The Soul Rebels with Special Guests Big Freedia & Macy Gray
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KOOL & the GANG, Jersey City, N.J. in 1964, Ronald Bell and Robert
KOOL & THE GANG, Jersey City, N.J. In 1964, Ronald Bell and Robert “Kool” Bell joined Jersey City neighborhood friends Robert “Spike” Mickens, Dennis “Dee Tee” Thomas, Ricky Westfield, George Brown, and Charles Smith to create the Kool & the Gang sound - a unique blend of jazz, soul and funk. Throughout the seventies this blend produced a string of hits including “Jungle Boogie”, “Hollywood Swinging”, “Funky Stuff’ and “Summer Madness”. In 1979 the group penetrated the pop market by incorporating the smooth sounds of vocalist James “JT” Taylor with their infectious formula for making hits. Casey Kasem named Kool & the Gang the band of the eighties noting the bands steady stream of hits during the decade. “Ladies Night”, “Get Down on It” “Joanna” and the theme song to parties worldwide, “Celebration”, solidified Kool & the Gang’s musical legacy. Today, the group enjoys global fame and recognition and a following that spans generations due in part to the groups widely sampled catalogue. Kool & the Gang’s drum beats, bass, guitar and signature horn lines lace the tracks of numerous artists including the Beastie Boys, Jay-Z, Madonna, Janet Jackson, Cypress Hill, and P. Diddy. Kool & the Gang is the most sampled band in hip-hop by far. Their music is also featured on the soundtracks for Rocky, Saturday Night Fever, Pulp Fiction, Wreck-lt Ralph and countless others. For fifty years, Kool & the Gang has continued to tour the world appearing with artists such as Kid Rock, Dave Matthews Band, Elton John, The Roots and a 50-city tour with Van Halen. -
Rap and Feng Shui: on Ass Politics, Cultural Studies, and the Timbaland Sound
Chapter 25 Rap and Feng Shui: On Ass Politics, Cultural Studies, and the Timbaland Sound Jason King ? (body and soul ± a beginning . Buttocks date from remotest antiquity. They appeared when men conceived the idea of standing up on their hind legs and remaining there ± a crucial moment in our evolution since the buttock muscles then underwent considerable development . At the same time their hands were freed and the engagement of the skull on the spinal column was modified, which allowed the brain to develop. Let us remember this interesting idea: man's buttocks were possibly, in some way, responsible for the early emergence of his brain. Jean-Luc Hennig the starting point for this essayis the black ass. (buttocks, behind, rump, arse, derriere ± what you will) like mymother would tell me ± get your black ass in here! The vulgar ass, the sanctified ass. The black ass ± whipped, chained, beaten, punished, set free. territorialized, stolen, sexualized, exercised. the ass ± a marker of racial identity, a stereotype, property, possession. pleasure/terror. liberation/ entrapment.1 the ass ± entrance, exit. revolving door. hottentot venus. abner louima. jiggly, scrawny. protrusion/orifice.2 penetrable/impenetrable. masculine/feminine. waste, shit, excess. the sublime, beautiful. round, circular, (w)hole. The ass (w)hole) ± wholeness, hol(e)y-ness. the seat of the soul. the funky black ass.3 the black ass (is a) (as a) drum. The ass is a highlycontested and deeplyambivalent site/sight . It maybe a nexus, even, for the unfolding of contemporaryculture and politics. It becomes useful to think about the ass in terms of metaphor ± the ass, and the asshole, as the ``dirty'' (open) secret, the entrance and the exit, the back door of cultural and sexual politics. -
Robert Glasper's In
’s ION T T R ESSION ER CLASS S T RO Wynton Marsalis Wayne Wallace Kirk Garrison TRANSCRIP MAS P Brass School » Orbert Davis’ Mission David Hazeltine BLINDFOLD TES » » T GLASPE R JAZZ WAKE-UP CALL JAZZ WAKE-UP ROBE SLAP £3.50 £3.50 U.K. T.COM A Wes Montgomery Christian McBride Wadada Leo Smith Wadada Montgomery Wes Christian McBride DOWNBE APRIL 2012 DOWNBEAT ROBERT GLASPER // WES MONTGOMERY // WADADA LEO SmITH // OrbERT DAVIS // BRASS SCHOOL APRIL 2012 APRIL 2012 VOLume 79 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed News Editor Hilary Brown Reviews Editor Aaron Cohen Contributing Editors Ed Enright Zach Phillips Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. -
Why Hip-Hop Is Queer: Using Queer Theory to Examine Identity Formation in Rap Music
Why Hip-Hop is Queer: Using Queer Theory to Examine Identity Formation in Rap Music Silvia Maria Galis-Menendez Advisor: Dr. Irene Mata Submitted in Partial Fulfillment of the Prerequisite for Honors in the Department of Women’s and Gender Studies May 2013 © Silvia Maria Galis-Menendez 2 Table of Contents Introduction 3 “These Are the Breaks:” Flow, Layering, Rupture, and the History of Hip-Hop 6 Hip-Hop Identity Interventions and My Project 12 “When Hip-Hop Lost Its Way, He Added a Fifth Element – Knowledge” 18 Chapter 1. “Baby I Ride with My Mic in My Bra:” Nicki Minaj, Azealia Banks and the Black Female Body as Resistance 23 “Super Bass:” Black Sexual Politics and Romantic Relationships in the Works of Nicki Minaj and Azealia Banks 28 “Hey, I’m the Liquorice Bitch:” Challenging Dominant Representations of the Black Female Body 39 Fierce: Affirmation and Appropriation of Queer Black and Latin@ Cultures 43 Chapter 2. “Vamo a Vence:” Las Krudas, Feminist Activism, and Hip-Hop Identities across Borders 50 El Hip-Hop Cubano 53 Las Krudas and Queer Cuban Feminist Activism 57 Chapter 3. Coming Out and Keepin’ It Real: Frank Ocean, Big Freedia, and Hip- Hop Performances 69 Big Freedia, Queen Diva: Twerking, Positionality, and Challenging the Gaze 79 Conclusion 88 Bibliography 95 3 Introduction In 1987 Onika Tanya Maraj immigrated to Queens, New York City from her native Trinidad and Tobago with her family. Maraj attended a performing arts high school in New York City and pursued an acting career. In addition to acting, Maraj had an interest in singing and rapping. -
Rhythm, Dance, and Resistance in the New Orleans Second Line
UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy. -
Jay Z Nas Live
Jay z nas live click here to download With JAY-Z and Beyoncé releasing their album a day after Nas' He likened his mind to a Lexus on “Can I Live” (“My mind is infested, with sick. Jay-Z and Nas united onstage at the Continental Airlines Arena, embracing each other and performing together. No, this was happening live. Nas hit the stage this past weekend at Coachella to perform 'Illmatic' - his seminal debut Nas Performs 'Illmatic' In Full & Rocks With Jay Z Live At Coachella. Let's backtrack to an earlier time when Jay Z and Nas vied for New York Recall that Jay likened his mind to a Lexus on "Can I Live" ("My mind. Nas is not salty Jay-Z and Beyonce dropped their joint album the day after his. Jay-Z and Beyonce dropping their surprise album the day after Nas released TMZ Live: A-Rod's Spousal & Child Support War With Ex-Wife. On this day, Oct. 27, in hip-hop history JAY-Z AND NAS REUNITED:LIVE. Subscribe to XXL on. It was one of the most famous feuds in. Shawn Corey Carter (born December 4, ) known professionally as Jay-Z ( stylized as . Nas responded with a diss track called "Ether" and Jay-Z straightaway added a The album's only single, "Numb/Encore", went on to win a Grammy for Best Rap/Sung Collaboration, and was performed with Linkin Park live at the. Many say Jay Z is the one of greatest rappers of all time. However, others say that Nas is one of the greatest rappers who ever lived. -
Interview by Olivia Jasmine Singer Photography by Ronald Dick
tameka norris Interview by Olivia Jasmine Singer Photography by Ronald Dick 24 tameka Norris is a New orleans-based artist livia Jasmine Singer: How did you get into making art? More in line with theirs because you are similar on that tangible who deals with complex issues of race, gender Otameka Norris: When I was a little girl I would dress up and pretend to level… be Cindy Lauper or Michael Jackson: I would take on characters and Exactly. But on the other hand, if I stand up for ‘my people’ – and they’re all and economic inequality in her multidisciplinary wanted to navigate space within them. My mum was a radio DJ, and she my people, everybody’s my people, both sides are my people – but if I stand work. With pieces ranging from collage relating was a single mother so I would sleep at the radio station with her. She’d do up for the black community, the organisations are like, “well, we didn’t invite her job playing urban contemporary music and I would go into the empty you here to do that, we want you to fulfill our quota but still play by our rules.” to a home destroyed by hurricane Katrina booth, put a spotlight on and perform. then, when I was in my early 20s at It’s really complicated and it’s hurtful to see the politics of what is expected to hip-hop video-art and Drake remixes, her community college in Los Angeles, a girl walked up to me and told me she of me because of the position that I’m in and the opportunities that I have, wanted to photograph me. -
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. -
Understanding Black Feminism Through the Lens of Beyoncé’S Pop Culture Performance Kathryn M
Seattle aP cific nivU ersity Digital Commons @ SPU Honors Projects University Scholars Spring June 7th, 2018 I Got Hot Sauce In My Bag: Understanding Black Feminism Through The Lens of Beyoncé’s Pop Culture Performance Kathryn M. Butterworth Follow this and additional works at: https://digitalcommons.spu.edu/honorsprojects Part of the Feminist, Gender, and Sexuality Studies Commons, and the Race, Ethnicity and Post- Colonial Studies Commons Recommended Citation Butterworth, Kathryn M., "I Got Hot Sauce In My Bag: Understanding Black Feminism Through The Lens of Beyoncé’s Pop Culture Performance" (2018). Honors Projects. 81. https://digitalcommons.spu.edu/honorsprojects/81 This Honors Project is brought to you for free and open access by the University Scholars at Digital Commons @ SPU. It has been accepted for inclusion in Honors Projects by an authorized administrator of Digital Commons @ SPU. I GOT HOT SAUCE IN MY BAG: UNDERSTANDING BLACK FEMINISM THROUGH THE LENS OF BEYONCÉ’S POP CULTURE PREFORMANCE by KATHRYN BUTTERWORTH FACULTY ADVISOR, YELENA BAILEY SECOND READER, CHRISTINE CHANEY A project submitted in partial fulfillment of the requirements of the University Scholars Program Seattle Pacific University 2018 Approved_________________________________ Date____________________________________ Abstract In this paper I argue that Beyoncé’s visual album, Lemonade, functions as a textual hybrid between poetry, surrealist aesthetics and popular culture—challenging the accepted understanding of cultural production within academia. Furthermore, Lemonade centers black life while presenting mainstream audiences with poetry and avant-garde imagery that challenge dominant views of black womanhood. Using theorists bell hooks, Stuart Hall, Patricia Hill- Collins and Audre Lorde, among others, I argue that Beyoncé’s work challenges the understanding of artistic production while simultaneously fitting within a long tradition of black feminist cultural production. -
The Sweet, Sweet Musical Styling of Waste
WASTE REPORT for August 24, 2015 The Sweet, Sweet Musical Styling of Waste From Duke Ellington to Tony Bennett, Jazz is a part of the American soul. One group taking the genre to new levels is the New Orleans based Soul Rebels. The Village Voice said of the group, “[t]he hip-hop-inflected eight-piece Soul Rebels are arguably the most dynamically au courant of the city's many fine brass bands.”1 Have not had a chance to take in one of their concerts? Well, you’ve paid for one of their concerts overseas. That’s right, earlier this summer, the Department of State spent nearly $50,000 of taxpayer money to, “…support the Soul Rebels to travel to Turkey 2 to give public performances as part of the 22nd Istanbul Jazz Festival” What is most surprising is that the Soul Rebels’ were already on a European tour, making taxpayer financing for the stop in Turkey unnecessary. In fact, after Turkey, the Rebels went on to make stops in Belgium, France, Ireland, Norway, and meet up with 3 Tony Bennett and Lady Gaga at the “North Sea Jazz Festival,” in the Netherlands. The group is hardly a fledgling act needing Uncle Sam’s help. Soul Rebels has put out six albums since 1999, including Power=Power (2013) where they incorporate their unique sound to popular songs by the likes of Bruno Mars and Nicki Minaj. That is not the only company they are keeping. They share a label with, Tom Jones, They Might Be Giants, 4 and Alison Krauss. -
Introduction
Introduction The New South is the epicenter of neoteric sex wars, technologies, and economies. Issues of reproductive freedom, criminalization of sexual practices, HIV/AIDS, partner rights and marriage equality, and transgender rights reveal how southern states have entered into another era of reconstruction centered on sexuality and gen- der. This New South strategizes sexual violence and terrorism into policies about education, immigration, wage labor, and eco- nomic development: not unlike the Old South’s previous era of crafting Black Codes and Jim Crow, it continues to depend upon anti-Blackness, sexual morality, and dehumanization of the poor for its growth and support. Yet, there is a great deal of resistance in the New South made evident by the strategies and missions of movements including SONG (Southerners on New Ground), Sis- terSong, Women with a Vision, BreakOUT!, Black Lives Matter chapters, Moral Mondays, and sanctuary movements. Thus, this book understands and reiterates that sexual resistance is already happening. It celebrates, examines, and highlights the various 1 2 / Introduction modes that resistance has taken and the possible future directions it may take. While persons living in southern states typically classified under the broad rubric of “the South” know that there is not one South but many, there are historical narratives that have ignored the development of multiple Souths. Recent developments in southern studies unravel essentialist ideas of “the South.” Some of the essentialisms being challenged include agrarianism, Christian-centricity, singular public/political identity linked with the Confederacy, racial binary of Black/white, and genteel men and women. In explaining their concerted scholarly effort to bring southern studies and global studies into conversation with each other, Deborah Cohn and Jon Smith state that ”con- structions of southern identity offered by white male southern- ers, from the Confederate flag to . -
Beyoncé's Lemonade Collaborator Melo-X Gives First Interview on Making of the Album.” Pitchfork, 25 Apr
FACULTADE DE FILOLOXÍA DEPARTAMENTO DE FILOLOXÍA INGLESA GRAO EN INGLÉS: ESTUDOS LINGÜÍSTICOS E LITERARIOS Beyoncé’s Lemonade: “A winner don’t quit” ANDREA PATIÑO DE ARTAZA TFG 2017 Vº Bº COORDINADORA MARÍA FRÍAS RUDOLPHI Table of Contents Abstract 1. Introduction 3 2. Methodology 4 3. Beyonce's Lemonade (2016) 5 3.1 Denial: “Hold Up” 6 3.2 Accountability: “Daddy Lessons” 12 3.3 Hope: “Freedom” 21 3.4 Formation 33 4. Conclusion 44 5. Works Cited 46 Appendix 49 Abstract Beyoncé’s latest album has become an instant social phenomenon worldwide. Given its innovative poetic, visual, musical and socio-politic impact, the famous and controversial African American singer has taken an untraveled road—both personal and professional. The purpose of this essay is to provide a close reading of the poetry, music, lyrics and visuals in four sections from Beyoncé’s critically acclaimed Lemonade (2016). To this end, I have chosen what I believe are the most representative sections of Lemonade together with their respective songs. Thus, I focus on the song “Hold Up” from Denial; “Daddy Lessons” from Accountability, “Freedom” from Hope, and “Formation,” where Beyoncé addresses topics such as infidelity, racism, women’s representation, and racism and inequality. I analyse these topics through a close-reading and interpretation of Warsan Shire’s poetry (a source of inspiration), as well as Beyoncé’s own music, lyrics, and imagery. From this analysis, it is safe to say that Lemonade is a relevant work of art that will perdure in time, since it highlights positive representations of African-Americans, at the same time Beyoncé critically denounces the current racial unrest lived in the USA.