NBA All Star Bash 2012 February 24, 2012 Thru February 26, 2012
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Hip Hop's Hostile Gospel: a Post-Soul Theological Exploration
Hip Hop’s Hostile Gospel <UN> Studies in Critical Research on Religion Series Editor Warren S. Goldstein Center for Critical Research on Religion and Harvard University (u.s.a.) Editorial Board Roland Boer, University of Newcastle (Australia) Christopher Craig Brittain, University of Aberdeen (u.k.) Darlene Juschka, University of Regina (Canada) Lauren Langman, Loyola University Chicago (u.s.a.) George Lundskow, Grand Valley State University (u.s.a.) Kenneth G. MacKendrick, University of Manitoba (Canada) Andrew M. McKinnon, University of Aberdeen (u.k.) Michael R. Ott, Grand Valley State University (u.s.a.) Sara Pike, California State University, Chico (u.s.a.) Dana Sawchuk, Wilfrid Laurier University (Canada) Advisory Board William Arnal, University of Regina (Canada) Jonathan Boyarin, Cornell University (u.s.a.) Jay Geller, Vanderbilt University (u.s.a.) Marsha Hewitt, University of Toronto (Canada) Michael Löwy, Centre National de la Recherche Scientifique (France) Eduardo Mendieta, Stony Brook University (u.s.a.) Rudolf J. Siebert, Western Michigan University (u.s.a.) Rhys H. Williams, Loyola University Chicago (u.s.a.) VOLUME 6 The titles published in this series are listed at brill.com/scrr <UN> Hip Hop’s Hostile Gospel A Post-Soul Theological Exploration By Daniel White Hodge LEIDEN | BOSTON <UN> Cover illustration: “The character is a fallen Angel spray-can. I was going for idolatry and the character is supposed to be an idol that people worship, a hip-hop idol. The eye inside the pyramid represents the illuminati and how many rappers fall for that false teaching. The right hand is doing a typical Jesus gesture while the left is holding a rod with a microphone at the end. -
(2001) 96- 126 Gangsta Misogyny: a Content Analysis of the Portrayals of Violence Against Women in Rap Music, 1987-1993*
Copyright © 2001 Journal of Criminal Justice and Popular Culture All rights reserved. ISSN 1070-8286 Journal of Criminal Justice and Popular Culture, 8(2) (2001) 96- 126 GANGSTA MISOGYNY: A CONTENT ANALYSIS OF THE PORTRAYALS OF VIOLENCE AGAINST WOMEN IN RAP MUSIC, 1987-1993* by Edward G. Armstrong Murray State University ABSTRACT Gangsta rap music is often identified with violent and misogynist lyric portrayals. This article presents the results of a content analysis of gangsta rap music's violent and misogynist lyrics. The gangsta rap music domain is specified and the work of thirteen artists as presented in 490 songs is examined. A main finding is that 22% of gangsta rap music songs contain violent and misogynist lyrics. A deconstructive interpretation suggests that gangsta rap music is necessarily understood within a context of patriarchal hegemony. INTRODUCTION Theresa Martinez (1997) argues that rap music is a form of oppositional culture that offers a message of resistance, empowerment, and social critique. But this cogent and lyrical exposition intentionally avoids analysis of explicitly misogynist and sexist lyrics. The present study begins where Martinez leaves off: a content analysis of gangsta rap's lyrics and a classification of its violent and misogynist messages. First, the gangsta rap music domain is specified. Next, the prevalence and seriousness of overt episodes of violent and misogynist lyrics are documented. This involves the identification of attributes and the construction of meaning through the use of crime categories. Finally, a deconstructive interpretation is offered in which gangsta rap music's violent and misogynist lyrics are explicated in terms of the symbolic encoding of gender relationships. -
Basketball and Philosophy, Edited by Jerry L
BASKE TBALL AND PHILOSOPHY The Philosophy of Popular Culture The books published in the Philosophy of Popular Culture series will il- luminate and explore philosophical themes and ideas that occur in popu- lar culture. The goal of this series is to demonstrate how philosophical inquiry has been reinvigorated by increased scholarly interest in the inter- section of popular culture and philosophy, as well as to explore through philosophical analysis beloved modes of entertainment, such as movies, TV shows, and music. Philosophical concepts will be made accessible to the general reader through examples in popular culture. This series seeks to publish both established and emerging scholars who will engage a major area of popular culture for philosophical interpretation and exam- ine the philosophical underpinnings of its themes. Eschewing ephemeral trends of philosophical and cultural theory, authors will establish and elaborate on connections between traditional philosophical ideas from important thinkers and the ever-expanding world of popular culture. Series Editor Mark T. Conard, Marymount Manhattan College, NY Books in the Series The Philosophy of Stanley Kubrick, edited by Jerold J. Abrams The Philosophy of Martin Scorsese, edited by Mark T. Conard The Philosophy of Neo-Noir, edited by Mark T. Conard Basketball and Philosophy, edited by Jerry L. Walls and Gregory Bassham BASKETBALL AND PHILOSOPHY THINKING OUTSIDE THE PAINT EDITED BY JERRY L. WALLS AND GREGORY BASSHAM WITH A FOREWORD BY DICK VITALE THE UNIVERSITY PRESS OF KENTUCKY Publication -
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. -
No Bitin' Allowed a Hip-Hop Copying Paradigm for All Of
20 Tex. Intell. Prop. L.J. 115 Texas Intellectual Property Law Journal Fall, 2011 Article NO BITIN’ ALLOWED: A HIP-HOP COPYING PARADIGM FOR ALL OF US Horace E. Anderson, Jr.a1 Copyright (c) 2011 Intellectual Property Law Section of the State Bar of Texas; Horace E. Anderson, Jr. I. History and Purpose of Copyright Act’s Regulation of Copying 119 II. Impact of Technology 126 A. The Act of Copying and Attitudes Toward Copying 126 B. Suggestions from the Literature for Bridging the Gap 127 III. Potential Influence of Norms-Based Approaches to Regulation of Copying 129 IV. The Hip-Hop Imitation Paradigm 131 A. Structure 131 1. Biting 131 2. Beat Jacking 133 3. Ghosting 135 4. Quoting 136 5. Sampling 139 B. The Trademark Connection 140 C. The Authors’ Rights Connection 142 D. The New Style - What the Future of Copyright Could Look Like 143 V. Conclusion 143 VI. Appendix A 145 VII. Appendix B 157 VIII. Appendix C 163 *116 Introduction I’m not a biter, I’m a writer for myself and others. I say a B.I.G. verse, I’m only biggin’ up my brother1 It is long past time to reform the Copyright Act. The law of copyright in the United States is at one of its periodic inflection points. In the past, major technological change and major shifts in the way copyrightable works were used have rightly led to major changes in the law. The invention of the printing press prompted the first codification of copyright. The popularity of the player piano contributed to a reevaluation of how musical works should be protected.2 The dawn of the computer age led to an explicit expansion of copyrightable subject matter to include computer programs.3 These are but a few examples of past inflection points; the current one demands a similar level of change. -
"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. -
Too $Hort Get in Where You Fit in Mp3, Flac, Wma
Too $hort Get In Where You Fit In mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Get In Where You Fit In Country: Europe Released: 1993 MP3 version RAR size: 1474 mb FLAC version RAR size: 1433 mb WMA version RAR size: 1542 mb Rating: 4.4 Votes: 720 Other Formats: AUD MP1 DXD DMF AHX VOC AC3 Tracklist Hide Credits 1 Don't Fight The Intro 2:47 2 I'm A Player 6:01 Just Another Day 3 6:34 Engineer – Rob ChiarelliGuitar – Stan "The Guitar" ManKeyboards, Producer – QD III 4 Gotta Get Some Lovin' 5:47 5 Money In The Ghetto 5:42 6 B!$*&*% Betty 5:26 All My B$*&I%* Are Gone 7 5:37 Featuring – Ant Banks The Dangerous Crew 8 4:30 Featuring – Ant Banks, Mhisani, Pee-Wee, Spice 1 Get In Where You Fit In 9 8:34 Featuring – Rappin' Ron & Ant Diddley Dog Playboy $hort 10 4:49 Keyboards [Solo] – D. Hall 11 Way Too Real 5:42 12 It's All Good 6:02 Oakland Style 13 5:54 Featuring – FM Blue Credits Bass, Guitar – Shorty B Drums – Pee-Wee, Sean G Keyboards – Ant Banks, Pee-Wee Mastered By – Tom Coyne Mixed By – Ant Banks, Todd Shaw Producer – Ant Banks (tracks: 4, 7, 10, 11, 13), The Dangerous Crew (tracks: 1, 2, 5, 6, 8, 9, 12) Vocals – Leslie Calaway, Roniece Levias Other versions Category Artist Title (Format) Label Category Country Year Get In Where You Fit In 01241 41526 2 Too $hort* Jive 01241 41526 2 Germany 1993 (CD, Album) Get In Where You Fit In 1004755-41526 Too Short Jive 1004755-41526 US 1993 (CD, Album) Get In Where You Fit In 01241-41526-2 Too $hort* Jive 01241-41526-2 US Unknown (CD, Album, RE) Get In Where You Fit In 01241-41526-2 Too $hort* Jive 01241-41526-2 US 1993 (CD, Album, Club) Get In Where You Fit In 01241-41526-4 Too Short Jive 01241-41526-4 US 1993 (Cass, Album) Related Music albums to Get In Where You Fit In by Too $hort Doug Banks - I Just Kept On Dancing Kill It Kid - Burst Its Banks Ron Banks & Belita Woods - The Closer I Get To You Joan Baez - On The Banks Of The Ohio / Lowlands Buddy Banks Sextette - I Need It Bad / Banks' Boogie Fletcher B / Fletcher B, Mr. -
3. SMACK THAT – EMINEM (Feat. Eminem) [Akon:] Shady Convict
3. SMACK THAT – EMINEM thing on Get a little drink on (feat. Eminem) They gonna flip for this Akon shit You can bank on it! [Akon:] Pedicure, manicure kitty-cat claws Shady The way she climbs up and down them poles Convict Looking like one of them putty-cat dolls Upfront Trying to hold my woodie back through my Akon draws Slim Shady Steps upstage didn't think I saw Creeps up behind me and she's like "You're!" I see the one, because she be that lady! Hey! I'm like ya I know lets cut to the chase I feel you creeping, I can see it from my No time to waste back to my place shadow Plus from the club to the crib it's like a mile Why don't you pop in my Lamborghini away Gallardo Or more like a palace, shall I say Maybe go to my place and just kick it like Plus I got pal if your gal is game TaeBo In fact he's the one singing the song that's And possibly bend you over look back and playing watch me "Akon!" [Chorus (2X):] [Akon:] Smack that all on the floor I feel you creeping, I can see it from my Smack that give me some more shadow Smack that 'till you get sore Why don't you pop in my Lamborghini Smack that oh-oh! Gallardo Maybe go to my place and just kick it like Upfront style ready to attack now TaeBo Pull in the parking lot slow with the lac down And possibly bend you over look back and Convicts got the whole thing packed now watch me Step in the club now and wardrobe intact now! I feel it down and cracked now (ooh) [Chorus] I see it dull and backed now I'm gonna call her, than I pull the mack down Eminem is rollin', d and em rollin' bo Money -
Basketball References in Rap Dntsoft
Basketball References In Rap conjugatings.Wrathless Vern Hypnoidal poach some Quinlan Siddhartha excruciates after that whatsoever neurophysiologist Rutter ventriloquising channelizes uncomplainingly.upward and chunders Tedrick despitefully. fixings seaward if lapelled Sloane deodorise or Simplest information held up the artists covered here for reference. Brent barry and recorded music awards show and the video. Network through anything if it as a rap than this. Research was not the basketball references rap albums in his approach to pay tv subscribers to the majority of heart and of. Get my balls really hard too much as the best though. Page do you a basketball in rap to stop the first started hunting down the back with rappers have forged their championship parade if your email. Persona and recent lakers and nobody slams like trump now takes office on a blast recording the eye. Carter has his basketball references in the greatest buzz like a place where he has ever seen and his music. Box score a basketball references in that ran through his the time? Homies or its clubs have metta world peace decided to build up watching who adjusts the slide. Akismet to be the time game continued to get put a woman over. Volume of basketball references used to the heart and be childhood homies or investing in? Member hailing straight out of the bulls now and top. Spent the further i could also has encapsulated the dates selected by email or distribution without their talents. Girl next years dwayne wayne for major league standings for thinking fan who unceremoniously screwed by the good. -
Hip Hop and Literacy in the Lives of Two Students in a Transitional English Course
Running head: HIP HOP AND LITERACY 1 Hip hop and Literacy in the Lives of Two Students in a Transitional English Course A dissertation submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Education (Ed.D.) in the College of Education, Criminal Justice and Human Services Literacy and Second Language Studies University of Cincinnati Deborah M. Sánchez, M.Ed. Dr. Susan Watts-Taffe (Chair) Dr. Chester Laine (Co-chair) Dr. Carmen Kynard (Member) Dr. Gulbahar Beckett (Member) HIP HOP AND LITERACY 2 Abstract This qualitative dissertation study investigated the following research question: How does Hip hop influence the literate lives, i.e., the connections of Hip hop to readings, writings and other communicative practices, of students who placed into transitional college English courses? The impetus for the study came from the importance that Hip hop has in the lives of young people (Smitherman, 1997). The participants in this study, Dionne and Mike, were students placed into a 1st year non-credit bearing English course, also known as a transitional course (Armstrong, 2007), at a 4-year university. The study employed tools of ethnography (Heath & Street, 2008), such as interviews, classroom observations and textual analysis of students‘ language and literacy practices in spaces inside and outside of the classroom. This study is conceptually framed within cultural studies (Hicks, 2003, 2005, 2009; Nelson, Treichler, & Grossberg, 1992) and sociocultural studies (Dyson & Smitherman, 2009; Street, 2001). Data were analyzed using linguistic analysis (Alim, 2006) and textual analysis (Kellner, 2009). -
March 4 – 10, 2021
Remembering Dr. Theodore Roosevelt Lee, Jr., Publisher/CEO The Dallas Post Tribune March 3, 2016 – March 3, 2021 (5th Anniversary of death) “Gone, but never forgotten.” - The Staff, writers, and Board Members 2726 S. Beckley Ave • Dallas, Texas 75224 ISSN # 0746-7303 P.O. Box 570769 Dallas, Texas 75357 - 0769 50¢ .Serving Dallas More Than 70 Years — Tel. 214 946-7678 - Fax 214 946-7636 — Web Site: www.dallasposttrib.com — E-mail: [email protected] VOLUME 73 NUMBER 26 SERVING THE BLACK COMMUNITY WITHOUT FEAR OR FAVOR SINCE 1947 March 4, - 10, 2021 Vernon Jordan activist, former Clinton adviser, has died By JEFF MARTIN and ERRIN HAINE ATLANTA (AP) — Clinton, drawing him into closer to its Founding Vernon Jordan, who rose controversy during the promise: all are created from humble beginnings in Monica Lewinsky scandal. equal.” the segregated South to After serving as field Jordan’s death comes become a champion of secretary for the Georgia months after the deaths of civil rights before rein- NAACP and executive two other civil rights venting himself as a director of the United icons: U.S. Rep. John Washington insider and Negro College Fund, Lewis and C.T. Vivian. corporate influencer, has Jordan headed the After growing up in the died at the age of 85. National Urban League, Jim Crow South and living His niece, Ann Walker becoming the face of much of his life in a segre- Marchant, confirmed Black America’s modern gated America, Jordan Tuesday that he died struggle for jobs and jus- took a strategic view of peacefully Monday night. -
Super ACRONYM 2 - Round 8
Super ACRONYM 2 - Round 8 1. In 1938, then-rookie Andy Farkas became the first NFL player to perform this general type of action, doing so on an opening kickoff. The 1984 Iron Bowl is nicknamed for this type of action, in reference to an incident in which Bo Jackson supposedly did it on a fourth-and-goal play, though Jackson did it without the ball. A play of this type is the defining moment in the career of (*) Roy Riegels, who did it in a loss in the 1929 Rose Bowl. In a 1964 game in San Francisco, one of these actions occurred following a Billy Kilmer fumble despite the pleas of Carl Eller and his fellow Purple People Eaters. The otherwise excellent Jim Marshall came to be best known for taking, for 10 points, what counter-productive way of moving with a football? ANSWER: running the wrong way (accept similar answers describing moving in the wrong direction or running towards your own end zone; prompt on "losing yards" or similar answers that don't describe the action itself) <Nelson> 2. This man sends a "commonplace attorney called Robinson" to the Old Starre Inn to present a contract that eventually forces a Learned Society to disband. This man's "past and present and future" are foretold by a tattooed fortune teller whose tarot cards all turn into the card The Emperor. An assassination attempt against this man fails when the bullet hits his servant, (*) Childermass [CHILL-der-mass]. This man dooms Lady Pole to endless nights dancing in Lost-Hope after he resurrects her by contacting the Man with the Thistle-Down Hair.