Higher Education MA Student Handbook
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'What Ever Happened to Breakdancing?'
'What ever happened to breakdancing?' Transnational h-hoy/b-girl networks, underground video magazines and imagined affinities. Mary Fogarty Submitted in partial fulfillment Of the requirements for the degree of Interdisciplinary MA in Popular Culture Brock University St. Catharines, Ontario © November 2006 For my sister, Pauline 111 Acknowledgements The Canada Graduate Scholarship (SSHRC) enabled me to focus full-time on my studies. I would also like to express my deepest gratitude to my committee members: Andy Bennett, Hans A. Skott-Myhre, Nick Baxter-Moore and Will Straw. These scholars have shaped my ideas about this project in crucial ways. I am indebted to Michael Zryd and Francois Lukawecki for their unwavering kindness, encouragement and wisdom over many years. Steve Russell patiently began to teach me basic rules ofgrammar. Barry Grant and Eric Liu provided comments about earlier chapter drafts. Simon Frith, Raquel Rivera, Anthony Kwame Harrison, Kwande Kefentse and John Hunting offered influential suggestions and encouragement in correspondence. Mike Ripmeester, Sarah Matheson, Jeannette Sloniowski, Scott Henderson, Jim Leach, Christie Milliken, David Butz and Dale Bradley also contributed helpful insights in either lectures or conversations. AJ Fashbaugh supplied the soul food and music that kept my body and mind nourished last year. If AJ brought the knowledge then Matt Masters brought the truth. (What a powerful triangle, indeed!) I was exceptionally fortunate to have such noteworthy fellow graduate students. Cole Lewis (my summer writing partner who kept me accountable), Zorianna Zurba, Jana Tomcko, Nylda Gallardo-Lopez, Seth Mulvey and Pauline Fogarty each lent an ear on numerous much needed occasions as I worked through my ideas out loud. -
Hammer Museum Spring 2006
Hammer Museum Spring 2006 Non Profit US Postage PAID Armand Hammer Museum of Art and Cultural Center, at UCLA 10899 Wilshire Boulevard Los Angeles, California 90024 USA Los Angeles For additional program information: Voice: 310-443-7000 TTY: 310-443-7094 Web: www.hammer.ucla.edu Permit 202 ICCtTO,,-...,-lxplweC.-0..o.-,nd-l'Na.m ucLlfiJ Cover: John Swope. Shinagawa, September 2, 1945 (detail). Gelatin silver print. John Swope Collection, c John Swope Trust. A Messagefrom the Director The HammerMuseum co ntinues to build on the energy and An important body of over 80 photographs, drawings, prints, Selwyn; Patty Chang watercolors from Roberts & Tilton; and excitement that began with the start of the New Year. In and videos was generously donated by Los Angeles gallerist a number of other important additions to the collection we January, the LA Weeklydescribed the Hammer as "a model Patrick Painter, greatly expanding the Museum'scontempo look forward to exhibiting and recognizing in the future. for what a smaller museum should be," noting the dynamic rary holdings. The gift includes large groups of works by The Museumalso acquired works by MichaelBorremans wi th balance between our exhibitions, collections, and public Roy Arden, Douglas Huebler, Ed Ruscha, Collier Schorr, and funds providedby the BuddyTaub Foundation;prints by John programs. A memorable example of this was the beautiful Christopher Williams,as well as individual pieces by Peter Baldessari and Amy Cutler with funds provided by Brenda installation of Jean Prouve'sTropical House in the courtyard, Doig, RodneyGraham, Won Ju Lim,Stephen Prina, and many Potter and MichaelSandler; a mixed media work by Margaret accompanied by the Prefab Now symposium presented in others. -
Transforming Community Development Through Arts and Culture
Volume 14 , Issue 2, 2019 Community Development INNOVATION REVIEW Transforming Community Development through Arts and Culture Community Development INNOVATION REVIEW The Community Development Innovation Review focuses on bridging the gap between theory and practice, from as many viewpoints as possible. The goal of this journal is to promote cross-sector dialogue around a range of emerging issues and related investments that advance economic resilience and mobility for low- and moderate-income communities. For submission guidelines and themes of upcoming issues, or other inquiries and subscription requests, contact sf.commu- [email protected]. The material herein may not represent the views of the Federal Reserve Bank of San Francisco or the Federal Reserve System. Community Development Innovation Review Laura Choi Co-Editor Ian Galloway Co-Editor Lyz Crane Guest Issue Editor Jeremy Liu Guest Issue Editor Victor Rubin Guest Issue Editor Federal Reserve Bank of San Francisco. 2019. “Transforming Community Development through Arts and Culture,” Federal Reserve Bank of San Francisco Community Development Innovation Review 2019-2. Available at https://doi.org/10.24148/cdir2019-02 Table of Contents Foreword ..................................................................................................................................... 4 Laura Choi, Federal Reserve Bank of San Francisco Introduction ................................................................................................................................ -
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. -
Review Essay: “What's Going On?”
UCLA Asian Pacific American Law Journal Title Review Essay: "What's Going On?" Permalink https://escholarship.org/uc/item/1n23r5xs Journal Asian Pacific American Law Journal, 23(1) ISSN 2169-7795 Author Gee, Harvey Publication Date 2019 DOI 10.5070/P3231043908 eScholarship.org Powered by the California Digital Library University of California Review Essay: “What’s Going On?” Harvey Gee* Jeff Chang, We Gon’ Be Alright: Notes on Race and Resegregation, New York: Picador, 2016. Pp. 192. $16.00. Table of Contents Introduction .......................................................................................................19 I. Just Sayin’: Narratives on Race and Resegregation .........................21 II. Ferguson, the Black Lives Matter Movement, and the Prosecution of N.Y.P.D. Officer Peter Liang ......................................27 III. FISHER V. UNIVERSITY OF TEXAS ..................................................................33 IV. Post–FISHER V. TEXAS: Discrimination Against Asian Americans at Elite Universities Redux? .................................................................37 Conclusion ..........................................................................................................42 Introduction In We Gon’ Be Alright: Notes on Race and Resegregation (“We Gon’ Be Alright”),1 Jeff Chang, Executive Director of the Institute for Diversity in the Arts at Stanford University, relies on his vast knowledge of the cultural his- tory of race in America, hip-hop music, and civil rights to comment on racial progress -
Assimilation and Hip-Hop
Assimilation and Hip-Hop Interethnic Relations and the Americanization of New Immigrants in Hip-Hop Culture By Audun Kjus Aahlin A Thesis Presented to The Department of Literature, Area Studies and European Languages -North American Area Studies- -Faculty of Humanities- University of Oslo In Partial Fulfillment of the Requirements for the MA Degree Spring 2013 Assimilation and Hip-Hop Interethnic Relations and the Americanization of New Immigrants in Hip-Hop Culture II © Audun Kjus Aahlin 2013 Interethnic Relations and the Americanization of New Immigrants in Hip-Hop Culture Audun Kjus Aahlin http://www.duo.uio.no/ Print: CopyCat, Lysaker in Oslo III Acknowledgements It would not be hip-hop without a lot of shout-outs. So… I will like to thank my supervisor, Associate Professor David C. Mauk for his encouragements and advises. I also need to acknowledge Associate Professor Deborah Lynn Kitchen- Døderlein for some needed adjustments in the early part of this project. I am much grateful to Terje Flaatten, who proofread the thesis. Thank you for taking the time out of your busy schedule. Thank you to the John F. Kennedy Institute for North American Studies in Berlin, who let me use their facilities last autumn. I am also grateful to Espen Sæterbakken for his help with the printing of my thesis. Appreciations are also due to Jeff Chang, The Mind Squad, Nelson George, Bakari Kitwana, ego trip, Dream Hampton, and the countless other journalists, writers, scholars and activists who taught me at an early age that few things in life are better combined than hip-hop and intellectual writings. -
Hybrid Gangs and the Hyphy Movement: Crossing the Color Line in Sacramento County
HYBRID GANGS AND THE HYPHY MOVEMENT: CROSSING THE COLOR LINE IN SACRAMENTO COUNTY Antoinette Noel Wood B.S., California State University, Sacramento, 2008 THESIS Submitted in partial satisfaction of the requirements for the degree of MASTER OF SCIENCE in CRIMINAL JUSTICE at CALIFORNIA STATE UNIVERSITY, SACRAMENTO SPRING 2011 © 2011 Antoinette Noel Wood ALL RIGHTS RESERVED ii HYBRID GANGS AND THE HYPHY MOVEMENT: CROSSING THE COLOR LINE IN SACRAMENTO COUNTY A Thesis by Antoinette Noel Wood Approved by: __________________________________, Committee Chair Dimitri Bogazianos, Ph.D. __________________________________, Second Reader Dan Okada, Ph.D. ____________________________ Date iii Student: Antoinette Noel Wood I certify that this student has met the requirements for format contained in the University format manual, and that this thesis is suitable for shelving in the Library and credit is to be awarded for the thesis. __________________________, Graduate Coordinator ________________ Yvette Farmer, Ph.D. Date Division of Criminal Justice [Thesis Abstract Form] iv [Every thesis or project mustracts for some creative works such as in art or creative writing may vary somewhat, check with your Dept. Advisor.] Abstract of HYBRID GANGS AND THE HYPHY MOVMENT: CROSSING THE COLOR LINE IN SACRAMENTO COUNTY by Antoinette Noel Wood [Use of the next optional as long as te content is supplied.]three headings is Statement of Problem Crips and Bloods-traditional gangs whose mere names conjure up fearful images of violence and destruction-are no longer at the forefront of the gang reality in Sacramento. Instead, influenced by the Bay Area-based rap music subculture of Hyphy, gangs calling themselves "Families," "Mobbs," and "Camps" are believed to be creating a new, hybridized gang culture. -
WHAT IS HIP HOP? the Four Elements of Hip Hop Hip Hop Is Music — and a Culture, Encompassing Speech, Styles of Dress, Art
WHAT IS HIP HOP? The Four Elements of Hip Hop Hip hop is music — and a culture, encompassing speech, styles of dress, art, poetry and dancing, as well as "rapping." Purists have narrowed the major components of the culture into four loosely defined categories: deejaying, emceeing, breaking and graffiti art. Deejaying Jamaican immigrant Kool Herc, inspired by the “dubbing” and “toasting” from his native home, is credited with introducing deejaying to New York. Early New York DJs improvised, using a pair of turntables as a makeshift instrument when funding for school music programs were cut. Later Afrika Bambataa evolved the art of deejaying. MCing, or Emceeing MCs have become a centralized figure in hip hop. Commercially, MCs are known as rappers. During hip hop’s early days, MCs played a supporting role, accompanying the deejay and carrying crates of records. They used a microphone to talk over breakbeats and publicize their own neighborhoods while the deejay spun records. As competition for this position increased, MCs engaged in one-upmanship, boasting of their greatness in the face of inner city economic despair. Breaking Also known as b-boying, the dances that accompany the music have many influences. Kids in diverse New York neighborhoods were exposed to Eastern martial arts, tap dancing, gymnastics, salsa, Afro-Cuban and Native American dances. In the late ‘90’s b-boys and b- girls integrated moves from capoeira, a 16th century fighting dance developed by Brazilian slaves preparing for resistance. Graffiti Urban graffiti, using spray cans to create stylized murals and “tags” to create art in public spaces, gave kids a means of self-expression and a chance to spread political messages. -
Gangster Boogie: Los Angeles and the Rise of Gangsta Rap, 1965-1992
Gangster Boogie: Los Angeles and the Rise of Gangsta Rap, 1965-1992 By Felicia Angeja Viator A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Leon F. Litwack, Co-Chair Professor Waldo E. Martin, Jr., Co-Chair Professor Scott Saul Fall 2012 Abstract Gangster Boogie: Los Angeles and the Rise of Gangsta Rap, 1965-1992 by Felicia Angeja Viator Doctor of Philosophy in History University of California, Berkeley Professor Leon F. Litwack, Co-Chair Professor Waldo E. Martin, Jr., Co-Chair “Gangster Boogie” details the early development of hip-hop music in Los Angeles, a city that, in the 1980s, the international press labeled the “murder capital of the U.S.” The rap music most associated with the region, coined “gangsta rap,” has been regarded by scholars, cultural critics, and audiences alike as a tabloid distortion of East Coast hip-hop. The dissertation shows that this uniquely provocative genre of hip-hop was forged by Los Angeles area youth as a tool for challenging civic authorities, asserting regional pride, and exploiting the nation’s growing fascination with the ghetto underworld. Those who fashioned themselves “gangsta rappers” harnessed what was markedly difficult about life in black Los Angeles from the early 1970s through the Reagan Era––rising unemployment, project living, crime, violence, drugs, gangs, and the ever-increasing problem of police harassment––to create what would become the benchmark for contemporary hip-hop music. My central argument is that this music, because of the social, political, and economic circumstances from which it emerged, became a vehicle for underclass empowerment during the Reagan Era. -
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. -
For Immediate Release Calendar Listing
FOR IMMEDIATE RELEASE Contacts: Anjee Helstrup-Alvarez Joey Reyes Executive Director Curator of Engagement & Dialogue (408) 998-2783 x31 | [email protected] (408) 998 2783 x 23 | [email protected] MACLA presents We Gon’ Be Alright: Jeff Chang A Conversation on Resegregation and the Movement for Racial Justice Now CALENDAR LISTING We Gon’ Be Alright: Jeff Chang — A conversation on resegregation and the movement for racial justice now moderated by Queena Kim (KQED) with guest panelists Teresa Alvarado (SPUR), Jose Antonio Vargas (Define American), Linda Vallejo (Visual Artist, The Brown Dot Project) and Jeff Chang. Thursday, October 27, 2016, 6pm Doors Open, 7pm Conversation Starts MACLA, Castellano Playhouse, 510 South 1st Street, San José, CA 95113 Tickets: $20 reserved seating | $15 general admission | $5 with student ID JeffChangAtMACLA.eventbrite.com | 408.998.ARTE maclaarte.org/performing-arts October 3, 2016 (San José, CA)—MACLA/Movimiento de Arte y Cultura Latino Americana presents a conversation on resegregation and the movement for racial justice now, based off Jeff Chang’s latest book, We Gon’ Be Alright, moderated by Queena Kim (KQED) with guest panelists Teresa Alvarado (SPUR), Jose Antonio Vargas (Define American), Linda Vallejo (Visual Artist, The Brown Dot Project) and Jeff Chang. At the end of the Obama era, the myth of post-racialism has all but collapsed amidst national polarization around questions of race— from police brutality to anti-immigrant nativism to poisonous public discourse. Underneath all of these questions -
Superpanel on Art, Protest and Racial Justice | Bay Area Society for Art & Activism
5/5/2016 Who We Be: Superpanel on Art, Protest and Racial Justice | Bay Area Society for Art & Activism Home Contact Subscribe Become a Member! About Us Programs Art & Activism Quarterly Join Us! Our Blog Community Calendar Collective Memory→ Think Tank→ Home › Programs › Art & Activism Book Club › Who We Be: Superpanel Become a on Art, Protest and Racial Justice Member! Who We Be: We invite you to Superpanel on Art, become a member of our community at a Protest and Racial level that feels meaningful and Justice affordable. One time and monthly contributions can be made via the PayPal button above. Suggested annual memberships are sliding scale $24 – $360 per year. Learn more → Inspired by Jeff Chang’s recently published Who We Be: The Colorization of America, the “Who We Be: Superpanel on Art, Protest and Racial Justice” brings together five phenomenal panelists to discuss the visual culture of protest and current http://artandactivism.org/programs/bookclub/superpanel/ 1/7 5/5/2016 Who We Be: Superpanel on Art, Protest and Racial Justice | Bay Area Society for Art & Activism national movements for racial justice. Featuring: Jeff Chang, Alicia Garza, Ben Davis, Steven W. Thrasher, and Christian L. Frock Moderated by Elizabeth Travelslight This event took place on Saturday, April 4, 2015 at the Koret Auditorium – San Francisco Main Library, 100 Larkin Street, in San Francisco, California. This event was free and open to the public. Podcast below and more documentation here → By Jeff Chang, published by St. Martin's Press, 2014. artanda… Buy it now → Who … Share 187 Cookie policy In Who We Be, Jeff Chang draws upon decades of politics, popular culture, and visual art to describe the recent history of race in America.