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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. -
Refugee: Reading Neoliberal Critique and Refugee Narratives Through
UNIVERSITY OF CALIFORNIA Los Angeles “Bad Gal” and the “Bad” Refugee: Reading Neoliberal Critique and Refugee Narratives through Cambodian Canadian Hip Hop A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Asian American Studies by Kenneth Wing Lun Chan 2016 ABSTRACT OF THESIS “Bad Gal” and the “Bad” Refugee: Reading Neoliberal Critique and Refugee Narratives through Cambodian Canadian Hip Hop by Kenneth Wing Lun Chan Master of Arts in Asian American Studies University of California, Los Angeles, 2016 Professor Victor Bascara, Chair This project examines the intersections of refugee discourses and neoliberal critique through the analysis of the 2013 hip hop music video “Bad Gal” by Cambodian Canadian artist Honey Cocaine. By utilizing the concept of the “bad refugee” as a subjectivity that refuses to reconcile imperialist wars in Southeast Asia, rejects developmental narratives of progress and uplift, and contradicts neoliberal multiculturalism, this project demonstrates how “Bad Gal” is a countersite that reveals neoliberal ruptures. I observe “Bad Gal” for its audiovisual content, use of digital editing techniques, and themes of deviance and blackness, in arguing that it expresses an alternative refugee narrative and temporality, and a refusal of neoliberal subjectivity through the identifications of blackness and hip hop. This project draws from Critical Refugee Studies, cultural studies, and comparative racialization scholars in delineating the processes of gendered racialization for the Cambodian refugee diaspora, and the ways in which cultural productions provide a lens in understanding their relationship to the neoliberal state. ii The thesis of Kenneth Wing Lun Chan is approved. -
Songs Albums
RIAA JULY 2018 GOLD & PLATINUM Janis Joplin | Janis Joplin's Greatest Hits AWARDS ALBUMS Columbia Records Various Artists | Hamilton (Original In July, RIAA certified Broadway Cast Recording) 128 Song Awards and Atlantic Records 25 Album Awards. All RIAA Awards dating back to 1958 are available at riaa. com/gold-platinum! Don’t miss the NEW riaa.com/ goldandplatinum60 site Luke Combs | This One's For You Shawn Mendes | Handwritten Columbia Nashville/River Island Records celebrating 60 years of Gold House Artists & Platinum Awards and many #RIAATopCertified milestones for your favorite artists! SONG ALBUM AWARDS 128 AWARDS 25 Youngboy Never Broke Again | Until Death Call My Name APG/Atlantic Records SONGS Drake | God's Plan Young Money/Cash Money/ Republic Records Taylor Swift | Look What You X Ambassadors | Renegades Dua Lipa | New Rules Migos | Walk It Talk It Ariana Grande | No Tears Made Me Do KidinaKorner/Interscope Warner Bros Records Quality Control Music/Motown Left to Cry Big Machine Records Records Records/Capitol Records Republic Records Jason Aldean | You Make It Easy Morgan Wallen | Up Down Nathaniel Rateliff & the Nicki Minaj | Chun-Li Selena Gomez | Bad Liar Broken Bow Records Big Loud Records Night Sweats | S.O.B. Young Money/Cash Money/ Interscope Records Fantasy/Stax Records Republic Records www.riaa.com // // // GOLD & PLATINUM AWARDS JULY | 7/1/18 - 7/31/18 MULTI PLATINUM SINGLE | 27 Cert Date | Title | Artist | Genre | Label | Plat Level | Release Date | 7/10/2018 That's What I Like Bruno Mars Pop Atlantic Records 11/18/2016 Bruno Mars & 7/10/2018 Pop Atlantic Records 11/18/2016 Finesse Cardi B 7/27/2018 Sorry Not Sorry Demi Lovato Pop Island Records 7/11/2017 R&B/ 7/27/2018 Wild Thoughts (Feat. -
Awards 10X Diamond Album March // 3/1/17 - 3/31/17
RIAA GOLD & PLATINUM NICKELBACK//ALL THE RIGHT REASONS AWARDS 10X DIAMOND ALBUM MARCH // 3/1/17 - 3/31/17 KANYE WEST//THE LIFE OF PABLO PLATINUM ALBUM In March 2017, RIAA certified 119 Digital Single Awards and THE CHAINSMOKERS//COLLAGE EP 21 Album Awards. All RIAA Awards PLATINUM ALBUM dating back to 1958, plus top tallies for your favorite artists, are available ED SHEERAN//÷ at riaa.com/gold-platinum! GOLD ALBUM JOSH TURNER//HAYWIRE SONGS GOLD ALBUM www.riaa.com //// //// GOLD & PLATINUM AWARDS MARCH // 3/1/17 - 3/31/17 MULTI PLATINUM SINGLE // 12 Cert Date// Title// Artist// Genre// Label// Plat Level// Rel. Date// R&B/ 3/30/2017 Caroline Amine Republic Records 8/26/2016 Hip Hop Ariana Grande 3/9/2017 Side To Side Pop Republic Records 5/20/2016 Feat. Nicki Minaj 3/3/2017 24K Magic Bruno Mars Pop Atlantic Records 10/7/2016 3/2/2017 Shape Of You Ed Sheeran Pop Atlantic Records 1/6/2017 R&B/ 3/30/2017 All The Way Up Fat Joe & Remy Ma Rng/Empire 3/2/2016 Hip Hop I Hate U, I Love U 3/1/2017 Gnash Pop :): 8/7/2015 (Feat. Olivia O’brien) R&B/ 3/22/2017 Ride SoMo Republic Records 11/19/2013 Hip Hop 3/27/2017 Closer The Chainsmokers Pop Columbia 7/29/2016 3/27/2017 Closer The Chainsmokers Pop Columbia 7/29/2016 3/27/2017 Closer The Chainsmokers Pop Columbia 7/29/2016 R&B/ 3/9/2017 Starboy The Weeknd Republic Records/Xo Records 7/29/2016 Hip Hop R&B/ 3/9/2017 Starboy The Weeknd Republic Records/Xo Records 7/29/2016 Hip Hop www.riaa.com // // GOLD & PLATINUM AWARDS MARCH // 3/1/17 - 3/31/17 PLATINUM SINGLE // 16 Cert Date// Title// Artist// Genre// Label// Platinum// Rel. -
Love Sosa No Intro
Love sosa no intro Love Sosa Lyrics. These bitches love Sosa O End or no end Fucking with them O boys You gon' get fucked over Raris and Rovers These hoes love Chief Sosa [Hook:] These bitches love Sosa O end or no end Fucking with them O boys, You gon' get fucked over Rari's and Rovers These hoes love Chief Sosa Hit him with that cobra, Video embedded · Chief Keef - Love Sosa. Tweet.. No Spamming or Racism.. Sosa Chamberlain 3,087,092 views. Chief Keef - Where Ya At Freestyle 4,227,480 views. Video embedded · These bitches love Sosa O end or no end Fucking with those O Boys, you gon' get fucked over Rari's and rovers These hoes love Chief Sosa Hit him … "Love Sosa" is the second single by rapper Chief Keef from his debut album Finally Rich. It was produced by Young Chop and Dougie. It was written by Keith Cozart and. Lyrics to 'Love Sosa' by Razza. (Intro) / You know what they say practice makes perfect yea? / hey yo BIG shout out to my nigga big mehh Logan / in the studio Dec 27, 2012 · this upload is for all of those who have been searching for the Love Sosa full song but haven't been able to find it. Hopefully I don't get sued...At … Love Sosa Chords by Chief Keef with chord diagrams, easy version and transpose. Added on January 16, 2013 Die Hard Chief Keef Fan @ChiraqDrilla630 Makes Appearance on ‘Love Sosa’ in. Chief Keef used Drilla’s audio for the intro of his song “Love Sosa. -
Chief Keef Aston Martin Download
Chief keef aston martin download Continue Zdarma Texty pro šéfa Keef píseň. Jestli chceš zpívat ♥♥♥ hlavní keef ♥♥♥ písni. Shromáždil jsem všechny texty tohoto umělce šéf keef a všechna alba lze nalézt v této aplikaci také píseň, která top hity na hit nebo top hit v rádiu. Nemůžete najít vyzvánění, hudební video nebo stáhnout mp3 v této aplikaci. mixtape: Bang (2011)mixtape: Back From The Dead (2012)album: Finally Rich (2012)mixtape: Bang Part Two (2013)mixtape: Všemohoucí So (2013)• Všemohoucí So Intro• Sucka• Ape Shit• Hunchoz• In Love With The Gwop• Young Rambos• Blew My High• Me• Self• Nice• Salty• would could've• I Kno• Baby Whats Wrong With You• Yesterdaymixtape : Back From The Dead 2 (2014)• Homie• Sets• Dear• Stupid• Cuz• Who Is That• Who Is That• Smack DVD• Cashin• Moral• Swag• Wayne• B's• Feds Intro• Paper• Whole Crowd• Faneto• Blurry• Cops• Where Is Waldo• Farmalbum: Nobody (2014)• Ain't Just Me • Oh Lawd• Již• Rychle n zběsile• Fishin• Funny• Gooey• Hard• Nikdo• Pit Stop• Dvanáct barů• Ano Nowmixtape: Sorry 4 The Weight (2015)• On Don't Know• On My Momma• Don't Want None• Yours• Win• I Want Some Money• Ain'thin' • Himalayas• Sosa Chamberlain• Získejte peníze• Hot Shit• F 'em• Vet Lungs• Ten prsty dolů• To je co• Hádejte , co boy• Prosím• Co až • 5 AM• Pošlete to nahoru• Hidingalbum: Všemohoucí DP (2015)• Don't Love Her• Hot• Runnin• Asap Rocky• Sleepy• Wet• TEC• On The Corner• MCM• Haten• Fool Ya• Need It• 10 Toes Down• Všechny Inmixtape: Pórek, Vol. 1 (2015)• Granny's• Aston Martin• Colors• Kdo by si někdy pomyslel• Jak to půjde• Slam Dunkin• Stovky• Zavřete dveře• Zatáhněte• Zachraňte mě• Ať tak či onak• Válka• Make It Countmixtape : Pórek, vol. -
Week 10, June 3 First, a Bunch of Review, Starting at the End of Lecture 7
Week 10, June 3 First, a bunch of review, starting at the end of lecture 7. "Today": 1. Trap and Drill 2. Fashion 3. Dance 4. Storytelling revisited 5. SD At some point today: Pick one song we've heard, and make a connection to a theme in the history of Hip Hop as we've encountered it. themes like: the dozens, diss tracks, humor, vulgarity, political engagement, relationship to commerce, race, etc. What is the relationship? Why is it interesting? After 2004 • Full scale collapse of the music industry ◦ Napster, suit with RIAA, rise of legal streaming (Spotify) ◦ How did the collapse effect Hip Hop, which had, by now, become the dominant popular form? • Questions about Hip Hop over the last 10 years ◦ Have the demographics of music changed? ◦ What's the relationship, now, between Hip Hop and mainstream culture? ◦ Is the music more politicized now than 10 years ago? Adjustments in the Hip Hop market in the last 10 years • Mixtapes • Shifting relationship to street culture • The internet • Local scenes, local dance • Decline of radio (1996 Telecom Act) • Increased corporate relationships with high fashion, other mass commodidies Mixtapes • Originally, promotional tools for DJs • Became a useful career-building tool for many artists, providing black market revenue, street credibility and exposure • Also a primary venue for experimentation and dispute: a much faster moving medium than official albums, served theole r that live performance might serve in other genres • Relationship between the music business and mixtape scene has always been complicated. • Strictly speaking, they're illegal, but the industry usually turns a blind eye, and even uses them as promotional materials sometimes. -
Wiz Khalifa Song List All
Wiz khalifa song list all Continue This is a set of categories. It should only contain pages that Wiz Khalifa songs or lists of Songs by Wiz Khalifa, as well as subcategories containing these things. Topics about Wiz Khalifa songs in general should be placed in appropriate thematic categories. This category contains Wiz Khalifa songs. See also: Category:Songs written by Wiz Khalifa. See also: Category:Wiz Khalifa Albums. The next 73 pages are in this category, out of 73 total. This list may not reflect recent changes (more). 5 O'Clock (song T-Pain) 23 (song) Ain't Nothing All Night (Juicy J and Wiz Khalifa song) Bake Sale (song) Beat It (Song by Sean Kingston) Bigroom Blitz Black and Yellow Bomb (Chris Brown song) BTS (song) Burn Slow (Wiz Haley Call Waiting (Wiz Khalifa Song) Celebrate (Wiz Khalifa Song) Celebration (Game Song) City View (Wiz Khalifa Song) Die Young Don't Make Em Like You Elevated (Wiz Khalifa Song) Feelin' Me (song will.i.am) Sorry Fuck Gang Up Getting Paid Go Hard or Go Home (song) Gone (song kelly Rowland) Hate Bein' Sober Hopeless Romantic (song Wiz Khalifa) I'm On Influence (song Tove Lo) ISay (song) Jet Life (song Curren$y) King of Everything KK (song) Kush Ups Let Up Up It Go (Wiz Khalifa Song) Lit (Song Wiz Khalifa) Make Play Mind Stoner Molly (Song Tyga) Most of us (Wiz Khalifa Song) NBA (Song) No Resolution (Wiz Khalifa Song) No Sleep (Wiz Khalifa Song) No Social Media Oh My (DJ Drama Song) On my level or not (Ty Dolla Sign Song) Party Girls Payphone (song) Pledge of Allegiance (song) Promises (Wiz Khalifa song) -
Journal of Hip Hop Studies
et al.: Journal of Hip Hop Studies Published by VCU Scholars Compass, 2017 1 Journal of Hip Hop Studies, Vol. 4 [2017], Iss. 1, Art. 1 Editor in Chief: Daniel White Hodge, North Park University Senior Editorial Advisory Board: Anthony Pinn, Rice University James Paterson, Lehigh University Book Review Editor: Gabriel B. Tait, Arkansas State University Associate Editors: Cassandra Chaney, Louisiana State University Jeffrey L. Coleman, St. Mary’s College of Maryland Monica Miller, Lehigh University Associate & Copy Editor: Travis Harris, Doctoral Candidate, College of William and Mary Editorial Board: Dr. Rachelle Ankney, North Park University Dr. Shanté Paradigm Smalls, St. John’s University (NYC) Dr. Jim Dekker, Cornerstone University Ms. Martha Diaz, New York University Mr. Earle Fisher, Rhodes College/Abyssinian Baptist Church, United States Mr. Jon Gill, Claremont University Dr. Daymond Glenn, Warner Pacific College Dr. Deshonna Collier-Goubil, Biola University Dr. Kamasi Hill, Interdenominational Theological Center Dr. Andre Johnson, Memphis Theological Seminary Dr. David Leonard, Washington State University Dr. Terry Lindsay, North Park University Ms. Velda Love, North Park University Dr. Anthony J. Nocella II, Hamline University Dr. Priya Parmar, SUNY Brooklyn, New York Dr. Soong-Chan Rah, North Park University Dr. Rupert Simms, North Park University Dr. Darron Smith, University of Tennessee Health Science Center Dr. Jules Thompson, University Minnesota, Twin Cities Dr. Mary Trujillo, North Park University Dr. Edgar Tyson, Fordham University Dr. Ebony A. Utley, California State University Long Beach, United States Dr. Don C. Sawyer III, Quinnipiac University https://scholarscompass.vcu.edu/jhhs/vol4/iss1/1 2 et al.: Journal of Hip Hop Studies Sponsored By: North Park Universities Center for Youth Ministry Studies (http://www.northpark.edu/Centers/Center-for-Youth-Ministry-Studies) Save The Kids Foundation (http://savethekidsgroup.org/) Published by VCU Scholars Compass, 2017 3 Journal of Hip Hop Studies, Vol. -
Documenting Drill Music: Understanding Black Masculine Performances in Hip-Hop
Documenting Drill Music: Understanding Black Masculine Performances in Hip-Hop By: Demetrius Green B.A., Southern Illinois University Carbondale, 2016 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. Chair: Dr. Germaine Halegoua Dr. Michael Baskett Prof. Kevin Willmott Date Defended: July 25th, 2018 The thesis committee for Demetrius Green certifies that this is the approved version of the following thesis: Documenting Drill Music: Understanding Black Masculine Performances in Hip-Hop Chair: Dr. Germaine Halegoua Date Approved: July 25th, 2018 ii Abstract When it comes to analyzing stereotypical representations of black masculinity in contemporary media, commercial hip-hop and the imagery associated with many of the artists is filled with caricatures of black men. The images are often a negotiation between the record label who distributes and finances the music and the artists who perform these negative tropes. On one hand the record labels cater to mainstream audiences that are familiar with negative imagery of black men and women. On the other hand, many of the artists are performing tropes of black masculinity that are linked to the social spaces and the codes of black masculinity in their environment. This linkage between hip-hop performances and the social context that perpetuates these performances is often blurred in the commercial hip-hop video. This study will employ drill music videos to analyze the linkage between space and black masculine performances in hip-hop. Drill music videos’ modes of production are similar to those found in documentary films and allows us to draw inferences about artists’ performances in relation to the social space where they are filmed. -
Kenyon Collegian Archives
Digital Kenyon: Research, Scholarship, and Creative Exchange The Kenyon Collegian Archives 4-25-2019 Kenyon Collegian - April 25, 2019 Follow this and additional works at: https://digital.kenyon.edu/collegian Recommended Citation "Kenyon Collegian - April 25, 2019" (2019). The Kenyon Collegian. 2491. https://digital.kenyon.edu/collegian/2491 This Book is brought to you for free and open access by the Archives at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in The Kenyon Collegian by an authorized administrator of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. ESTABLISHED 1856 April 25, 2019 Vol. CXLVI, No. 25 ECO, Kenyon Democrats host ‘Walkout to Save the Earth’ BETÜL AYDIN NEWS EDITOR In honor of Earth Day, Kenyon Democrats and ECO partnered up to or- ganize a “Walkout to Save the Earth.” On Monday, around 30 students gath- ered in front of Rosse Hall to call for action to stop climate change. Jessie Gorovitz ’20 came up with the idea of the walkout. “I decided to organize this rally because I feel like even people who might not consider themselves to be activists are starting to pick up on that this is a situation that we’re going to have to deal with for the rest of our lives,” Gorovitz said. “It’s our responsibility now to either encourage other people to take action or take action ourselves.” Gorovitz noted while this issue may seem daunting to approach, espe- cially under the current presidential administration, it is important to engage with it on every level of government. -
“My Logo Is Branded on Your Skin”: the Wu-Tang Clan, Authenticity, Black Masculinity, and the Rap Music Industry
“MY LOGO IS BRANDED ON YOUR SKIN”: THE WU-TANG CLAN, AUTHENTICITY, BLACK MASCULINITY, AND THE RAP MUSIC INDUSTRY By Ryan Alexander Huey A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of History – Master of Arts 2014 ABSTRACT “MY LOGO IS BRANDED ON YOUR SKIN”: THE WU-TANG CLAN, AUTHENTICITY, BLACK MASCULINITY, AND THE RAP MUSIC INDUSTRY By Ryan Alexander Huey The rap group, the Wu-Tang Clan came out of a turbulent period of time in both the rap music industry and American society in the early 1990s. Lawsuits over sampling in rap music forced producers to rethink the ways they made music while crack cocaine and the War on Drugs wreaked havoc in urban communities across the nation, as it did in the Clan’s home borough of Staten Island, New York. Before the formation of the group, Gary “GZA” Grice, had managed to land a recording contract as a solo artist, but his marketing was mismanaged and his career stagnated. He returned in 1992 as one of the nine member collective, who billed themselves as kung fu movie buffs melding low-fi, eerie productions with realistic raps about ghetto life. Drawing from the vibrant underground rap scene of New York City in the 1970s and 1980s, Brooklyn’s rich African American chess tradition, the teachings of the Five Percenters, and the cult following for Hong Kong action cinema, the Clan became a huge hit across the country. Each member fashioned a unique masculine identity for himself, bolstering their hardcore underground image while pushing the boundaries of acceptable expressions of manhood in rap music.