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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. -
The Evolution of Commercial Rap Music Maurice L
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research. -
0 Musical Borrowing in Hip-Hop
MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. Williams, BA, MMus Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2009 0 Musical Borrowing in Hip-hop Music: Theoretical Frameworks and Case Studies Justin A. Williams ABSTRACT ‗Musical Borrowing in Hip-hop‘ begins with a crucial premise: the hip-hop world, as an imagined community, regards unconcealed intertextuality as integral to the production and reception of its artistic culture. In other words, borrowing, in its multidimensional forms and manifestations, is central to the aesthetics of hip-hop. This study of borrowing in hip-hop music, which transcends narrow discourses on ‗sampling‘ (digital sampling), illustrates the variety of ways that one can borrow from a source text or trope, and ways that audiences identify and respond to these practices. Another function of this thesis is to initiate a more nuanced discourse in hip-hop studies, to allow for the number of intertextual avenues travelled within hip-hop recordings, and to present academic frameworks with which to study them. The following five chapters provide case studies that prove that musical borrowing, part and parcel of hip-hop aesthetics, occurs on multiple planes and within myriad dimensions. These case studies include borrowing from the internal past of the genre (Ch. 1), the use of jazz and its reception as an ‗art music‘ within hip-hop (Ch. 2), borrowing and mixing intended for listening spaces such as the automobile (Ch. 3), sampling the voice of rap artists posthumously (Ch. 4), and sampling and borrowing as lineage within the gangsta rap subgenre (Ch. -
"Now I Ain't Sayin' She's a Gold Digger": African American Femininities in Rap Music Lyrics Jennifer M
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 "Now I Ain't Sayin' She's a Gold Digger": African American Femininities in Rap Music Lyrics Jennifer M. Pemberton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF SOCIAL SCIENCES “NOW I AIN’T SAYIN’ SHE’S A GOLD DIGGER”: AFRICAN AMERICAN FEMININITIES IN RAP MUSIC LYRICS By Jennifer M. Pemberton A Dissertation submitted to the Department of Sociology in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2008 The members of the Committee approve the dissertation of Jennifer M. Pemberton defended on March 18, 2008. ______________________________ Patricia Yancey Martin Professor Directing Dissertation ______________________________ Dennis Moore Outside Committee Member ______________________________ Jill Quadagno Committee Member ______________________________ Irene Padavic Committee Member Approved: ___________________________________ Irene Padavic, Chair, Department of Sociology ___________________________________ David Rasmussen, Dean, College of Social Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii For my mother, Debra Gore, whose tireless and often thankless dedication to the primary education of children who many in our society have already written off inspires me in ways that she will never know. Thank you for teaching me the importance of education, dedication, and compassion. For my father, Jeffrey Pemberton, whose long and difficult struggle with an unforgiving and cruel disease has helped me to overcome fear of uncertainty and pain. Thank you for instilling in me strength, courage, resilience, and fortitude. -
Journal of Hip Hop Studies
et al.: Journal of Hip Hop Studies Published by VCU Scholars Compass, 2014 1 Journal of Hip Hop Studies, Vol. 1 [2014], Iss. 1, Art. 1 Editor in Chief: Daniel White Hodge, North Park University Book Review Editor: Gabriel B. Tait, Arkansas State University Associate Editors: Cassandra Chaney, Louisiana State University Jeffrey L. Coleman, St. Mary’s College of Maryland Monica Miller, Lehigh University Editorial Board: Dr. Rachelle Ankney, North Park University Dr. Jason J. Campbell, Nova Southeastern University Dr. Jim Dekker, Cornerstone University Ms. Martha Diaz, New York University Mr. Earle Fisher, Rhodes College/Abyssinian Baptist Church, United States Dr. Daymond Glenn, Warner Pacific College Dr. Deshonna Collier-Goubil, Biola University Dr. Kamasi Hill, Interdenominational Theological Center Dr. Andre Johnson, Memphis Theological Seminary Dr. David Leonard, Washington State University Dr. Terry Lindsay, North Park University Ms. Velda Love, North Park University Dr. Anthony J. Nocella II, Hamline University Dr. Priya Parmar, SUNY Brooklyn, New York Dr. Soong-Chan Rah, North Park University Dr. Rupert Simms, North Park University Dr. Darron Smith, University of Tennessee Health Science Center Dr. Jules Thompson, University Minnesota, Twin Cities Dr. Mary Trujillo, North Park University Dr. Edgar Tyson, Fordham University Dr. Ebony A. Utley, California State University Long Beach, United States Dr. Don C. Sawyer III, Quinnipiac University Media & Print Manager: Travis Harris https://scholarscompass.vcu.edu/jhhs/vol1/iss1/1 2 et al.: Journal of Hip Hop Studies Sponsored By: North Park Universities Center for Youth Ministry Studies (http://www.northpark.edu/Centers/Center-for-Youth-Ministry-Studies) . FO I ITH M I ,I T R T IDIE .ORT ~ PAru<.UN~V RSllY Save The Kids Foundation (http://savethekidsgroup.org/) 511<, a f't.dly volunteer 3raSS-roots or3an:za6on rooted :n h;,P ho,P and transf'orMat:ve j us6c.e, advocates f'or alternat:ves to, and the end d, the :nc..arc.eration of' al I youth . -
Journal of the Society for American Music Eminem's “My Name
Journal of the Society for American Music http://journals.cambridge.org/SAM Additional services for Journal of the Society for American Music: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Eminem's “My Name Is”: Signifying Whiteness, Rearticulating Race LOREN KAJIKAWA Journal of the Society for American Music / Volume 3 / Issue 03 / August 2009, pp 341 - 363 DOI: 10.1017/S1752196309990459, Published online: 14 July 2009 Link to this article: http://journals.cambridge.org/abstract_S1752196309990459 How to cite this article: LOREN KAJIKAWA (2009). Eminem's “My Name Is”: Signifying Whiteness, Rearticulating Race. Journal of the Society for American Music, 3, pp 341-363 doi:10.1017/S1752196309990459 Request Permissions : Click here Downloaded from http://journals.cambridge.org/SAM, IP address: 140.233.51.181 on 06 Feb 2013 Journal of the Society for American Music (2009) Volume 3, Number 3, pp. 341–363. C 2009 The Society for American Music doi:10.1017/S1752196309990459 ⃝ Eminem’s “My Name Is”: Signifying Whiteness, Rearticulating Race LOREN KAJIKAWA Abstract Eminem’s emergence as one of the most popular rap stars of 2000 raised numerous questions about the evolving meaning of whiteness in U.S. society. Comparing The Slim Shady LP (1999) with his relatively unknown and commercially unsuccessful first album, Infinite (1996), reveals that instead of transcending racial boundaries as some critics have suggested, Eminem negotiated them in ways that made sense to his target audiences. In particular, Eminem’s influential single “My Name Is,” which helped launch his mainstream career, parodied various representations of whiteness to help counter charges that the white rapper lacked authenticity or was simply stealing black culture. -
Examining the Visibility of Black Women in Hip Hop an How It Reflects a Larger Understanding of Black Womanhood Danielle Wallace Columbia College Chicago
Columbia College Chicago Digital Commons @ Columbia College Chicago Cultural Studies Capstone Papers Thesis & Capstone Collection 5-12-2017 Where the Ladies At? Examining the Visibility of Black Women in Hip Hop an How It Reflects a Larger Understanding of Black Womanhood Danielle Wallace Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cultural_studies Part of the Critical and Cultural Studies Commons, Cultural History Commons, and the Race and Ethnicity Commons Recommended Citation Wallace, Danielle, "Where the Ladies At? Examining the Visibility of Black Women in Hip Hop an How It Reflects a Larger Understanding of Black Womanhood" (2017). Cultural Studies Capstone Papers. 22. https://digitalcommons.colum.edu/cultural_studies/22 This Capstone Thesis is brought to you for free and open access by the Thesis & Capstone Collection at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Cultural Studies Capstone Papers by an authorized administrator of Digital Commons @ Columbia College Chicago. Cultural Studies Program Humanities, History, and Social Sciences Columbia College Chicago Bachelor of Arts in Cultural Studies Thesis Approval Form Student Name: Danielle Wallace Thesis Title: Where the Ladies At? Examining the Visibility of Black Women in Hip Hop and How It Reflects a Larger Understaning of Black Womanhood Name Signature Date to&-to2--7 t Wlfl /ll ,fvJ 6µ¥Jr I I Program Director Danielle Wallace Draft 1 Throughout history, art has always been a reflection of the culture that it lives in. Whether it is music, dance, or literature, art has always been used to further understand the way in which a society operates. -
QM 110 AZ the Format LP
A1. I AM THE TRUTH (PROD. BY LIL FAME) A2. SIT 'EM BACK SLOW (FEAT. M.O.P.) (PROD. BY FACE DEFEAT & LIL FAME) A3. GET HIGH (PROD. BY EMILE) B1. MAKE ME! (PROD. BY EMILE) B2. RISE & FALL (FEAT. LITTLE BROTHER) (PROD. BY J. CARDIM & PHONTE COLEMAN) B3. ANIMAL (PROD. BY STATIK SELEKTAH) C1. DOING THAT (PROD. LIL FAME) • C2. THIS WHAT I DO (PROD. BY J. CARDIM) C3. THE FORMAT (PROD. BY DJ PREMIER) D1. VENDETTA (PROD. BY J. CARDIM) • D2. GAME OF LIFE (PROD. BY EMILE) D3. ROYAL SALUTE (PROD. BY EMILE) (BONUS TRACK) After beginning his career by debuting on Nas’ track Life’s A Bitch, AZ released classic albums such as 1995’s Doe or Die, 1998’s Pieces Of A Man, 2001’s 9 Lives and 2002‘s Aziatic. AZ was also a member of rap super group The Firm with Nas, Foxy Brown and Nature and has recorded with some of Hip-Hop’s greatest producers such as Dr. Dre, DJ Premier, Trackmasters, Buckwild and Pete Rock. Following the success of his 2005 release A.W.O.L., AZ struck again a mere year later with a new studio release, The Format, released AZ’s own label, Quiet Money. After a decade in the game, A.W.O.L. brought AZ back to the forefront and among his rightful place as one of Hip Hop’s most elite visceral lyricists; and The Format only solidified his already legendary status. AZ’s vision and lyrical power-to-paint pictures have long been celebrated by critics and fans alike. -
The Effects of Hip-Hop and Rap on Young Women in Academia
The Effects of Hip-Hop and Rap on Young Women in Academia by Sandra C Zichermann A thesis submitted in conformity with the requirements for the degree of Doctor of Education Sociology in Education Ontario Institute for Studies in Education University of Toronto © Copyright by Sandra C Zichermann 2013 The Effects of Hip-Hop and Rap on Young Women in Academia Sandra C Zichermann Doctor of Education Sociology in Education University of Toronto 2013 Abstract This thesis investigates the rise of the cultures and music of hip-hop and rap in the West and its effects on its female listeners and fans, especially those in academia. The thesis consists of two parts. First I conducted a content analysis of 95 lyrics from the book, Hip-Hop & Rap: Complete Lyrics for 175 Songs (Spence, 2003). The songs I analyzed were performed by male artists whose lyrics repeated misogynist and sexist messages. Second, I conducted a focus group with young female university students who self-identify as fans of hip-hop and/or rap music. In consultation with my former thesis supervisor, I selected women enrolled in interdisciplinary programmes focused on gender and race because they are equipped with an academic understanding of the potential damage or negative effects of anti-female or negative political messaging in popular music. My study suggests that the impact of hip-hop and rap music on young women is both positive and negative, creating an overarching feeling of complexity for some young female listeners who enjoy music that is infused with some lyrical messages they revile. -
Nas Song Writting a Letter to His Friendin Jail
Nas Song Writting A Letter To His Friendin Jail Intern Claudio sometimes transfigure any smasher rases edifyingly. Is Gunter always unconstrainable and Brahmanical when expertizing some bannerol very deservedly and jollily? Bjorne remains reciprocative: she stage-managing her friendly gentles too epidemically? Structured as letters to a friend from prison Nas bridges the crank between senseless. Hill bought it for 30 and spent three month so what became pretty Town Road Wanting an anthemic song with viral appeal he crafted lyrics built. And garden news outlets, lack of this would keep the areas of independent voice, every lie here to a nas to his jail time or feather? Moses References in Rap Songs Ranked Alma Hey Alma. On fortune Love he updated the verb a bit ad-libbing We used to write letters to. Kane Brown was inspired to write Homesick while telling his. Redbone do have good then later friend into her Lil Wayne. To the 1994 hit a World is Yours by Nas and couldn't remember all love lyrics Sean. Songs featuring 2pac Lake County Fish & Game. In an era when a majority of hip-hop pain is working more than. How Prodigy Told His Life access The Ringer. As someone that's always on the fortunate of breaking out each song. 195 cuts scenes of its protagonist joining his friends in boys-will-be-boys. Through his lyrical prowess and social awareness his first flow that a magnificent piece for beats he's crafted some add the greatest songs of all time dimension as. With Nas about dad he wrote the advice and during violent lyrics in general own death might. -
The Catholic Charismatic Movement in Global Pentecostalism
religions Article The Catholic Charismatic Movement in Global Pentecostalism Enzo Pace Galilean School of Higher Education, University of Padua, Via Cesarotti 12, 35123 Padova, Italy; [email protected] Received: 8 May 2020; Accepted: 7 July 2020; Published: 13 July 2020 Abstract: This article deals with Catholic Charismatics in Italy. The brief description of the case study gives a chance to make some more general comments on what is happening under the sacred canopy of Global Catholicism where the Spirit blows, and furthermore in relation with so-called Global Pentecostalism. In other words, my working hypothesis includes the following statements: (a) Catholic Pentecostalism constitutes a variant of a more global phenomenon, which seems to challenge the organizational model of historic Christian churches. (b) The study of the Italian case is interesting because its story shows the extent to which Pentecostalism questions the Roman form of Catholicism. Elsewhere in the world, the development of the phenomenon has not encountered the same difficulties as it did in Italy. Indeed, in some cases (Brazil and the Philippines), it has been supported and accepted as a sign of new religious vitality. From this point of view, Rome is relatively far away. The Roman–Tridentine model governed by the clergy resists in Italy, while it appears weaker where the Spirit blows wherever it wants. The Charismatic movement was gradually brought back to the bed of ecclesial orthodoxy after a long persuasive work carried out by bishops and theologians towards the leaders of the movement itself. However, despite this ecclesification/clericalization process, the charismatic tension remains, and the expectation for a pneumatic church constitutes an implicit form of criticism of the Roman form of Catholicism. -
Nas 1 for Other Uses, See Nas (Disambiguation). Nasir Bin Olu Dara Jones (/Nɑːˈsɪər/; Born September 14, 1973), Better Know
Nas 1 Nas For other uses, see Nas (disambiguation). Nas Nas performing in Paris, France, July 2014 Background information Birth name Nasir bin Olu Dara Jones Also known as Nasty Nas Escobar Born September 14, 1973 Crown Heights, Brooklyn, New York, U.S. Origin Queensbridge, Queens, New York, U.S. Genres Hip hop Occupations Rapper, actor Instruments Vocals, sampler Years active 1991–present Labels The Jones Experience, Def Jam (current) Columbia, Ill Will Records (former) Associated acts 3rd Bass, AZ, Bravehearts, Damian Marley, The Firm, Kelis, Mobb Deep [1] Website Nasir Jones Nasir bin Olu Dara Jones (/nɑːˈsɪər/; born September 14, 1973), better known as Nas /ˈnɑːz/, is an American rapper, songwriter and actor. He is the son of jazz musician Olu Dara. Since 1994, Nas has released eight consecutive platinum and multi-platinum albums and sold over 25 million records worldwide. Aside from rapping and acting, Nas is an entrepreneur through his own record label, retail sneaker store, and magazine publishing. He serves as Mass Appeal Magazine's associate publisher as well as an owner of a Fila sneaker store. He is currently signed to Def Jam Recordings. His musical career began in 1991 when he was featured on Main Source's track "Live at the Barbeque". His debut album Illmatic, released in 1994, received universal acclaim from both critics and the hip hop community. It is frequently ranked as one of the greatest hip hop albums of all time. His follow-up album It Was Written debuted at number 1 on the Billboard Charts, stayed on top for four consecutive weeks, went platinum twice in only two Nas 2 months, and made Nas internationally known.[2][3] From 2001 to 2005, Nas was involved in a highly publicized feud with rapper Jay-Z.