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“Rapper's Delight”
1 “Rapper’s Delight” From Genre-less to New Genre I was approached in ’77. A gentleman walked up to me and said, “We can put what you’re doing on a record.” I would have to admit that I was blind. I didn’t think that somebody else would want to hear a record re-recorded onto another record with talking on it. I didn’t think it would reach the masses like that. I didn’t see it. I knew of all the crews that had any sort of juice and power, or that was drawing crowds. So here it is two years later and I hear, “To the hip-hop, to the bang to the boogie,” and it’s not Bam, Herc, Breakout, AJ. Who is this?1 DJ Grandmaster Flash I did not think it was conceivable that there would be such thing as a hip-hop record. I could not see it. I’m like, record? Fuck, how you gon’ put hip-hop onto a record? ’Cause it was a whole gig, you know? How you gon’ put three hours on a record? Bam! They made “Rapper’s Delight.” And the ironic twist is not how long that record was, but how short it was. I’m thinking, “Man, they cut that shit down to fifteen minutes?” It was a miracle.2 MC Chuck D [“Rapper’s Delight”] is a disco record with rapping on it. So we could do that. We were trying to make a buck.3 Richard Taninbaum (percussion) As early as May of 1979, Billboard magazine noted the growing popularity of “rapping DJs” performing live for clubgoers at New York City’s black discos.4 But it was not until September of the same year that the trend gar- nered widespread attention, with the release of the Sugarhill Gang’s “Rapper’s Delight,” a fifteen-minute track powered by humorous party rhymes and a relentlessly funky bass line that took the country by storm and introduced a national audience to rap. -
GOSSIP GIRL by Cecily Von Ziegesar
Executive Producer Josh Schwartz Executive Producer Stephanie Savage Executive Producer Bob Levy Executive Producer Les Morgenstein Executive Producer John Stephens Co-Executive Producer Joshua Safran Producer Amy Kaufman Producer Joe Lazarov Episode 206 “New Haven Can Wait” Written by Alexandra McNally & Joshua Safran Directed by Norman Buckley Based on GOSSIP GIRL by Cecily von Ziegesar Double White Revisions 8/20/08, pg. 41 Goldenrod Revisions 8/14/08, pgs. 2, 3, 3A Green Revisions 8/12/08, pg. 16 Yellow Revisions 8/12/08, pgs. 5, 20, 20A-21, 22, 23, 31, 31A, 31B-32, 32A, 33, 36, 37, 38, 38A-39, 49A, 50, 51 Full Pink Revisions 8/11/08 Full Blue Revisions 8/8/08 Production #: 3T7606 Production Draft 8/5/08 © 2008 Warner Bros. Entertainment Inc. This script is the property of Warner Bros. Entertainment, Inc. No portion of this script may be performed, reproduced or used by any means, or disclosed to, quoted or published in any medium without the prior written consent of Warner Bros. Entertainment Inc. “New Haven Can Wait” Character List CAST Serena van der Woodsen Blair Waldorf Dan Humphrey Jenny Humphrey Nate Archibald Chuck Bass Rufus Humphrey Lily Bass Eleanor Waldorf Dorota Vanessa Abrams Headmaster Prescott Headmistress Queller Assistant GUEST CAST * Dean Berube (pronounced Barraby) Jordan Steele Skull and Bones Leader Skull Bones Shirley History Professor Girl (Miss Steinberg) Yale Guy EXTRAS Constance and St. Jude’s Seniors Yale Students Serena’s Driver Yale Guys and Two Super-Hot Yale Girls Skull and Bones Members Three Masked -
Taking Advantage of Campus Resources
2 WELCOME TITANS 2019 OPINION MONDAY AUGUST 26 - THURSDAY AUGUST 29, 2019 Column: Transfer students are unaware of resources Coming from a junior college, office hours and knowing your profes- I wish I knew all of the things sors, being aware and taking advantage CSUF had to offer. of all the resources available to students and getting involved in the community on campus. At FC, I managed to make it through my entire freshman and sophomore years avoiding my professors like the plague outside of the classroom. I quickly learned after transferring, that those sacred hours a professor sets aside for students to meet with them could make the difference of a letter grade. JENNIFER HO / DAILY TITAN JENNIFER BARRACLOUGH When it comes to resources, we al- Asst. Editor ready pay thousands of dollars in tuition, however I have talked to so many other As a transfer student at Cal State Ful- students who do not utilize the resources lerton, I am a seasoned veteran in the provided on campus. sense that I have years of college expe- It was not until my senior year here rience, unlike most freshmen on campus. that I even heard about the Health Ser- Yet, nobody prepared me for the transi- vices, which offers free or discounted Please join the tion from a community college to a uni- health care, and Counseling and Psy- versity and the challenges that came with chological Services, which provides free Sales Leadership Center it. therapy. Transfering to CSUF was rough. From Finding other people with similar in- (SLC) Fall Semester Kick-Off a larger campus to different academ- terests and goals is the best way to ic standards and expectations, there are feel comfortable on a new campus. -
Confessions of a Black Female Rapper: an Autoethnographic Study on Navigating Selfhood and the Music Industry
Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-8-2020 Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry Chinwe Salisa Maponya-Cook Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation Maponya-Cook, Chinwe Salisa, "Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry." Thesis, Georgia State University, 2020. https://scholarworks.gsu.edu/aas_theses/66 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CONFESSIONS OF A BLACK FEMALE RAPPER: AN AUTOETHNOGRAPHIC STUDY ON NAVIGATING SELFHOOD AND THE MUSIC INDUSTRY by CHINWE MAPONYA-COOK Under the DireCtion of Jonathan Gayles, PhD ABSTRACT The following research explores the ways in whiCh a BlaCk female rapper navigates her selfhood and traditional expeCtations of the musiC industry. By examining four overarching themes in the literature review - Hip-Hop, raCe, gender and agency - the author used observations of prominent BlaCk female rappers spanning over five deCades, as well as personal experiences, to detail an autoethnographiC aCCount of self-development alongside pursuing a musiC career. MethodologiCally, the author wrote journal entries to detail her experiences, as well as wrote and performed an aCCompanying original mixtape entitled The Thesis (available on all streaming platforms), as a creative addition to the research. -
Most Requested Songs of 2019
Top 200 Most Requested Songs Based on millions of requests made through the DJ Intelligence music request system at weddings & parties in 2019 RANK ARTIST SONG 1 Whitney Houston I Wanna Dance With Somebody (Who Loves Me) 2 Mark Ronson Feat. Bruno Mars Uptown Funk 3 Journey Don't Stop Believin' 4 Cupid Cupid Shuffle 5 Neil Diamond Sweet Caroline (Good Times Never Seemed So Good) 6 Walk The Moon Shut Up And Dance 7 Justin Timberlake Can't Stop The Feeling! 8 Earth, Wind & Fire September 9 Usher Feat. Ludacris & Lil' Jon Yeah 10 V.I.C. Wobble 11 DJ Casper Cha Cha Slide 12 Outkast Hey Ya! 13 Black Eyed Peas I Gotta Feeling 14 Bon Jovi Livin' On A Prayer 15 ABBA Dancing Queen 16 Bruno Mars 24k Magic 17 Garth Brooks Friends In Low Places 18 Spice Girls Wannabe 19 AC/DC You Shook Me All Night Long 20 Kenny Loggins Footloose 21 Backstreet Boys Everybody (Backstreet's Back) 22 Isley Brothers Shout 23 B-52's Love Shack 24 Van Morrison Brown Eyed Girl 25 Bruno Mars Marry You 26 Miley Cyrus Party In The U.S.A. 27 Taylor Swift Shake It Off 28 Luis Fonsi & Daddy Yankee Feat. Justin Bieber Despacito 29 Montell Jordan This Is How We Do It 30 Beatles Twist And Shout 31 Ed Sheeran Thinking Out Loud 32 Sir Mix-A-Lot Baby Got Back 33 Maroon 5 Sugar 34 Ed Sheeran Perfect 35 Def Leppard Pour Some Sugar On Me 36 Killers Mr. Brightside 37 Pharrell Williams Happy 38 Toto Africa 39 Chris Stapleton Tennessee Whiskey 40 Flo Rida Feat. -
Edition 2019
YEAR-END EDITION 2019 Global Headquarters Republic Records 1755 Broadway, New York City 10019 © 2019 Mediabase 1 REPUBLIC #1 FOR 6TH STRAIGHT YEAR UMG SCORES TOP 3 -- AS INTERSCOPE, CAPITOL CLAIM #2 AND #3 SPOTS For the sixth consecutive year, REPUBLIC is the #1 label for Mediabase chart share. • The 2019 chart year is based on the time period from November 11, 2018 through November 9, 2019. • All spins are tallied for the full 52 weeks and then converted into percentages for the chart share. • The final chart share includes all applicable label split-credit as submitted to Mediabase during the year. • For artists, if a song had split-credit, each artist featured was given the same percentage for the artist category that was assigned to the label share. REPUBLIC’S total chart share was 19.2% -- up from 16.3% last year. Their Top 40 chart share of 28.0% was a notable gain over the 22.1% they had in 2018. REPUBLIC took the #1 spot at Rhythmic with 20.8%. They were also the leader at Hot AC; where a fourth quarter surge landed them at #1 with 20.0%, that was up from a second place 14.0% finish in 2018. Other highlights for REPUBLIC in 2019: • The label’s total spin counts for the year across all formats came in at 8.38 million, an increase of 20.2% over 2018. • This marks the label’s second highest spin total in its history. • REPUBLIC had several artist accomplishments, scoring three of the top four at Top 40 with Ariana Grande (#1), Post Malone (#2), and the Jonas Brothers (#4). -
Megan Thee Stallion, Fever
REVIEWS Megan Thee Stallion Fever 8.0 1501 CERTIFIED / 300 ENTERTAINMENT • 2019 BY: TAYLOR CRUMPTON / MAY 23 2019 RAP Megan Thee Stallion’s debut is steeped in sex, pimpin, and power; it sounds like a once and future Houston rap classic. hen MeganMeganMegan TheeTheeThee StallionStallionStallion’s “Big Ole Freak” landed on Billboard’s Hot 100 in April, it was a testament to years of viral W freestyles and her devoted “hotties,” whose faithful support on social media helped the song rise to mainstream recognition. The 24- year-old has been prolific—her evolution is displayed through the invention of various rap personas, such as Tina Snow, Megan Thee Stallion, and Hot Girl Meg, the turn-up queen with serious ambition on her mind. “We have so many legends and so many greats,” she recently said of her hometown of Houston, Texas. “But I don’t feel like we ever really had a female rapper from Houston or Texas shut that shit down.” With her debut project Fever, she hopes to succeedMegan in doing Thee just Stallion that. At its core is the intersection of two beautiful rap legacies: the women rap tradition started by MCMCMC LyteLyteLyte and QueenQueenQueen LatifahLatifahLatifah, and Southern rap dynasty ushered in by Houston’s GetoGetoGeto BoysBoysBoys and UndergroundUndergroundUnderground KingsKingsKings. From the first song, Megan weaponizes misogynymisogynymisogyny through the execution of bars worthy of XXL Freshman Class President. South Park’s influence, home to fellow Houston legends ScarfaceScarfaceScarface and Lil’Lil’Lil’ KekeKekeKeke, is felt throughout “Hood Rat Shit,” which transitions into an ass-and clit-eating tutorial for her male tricks on “Pimpin,” where the spirit of Houston’s pimp tradition is embedded within every word. -
From Girlfriend to Gamer: Negotiating Place in the Hardcore/Casual Divide of Online Video Game Communities
FROM GIRLFRIEND TO GAMER: NEGOTIATING PLACE IN THE HARDCORE/CASUAL DIVIDE OF ONLINE VIDEO GAME COMMUNITIES Erica Kubik A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2010 Committee: Radhika Gajjala, Advisor Amy Robinson Graduate Faculty Representative Kristine Blair Donald McQuarie ii ABSTRACT Radhika Gajjala, Advisor The stereotypical video gamer has traditionally been seen as a young, white, male; even though female gamers have also always been part of video game cultures. Recent changes in the landscape of video games, especially game marketers’ increasing interest in expanding the market, have made the subject of women in gaming more noticeable than ever. This dissertation asked how gender, especially females as a troubling demographic marking difference, shaped video game cultures in the recent past. This dissertation focused primarily on cultures found on the Internet as they related to video game consoles as they took shape during the beginning of the seventh generation of consoles, between 2005 and 2009. Using discourse analysis, this dissertation analyzed the ways gendered speech was used by cultural members to define not only the limits and values of a generalizable video game culture, but also to define the idealized gamer. This dissertation found that video game cultures exhibited the same biases against women that many other cyber/digital cultures employed, as evidenced by feminist scholars of technology. Specifically, female gamers were often perceived as less authoritative of technology than male gamers. This was especially true when the concept “hardcore” was employed to describe the ideals of gaming culture. -
00:00:00 Music Music “Crown Ones” Off the Album Stepfather by People Under the Stairs
00:00:00 Music Music “Crown Ones” off the album Stepfather by People Under The Stairs 00:00:05 Oliver Wang Host Hello, I’m Oliver Wang. 00:00:06 Morgan Host And I’m Morgan Rhodes. You’re listening to Heat Rocks. Rhodes Every episode we invite a guest to join us to talk about a heat rock. You know, fire, combustibles, an album that bumps eternally. And today we will be deep diving together into Nina Simone’s 1969 album, To Love Somebody. 00:00:22 Music Music “I Can’t See Nobody” off the album To Love Somebody by Nina Simone fades in. A jazz-pop song with steady drums and flourishing strings. I used to smile and say “hello” Guess I was just a happy girl Then you happened This feeling that possesses me [Music fades out as Morgan speaks] 00:00:42 Morgan Host Nina Simone’s To Love Somebody turned fifty this year. It was released on the first day of 1969, the same day the Ohio State beat the University of Southern California at the Rose Bowl for the National College Football Championship. It was her 21st studio album. There were dozens more still to come. You know them. Black Gold, Baltimore, Fodder on My Wings, stacks of albums. By the time we met up with Nina again for these nine songs, she had already talked about on “Mississippi Goddamn”, “Backlash Blues,” and “Strange Fruit,” and been about it with her activism, lived, spoken, suffered for. To Love Somebody is an oral representation of what breathing on a track means. -
Representing Black Women and Love: a Critical Interpretative Study of Heavy Exposure to VH1’S Love and Hip Hop
Representing Black Women and Love: A critical interpretative study of heavy exposure to VH1’s Love and Hip Hop A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of * Master of Arts in the Department of Communication by Olivia Harrison B.A. Rochester Institute Of Technology * May 2015 Committee Co-Chairs: Ronald L. Jackson II, Ph.D. and Omotayo Banjo Adesagba Ph.D. Abstract This study explores viewers’ perceptions after heavy exposure to VH1’s reality show franchise Love and Hip-Hop. Specifically the investigation seeks to understand how heavy viewership influences 1Black female college students’ view of male/female romantic relationships in their everyday lives as well as their understanding of the Black female image portrayed on the show. The researcher conducted 6 one on one interviews and coded each for emergent themes using the constant comparison technique. Cultivation Theory and Black Feminist Theory guided this study and the researcher’s analysis of the six participants’ responses. This study serves as an analysis of how media messages influence a specific target audience’s image of themselves and their relationship goals. 1 For the purposes of this study the term "African American" is used to identify those Americans, who are descendants of Africa. The term "Black” will be used interchangeably with “African American” to describe the generally shared histories, experiences, sentiments, issues and concerns, and social situatedness of African Americans. 2 3 Acknowledgements This has been a very, very, very long process and there’s no way I would have made it through without the continual guidance, support, help, and patience from Dr. -
The Muse of Fire: Liberty and War Songs As a Source of American History
3 7^ A'£?/</ THE MUSE OF FIRE: LIBERTY AND WAR SONGS AS A SOURCE OF AMERICAN HISTORY DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By Kent Adam Bowman, B.A., M.A Denton, Texas August, 1984 Bowman, Kent Adam, The Muse of Fire; Liberty and War Songs as a Source of American History. Doctor of Philosophy (History), August, 1984, 337 pp., bibliography, 135 titles. The development of American liberty and war songs from a few themes during the pre-Revolutionary period to a distinct form of American popular music in the Civil War period reflects the growth of many aspects of American culture and thought. This study therefore treats as historical documents the songs published in newspapers, broadsides, and songbooks during the period from 1765 to 1865. Chapter One briefly summarizes the development of American popular music before 1765 and provides other introductory material. Chapter Two examines the origin and development of the first liberty-song themes in the period from 1765 to 1775. Chapters Three and Four cover songs written during the American Revolution. Chapter Three describes battle songs, emphasizing the use of humor, and Chapter Four examines the figures treated in the war song. Chapter Five covers the War of 1812, concentrating on the naval song, and describes the first use of dialect in the American war song. Chapter Six covers the Mexican War (1846-1848) and includes discussion of the aggressive American attitude toward the war as evidenced in song. -
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