Hip Hop in America a Regional Guide
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The Influence of Rap in the Arab Spring
Augsburg Honors Review Volume 6 Article 12 2013 The Influence of apr in the Arab Spring Samantha Cantrall Augsburg College Follow this and additional works at: https://idun.augsburg.edu/honors_review Part of the Political Science Commons Recommended Citation Cantrall, Samantha (2013) "The Influence of apr in the Arab Spring," Augsburg Honors Review: Vol. 6 , Article 12. Available at: https://idun.augsburg.edu/honors_review/vol6/iss1/12 This Article is brought to you for free and open access by the Undergraduate at Idun. It has been accepted for inclusion in Augsburg Honors Review by an authorized editor of Idun. For more information, please contact [email protected]. THE IruFLUENCE oF RAP IN THE AnAB SPRING ey SaHaANTHA Carurneu-AuGSBURc CollEGE Enculry Anvrson: Dn. Roeenr Srecrcr BSTRACT: Throughout history, music has been influential in social, reli- gious, and political disputes. In the early 21st century, change in the estab- order can be found in expressing the need for reform halfway around the world in the Middle East's Arab Spring. Rap artists such as El General (Tunisia), GAB (Libya), and Omar Offendum (Syria) used their talents to both spark and en- courage protestors during the early days of the Middle Eastern protests that began in late 2010; these protests have since been coined "The Arab Spring." The energy that could have been used to wield guns and bombs was instead poured into protest music that these and other artists produced during this time period. The relatively Western genre of rap music became integral in peaceful citizens protests happening all over the Middle East. -
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). -
Williams, Hipness, Hybridity, and Neo-Bohemian Hip-Hop
HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Maxwell Lewis Williams August 2020 © 2020 Maxwell Lewis Williams HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA Maxwell Lewis Williams Cornell University 2020 This dissertation theorizes a contemporary hip-hop genre that I call “neo-bohemian,” typified by rapper Kendrick Lamar and his collective, Black Hippy. I argue that, by reclaiming the origins of hipness as a set of hybridizing Black cultural responses to the experience of modernity, neo- bohemian rappers imagine and live out liberating ways of being beyond the West’s objectification and dehumanization of Blackness. In turn, I situate neo-bohemian hip-hop within a history of Black musical expression in the United States, Senegal, Mali, and South Africa to locate an “aesthetics of existence” in the African diaspora. By centering this aesthetics as a unifying component of these musical practices, I challenge top-down models of essential diasporic interconnection. Instead, I present diaspora as emerging primarily through comparable responses to experiences of paradigmatic racial violence, through which to imagine radical alternatives to our anti-Black global society. Overall, by rethinking the heuristic value of hipness as a musical and lived Black aesthetic, the project develops an innovative method for connecting the aesthetic and the social in music studies and Black studies, while offering original historical and musicological insights into Black metaphysics and studies of the African diaspora. -
Hip Hop America Pdf, Epub, Ebook
HIP HOP AMERICA PDF, EPUB, EBOOK Nelson George | 256 pages | 31 May 2005 | Penguin Putnam Inc | 9780143035152 | English | New York, NY, United States Hip HOP America PDF Book Kool Herc -- lay the foundation of the hip-hop movement. Stylistically, southern rap relies on exuberant production and direct lyrics typically about the southern lifestyle, trends, attitudes. Hill's brilliant songwriting flourished from song to song, whether she was grappling with spirituality "Final Hour," "Forgive Them, Father" or stroking sexuality without exploiting it "Nothing Even Matters". According to a TIME magazine article, Wrangler was set to launch a collection called "Wrapid Transit," and Van Doren Rubber was putting out a special version of its Vans wrestling shoe designed especially for breaking [source: Koepp ]. Another key element that's helping spread the hip-hop word is the Internet. Late Edition East Coast. Most hip-hop historians speak of four elements of hip-hop: tagging graffiti , b-boying break dancing , emceeing MCing and rapping. Taking Hip-Hop Seriously. Related Content " ". Regardless, the Bay Area has enjoyed a measurable amount of success with their brainchild. And then, in the mid to late s, there was a resurgence in the popularity of breaking in the United States, and it has stayed within sight ever since. Depending on how old you are, when someone says "hip-hop dance," you could picture the boogaloo, locking, popping, freestyle, uprocking, floor- or downrocking, grinding, the running man, gangsta walking, krumping, the Harlem shake or chicken noodle soup. Another thing to clear up is this: If you think hip-hop and rap are synonymous, you're a little off the mark. -
Hip Hop from '48 Palestine
Social Text Hip Hop from ’48 Palestine Youth, Music, and the Present/Absent Sunaina Maira and Magid Shihade This essay sheds light on the ways in which a particular group of Palestin- ian youth offers a critical perspective on national identity in the colonial present, using hip hop to stretch the boundaries of nation and articulate the notion of a present absence that refuses to disappear. The production of identity on the terrain of culture is always fraught in relation to issues of authenticity, displacement, indigeneity, and nationalism and no more so than in the ongoing history of settler colonialism in Palestine. In the last decade, underground hip hop produced by Palestinian youth has grown and become a significant element of a transnational Palestinian youth culture as well as an expression of political critique that has begun to infuse the global Palestinian rights movement. This music is linked to a larger phenomenon of cultural production by a Palestinian generation that has come of age listening to the sounds of rap, in Palestine as well as in the diaspora, and that has used hip hop to engage with the question of Palestinian self- determination and with the politics of Zionism, colonial- ism, and resistance. Our research focuses on hip hop produced by Palestinian youth within the 1948 borders of Israel, a site that reveals some of the most acute contradictions of nationalism, citizenship, and settler colonialism. Through hip hop, a new generation of “1948 Palestinians” is construct- ing national identities and historical narratives in the face of their ongoing erasure and repression.1 We argue that this Palestinian rap reimagines the geography of the nation, linking the experiences of “ ’48 Palestinians” to those in the Occupied Territories and in the diaspora, and producing an archive of censored histories. -
Liste CD / Vinyle Collection En Vente Reggae Ragga Dancehall… 2 Achetés = 1 Offert Lot Possible Et Négociable Contactez Hip Hop Music Museum
1 Liste CD / Vinyle Collection en vente Reggae Ragga dancehall… 2 achetés = 1 offert Lot possible et négociable Contactez hip hop music museum Type Prix Nom de l’artiste Nom de l’album de Genre Année Etat Qté média 100% Ragga Dj Ewone CD 2005 1 5 Reggaetton Admiral T Touchez l’horizon Vinyl Dancehall 2006 1 9,50 Admiral T Instinct admiral CD Dancehall 2010 1 6,99 Digipack Alpha Blondy Revolution CD Reggae 1987 0 2,90 Alpha Blondy Masada CD Reggae 1992 1 25 Alpha Blondy Yitzhak rabin CD Reggae 2010 1 25 Alpha Blondy Vision CD Reggae 2011 1 6,99 And why not Move your skin CD Reggae 1990 1 3,99 Anthony B Universal struggle CD Reggae 1997 1 6,99 ASWAD Not Satisfied CD Reggae 1994 0 9,90 Baaba maal Yela CD Single Reggae 1993 1 29,99 promo Bad manners Inner London violence CD Reggae 1994 1 20,99 Baobab Reggae social club CD Reggae 2001 1 9,99 Beyond the front line Various CD Reggae 1990 1 2,55 Big Red RED emption /respect or die CD Single Reggae 1999 1 6,99 Big Red Big Redemption CD Ragga 1999 3 1,98 2 Big RED REDsistance CD Reggae 2001 1 2,40 Black Uhuru RED CD Reggae 1981 1 1,80 Bob Marley Natty Dread Vinyl Reggae 1974 0 18 Bob Marley Survival CD Reggae 1979 1 10 Bob Marley Saga CD Reggae 1990 1 4,40 Bob Marley Iron lion zion Reggae 1992 1 1,99 Bob Marley Dont rock my boat CD Reggae 1993 1 4,50 Bob Marley Talkin blues CD Reggae 1995 1 10 BoB Marley Keep on moving CD Reggae 1996 1 6 Bob Marley Bob MARLEY CD Reggae 1997 1 8,20 Bob Marley Chant down Babylon CD Reggae 1999 1 3 Bob Marley One love best of CD Reggae 2001 1 10 Bob Marley Thank you -
Student-Athlete Grad Rates Go Up
OP-ED P. 3 A&E . P. 12 SPORTS P. 19 Why discriminate? Violently funny [Worn-out basketball cliche] Cody Shilling writes about American intolerance for homosexu- Wiess Tabletop Theater's The Pillowman keeps Jie torture The Men's Basketball Preview2010 claims this year's squad ality — and claims it lacks a legitimate basis. onstage and entertains with an eye for detail. will make it to the postseason. VOLUME XCVIII, ISSUE NO. 12 STUDENT-RUN SINCE 1916 FRIDAY, NOVEMBER 12, 2010 Doerr gives Student-athlete grad rates go up BY JUSTIN NG advice on THRESHER STAFF Athlete Graduation Success Rates, 2010 While the football team might be DATA PROVIDED BYTHE NATIONAL INFOGRAPH BY jobs, school struggling on the field, Rice athletics Overall average: 95% COLLEGIATE ATHLETIC ASSOCIATION DAVE ROSALES retains its dominance in the classroom with the release of the most recent stu- dent-athlete graduation success rates. 100% The annual study of student-ath- 92% IUR100% 92% lete graduation rates by the National Collegiate Athlete Association placed Rice sixth of 120 NCAA Division I-A schools in the nation, according to both the NCAA's graduation success rate and the federal graduation rate 83% ^ 91% Q100% §| 100% 3 released in an online NCAA report two BB weeks ago. At 95 percent, Rice student-ath- letes' graduation success rate im- proved two points over last year, while the federal rate improved four points 93% HI 100% 95% 100% to 83 percent. BY KEVIN LIN Rice's student body as a whole 2000,2001, 2002 and 2003. federal rate, only students who gradu- "The -
Recording Artist and Entrepreneur, Jeezy, Collaborates with Oasis Digital Studios to Offer a Custom-Designed NFT Featuring His Iconic Snowman Logo
Recording Artist and Entrepreneur, Jeezy, Collaborates with Oasis Digital Studios to Offer a Custom-Designed NFT Featuring his Iconic Snowman Logo Jeezy’s Snowman Logo Has Been His Signature Piece Since his Major Label Debut Album “Let’s Get It: Thug Motivation 101,” was Released in 2005 Toronto / Vancouver, Canada / Erie PA / New York, NY – April 12, 2021 –Liquid Avatar Technologies Inc. (CSE: LQID / OTC:TRWRF / FRA:4T51) Liquid Avatar Technologies, a global blockchain, digital identity and fintech solutions company together with ImagineAR Inc. (CSE:IP / OTCQB:IPNFF), an Augmented Reality platform company, and DreamView Studios, have announced that Liquid Avatar’s Oasis Digital Studios (“Oasis”) has partnered with American rapper and successful entrepreneur, Jeezy, to create an animated NFT of his iconic snowman logo. The NFT will be available starting late April 2021. A pre-sale waiting list is available for prospective purchasers and collectors on the Oasis website as of today. In the first of many offerings to come, Oasis is helping Jeezy utilize NFT technology as a new way reach his extensive fanbase. Through their collaboration, Jeezy is taking NFTs to a new level by embracing 3D and augmented reality (AR) technology in the production of his art. Starting off his career in the music industry under the name Young Jeezy, Jeezy has now transformed into an entrepreneurial success. In addition to his custom clothing, podcasting and artwork, Jeezy has a line of fitness water called Defiance Fuel, a restauranteur partnership with American Cut Steakhouse and an ongoing incentivized partnership with Tequila Avion. Jeezy also began hosting his own talk show, “Worth a Conversation with Jay “Jeezy” Jenkins” on FOX Soul in October of 2020. -
Grime + Gentrification
GRIME + GENTRIFICATION In London the streets have a voice, multiple actually, afro beats, drill, Lily Allen, the sounds of the city are just as diverse but unapologetically London as the people who live here, but my sound runs at 140 bpm. When I close my eyes and imagine London I see tower blocks, the concrete isn’t harsh, it’s warm from the sun bouncing off it, almost comforting, council estates are a community, I hear grime, it’s not the prettiest of sounds but when you’ve been raised on it, it’s home. “Grime is not garage Grime is not jungle Grime is not hip-hop and Grime is not ragga. Grime is a mix between all of these with strong, hard hitting lyrics. It's the inner city music scene of London. And is also a lot to do with representing the place you live or have grown up in.” - Olly Thakes, Urban Dictionary Or at least that’s what Urban Dictionary user Olly Thake had to say on the matter back in 2006, and honestly, I couldn’t have put it better myself. Although I personally trust a geezer off of Urban Dictionary more than an out of touch journalist or Good Morning Britain to define what grime is, I understand that Urban Dictionary may not be the most reliable source due to its liberal attitude to users uploading their own definitions with very little screening and that Mr Thake’s definition may also leave you with more questions than answers about what grime actually is and how it came to be. -
Russian Rap in the Era of Vladimir Putin
CHAPTER 3 RUS SIAN RAP IN THE ERA OF VLADIMIR PUTIN Philip Ewell T has always held a special place in the hearts of Rus sians. From the poetry recitations by Evgeny Evtushenko in the s that lled stadiums to the inspired lyr ics of Rus sian bards like Vladimir Vysotsky, Rus sians have sought not only beauty but also repose in artistic literary forms. is is not sur- prising given Rus sia’s troubled po liti cal history over the centuries, which reached its height in the twentieth century with the repressive Soviet era. Countless vol- umes have been written over the years on censorship in the USSR and on the ensuing balancing act that Soviet artists endured at the hands of the authorities. at Soviet and post- Soviet Rus sian rappers felt that same repression is not in doubt. What sets rap, as a genre, apart from other literary forms in Rus sia is its place in time: It really took hold only in the early s, immediately aer the fall of the Soviet Union, so one cannot speak of rap, as a genre, in uencing po liti cal events in the USSR. ough one could argue that the rst rap in Rus sia was “Rap” from by the group Chas Pik, an unabashed rip- o of e Sugarhill Gang’s “Rapper’s Delight” from — widely recognized as the rst commercial rap hit ever—it was not until the s that Rus sian rappers and rap groups such as Bog- dan Titomir, Liki MC, Bad Balance, and Mal’chishnik became widely known in the former Soviet Union and, with them, the rap genre itself. -
The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap
Open Cultural Studies 2018; 2: 122–135 Research Article Adam de Paor-Evans* The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap https://doi.org/10.1515/culture-2018-0012 Received January 27, 2018; accepted June 2, 2018 Abstract: In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and socio- political presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society. Keywords: dromosphere, dromology, Afrofuturism, electro-rap, thirdspace, fantasy, Newcleus, Strange U Introduction During the mid-1970s, the language of New York City’s pioneering hip hop practitioners brought them fame amongst their peers, yet the methods of its musical production brought heavy criticism from established musicians. -
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.