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In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998). -
Danny Krivit Salsoul Mix Mp3, Flac, Wma
Danny Krivit Salsoul Mix mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: Salsoul Mix Country: Japan Released: 2003 Style: Disco MP3 version RAR size: 1298 mb FLAC version RAR size: 1590 mb WMA version RAR size: 1481 mb Rating: 4.7 Votes: 345 Other Formats: ASF AAC ADX WAV VOX MP4 RA Tracklist Hide Credits Everyman (Joe Claussell's Acapella Remix) 1 –Double Exposure Remix – Joe Claussell 2 –The Salsoul Orchestra Getaway 3 –Edwin Birdsong Win Tonight 4 –Instant Funk I Got My Mind Made Up (You Can Get It Girl) (Beat) Such A Feeling (Shep Pettibone 12" Mix) 5 –Aurra Remix – Shep Pettibone Falling In Love (DK Edit Of Shep Pettibone Remix) 6 –Surface Edited By – Danny KrivitRemix – Shep Pettibone 7 –First Choice Love Having You Around Moment Of My Life (DK Edit Of Shep Pettibone Remix) 8 –Inner Life Edited By – Danny KrivitRemix – Shep Pettibone 9 –Candido Dancin And Prancin 10 –Loleatta Holloway Dreamin (2nd Half With Accapella Ending) Let No Man Put Asunder (DK Medley Of Frankie Knuckles,Walter Gibbons & Shep Pettibone Remixes) 11 –First Choice Edited By – Danny KrivitRemix – Frankie Knuckles, Shep Pettibone, Walter Gibbons 12 –The Salsoul Orchestra 212 North 12th The Beat Goes On And On (Jim Burgess 12" Mix) 13 –Ripple Mixed By – Jim Burgess 14 –The Salsoul Orchestra How High (Original Version) Companies, etc. Manufactured By – Toshiba EMI Ltd Phonographic Copyright (p) – Salsoul Records Copyright (c) – Salsoul Records Phonographic Copyright (p) – Toshiba EMI Ltd Credits Design – Tats Ohisa DJ Mix – Danny Krivit Executive -
Paul Mccartney, 1980-1999
Paul McCartney from Wings through the 90's McCartney II Columbia FC‐36511 May 21, 1980 About ten years after recording McCartney by himself, Paul got several songs together and recorded them‐‐again alone‐‐on somewhat of a lark. Then Paul embarked on his ill‐fated 1980 tour of Japan (which resulted in his being jailed for drug possession). After returning to the safety of his own home, he was urged to release the album, and he did. The album contrasts well with McCartney, for this second production contains numerous instruments and electronic tricks that were not present on the 1970 release. Side One is particularly interesting. The solo version of "Coming Up" is followed by the fun track, "Temporary Secretary" (released as a single in England). The almost‐lament, "On the Way," is then succeeded by "Waterfalls," Paul's second (US) single from the album. "Bogey Music," from Side Two, is also a standout. John Lennon heard a song from McCartney II and thought that Paul sounded sad. When the album was released in the US, a bonus one‐sided single ‐‐ the hit version of "Coming Up"‐‐was included with the LP. This hit was enough to propel the album to the #3 position on the charts, during a time when disco was now on the wane. "Waterfalls" Columbia 1‐11335 Jul. 22, 1980 The lovely ballad about protectiveness was one of the standouts from McCartney II. After "Coming Up," it received the most airplay and the most positive response from Paul's friends. As a single, though, the song fared poorly, only reaching #83...one of Paul's worst showings to date. -
Paul H. Duvall (SBN 73699) E-Mail: [email protected] KING
Case 2:12-cv-05967-BRO-CW Document 46-1 Filed 05/06/13 Page 1 of 32 Page ID #:429 1 Paul H. Duvall (SBN 73699) E-Mail: [email protected] 2 KING & BALLOW 6540 Lusk Blvd., Suite 250 3 San Diego, CA 92121 (858) 597-6000 Facsimile: (858) 597-6008 4 Mark L. Block (SBN 115457) 5 E-Mail: [email protected] WARGO & FRENCH LLP 6 1888 Century Park East Suite 1520 7 Los Angeles, CA 90067 (310) 853-6355 Facsimile: (310) 853-6333 8 Attorneys for Defendant Shep Pettibone 9 and Lexor Music, Inc. 10 UNITED STATES DISTRICT COURT 11 CENTRAL DISTRICT OF CALIFORNIA 12 13 VMG SALSOUL, LLC, a Delaware limited liability company, 14 Case No. CV 12-05967 BRO(CWx) Plaintiff, 15 MEMORANDUM OF POINTS vs. AND AUTHORITIES IN 16 SUPPORT OF DEFENDANTS MADONNA LOUISE CICCONE, 17 SHEP PETTIBONE AND LEXOR professionally known as MADONNA, an MUSIC, INC.’S MOTION FOR 18 individual; SHEP PETTIBONE, an individual; SUMMARY JUDGMENT WB MUSIC CORPORATION, a Delaware 19 corporation; BLUE DISQUE MUSIC Date: June 3, 2013 Time: 1:30 p.m. 20 COMPANY, INC., a corporation; WEBO Judge: Beverly Reid O’Connell GIRL PUBLISHING, INC., a California 21 Courtroom: 6-2nd Floor corporation; LEXOR MUSIC, INC., a New Final Pretrial Conference: June 10, 22 York corporation; and DOES 1 through 10, 2013 inclusive, 23 Jury Trial: June 18, 2013 24 Defendants. 25 26 27 28 MEMORANDUM OF POINTS AND AUTHORITIES IN SUPPORT OF MOTION FOR SUMMARY JUDGMENT Case 2:12-cv-05967-BRO-CW Document 46-1 Filed 05/06/13 Page 2 of 32 Page ID #:430 1 TABLE OF CONTENTS 2 I. -
9781134588374.Pdf
Black Celebrity, Racial Politics, and the Press Shifting understandings and ongoing conversations about race, celebrity, and protest in the twenty-fi rst century call for a closer examination of the evolution of dissent by black celebrities and their reception in the public sphere. This book focuses on the way the mainstream and black press have covered cases of controversial political dissent by African American celeb- rities from Paul Robeson to Kanye West. Jackson considers the following questions: (1) What unique agency is available to celebrities with racialized identities to present critiques of American culture? (2) How have journalists in both the mainstream and black press limited or facilitated this agency through framing? What does this say about the varying role of journalism in American racial politics? (3) How have framing trends regarding these fi gures shifted from the mid-twentieth century to the twenty-fi rst century? Through a series of case studies that also includes Eartha Kitt, Tommie Smith and John Carlos, Sister Souljah, and Mahmoud Abdul-Rauf, Jackson illustrates the shifting public narratives and historical moments that both limit and enable African American celebrities in the wake of making public politicized statements that critique the accepted racial, economic, and mili- tary systems in the United States. Sarah J. Jackson is an Assistant Professor of Communication Studies at Northeastern University. Her research examines the construction of social identities in national debates about citizenship, inequality, and social change. Jackson’s research has appeared in The International Journal of Press Poli- tics and Feminist Media Studies. Routledge Transformations in Race and Media Series Editors: Robin R. -
Izabella Penier Culture-Bearing Women
Izabella Penier Culture-bearing Women: The Black Women Renaissance and Cultural Nationalism This monograph was written during Marie Curie-Sklodowska Fellowship 2016-2018 (European Union’s Horizon 2020 grant agreement No 706741) Izabella Penier Culture-bearing Women The Black Women Renaissance and Cultural Nationalism Managing Editor: Katarzyna Grzegorek Language Editor: Adam Leverton ISBN 978-83-956095-4-1 e-ISBN (PDF) 978-83-956095-5-8 e-ISBN (EPUB) 978-83-956095-6-5 This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 License. For details go 4o http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. © 2019 Izabella Penier Published by De Gruyter Poland Ltd, Warsaw/Berlin Part of Walter de Gruyter GmbH, Berlin/Boston The book is published with open access at www.degruyter.com. Managing Editor: Katarzyna Grzegorek Language Editor: Adam Leverton www.degruyter.com Cover illustration: https://unsplash.com/@jeka_fe by Jessica Felicio Contents Preface 1 1 Introduction: The Black Women Renaissance, Matrilineal Romances and the “Volkish Tradition” 16 1.1 African Americans as an “Imagined” Community and the Roots of the “Volkish” Tradition 32 1.2 Two Versions of the National “Family Plot”: Black National Theatre and the Historical /Heritage Writing of the Black Women’s Renaissance 40 1.3 The Black Women’s Renaissance and Black Cultural Nationalism: Can Nationalism and Feminism Merge? -
A Rap Bibliography/Discography
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by KnowledgeBank at OSU Music Reference Services Quarterly. 1996, vol.4, no.4, p.17-57. ISSN: 1540-9503 (online) 1058-8167 (print) DOI: 10.1300/J116v04n04_02 http://www.tandfonline.com/toc/wmus20/current http://www.tandfonline.com/toc/wmus20/4/4 © 1996 The Haworth Press, Inc. All rights reserved. Getting Hip to the Hop: A Rap Bibliography/Discography Leta Hendricks ABSTRACT. This bibliographic/discographic essay examines works which may be used to develop a core collection on Rap music. A selected bibliography and discography is also provided. INTRODUCTION Research interest has recently emerged in the popular African-American musical idiom known as Rap and continues to grow as social and cultural scholars have embarked on a serious study of Rap music and culture. Therefore, the student, scholar, and general library patron may seek information on Rap and its relationship with the African-American community. During the 1970's, libraries rushed to include in their holdings culturally diverse materials, especially materials on African-American history, literature, and culture. Today, emphasis is placed on cultural diversity, Rap is sometimes deemed to be low art and may be overlooked in the collecting of diverse materials. However, Rap has already celebrated its sixteenth anniversary and, like Rock and Roll, Rap is here to stay. Rap music research is difficult because (1) the librarian or information provider generally lacks knowledge of the category,' and (2) primary/ephemeral materials are not widely accessible.2 This selective bibliographic and discographic essay examines a variety of Rap resources and materials including biographies, criticisms, discographies, histories, recordings, and serials to help fill the Rap knowledge and culture gap and assist in the development of a core collection on Rap music. -
Disco's Revenge
DISCO’S REVENGE GOTCHA!: House Music Not sur Has you still your r e know eaderswhat dancing to House that beat! is? ReadMusic And what is House? House Music is this! the raw, stripped-down sound of dance music that developed in the underground clubs (where DJs didn't play what was on Top 40 radio) in mid-to-late 80's Chicago. Now- famous jocks like Frankie Knuckles took the most rhythmic elements of their favorite disco records (the great drum breaks in the middle) and looped them in the studio into full- length songs that were skeletal, yet intense dance tracks. Frankie's club was called the Warehouse, and soon clubbers began referring to the music they heard there as "House Music" (and the style of dancing as "jack- ing"). Vocals on these tracks were at a min- imum at first, but as the sound devel- oped, a handful of great House anthems rose from the scene to become massive pop hits in the UK and Europe. Songs like "Love Can't Turn Around" by Farley "Jackmaster Funk" presents Darryl Pandy, "You Used to Hold Me" by Ralphi Rosario featuring Xaviera Gold and "Move Your Body" by Marshall Jefferson had a huge impact on the European pop music scene and culture. Overseas producers whole-heartedly embraced the sound and then sold it back to Americans in polished commercial late-80s/early 90s hits by Black Box ("Everybody Everybody"), Sam- antha Fox ("I Wanna Have Some Fun"), the Pet Shop Boys ("Always On My Mind"), Stevie V ("Dirty Cash") Lisa Stansfield ("People Hold On"). -
Dancecult 8(1) Reviews
Reviews Life and Death on the New York Dance Floor 1980–1983 Tim Lawrence Durham: Duke University Press, 2016. ISBN: 978-0-8223-6202-9 RRP: US$27.95 <http://dx.doi.org/10.12801/1947-5403.2016.08.01.05> Charles de Ledesma University of East London, UK Cultural historian Tim Lawrence’s first book Love Saves the Day adopted a chronological approach to East Coast disco’s dramatic arc through the 1970s. Then his follow-up Hold On to Your Dreams widened the timeline, honing in on a valuable contributor to New York’s downtown music scene—cellist and composer Arthur Russell. While LStD ranged widely across many spaces, DJs, artists, assorted characters and issues, the Russell biography was an intimate portrait of a key player, who died from AIDS-related complications in 1992. Life and Death on the New York Dance Floor 1980–1983 (henceforth Life and Death) is the third segment in Lawrence’s New York project. Now he narrows the timeline and brings a forensic examination to just four years in the party scene. On the title, Lawrence explains, “the reference to life is intended to evoke the way that New York party culture didn’t merely survive the hyped death of disco but positively flourished in its wake”. And he clearly and convincingly argues that the short period was one characterised by a stirring artistic ferment, across music, art, dance and club space innovation. Lawrence explains: “instead of depicting the 1980–1983 period as a mere bridge that connected the big genre stories of 1970s disco and 1980s house and techno, I submitted to its kaleidoscope logic, took my foot off the historical metronome, and decided to take it—the book—to the bridge” (ix). -
Sing! 1975 – 2014 Song Index
Sing! 1975 – 2014 song index Song Title Composer/s Publication Year/s First line of song 24 Robbers Peter Butler 1993 Not last night but the night before ... 59th St. Bridge Song [Feelin' Groovy], The Paul Simon 1977, 1985 Slow down, you move too fast, you got to make the morning last … A Beautiful Morning Felix Cavaliere & Eddie Brigati 2010 It's a beautiful morning… A Canine Christmas Concerto Traditional/May Kay Beall 2009 On the first day of Christmas my true love gave to me… A Long Straight Line G Porter & T Curtan 2006 Jack put down his lister shears to join the welders and engineers A New Day is Dawning James Masden 2012 The first rays of sun touch the ocean, the golden rays of sun touch the sea. A Wallaby in My Garden Matthew Hindson 2007 There's a wallaby in my garden… A Whole New World (Aladdin's Theme) Words by Tim Rice & music by Alan Menken 2006 I can show you the world. A Wombat on a Surfboard Louise Perdana 2014 I was sitting on the beach one day when I saw a funny figure heading my way. A.E.I.O.U. Brian Fitzgerald, additional words by Lorraine Milne 1990 I can't make my mind up- I don't know what to do. Aba Daba Honeymoon Arthur Fields & Walter Donaldson 2000 "Aba daba ... -" said the chimpie to the monk. ABC Freddie Perren, Alphonso Mizell, Berry Gordy & Deke Richards 2003 You went to school to learn girl, things you never, never knew before. Abiyoyo Traditional Bantu 1994 Abiyoyo .. -
Pop and Rock
The Cambridge Companion to POP AND ROCK Simon Frith Will Straw and John Street The Pitt Building, Trumpington Street, Cambridge, United Kingdom The Edinburgh Building, Cambridge CB2 2RU, UK 40 West 20th Street, New York, NY 10011-4211, USA 10 Stamford Road, Oakleigh, VIC 3166, Australia Ruiz de Alarcón 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org © Cambridge University Press 2001 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2001 Printed in the United Kingdom at the University Press, Cambridge Typeface Minion 10.75/14 pt System QuarkXPress™ [SE] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Cambridge companion to pop and rock / edited by Simon Frith, Will Straw, and John Street. p. cm. – (Cambridge companions to music) Includes bibliographical references and index. ISBN 0 521 55369 5 (hardback) – ISBN 0 521 55660 0 (paperback) 1. Popular music – History and criticism. 2. Rock music – History and criticism. I. Frith, Simon. II. Straw, Will, 1954– . III. Street, John, 1952– . IV.Series. ML3470.C36 2001 781.64–dc21 00–068908 ISBN 0 521 55369 5 hardback ISBN 0 521 55660 0 paperback Contents Notes on contributors [page vi] Acknowledgements [viii] Introduction and chronology of pop and rock [ix] Part I · Context 1 ‘Plugged in’: technology and popular music Paul Théberge [3] 2 The popular music industry Simon Frith [26] 3 Consumption Will Straw [53] Star profiles I [74] Elvis Presley, The Beatles, Bob Dylan, Jimi Hendrix, The Rolling Stones, James Brown, Marvin Gaye Part II · Texts,genres, styles 4 Pop music Simon Frith [93] 5 Reconsidering rock Keir Keightley [109] 6 Soul into hip-hop Russell A. -
DAN KELLY's Ipod 80S PLAYLIST It's the End of The
DAN KELLY’S iPOD 80s PLAYLIST It’s The End of the 70s Cherry Bomb…The Runaways (9/76) Anarchy in the UK…Sex Pistols (12/76) X Offender…Blondie (1/77) See No Evil…Television (2/77) Police & Thieves…The Clash (3/77) Dancing the Night Away…Motors (4/77) Sound and Vision…David Bowie (4/77) Solsbury Hill…Peter Gabriel (4/77) Sheena is a Punk Rocker…Ramones (7/77) First Time…The Boys (7/77) Lust for Life…Iggy Pop (9/7D7) In the Flesh…Blondie (9/77) The Punk…Cherry Vanilla (10/77) Red Hot…Robert Gordon & Link Wray (10/77) 2-4-6-8 Motorway…Tom Robinson (11/77) Rockaway Beach…Ramones (12/77) Statue of Liberty…XTC (1/78) Psycho Killer…Talking Heads (2/78) Fan Mail…Blondie (2/78) Who’s Been Sleeping Here…Tuff Darts (4/78) Because the Night…Patty Smith Group (4/78) Touch and Go…Magazine (4/78) Ce Plane Pour Moi…Plastic Bertrand (4/78) Do You Wanna Dance?...Ramones (4/78) The Day the World Turned Day-Glo…X-Ray Specs (4/78) The Model…Kraftwerk (5/78) Keep Your Dreams…Suicide (5/78) Miss You…Rolling Stones (5/78) Hot Child in the City…Nick Gilder (6/78) Just What I Needed…The Cars (6/78) Pump It Up…Elvis Costello (6/78) Sex Master…Squeeze (7/78) Surrender…Cheap Trick (7/78) Top of the Pops…The Rezillos (8/78) Another Girl, Another Planet…The Only Ones (8/78) All for the Love of Rock N Roll…Tuff Darts (9/78) Public Image…PIL (10/78) I Wanna Be Sedated (megamix)…The Ramones (10/78) My Best Friend’s Girl…the Cars (10/78) Here Comes the Night…Nick Gilder (11/78) Europe Endless…Kraftwerk (11/78) Slow Motion…Ultravox (12/78) I See Red…Split Enz (12/78) Roxanne…The