Blacklivesmatter: Music in a Movement
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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). -
Help Yankton & Surrounding Communities Be Rid of Unwanted-Prescription Drugs TtqIgHqPQpRrGUyq HT5Ux &THQ U
Saturday, 4.21.12 ON THE WEB: www.yankton.net the world PRESS DAKOTAN NEWS DEPARTMENT: [email protected] 5 Obama, Romney March Through Key States President Barack Obama and Republican Mitt Romney are in the More Secret Service Agents Gone cat-and-mouse stage of their national race, chasing each other around the map as they jockey for position. tween a prostitute and a Secret Service agent The GOP nomination assured, Romney marched this week 6 Officers Have Now Lost Jobs Due To Scandal spilled into the hotel hallway. A 24-year-old through three states vital to both men. Colombian prostitute told The New York Times In North Carolina, which Obama narrowly won in 2008 but BY KEN THOMAS AND ALICIA A. CALDWELL implicated Friday, a government official said, that the agent agreed to pay her $800 for a where Republicans see an opening this year, Romney taunted the Associated Press commenting only on condition of anonymity night of sex but the next morning offered her president with a slashing attack delivered across from the Char- concerning the continuing investigation. That only $30. She eventually left the hotel, she told brings the number to 12. One has been cleared lotte stadium where Obama will give his Democratic convention ac- WASHINGTON — Three more Secret Service the newspaper, after she was paid $225. officers resigned Friday in the expanding prosti- of serious misconduct but still faces adminis- ceptance speech in September. Two Secret Service supervisors and another tution scandal that has brought scorching criti- trative action, an official said. employee were forced out of the agency earlier The trip mirrored 2008. -
ENG 350 Summer12
ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog. -
The Pennsylvania State University Schreyer Honors College
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF COMMUNICATION ARTS AND SCIENCES THE TRAGIC TALE OF TRAYVON MARTIN: AN ANALYSIS OF REPRESENTATIVE ANECDOTES AND THEIR IMPLICATIONS BRIANA PATRICE ADAMS SPRING 2016 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Communication Arts and Sciences and Spanish with honors in Communication Arts and Sciences Reviewed and approved* by the following: Kirt Wilson Associate Professor of Communication Arts and Sciences Thesis Supervisor Lori Bedell Senior Lecturer of Communication Arts and Sciences Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT For my honors thesis, I will be analyzing the 2013 State of Florida v. Zimmerman case in order to gain a better understanding of the communication patterns surrounding this racially charged case and how coverage differed across various media. In order to execute this project, I will divide my thesis chapters by media type: print media (newspapers/news articles), television media, the National Public Radio and social media. Using a critical approach through Kenneth Burke's concept of the representative anecdote, I hope to uncover the narratives used to describe Trayvon Martin and to elucidate the way the media framed the case for their listeners. How did these narratives overlap? How did they differ? How did the narratives told in black press relate to mainstream coverage? How did the media make sense of the incident and what are the implications of these narratives from a rhetorical standpoint? Using this background, I will offer my interpretation of the case as it unfolded over time, taking into consideration the coverage presented by the media and the representative anecdote theory by Burke. -
Ethnic Studies Review
esr37-38_cv_esr37-38_cv 7/28/2017 1:37 PM Page 2 COLOR IS FOR APPROXIMATION ONLY – DO NOT USE FOR COLOR APPROVAL Volumes 37 and 38 Volumes National Association For Ethnic Studies Ethnic Studies Review Ethnic Studies Review Pages 1–154 Pages 2014-2015 2014-2015 Volumes 37 and 38 ISSN: 1555-1881 esr37-38_cv_esr37-38_cv 7/28/2017 1:37 PM Page 3 The National Association For Ethnic Studies Ethnic Studies Review (ESR) is the journal of the National Association For Ethnic Studies (NAES). ESR is a multi-disciplinary international journal devoted to the study of ethnicity, ethnic groups and their cultures, and inter-group relations. NAES has as its basic purpose the promotion of activities and scholarship in the field of Ethnic Studies. The Association is open to any person or institution and serves as a forum for its members in promoting research, study, and curriculum as well as producing publications of interest in the field. NAES sponsors an annual spring Ethnic Studies Review conference. Journal Information Editorial Board Editor Associate Editors Ron Scapp, College of Mount Saint Vincent David Aliano, College of Mount Saint Vincent Guidelines for Submitting Manuscripts Ravi Perry, Virginia Commonwealth University ESR uses a policy of blind peer review. All papers are read by at least two Book Review Editor reviewers who are experts in the area. Manuscripts must not have been Emily M. Drew, Willamette University published previously or be under consideration by other publications. ESR seeks manuscripts of 7500 words or less, inclusive of notes and works cited. Editorial Advisory Board Endnotes rather than footnotes should be utilized, although these should be Edna Acosta-Belen Rosanne Kanhai kept to a minimum. -
1. Summer Rain by Carl Thomas 2. Kiss Kiss by Chris Brown Feat T Pain 3
1. Summer Rain By Carl Thomas 2. Kiss Kiss By Chris Brown feat T Pain 3. You Know What's Up By Donell Jones 4. I Believe By Fantasia By Rhythm and Blues 5. Pyramids (Explicit) By Frank Ocean 6. Under The Sea By The Little Mermaid 7. Do What It Do By Jamie Foxx 8. Slow Jamz By Twista feat. Kanye West And Jamie Foxx 9. Calling All Hearts By DJ Cassidy Feat. Robin Thicke & Jessie J 10. I'd Really Love To See You Tonight By England Dan & John Ford Coley 11. I Wanna Be Loved By Eric Benet 12. Where Does The Love Go By Eric Benet with Yvonne Catterfeld 13. Freek'n You By Jodeci By Rhythm and Blues 14. If You Think You're Lonely Now By K-Ci Hailey Of Jodeci 15. All The Things (Your Man Don't Do) By Joe 16. All Or Nothing By JOE By Rhythm and Blues 17. Do It Like A Dude By Jessie J 18. Make You Sweat By Keith Sweat 19. Forever, For Always, For Love By Luther Vandros 20. The Glow Of Love By Luther Vandross 21. Nobody But You By Mary J. Blige 22. I'm Going Down By Mary J Blige 23. I Like By Montell Jordan Feat. Slick Rick 24. If You Don't Know Me By Now By Patti LaBelle 25. There's A Winner In You By Patti LaBelle 26. When A Woman's Fed Up By R. Kelly 27. I Like By Shanice 28. Hot Sugar - Tamar Braxton - Rhythm and Blues3005 (clean) by Childish Gambino 29. -
Stay Woke, Give Back Virtual Tour Day of Empowerment Featuring Justin Michael Williams
11 1 STAY WOKE, GIVE BACK VIRTUAL TOUR DAY OF EMPOWERMENT FEATURING JUSTIN MICHAEL WILLIAMS On the STAY WOKE, GIVE BACK TOUR, Justin empowers students to take charge of their lives, and their physical and mental wellbeing with mass meditation events at high schools, colleges, and cultural centers across the country. The tour began LIVE in-person in 2020, but now with the Covid crisis—and students and teachers dealing with the stressors of distance learning—we’ve taken the tour virtual, with mass Virtual Assemblies to engage, enliven, and inspire students when they need us most. From growing up with gunshot holes outside of his bedroom window, to sharing the stage with Deepak Chopra, Justin Michael Williams knows the power of healing to overcome. Justin Michael Williams More: StayWokeGiveBack.org Justin is an author, top 20 recording artist, and transformational speaker whose work has been featured by The Wall Street Journal, Grammy.com, Yoga Journal, Billboard, Wanderlust, and South by Southwest. With over a decade of teaching experience, Justin has become a pioneering millennial voice for diversity and inclusion in wellness. What is the Stay Woke Give Back Tour? Even before the start of Covid-19, anxiety and emotional unrest have been plaguing our youth, with suicide rates at an all-time high. Our mission is to disrupt that pattern. We strive to be a part of the solution before the problem starts—and even prevent it from starting in the first place. Instead of going on a traditional “book tour,” Justin is on a “GIVE BACK” tour. At these dynamic Virtual Assemblies—think TED talk meets a music concert—students will receive: • EVENT: private, school-wide Virtual Assembly for entire staff and student body (all tech setup covered by Sounds True Foundation) • LONG-TERM SUPPORT: free access to a 40-day guided audio meditation program, delivered directly to students daily via SMS message every morning, requiring no staff or administrative support. -
Sujm 2016 Final Proof[1]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals online Sydney Undergraduate Journal of Musicology Vol. 6, December 2016 “I Remember You Was Conflicted”: Reinterpreting Kendrick Lamar’s To Pimp a Butterfly JOHN LAWRIE You can take the boy out the hood, but you can’t take the hood out the homie – The Comrads, 19971 The individual cannot be removed from their cultural context, nor can these contexts exist without the individual. This we consider self-evident. Yet in discussing art of subjugated cultures, specifically African American music, these two spheres are often wrongly separated. This has cultivated a divide in which personal exploration through music has been decoupled from the artist’s greater comments on their cultural struggle. These works are necessarily grounded in the context to which they speak, however this greater context must acknowledge the experience of the individual. This essay aims to pursue a methodology centred on the relationship between the personal and the cultural, with a case study of Kendrick Lamar’s 2015 album To Pimp a Butterfly.2 Lamar straddles this divide. His personal difficulty with removal from the Compton community is inextricably linked with the struggle of African Americans in the wake of the Ferguson unrest. Lamar is in the optimal position to comment on this cultural struggle, however his fame and celebrity has partially removed him from the issues he attempts to articulate. As Lamar examines the relationship between himself and his community and context throughout To Pimp a Butterfly, he gives authenticity to his voice despite its fallibility. -
Hip-Hop's Diversity and Misperceptions
The University of Maine DigitalCommons@UMaine Honors College Summer 8-2020 Hip-Hop's Diversity and Misperceptions Andrew Cashman Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Music Commons, and the Social and Cultural Anthropology Commons This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. HIP-HOP’S DIVERSITY AND MISPERCEPTIONS by Andrew Cashman A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Anthropology) The Honors College University of Maine August 2020 Advisory Committee: Joline Blais, Associate Professor of New Media, Advisor Kreg Ettenger, Associate Professor of Anthropology Christine Beitl, Associate Professor of Anthropology Sharon Tisher, Lecturer, School of Economics and Honors Stuart Marrs, Professor of Music 2020 Andrew Cashman All Rights Reserved ABSTRACT The misperception that hip-hop is a single entity that glorifies wealth and the selling of drugs, and promotes misogynistic attitudes towards women, as well as advocating gang violence is one that supports a mainstream perspective towards the marginalized.1 The prevalence of drug dealing and drug use is not a picture of inherent actions of members in the hip-hop community, but a reflection of economic opportunities that those in poverty see as a means towards living well. Some artists may glorify that, but other artists either decry it or offer it as a tragic reality. In hip-hop trends build off of music and music builds off of trends in a cyclical manner. -
Chai Release New Single/Video, “Maybe
February 24, 2021 For Immediate Release CHAI RELEASE NEW SINGLE/VIDEO, “MAYBE CHOCOLATE CHIPS” (FEAT. RIC WILSON) NEW ALBUM, WINK, OUT MAY 21ST ON SUB POP CHAI by Yoshio Nakaiso, Ric Wilson by Jackie Lee Young Japanese quartet CHAI present a new single/video, “Maybe Chocolate Chips” (Feat. Ric Wilson), from their forthcoming album, WINK, due May 21st on Sub Pop. CHAI’s past albums have been filled with playful references, in the lyrics, to food, and WINK’s intimate single “Maybe Chocolate Chips” offers an evolution of this motif. Bassist/lyricist YUUKI wanted to write a self-love song about her moles: “Things that we want to hold on to, things that we wished went away. A lot of things happen as we age and with that for me, is new moles! But I love them! My moles are like the chocolate chips on a cookie, the more you have, the happier you become! and before you know it, you're an original♡” Chicago rapper Ric Wilson, who they initially connected with at the 2019 Pitchfork Music Festival, brings smooth vocals over a laidback beat and whirring, dreamy synth. A community activist and artist based on the Southside of Chicago, he got his start with the legendary Young Chicago Authors, the Chicago-based storytelling and poetry organization which helped launch the likes of Noname, Saba, Jamila Woods, Chance The Rapper, Vic Mensa, Mick Jenkins, and many others. He’s also featured in the accompanying video, directed by Callum Scott-Dyson, which is made of fun collages and video clips in classic CHAI style. -
Jury Instructions
IN THE CIRCUIT COURT OF THE EIGHTEETH JUDICIAL CIRCUIT, IN AND FOR SEMINOLE COUNTY, FLORIDA CASE NO.: 2012 CF 1083 AXXX STATE OF FLORIDA vs. GEORGE ZIMMERMAN Instructions read to jury by The Honorable Debra S. Nelson, Circuit Judge. DATED at Sanford, Florida on ______________________________________, 2013. CIRCUIT JUDGE Members of the Jury, I thank you for your attention during this trial. Please pay attention to the instructions I am about to give you. STATEMENT OF CHARGE George Zimmerman, the defendant in this case, has been accused of the crime of Second Degree Murder. INTRODUCTION TO HOMICIDE In this case, George Zimmerman is accused of Second Degree Murder. A killing that is excusable or was committed by the use of justifiable deadly force is lawful. If you find Trayvon Martin was killed by George Zimmerman, you will then consider the circumstances surrounding the killing in deciding if the killing was Murder in the Second Degree or was Manslaughter, or whether the killing was excusable or resulted from justifiable use of deadly force. JUSTIFIABLE HOMICIDE The killing of a human being is justifiable and lawful if necessarily done while resisting an attempt to murder or commit a felony upon George Zimmerman, or to commit a felony in any dwelling house in which George Zimmerman was at the time of the attempted killing. EXCUSABLE HOMICIDE The killing of a human being is excusable, and therefore lawful, under any one of the three following circumstances: 1. When the killing is committed by accident and misfortune in doing any lawful act by lawful means with usual ordinary caution and without any unlawful intent, or 2. -
Chance the Rapper's Creation of a New Community of Christian
Bates College SCARAB Honors Theses Capstone Projects 5-2020 “Your Favorite Rapper’s a Christian Rapper”: Chance the Rapper’s Creation of a New Community of Christian Hip Hop Through His Use of Religious Discourse on the 2016 Mixtape Coloring Book Samuel Patrick Glenn [email protected] Follow this and additional works at: https://scarab.bates.edu/honorstheses Recommended Citation Glenn, Samuel Patrick, "“Your Favorite Rapper’s a Christian Rapper”: Chance the Rapper’s Creation of a New Community of Christian Hip Hop Through His Use of Religious Discourse on the 2016 Mixtape Coloring Book" (2020). Honors Theses. 336. https://scarab.bates.edu/honorstheses/336 This Open Access is brought to you for free and open access by the Capstone Projects at SCARAB. It has been accepted for inclusion in Honors Theses by an authorized administrator of SCARAB. For more information, please contact [email protected]. “Your Favorite Rapper’s a Christian Rapper”: Chance the Rapper’s Creation of a New Community of Christian Hip Hop Through His Use of Religious Discourse on the 2016 Mixtape Coloring Book An Honors Thesis Presented to The Faculty of the Religious Studies Department Bates College in partial fulfillment of the requirements for the Degree of Bachelor of Arts By Samuel Patrick Glenn Lewiston, Maine March 30 2020 Acknowledgements I would first like to acknowledge my thesis advisor, Professor Marcus Bruce, for his never-ending support, interest, and positivity in this project. You have supported me through the lows and the highs. You have endlessly made sacrifices for myself and this project and I cannot express my thanks enough.