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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. -
Digitale Disconnectie Voor De La Soul
juridisch Digitale disconnectie dreigt voor hiphopgroep De La Soul Stakes Is High Bjorn Schipper Met de lancering op Netflix van de nieuwe hitserie The Get Down staat de opkomst van hiphop weer volop in de belangstelling. Tegen de achtergrond van de New Yorkse wijk The Bronx in de jaren ’70 krijgt de kijker een beeld van hoe discomuziek langzaam plaatsmaakte voor hiphop en hoe breakdancen en deejayen in zwang raakten. Een hiphopgroep die later furore maakte is De La Soul. In een tijd waarin digitale exploitatie volwassen is geworden en de online-mogelijkhe- den haast eindeloos zijn, werd onlangs bekend dat voor De La Soul juist digitale disconnectie dreigt met een nieuwe generatie (potentiële) fans1. In deze bijdrage ga ik in op de bizarre digi- tale problemen van De La Soul en laat ik zien dat ook andere artiesten hiermee geconfronteerd kunnen worden. De La Soul: ‘Stakes Is High’ Net als andere hiphopalbums2 bevatten de albums van De New Yorkse hiphopgroep De La Soul bestaat De La Soul vele samples. Dat bleef juridisch niet zon- uit Kelvin Mercer, David Jude Jolicoeur en Vincent der gevolgen en zorgde voor kopzorgen in verband met Mason. De La Soul brak in 1989 direct door met het het clearen van de gebruikte samples. Niet zo vreemd album 3 Feet High and Rising en kreeg vooral door ook als we bedenken dat in die tijd weinig jurispruden- de tekstuele inhoud en het gekleurde hoesontwerp al tie bestond over (sound)sampling. Zo kreeg De La Soul snel een hippie-achtig imago aangemeten. Met hun het na de release in 1989 van 3 Feet High and Rising vaste producer Prince Paul bewees De La Soul dat er aan de stok met de band The Turtles. -
3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (Guest Post)*
“3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (guest post)* De La Soul For hip-hop, the late 1980’s was a tinderbox of possibility. The music had already raised its voice over tensions stemming from the “crack epidemic,” from Reagan-era politics, and an inner city community hit hard by failing policies of policing and an underfunded education system--a general energy rife with tension and desperation. From coast to coast, groundbreaking albums from Public Enemy’s “It Takes a Nation of Millions to Hold Us Back” to N.W.A.’s “Straight Outta Compton” were expressing an unprecedented line of fire into American musical and political norms. The line was drawn and now the stage was set for an unparalleled time of creativity, righteousness and possibility in hip-hop. Enter De La Soul. De La Soul didn’t just open the door to the possibility of being different. They kicked it in. If the preceding generation took hip-hop from the park jams and revolutionary commentary to lay the foundation of a burgeoning hip-hop music industry, De La Soul was going to take that foundation and flip it. The kids on the outside who were a little different, dressed different and had a sense of humor and experimentation for days. In 1987, a trio from Long Island, NY--Kelvin “Posdnous” Mercer, Dave “Trugoy the Dove” Jolicoeur, and Vincent “Maseo, P.A. Pasemaster Mase and Plug Three” Mason—were classmates at Amityville Memorial High in the “black belt” enclave of Long Island were dusting off their parents’ record collections and digging into the possibilities of rhyming over breaks like the Honey Drippers’ “Impeach the President” all the while immersing themselves in the imperfections and dust-laden loops and interludes of early funk and soul albums. -
4 Drop It Like It's Hot SNOOP DOGG FT
KW 47/48/2004 Plz LW WoC Title Artist Distribution PP 1 ➔ 1 4 Drop It Like It’s Hot SNOOP DOGG FT. PHARRELL Geffen/UNIVERSAL 1 2 ▲ NEW 0 Hey Now XZIBIT Columbia/SONY MUSIC 2 3 ▲ 5 10 It’s Hot THE BEATNUTS Penalty/IMPORT 3 4 ▲ 7 4 Locked Up AKON Universal/UNIVERSAL 4 5 ▲ 8 2 Sex, Love, Money / Ghetto Rock MOS DEF Geffen/UNIVERSAL 5 6 ➔ 6 10 Find Us THE BEATNUTS FT. AKON Penalty/IMPORT 6 7 ▲ 28 6 The Show METHOD MAN Def Jam/UNIVERSAL 7 8 ▼ 3 6 I Don’t Care THE ROOTS MCA/UNIVERSAL 3 9 ▲ NEW 0 Lose My Breath DESTINYS CHILD Columbia/SONY MUSIC 9 10 ▲ 24 8 Real Gangstaz MOBB DEEP FT. LIL JON Jive/BMG ARIOLA 10 11 ▼ 2 4 I Try TALIB KWELI FT. MARY J. BLIGE Rawkus/UNIVERSAL 2 12 ▲ NEW 0 Boston ED.O.G. & PETE ROCK Fat Beats/IMPORT 12 13 ▼ 9 2 The Grind Date / Shopping Bags DE LA SOUL Sanctuary/BMG ARIOLA 9 14 ▲ 18 8 It’s A Love Thing PETE ROCK FT. C.L. SMOOTH & DENOSH Rapster / Bbe/SSD 6 15 ▲ 21 10 Superior GENTLEMAN Four Music 12 16 ▼ 11 2 Tamale Rmxs MR. VEGAS FT. FAT JOE & FATMAN SCOOP Delicious Vinyl/UNIVERSAL 11 17 ▲ 40 2 Muthaf*cka XZIBIT Columbia/SONY MUSIC 17 18 ▲ 26 10 Friends EP BIZ MARKIE Groove Attack/MM MEDIA 2 19 ▼ 10 6 Break U Off KOOL KEITH FT. KUTMASTA KURT Treshold / Funky Ass/IMPORT 10 20 ▲ NEW 0 Club Etiquette / Built To Last DEFARI FT. -
Catalogue of Photographs of Performers at the Embassy Theatre
Catalogue of Photographs of Performers and Shows in the Archives of the Embassy Theatre Foundation The archives of the Embassy Theatre Foundation hold more than 3000 artifacts, including more than 600 photographs of vaudevillians inscribed to Bud Berger (long-time stage man- ager at the Embassy Theatre, known as the Emboyd until 1952); more than 300 posters, playbills, programs, stools, and even guitars signed by the stars and casts of shows that have played at the Embassy Theatre over the past forty years, rang- ing from classic and current Broadway shows to acrobatic groups, choral ensembles, dance shows, ballet, stand-up comedians, rock bands, country singers, travel films, silent films, theatre organists, and so on; and hundreds of publicity photographs of performers, shows, and events at the theatre, primarily from the period following the establishment of the Embassy Theatre Foundation and its rescue of the theatre from the wrecking ball in 1975; and a nearly complete run of the journal of the American Theatre Organ Society. The archive is now almost fully catalogued and preserved in archival housing. Earlier excerpts from the catalogue (available on the Archives page of the Embassy Theatre’s web site) cover the photographs inscribed to Bud Berger and the posters, playbills, programs, stools, and so on from later shows at the Embassy. This is the third excerpt, covering the public- ity photographs of the last forty-five years and a few photographs of earlier events, Bud Berger, and other members of the stage crew. The publicity photographs are primarily of individ- ual performers, but a few shows are presented as well, including Ain’t Misbehavin’, Annie, Barnum, Bubbling Brown Sugar, Cabaret, California Suite, Cats, A Christ- mas Carol, Dancin’, Evita, Gypsy, I'm Getting My Act Together And Taking It On The Road, Joseph and the Amazing Technicolor Dreamcoat, Peter Pan, Same Time Next Year, Side by Side by Sondheim, and Ziegfeld: A Night at the Follies. -
10 Drop It Like It's Hot SNOOP DOGG FT. PHARRELL Geffen
KW 03/04/2005 Plz LW WoC Title Artist Distribution PP 1 ➔ 1 10 Drop It Like It’s Hot SNOOP DOGG FT. PHARRELL Geffen/UNIVERSAL 1 2 ➔ 2 6 Hey Now XZIBIT Columbia/SONY MUSIC 2 3 ➔ 3 6 Lose My Breath DESTINYS CHILD Columbia/SONY MUSIC 3 4 ▲ 17 4 1,2 Step CIARA FT. MISSY ELLIOTT La Face/BMG ARIOLA 4 5 ▲ 10 2 Been Around The World MASTERCASH FT. BLACK MOON & SMIF’N ‘WESSUN Heat Rec./SSD 5 6 ▲ 9 10 Locked Up AKON Universal/UNIVERSAL 4 7 ▲ 23 2 Numb / Encore JAY-Z / LINKIN PARK Def Jam/WARNER 7 8 ▲ NEW 0 Encore EMINEM FT. DR. DRE & 50 CENT Interscope/UNIVERSAL 8 9 ▲ NEW 0 An Open Letter To Nyc BEASTIE BOYS Parlophone/CAPITOL 9 10 ▲ 40 2 New York JA RULE FT. JADAKISS & FAT JOE Def Jam/UNIVERSAL 10 11 ▲ 26 6 Global Lockdown: The Locked Up Remixes AKON SRC/UNIVERSAL 11 12 ▲ 16 4 Breathe FABOLOUS Atlantic/WARNER 12 13 ▼ 12 8 Tamale Rmxs MR. VEGAS FT. FAT JOE & FATMAN SCOOP Delicious Vinyl/UNIVERSAL 11 14 ▲ NEW 0 It’s Nothing THE BEATNUTS Penalty/IMPORT 14 15 ▼ 5 8 The Grind Date / Shopping Bags DE LA SOUL Sanctuary/BMG ARIOLA 5 16 ▼ 4 2 Bridging The Gap NAS FT. OLU DARA Columbia/SONY MUSIC 4 17 ▼ 11 8 Sex, Love, Money / Ghetto Rock MOS DEF Geffen/UNIVERSAL 5 18 ▼ 15 10 I Try TALIB KWELI FT. MARY J. BLIGE Rawkus/UNIVERSAL 2 19 ➔ 19 8 Hush LL COOL J Def Jam/UNIVERSAL 16 20 ➔ RE 2 Millionaire KELIS FT. -
Williams, Justin A. (2010) Musical Borrowing in Hip-Hop Music: Theoretical Frameworks and Case Studies
Williams, Justin A. (2010) Musical borrowing in hip-hop music: theoretical frameworks and case studies. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11081/1/JustinWilliams_PhDfinal.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. -
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. -
The Secret Life of Bees Production Notes
FOX SEARCHLIGHT PICTURES PRESENTS An OVERBROOK ENTERTAINMENT / DONNERS’ COMPANY Production A GINA PRINCE-BYTHEWOOD Film QUEEN LATIFAH DAKOTA FANNING JENNIFER HUDSON ALICIA KEYS SOPHIE OKONEDO NATE PARKER TRISTAN WILDS HILARIE BURTON and PAUL BETTANY WRITTEN FOR THE SCREEN AND DIRECTED BY....................................................GINA PRINCE-BYTHEWOOD BASED UPON THE NOVEL BY........................SUE MONK KIDD PRODUCED BY ..................................................LAUREN SHULER DONNER ..............................................................................JAMES LASSITER ..............................................................................WILL SMITH ..............................................................................JOE PICHIRALLO EXECUTIVE PRODUCER..................................JADA PINKETT SMITH DIRECTOR OF PHOTOGRAPHY......................ROGIER STOFFERS, N.S.C. PRODUCTION DESIGNER................................WARREN ALAN YOUNG EDITED BY .........................................................TERILYN A. SHROPSHIRE, A.C.E. COSTUME DESIGNER ......................................SANDRA HERNANDEZ MUSIC BY...........................................................MARK ISHAM CASTING BY ......................................................AISHA COLEY ..............................................................................LISA MAE, CRAIG & ..............................................................................MARK FINCANNON, CSA CO-PRODUCERS................................................ED -
Tears for Water: Songbook of Poems and Lyrics Free
FREE TEARS FOR WATER: SONGBOOK OF POEMS AND LYRICS PDF Alicia Keys | 179 pages | 01 Nov 2005 | Penguin Putnam Inc | 9780425205600 | English | New York, NY, United States Tears for Water by Alicia Keys Look Inside. Not even with my confidants. These are my most delicate thoughts. In Tears for WaterAlicia Keys opens the journals and Tears for Water: Songbook of Poems and Lyrics that she has kept throughout her life and reveals her heart to her fans in return for all the love they have shown to her and her music. From acclaimed musician Alicia Keys comes a revealing songbook of collected poems and lyrics that document her growth as a person, a woman, and an artist. Since the release of her monumental debut… More about Alicia Keys. When you buy a book, we donate a book. Sign in. Join Our Authors for Virtual Events. Nov 01, ISBN Add to Cart. Also available from:. Available from:. Paperback —. About Tears for Water From acclaimed musician Alicia Keys comes a revealing songbook of collected poems and lyrics that document her growth as a person, a woman, and an artist. Product Details. Inspired by Your Browsing History. All of Us. Raymond Carver. Jim Morrison. James Baldwin. Good Poems. The Colossus. Sylvia Plath. Best Loved Poems of American People. Hazel Felleman. Good Poems for Hard Times. Sailing Tears for Water: Songbook of Poems and Lyrics Around the Room. Billy Collins. Selected Poems of Langston Hughes. Langston Hughes. Poetry How to Love a Country. Richard Blanco. And Still I Rise. A Walk with Tom Jefferson. -
WATERBURY, CONN. – Legendary Motown Singing Groups The
FOR IMMEDIATE RELEASE February 21, 2016 CONTACT: Sheree Marcucci Work: (203) 346-2008 Mobile: (203)206-8286 Email: [email protected] THE TEMPTATIONS & THE FOUR TOPS BRING MOTOWN MAGIC TO PALACE THEATER WATERBURY, CONN. – Legendary Motown singing groups The Temptations and The Four Tops unite on stage for an unforgettable evening of live music at the Palace Theater in Waterbury on Sunday, Mar. 20, at 6:30p.m. Tickets for the one night only performance, sponsored by Ion Bank, range from $35 to $85 and can be purchased online at www.palacetheaterct.org, by phone at 203-346-2000, or in person at the Box Office, 100 East Main St. in Waterbury. With successful careers spanning more than five decades, The Temptations and The Four Tops continue to propel popular music with a series of smash hits and sold-out performances across the world. As essential components of the dynamic Motown machine, both groups are responsible for some of music’s most beloved and memorable songs including “My Girl,” “I Can’t Help Myself,” “Just My Imagination (Running Away with Me),” “Ain’t Too Proud to Beg,” “Reach Out I’ll Be There,” “Ain’t No Woman Like the One I’ve Got,” “It’s the Same Old Song” “Papa was a Rollin’ Stone,” and countless others. The groups will perform these popular melodies among other greatest hits during their concert at the Palace Theater. The history of The Temptations is the history of contemporary American pop. Beyond their fabulous singing and avalanche of Motown hits, The Temps became known for their smooth stepping, flawless presentations, and signature “Temptations Walk,” which became a staple of American style, flair, and class. -
The Temptations and the Four Tops to Perform at Four Winds New Buffalo on Friday, April 20
FOR IMMEDIATE RELEASE THE TEMPTATIONS AND THE FOUR TOPS TO PERFORM AT FOUR WINDS NEW BUFFALO ON FRIDAY, APRIL 20 Tickets go on sale Friday, January 26 NEW BUFFALO, Mich. – January 22, 2018 – The Pokagon Band of Potawatomi Indians’ Four Winds® Casinos are pleased to announce The Temptations and The Four Tops will perform together at Four Winds New Buffalo’s® Silver Creek® Event Center on Friday, April 20, 2018 at 9 p.m. Hotel and dinner packages are available on the night of the concert. Tickets can be purchased beginning Friday, January 26 at 11 a.m. EST exclusively through Ticketmaster®, www.ticketmaster.com, or by calling (800) 745- 3000. Ticket prices for the show start at $49 plus applicable fees. Four Winds New Buffalo will be offering hotel and dinner packages along with tickets to The Temptations/Four Tops show. The Hard Rock option is available for $460 and includes two concert tickets, a one-night hotel stay on Friday, April 20 and a $50 gift card to Hard Rock Cafe® Four Winds. The Copper Rock option is available for $560 and includes two tickets to the performance, a one-night hotel stay on Friday, April 20 and a $150 gift card to Copper Rock Steak House®. All hotel and dinner packages must be purchased through Ticketmaster. For more than 50 years, The Temptations have prospered, propelling popular music with a series of smash hits, and sold-out performances throughout the world. An essential component of the original Motown machine, The Temptations began their musical life in Detroit in the early sixties.