accountable. This new report orfers specific recommendations for KMEL sration managers and on-air hosts. and presents a framework for KMEL to build strong relationships with youth, community organizers and local artists to increase media access and accounra- biliry. Pursuing rhese recommendations would give Bay Area youth of color the opportunity to speak for themselves about issues that impact their communities and lives, and would allow KMEL to live up to its ‘People’s Station” claim.