DOCSLIB.ORG

Univerza V Mariboru Filozofska Fakulteta Oddelek Za Anglistiko in Amerikanistiko

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Univerza V Mariboru Filozofska Fakulteta Oddelek Za Anglistiko in Amerikanistiko Univerza v Mariboru Filozofska Fakulteta Oddelek za anglistiko in amerikanistiko MAGISTRSKO DELO Jožef Kolarič Maribor 2017 University of Maribor Faculty of Arts Department of English and American Studies Master Thesis: Intertextuality of Literature in Billy Woods’s Lyrics Mentor: Professor Victor Kennedy Co-Mentor: Assistant Professor Dr. Janko Trupej Jožef Kolarič Maribor 2017 Acknowledgments: I would like to thank my mentors for their open-mindedness regarding the selection of the topic of the thesis. Thank you, Professor Victor Kennedy, for all the support and encouragement you gave me throughout the years of my studying, in my progression as a writer, intellectual development and the creation of this thesis, and thank you, Assistant Professor Janko Trupej for all the feedback and support in the writing of this thesis. I would like thank Billy Woods for his time, help, permission to use the song lyrics and willingness to give me insight into his writing. This thesis would not be the same without his cooperation. I would like to thank my family for supporting my studies. Disclaimer: All Billy Woods’s lyrics are used with the artist’s permission granted via email. Abstract The thesis analyses how literature has been integrated into rap lyrics. It looks at how allusion and intertextuality are the main stylistic techniques to integrate literature into rap lyrics. The thesis is divided into two parts: the theoretical and empirical. The theoretical part explains the concept of genre, allusion, text and intertextuality. The second part of the theoretical part analyses post-colonialism and its four main concepts: imperialism, colonialism, post-colonialism and neo-colonialism. It contextualizes how the development of rap music as a genre evolved from the African-American experience in the United States and is directly connected to race relations, the Civil Rights Movement and slavery in the United States. The early development of rap music is explained in the historical context and the most common speech figures in rap are elaborated upon. The empirical part makes a historical overview of the integration of literature into rap music and analyses Billy Woods’s lyrics. The lyrics are analysed from three perspectives. The first two being how intertextuality is used to portray race relations, post-colonialism and to give the text an additional layer of interpretation. The third aspect addresses how the writing of Daniil Kharms and Flannery O’Connor has been adapted into a rap form by Billy Woods. The last part of the thesis deals with how specific writers have influenced individual rappers. The appendix includes a conversation conducted with Billy Woods for this thesis. Key words: Billy Woods, allusion, intertextuality, rap, hip-hop, post-colonialism, race relations, Daniil Kharms, Flannery O’Connor Povzetek: Magistrsko delo preučuje, na kakšen način je literatura vpeljana v rap besedila, kako sta intertekstualnost in aluzija glavni stilistični tehniki integracije literature v rap besedila. Magistrsko delo je razdeljeno na teoretični in empirični del. Prvi del teoretičnega dela razloži sledeče koncepte: žanr, aluzija, tekst in intertekstualnost. V drugem delu teoretičnega je predstavljen postkolonializem v povezavi s štirimi glavnimi koncepti: imperializem, kolonializem, postkolonializem in neokolonializem. Rap kot žanr je postavljen v kontekst povezave z afro-ameriško izkušnjo v Združenih državah Amerike in je neposredno povezan z odnosi med rasami, gibanjem za državljanske pravice in suženjstvom. Zgodnji razvoj rapa je postavljen v zgodovinski kontekst, predstavljene so najpogostejše retorične figure. Empirični del magistrskega dela prinaša zgodovinski pregled integracije literature v rap in analizo besedil Billya Woodsa. Besedila so preučena s treh vidikov. Prva dva se nanašata na intertekstualnost, uporabljeno za prikaz odnosov med rasami, in postkolonializem v besedilih Billya Woodsa. Tretji vidik se nanaša na prilagoditev sloga pisanja Danilla Kharmsa in Flannery O'Connor, prilagojenega rapu v besedilih Billya Woodsa. Zadnji del magistrskega dela se nanaša na vpliv pisateljev na določene raperje. Dodatek magistrskega dela vsebuje pogovor z Billyem Woodsom, izveden za dotično magistrsko delo. Ključne besede: Billy Woods, aluzija, intertekstualnost, rap, hip hop, postkolonializem, razmerja med rasami, Daniil Kharms, Flannery O'Connor Contents 1. Introduction ......................................................................................................................................... 1 2. Theoretical Part ................................................................................................................................... 3 2.1. Genre ............................................................................................................................................ 3 2.2. Allusion ........................................................................................................................................ 3 2.3. Text ............................................................................................................................................... 4 2.4. Intertextuality ............................................................................................................................... 5 2.5. Post-Colonialism .......................................................................................................................... 9 2.6. Race Relations in the United States ............................................................................................ 12 2.7. Early Development of Hip Hop Music ....................................................................................... 14 2.8. Structure and Figures of Speech in Rap ..................................................................................... 15 3. Empirical Part .................................................................................................................................... 16 3.1. Historical Overview of Literature in Rap ....................................................................................... 16 3.1.1. 1980s – General Concepts, Allusions and Intertextuality ....................................................... 16 3.1.2. 1990s - Continuation of Literary Allusions and Intertextuality.............................................. 18 3.1.3. 2000s – Diversification of Allusions and Intertextuality ......................................................... 21 3.1.4. 2010s – Expansion of Allusions and Adaption of Books into Rap Records ........................... 22 3.2. Analysis of Billy Woods’s Lyrics .................................................................................................. 23 3.3. Race Relations ................................................................................................................................ 23 3.3.1. Tinseltown ............................................................................................................................... 25 3.3.2. Lucre ........................................................................................................................................ 28 3.4. Post-Colonialism ............................................................................................................................ 30 3.4.1. Black Ark ................................................................................................................................ 30 3.4.2. Cuito Cuanavale ...................................................................................................................... 32 3.5. Adaptation of Writing of Daniil Kharms and Flannery O’Connor ................................................ 41 3.5.1. Zulu Tolstoy ............................................................................................................................ 43 3.5.2. Dreams Come True ................................................................................................................. 43 3.5.3. Borrowed Time ........................................................................................................................ 44 3.5.4. Scales ....................................................................................................................................... 44 3.6. Rappers as Writers .......................................................................................................................... 46 4. Conclusion ......................................................................................................................................... 49 5. Bibliography ...................................................................................................................................... 52 5.1. Discography................................................................................................................................ 52 5.2. Filmography ............................................................................................................................... 53 5.3. Literature .................................................................................................................................... 54 6. Appendix ........................................................................................................................................... 63 6.1. Conversation with Billy Woods ................................................................................................. 63 1.
Load more

Recommended publications
  • Is Hip Hop Dead?
    IS HIP HOP DEAD? IS HIP HOP DEAD? THE PAST,PRESENT, AND FUTURE OF AMERICA’S MOST WANTED MUSIC Mickey Hess Library of Congress Cataloging-in-Publication Data Hess, Mickey, 1975- Is hip hop dead? : the past, present, and future of America’s most wanted music / Mickey Hess. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-275-99461-7 (alk. paper) 1. Rap (Music)—History and criticism. I. Title. ML3531H47 2007 782.421649—dc22 2007020658 British Library Cataloguing in Publication Data is available. Copyright C 2007 by Mickey Hess All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2007020658 ISBN-13: 978-0-275-99461-7 ISBN-10: 0-275-99461-9 First published in 2007 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 CONTENTS ACKNOWLEDGMENTS vii INTRODUCTION 1 1THE RAP CAREER 13 2THE RAP LIFE 43 3THE RAP PERSONA 69 4SAMPLING AND STEALING 89 5WHITE RAPPERS 109 6HIP HOP,WHITENESS, AND PARODY 135 CONCLUSION 159 NOTES 167 BIBLIOGRAPHY 179 INDEX 187 ACKNOWLEDGMENTS The support of a Rider University Summer Fellowship helped me com- plete this book. I want to thank my colleagues in the Rider University English Department for their support of my work.
    [Show full text]
  • NYC Hip-Hop Artist LIFE Long Releases New Album
    NYC Hip-Hop Artist LIFE Long Releases New Album Written by Robert ID2554 Monday, 24 April 2006 01:33 - Legendary NYC Hip-Hop underground rap artist L.I.F.E. Long releases “Cuts and Collabos Part 2” April 25th Raptivism Records with major distribution from Ryko Distribution. L.I.F.E. Long who hails from NYC has been on the independent hip hop scene for over a decade. He has worked with some of the best underground hip-hop and rap artists including, Pharoah Monch, Immortal Technique, Oktober Zero and Zion I. L.I.F.E. Long is member of the mighty Stronghold Crew (consisting of Breezevahflowing, Poison Pen, Stelf Index, C-Rayz Walz, Big Mike The Terror, Swave Sevah, Immortal Technique, D.J.Static) and hails from NYC, the birth place of hip-hop. He has been on the independent hip-hop scene for over a decade bringing you that raw hip hop. L.I.F.E. Long has appeared on several projects including Scienz of Life's "Coming Forth By Day” album on the cut "Ghettos to Galaxies", on the "No More Prison's" album on the cut "Outta Site" featuring Apani, Anti-Pop Consortium's "Tragic Epilogue" album on the cut "What Am I" featuring Pharohe Monche, The Writers Guild album (one half of writers guild alongside partner Loer Velocity), Canibol Ox's "The Cold Vein" on the cut "Battle for Asghad" featuring Canibol Ox and C-Rayz Walz, “The Bedford Files Compilation" on the cut "Inner City Hustle” with Aesop Rock and "Communification" featuring Zion I and Breez Evahflowing, DJ.S.1 and Dub L's Ground Original L.P.
    [Show full text]
  • VAGRANT RECORDS the Lndie to Watch
    VAGRANT RECORDS The lndie To Watch ,Get Up Kids Rocket From The Crypt Alkaline Trio Face To Face RPM The Detroit Music Fest Report 130.0******ALL FOR ADC 90198 LOUD ROCK Frederick Gier KUOR -REDLANDS Talkin' Dirty With Matt Zane No Motiv 5319 Honda Ave. Unit G Atascadero, CA 93422 HIP-HOP Two Decades of Tommy Boy WEEZER HOLDS DOWN el, RADIOHEAD DOMINATES TOP ADDS AIR TAKES CORE "Tommy's one of the most creative and versatile multi-instrumentalists of our generation." _BEN HARPER HINTO THE "Geggy Tah has a sleek, pointy groove, hitching the melody to one's psyche with the keen handiness of a hat pin." _BILLBOARD AT RADIO NOW RADIO: TYSON HALLER RETAIL: ON FEDDOR BILLY ZARRO 212-253-3154 310-288-2711 201-801-9267 www.virginrecords.com [email protected] [email protected] [email protected] 2001 VIrg. Records Amence. Inc. FEATURING "LAPDFINCE" PARENTAL ADVISORY IN SEARCH OF... EXPLICIT CONTENT %sr* Jeitetyr Co owe Eve« uuwEL. oles 6/18/2001 Issue 719 • Vol 68 • No 1 FEATURES 8 Vagrant Records: become one of the preeminent punk labels The Little Inclie That Could of the new decade. But thanks to a new dis- Boasting a roster that includes the likes of tribution deal with TVT, the label's sales are the Get Up Kids, Alkaline Trio and Rocket proving it to be the indie, punk or otherwise, From The Crypt, Vagrant Records has to watch in 2001. DEPARTMENTS 4 Essential 24 New World Our picks for the best new music of the week: An obit on Cameroonian music legend Mystic, Clem Snide, Destroyer, and Even Francis Bebay, the return of the Free Reed Johansen.
    [Show full text]
  • Das Große Alan-Bangs-Nachtsession -Archiv Der
    Das große Alan-Bangs-Nachtsession1-Archiv der FoA Alan Bangs hatte beim Bayerischen Rundfunk seit Februar 2000 einen besonderen Sendeplatz, an dem er eine zweistündige Sendung moderieren konnte: „Durch die Initiative von Walter Meier wurde Alan ständiger Gast DJ in den Nachtsession‘s, welche jeweils in der Nacht vom Freitag zum Samstag auf Bayern2 ausgestrahlt werden. Seine 1.Nachtsession war am 18.02.2000 und seit dieser ist er jeweils 3 bis 4mal pro Jahr zu hören – die letzte Sendung wurde am 1.12.2012 ausgestrahlt. Im Jahr 2001 gab es keine Nachtsession, 2002 und 2003 jeweils nur eine Sendung.“ (Zitat aus dem bearbeiteten Alan-Bangs-Wiki auf http://www.friendsofalan.de/alans-wiki/ Ab 2004 gab es dann bis zu vier Sendungen im Jahr, die letzte Sendung war am 1.12. 2010. Alan Bangs‘ Nachtsession- Sendungen wurden zeitweise mit Titeln oder Themen versehen, die auf der Webseite bei Bayern 2 erschienen. Dazu gab es teilweise einleitende Texte zusätzlich zu den Playlisten dieser Sendungen. Soweit diese (noch) recherchierbar waren, sind sie in dieses Archiv eingepflegt. Credits: Zusammengestellt durch FriendsofAlan (FoA) unter Auswertung von Internet- Quellen insbes. den auf den (vorübergehend) öffentlich zugänglichen Webseiten von Bayern 2 (s. die aktuelle Entwicklung dort im folgenden Kasten ) IN MEMORIUM AUCH DIESES SENDEFORMATS Nachtsession Der Letzte macht das Licht aus Nacht auf Donnerstag, 07.01.2016 - 00:05 bis 02:00 Uhr Bayern 2 Der Letzte macht das Licht aus Die finale Nachtsession mit den Pop-Toten von 2015 Mit Karl Bruckmaier Alle Jahre wieder kommt der Sensenmann - und heuer haut er die Sendereihe Nachtsession gleich mit um.
    [Show full text]
  • Hip Hop As English Curriculum A
    BETWEEN THE LINES: HIP HOP AS ENGLISH CURRICULUM A THESIS Presented to the University Honors Program California State University, Long Beach In Partial Fulfillment Of the Requirements for the University Honors Program Certificate William Godbey Spring 2018 1 2 Acknowledgements This thesis would not have been possible without the help and guidance of my advisor, Professor David Hernandez. This was a somewhat unorthodox topic, yet he not only took it in stride, he believed in my ability to continue the conversation on this topic in a new and insightful way. I owe him great thanks for this. I would also like to thank my family for their never-ending support and love not only through this process, but through the entirety of my college experience. Especially to my mother, who was always a phone call away if I ever needed assistance or to touch base back home. I owe you all so much for your encouragement and belief in me. and to Breanika Schwenkler, for always having my back. 3 ABSTRACT Between the Lines: Hip Hop as English Curriculum By William Godbey Spring 2018 This thesis examines the effectiveness of introducing hip hop into English curriculum at a high school level. To showcase this, this thesis presents a framework, broken up into three sections, that highlight the ways hip hop lyrics can be used to teach a variety of different literary devices, historical contexts, and how to analyze a text beyond its surface value. The three sections include Simple Literary Devices, Complex Literary Devices, and Contexts. Each section is demonstrated with a unique song and artists, to show how this framework could function as well as the versatility of talent in hip hop.
    [Show full text]
  • Bard Digital Commons
    Bard No Longer Home to Grocery Store Planned for Kline Princeton's "Reefer Madness" "Green Onion" to offer produce, dairy, dry goods. byjoumaine Williams I bypamie Newman I THERE HAVE ALWAYS BEEN ~ AMIDST A FIRESTORM of controversy at in disgust, have become (sadly enough) The discussions at Bard about stu­ to The Princeton Review in New York City, a definitive force in college selection in Green Onion will iil dents needing more dining also sell some a. Bard was removed from their esteemed an era of ultra-convenience. The book Cl> choices on campus. Over the ::J •reefer madness· list, one of 63 top 20 sells more than a million copies each things that have last couple semesters we have r lists created yearly for the 345 Best year. Robert Franek, Editorial Director at been on stu­ QI increased the amount of Bard dents' wish lists 3 Colleges book. Despite any attempts The Princeton Review explained in a · 0- Bucks that students received from the student body to r:iaintain our press release, ·we compile ranking lists for the cafeteria and gotten rid of the policy in Kline. These place among the likes of such Elite in many categories, not-just-0ne based that all on-campus students things include institutions as Skidmore and UVM, Bard on what students at the schools tell us have to be on a mandatory 19 has yet again fallen short in another about their campus experiences. We do Cap'n Crunch meal plan. With the comple­ cereal and a area of collegiate life that it was once this to help applicants and their families tion of the Village Dorm suites, dominant.
    [Show full text]
  • Music 10378 Songs, 32.6 Days, 109.89 GB
    Page 1 of 297 Music 10378 songs, 32.6 days, 109.89 GB Name Time Album Artist 1 Ma voie lactée 3:12 À ta merci Fishbach 2 Y crois-tu 3:59 À ta merci Fishbach 3 Éternité 3:01 À ta merci Fishbach 4 Un beau langage 3:45 À ta merci Fishbach 5 Un autre que moi 3:04 À ta merci Fishbach 6 Feu 3:36 À ta merci Fishbach 7 On me dit tu 3:40 À ta merci Fishbach 8 Invisible désintégration de l'univers 3:50 À ta merci Fishbach 9 Le château 3:48 À ta merci Fishbach 10 Mortel 3:57 À ta merci Fishbach 11 Le meilleur de la fête 3:33 À ta merci Fishbach 12 À ta merci 2:48 À ta merci Fishbach 13 ’¡¡ÒàËÇèÒ 3:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 14 ’¡¢ÁÔé’ 2:29 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 15 ’¡à¢Ò 1:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 16 ¢’ÁàªÕ§ÁÒ 1:36 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 17 à¨éÒ’¡¢Ø’·Í§ 2:07 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 18 ’¡àÍÕé§ 2:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 19 ’¡¡ÒàËÇèÒ 4:00 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 20 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:49 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 21 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 22 ¡ÅèÍÁÅÙ¡â€ÃÒª 1:58 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 23 ¡ÅèÍÁÅÙ¡ÅéÒ’’Ò 2:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 24 Ë’èÍäÁé 3:21 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 25 ÅÙ¡’éÍÂã’ÍÙè 3:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 26 ’¡¡ÒàËÇèÒ 2:10 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 27 ÃÒËÙ≤˨ђ·Ãì 5:24 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’…
    [Show full text]
  • June-Oct 2021
    JUNE-OCT FREE & BENEFIT 2021 PERFORMANCES SUMMERSTAGE.ORG SUMMERSTAGE NYCSUMMERSTAGE SUMMERSTAGENYC SUMMERSTAGE IS BACK More than a year after the first lockdown order, SummerStage is back, ready to once again use our city’s parks as gathering spaces to bring diverse and thriving communities together to find common ground through world-class arts and culture. We are committed to presenting a festival fully representing the city we serve - a roster of diverse artists, focused on gender equity and presenting distinct New York genres. This year, more than ever before, our festival will focus on renewal and resilience, reflective of our city and its continued evolution, featuring artists that are NYC-born, based, or inextricably linked to the city itself. Performers like SummerStage veteran Patti Smith, an icon of the city’s resilient rebelliousness, Brooklyn’s Antibalas, who have married afrobeat with New York City’s Latin soul, and hip hop duo Armand Hammer, two of today’s most important leaders of New York’s rap underground. And, as a perfect symbol of rebirth, Sun Ra’s Arkestra returns to our stage in this year of reopening, 35 years after they performed our very first concert, bringing their ethereal afro-futurist cosmic jazz vibes back to remind us of our ongoing mission and purpose. Our festival art this year also reflects our outlook -- bold, bright, powerful -- and was created by New Yorker Lyne Lucien, an award-winning Haitian artist based in Brooklyn. Lucien is an American Illustration Award Winner and a finalist for the Artbridge - Not a Monolith Residency. She has worked as a photo editor and art director at various publications including New York Magazine, The Daily Beast and Architectural Digest.
    [Show full text]
  • Mf Doom Unexpected Guests Zip
    1 / 4 Mf Doom Unexpected Guests Zip ... doom albums ranked|mf doom all caps lyrics|mf doom album zip|mf ... unexpected guests vinyl|mf doom .... DOOMs Discography mfdoom Reddit. This track guests Ghostface Killah, who has great synergy with MF DOOM. GHOSTFACE on DrLyrics .... ... followed up by a record as unruly, uncompromising, and unexpected as Cosmogramma. ... Both records zip past you like lightspeed hallucinations, all radiantly blurred and ... using larger budgets and high-profile special guests to take his music to the next level. ... MF DOOM – “Lunch Break” (Prod. Flying .... I've fallen from King Geedorah is without doubt my favorite MF Doom alter ego. ... Here you can download free take me to your leader king geedorah zip shared files ... Jun 17, 2003 · The featured guests (Kurious, Scienz of Life, Grimm, Rodan, ... Jan 02, 2021 · With MF Doom's unexpected passing, I wanted to go back to the .... Free 2-day shipping. Buy MF Doom - Unexpected Guests - Vinyl at Walmart.com.. [SHARE] MF DOOM Discography [FLAC] [6.33GB] · Studio albums -. DOOM - BORN LIKE THIS (2009). King Geedorah - Take Me To Your Leader (2003).. DOOM felt more involved in underground hip-hop than ever before and with this ... it became clear to already hip hop veterans Madlib and MF DOOM that the next ... Of course, Elucid also guests on a couple of tracks here, alongside Navy Blue, ... enough to throw something so unexpected at the listener with no preamble. Jan 3, 2021 (No Guests): MF DOOM TRIBUTE. Dec 27 ... Estee Nack “Unexpected Come Ups” (Giallo Point Remix); Aliano “Maintain” (prod. by Sample Kubrick) ...
    [Show full text]
  • Sample Some of This
    Sample Some Of This, Sample Some Of That (169) ✔ KEELY SMITH / I Wish You Love [Capitol (LP)] JEHST / Bluebells [Low Life (EP)] RAMSEY LEWIS TRIO / Concierto De Aranjuez [Cadet (LP)] THE COUP / The Liberation Of Lonzo Williams [Wild Pitch (12")] EYEDEA & ABILITIES / E&A Day [Epitaph (LP)] CEE-KNOWLEDGE f/ Sun Ra's Arkestra / Space Is The Place [Counterflow (12")] JOHN DANKWORTH & HIS ORCHESTRA / Bernie's Tune ("Off Duty", O.S.T.) [Fontana (LP)] COMMON & MARK THE 45 KING / Car Horn (Madlib remix) [Madlib (LP)] GANG STARR / All For Da Ca$h [Cooltempo/Noo Trybe (LP)] JOHN DANKWORTH & HIS ORCHESTRA / Theme From "Return From The Ashes", O.S.T. [RCA (LP)] 7 NOTAS 7 COLORES / Este Es Un Trabajo Para Mis… [La Madre (LP)] QUASIMOTO / Astronaut [Antidote (12")] DJ ROB SWIFT / The Age Of Television [Om (LP)] JOHN DANKWORTH & HIS ORCHESTRA / Look Stranger (From BBC-TV Series) [RCA (LP)] THE LARGE PROFESSOR & PETE ROCK / The Rap World [Big Beat/Atlantic (LP)] JOHN DANKWORTH & HIS ORCHESTRA / Two-Piece Flower [Montana (LP)] GANG STARR f/ Inspectah Deck / Above The Clouds [Noo Trybe (LP)] Sample Some Of This, Sample Some Of That (168) ✔ GABOR SZABO / Ziggidy Zag [Salvation (LP)] MAKEBA MOONCYCLE / Judgement Day [B.U.K.A. (12")] GABOR SZABO / The Look Of Love [Buddah (LP)] DIAMOND D & SADAT X f/ C-Low, Severe & K-Terrible / Feel It [H.O.L.A. (12")] GABOR SZABO / Love Theme From "Spartacus" [Blue Thumb (LP)] BLACK STAR f/ Weldon Irvine / Astronomy (8th Light) [Rawkus (LP)] GABOR SZABO / Sombrero Man [Blue Thumb (LP)] ACEYALONE / The Hunt [Project Blowed (LP)] GABOR SZABO / Gloomy Day [Mercury (LP)] HEADNODIC f/ The Procussions / The Drive [Tres (12")] GABOR SZABO / The Biz [Orpheum Musicwerks (LP)] GHETTO PHILHARMONIC / Something 2 Funk About [Tuff City (LP)] GABOR SZABO / Macho [Salvation (LP)] B.A.
    [Show full text]
  • Audio Mastering for Stereo & Surround
    AUDIO MASTERING FOR STEREO & SURROUND 740 BROADWAY SUITE 605 NEW YORK NY 10003 www.thelodge.com t212.353.3895 f212.353.2575 EMILY LAZAR, CHIEF MASTERING ENGINEER EMILY LAZAR CHIEF MASTERING ENGINEER Emily Lazar, Grammy-nominated Chief Mastering Engineer at The Lodge, recognizes the integral role mastering plays in the creative musical process. Combining a decisive old-school style and sensibility with an intuitive and youthful knowledge of music and technology, Emily and her team capture the magic that can only be created in the right studio by the right people. Founded by Emily in 1997, The Lodge is located in the heart of New York City’s Greenwich Village. Equipped with state-of-the art mastering, DVD authoring, surround sound, and specialized recording studios, The Lodge utilizes cutting-edge technologies and attracts both the industry’s most renowned artists and prominent newcomers. From its unique collection of outboard equipment to its sophisticated high-density digital audio workstations, The Lodge is furnished with specially handpicked pieces that lure both analog aficionados and digital audio- philes alike. Moreover, The Lodge is one of the few studios in the New York Metropolitan area with an in-house Ampex ATR-102 one-inch two-track tape machine for master playback, transfer and archival purposes. As Chief Mastering Engineer, Emily’s passion for integrating music with technology has been the driving force behind her success, enabling her to create some of the most distinctive sounding albums released in recent years. Her particular attention to detail and demand for artistic integrity is evident through her extensive body of work that spans genres and musical styles, and has made her a trailblazer in an industry notably lack- ing female representation.
    [Show full text]
  • Hip Hop Time Line 1973 – Kool Herc Deejays His First Party in the Bronx
    Hip Hop Time Line 1973 – Kool Herc DeeJays his first party in the Bronx, where his blending of breaks is first exhibited. The break dancers in attendance began to discover their style and form. 1975 – Grandmaster Flash begins the early forms of Turntabilism by blending and mixing, while Grandwizard Theodore invents what we now know as scratching. The first Emcee crews are formed. 1979 – The Sugarhill Gang, under the guidance of Record Label owner and former Dance music vocalist Sylvia Robinson, release Rapper’s Delight, the first commercially recognized rap song. *There is much debate over the first recorded rap song, but it’s widely believed to have been done sometime in 1977 or 78. 1980 – Kurtis Blow releases the first best selling hip hop album, The Breaks, and becomes the first star in hip hop music. 1983 – Herbie Hancock, in collaboration with pioneer DeeJay GrandMixer DST (now known as GrandMixer DXT), creates the Grammy Award-winning song Rockit, which is the first time the public ever hears a DeeJay scratching on record. Pioneer hip hop duo Run DMC releases their first single Sucker Emcee’s 1988 – This year is considered the first Golden Year in hip hop music with releases such as Public Enemy’s It Takes A Nation of Millions to Hold Us Back, Big Daddy Kane’s Long Live The Kane, Slick Rick’s The Great Adventures of Slick Rick, Boogie Down Production’s By All Means Necessary, Eric B And Rakim’s Follow the Leader and the first highly regarded non-New York hip hop record, N.W.A.’s Straight Outta Compton.
    [Show full text]