Welcome 2 Da Cypher- 5Yrs Later
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Eminem 1 Eminem
Eminem 1 Eminem Eminem Eminem performing live at the DJ Hero Party in Los Angeles, June 1, 2009 Background information Birth name Marshall Bruce Mathers III Born October 17, 1972 Saint Joseph, Missouri, U.S. Origin Warren, Michigan, U.S. Genres Hip hop Occupations Rapper Record producer Actor Songwriter Years active 1995–present Labels Interscope, Aftermath Associated acts Dr. Dre, D12, Royce da 5'9", 50 Cent, Obie Trice Website [www.eminem.com www.eminem.com] Marshall Bruce Mathers III (born October 17, 1972),[1] better known by his stage name Eminem, is an American rapper, record producer, and actor. Eminem quickly gained popularity in 1999 with his major-label debut album, The Slim Shady LP, which won a Grammy Award for Best Rap Album. The following album, The Marshall Mathers LP, became the fastest-selling solo album in United States history.[2] It brought Eminem increased popularity, including his own record label, Shady Records, and brought his group project, D12, to mainstream recognition. The Marshall Mathers LP and his third album, The Eminem Show, also won Grammy Awards, making Eminem the first artist to win Best Rap Album for three consecutive LPs. He then won the award again in 2010 for his album Relapse and in 2011 for his album Recovery, giving him a total of 13 Grammys in his career. In 2003, he won the Academy Award for Best Original Song for "Lose Yourself" from the film, 8 Mile, in which he also played the lead. "Lose Yourself" would go on to become the longest running No. 1 hip hop single.[3] Eminem then went on hiatus after touring in 2005. -
Rick Ross – Bio (Port of Miami 2) After Thirteen Triumphant Years Served In
Rick Ross – Bio (Port of Miami 2) After thirteen triumphant years served in the coliseum of hip hop, Rick Ross has begun his victory lap towards rap legend. The catalyst for the leader of the Maybach Music Group’s longevity is consistency. After introducing himself in 2006 with a classic anthem (“Hustlin’”) and platinum debut (Port of Miami), the Slip-N-Slide franchise player spent the following decade plus dominating as both mogul and Top 10 scribe. While his mighty pen positioned him as peer to southern kings like T.I. and Gucci Mane and empowered him to stand bar-for-bar with the greatest to ever spit (Jay-Z, Andre 3000, Drake) and sing (Chris Brown, Usher, John Legend), Ross’ contribution to his craft and culture travels far deeper than rap. Grammy nominations and classic verses aside, “The Biggest Boss” graduated his unparalleled vision and insane work ethic from Carol City’s unforgiving corners to corner offices and corporate partnerships. Inside the music business, his MMG label catapulted the careers of future legends Meek Mill and Wale. Outside of the biz, he’s the brilliant owner of a litany of brands from spirits (Belaire, Bumbu) to comfort food franchises (Wingstop, Checkers). But after birthing nine stellar albums, Ross, like any great, has challenged himself to outdo his greatest work. He accomplishes that on his latest opus Port of Miami 2. “I felt album number 10 is a special one,” says Ross. “It’s a milestone period. It almost feels like Pac doing the double CD.” Rozay’s tenth studio composition as the sequel to his debut is apropos poetry. -
Fabolous Ghetto Fabolous Mp3, Flac, Wma
Fabolous Ghetto Fabolous mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Ghetto Fabolous Country: Europe Released: 2001 MP3 version RAR size: 1268 mb FLAC version RAR size: 1968 mb WMA version RAR size: 1623 mb Rating: 4.2 Votes: 790 Other Formats: MIDI MPC VOC APE ADX WAV MOD Tracklist Hide Credits Click & Spark 1 2:04 Producer, Instruments – Clue*, Duro Keepin' It Gangsta 2 4:07 Producer, Instruments – Clue*, Duro Young'n 3 3:26 Producer – Neptunes* Get Right 4 4:35 Producer – "Rockwilder"* Ride For This 5 3:18 Featuring – Ja RuleProducer – Clue*, Duro One Day 6 4:38 Producer – Omen Trade It All 7 Engineer [Recording] – Dale RamseyFeaturing – Jagged Edge Producer – Clue*, 5:19 Duro Right Now & Later On 8 4:00 Producer – TimbalandRecorded By, Mixed By – Jimmy Douglas* Take You Home 9 3:58 Featuring – Lil' MoProducer, Instruments – Clue*, Duro Get Smart 10 3:45 Producer – Rush Da Spyda* Can't Deny It 11 5:06 Featuring – Nate DoggProducer – Rick Rock Recorded By – Jason Stasium Ma' Be Easy 12 3:45 Producer – Just Blaze We Don't Give A 13 3:17 Producer – Armando Colon The Bad Guy 14 3:00 Featuring – Pain In Da AssProducer – DJ Envy, Mono Hidden Bonus Tracks 15 Untitled 0:14 16 Gotta Be Thug 3:58 17 If They Want It 4:41 Can't Deny It Video-1 4:20 Featuring – Nate Dogg Companies, etc. Phonographic Copyright (p) – WEA International Inc. Copyright (c) – WEA International Inc. Made By – Warner Music Manufacturing Europe Mastered At – Sterling Sound Credits A&R – DJ Clue, Duro Art Direction, Design – Anita Marisa Boriboon Edited By [Pro-tools, Sequencing] – Brian Gardner Executive-Producer – DJ Clue, Duro, Skane Executive-Producer [Associate] – Merlin Bobb Mastered By – Chris Athens, Tom Coyne Mixed By – Supa Engineer Duro* (tracks: 1 to 7, 9 to 14) Photography By – Vincent Soyez Recorded By – Supa Engineer Duro* (tracks: 1 to 6, 9, 10, 12 to 14) Notes Track 15 is a silent track. -
Considering the Worthy Sacrifice Hip Hop Artists May Need to Make to Reclaim the Heart of Hip Hop, Its People
It’s Not Me, It’s You: Considering the Worthy Sacrifice Hip Hop Artists May Need to Make to Reclaim the Heart of Hip Hop, its People by Sharieka Shontae Botex April, 2019 Director of Thesis: Dr. Wendy Sharer Major Department: English The origins of Hip Hop evidence that the art form was intended to provide more than music to listen to, but instead offer art that delivers messages on behalf of people who were not always listened to. My thesis offers an analysis of Jay-Z and J. Cole’s lyrical content and adds to an ongoing discussion of the potential Hip Hop artists have to be effective leaders for the Black community, whose lyrical content can be used to make positive change in society, and how this ability at times can be compromised by creating content that doesn’t evidence this potential or undermines it. Along with this, my work highlights how some of Jay-Z and J. Cole’s lyrical content exhibits their use of some rhetorical strategies and techniques used in social movements and their use of some African American rhetorical practices and strategies. In addition to this, I acknowledge and discuss points in scholarship that connect with my discussion of their lyrical content, or that aided me in proposing what they could consider for future lyrical content. I analyzed six Jay-Z songs and six J. Cole songs, including one song from their earliest released studio album and one from their most recently released studio album. I examined their lyrical content to document responses to the following questions: What issues and topics are discussed in the lyrics; Is money referenced? If so, how; Is there a message of uplift or unity?; What does the artist speak out against?; What lifestyles and habits are promoted?; What guidance is provided?; What problems are mentioned? and What solutions are offered? In my thesis, I explored Jay-Z and J. -
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. -
Abstract One Love: Collective Consciousness in Rap and Poetry
Abstract One Love: Collective Consciousness in Rap and Poetry of the Hip-Hop Generation by Austin Harold Hart April, 2012 Thesis Director: John Hoppenthaler Major Department: English (Literature and Poetry) This study aims to offer an understanding of hip-hop culture through which three concepts are elucidated: (1) the existence and dimensions of a collective consciousness within rap and poetry of the hip-hop generation (Allison Joseph, A. Van Jordan, Terrance Hayes, Major Jackson, Taylor Mali, and Kevin Coval); (2) a poetics of rap—to parallel the influence seen/suggested among the selected poets; and (3) an analysis of the manner(s) in which the poetry of these more serious, academic artists reflects an influence of hip-hop culture. My thesis suggests that these poets are indeed influenced by the culture in which they grew up, and in their verse, this influence can be seen through linguistic playfulness, sonic density, layered meaning and usage through form and content, and the connection to a larger cultural, collective consciousness fed by specific social bodies. Poetic analysis, as well as studies of vernacular and oral traditions, has allowed me to explore these concepts and theories from a wider spectrum, and with regard to the work of the poets, an original perspective. Providing a deeper understanding of artists, their identities, places, and dreams within their work, this study begins to offer some insight into notions of the ways in which individuals might participate in cultural conservation. One Love: Collective Consciousness -
SCHOOLED: Hiphop Composition at the Predominantly White University
Syracuse University SURFACE Dissertations - ALL SURFACE August 2017 SCHOOLED: Hiphop Composition at the Predominantly White University Tessa Rose Brown Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Arts and Humanities Commons Recommended Citation Brown, Tessa Rose, "SCHOOLED: Hiphop Composition at the Predominantly White University" (2017). Dissertations - ALL. 764. https://surface.syr.edu/etd/764 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. ABSTRACT This dissertation asks what hiphop is doing in predominantly white higher-educational contexts, specifically in composition classrooms. Using ethnographic, autoethnographic, and historical methods, it finds that hiphop’s work in composition classrooms at PWIs is contradictory. This mixed-methods investigation suggests that the contradictory relation of white fans, students, and institutions to hiphop is shaped on the one hand by white listeners’ increasing identification with the historical struggles of African Americans under capitalism, and on the other hand, by disidentification or abjectification of African Americans in an effort to “win” the zero-sum game of capitalism. This contradiction results in a paradoxical situation where white fans—and white institutions—love hiphop and yet harbor antiblack views about the Black communities and Black students who make hiphop possible. However, the findings also suggest that identifying this tension offers writing instructors an opportunity to be more explicit about working towards anti-racist goals in the hiphop composition classroom. The dissertation’s historical study, ethnographic and autoethnographic studies, and review of contemporary hiphop and composition scholarship suggest that teaching and practicing reflexivity are core solutions to the paradoxical rhetorical action of hiphop in predominantly white spaces. -
The Blueprint”--Jay-Z (2001) Added to the National Registry: 2018 Essay by Zack O’Malley Greenburg (Guest Post)*
“The Blueprint”--Jay-Z (2001) Added to the National Registry: 2018 Essay by Zack O’Malley Greenburg (guest post)* Original CD cover A son of Brooklyn’s notorious housing projects who became hip-hop’s first billionaire in 2019, Jay-Z is as close as it gets to the modern-day embodiment of the American dream. So it’s only fitting that “The Blueprint,” one of the most noteworthy albums of the aughts, is the first 21st century recording selected for the National Recording Registry. Jay-Z’s sixth studio album arrived on September 11, 2001, and could have been lost amid the ensuing wave of national mourning. Instead, “Blueprint” ended up as a soundtrack of sorts-- mirroring the heady mix of pride and paranoia that permeated the post-September 11th United States. A classic album in any era, fate deposited it just in time to mirror an American moment when wound-licking gave way to a defiant indomitability. At the time, Jay-Z’s foes included a burgeoning roster of rival rappers, most notably Queens native Nas (a challenger for the King of New York crown) and the justice system, which had placed Jay-Z in legal limbo over the attack of a producer thought to have bootlegged his prior album (Jay-Z would eventually receive probation). He was also years into a prescient Grammy boycott—“Blueprint” would later be shut out at music’s biggest night despite vast critical acclaim. Backed by a battalion of producers including Timbaland, Just Blaze and a young Kanye West, Jay-Z caps “Blueprint’s” opening salvo by pronouncing himself “God MC, me, Jay-Hova.” Though he slings a few barbs at Mobb Deep’s Prodigy, his real target is archrival Nas, who’d questioned Jay-Z’s underworld credentials in a radio freestyle that evolved into one of hip-hop’s most legendary verbal confrontations. -
(Aka the Game and Hurricane Game) Isued His Debut LP, the Documentary, in 2004 Through Aftermath/GU
THE GAME Compton's own Game (aka the Game and Hurricane Game) isued his debut LP, The Documentary, in 2004 through Aftermath/G-Unit/Universal. With everyone from Dr. Dre and 50 Cent to Nate Dogg, Kanye West, and Just Blaze contributing to the album, The Documentary made it clear from the outset that geographic squabbles weren't a part of Game's agenda. Rapping hadn't been at first, either. Having gotten involved in the drug trade after a rough childhood, it took being shot during a home invasion to cause an epiphany in Game. Inspired by N.W.A, The Chronic, Doggystyle, and classic albums from 2Pac, the Notorious B.I.G., and Jay-Z, Game began rapping in 2001 and never looked back. His barbed and bold freestyles caught the ear of Dre, who signed him to Aftermath in 2003 and executive-produced his debut. It was delayed a few times, but The Documentary finally dropped in January 2005. Doctor's Advocate Soon Game and 50 Cent were at war over the former's reluctance to beef with any and every enemy of G-Unit. Freestyles and mixtapes were spawned in amazing amounts from both sides, and every time a truce seemed possible, things fell apart at the last minute. Dr. Dre was stuck in the middle, and while he never publicly denounced Game, he passed on working with the rapper for his next effort. Despite Dre's absence, Game's sophomore release kept its original title of Doctor's Advocate when it was released in late 2006. -
Kendrick Lamar Sample Pack Free
Kendrick Lamar Sample Pack Free Ricki forgoes enforcedly while inestimable Roni proportion subordinately or masquerading nightly. Contractible Damon pluralizes her strategists so callously that Herman bassets very venturously. Grown and aliquot Herve committing some soapberry so unsympathetically! Use samples that gives you extract the free kendrick lamar Thankfully there are a check amount of his sample packs online and. Master Class with Focus Kendrick Lamar Dr Dre Everyone can. Download a bug with royalty free drum samples in 16-bit WAV format. Pull some stems from our latest pack 'Cosmic Hip Hop' through a chance win the means pack. Our producers break down her to recreate the siege beat to Kendrick. Browse sample packs inspired by Kendrick Lamar All sample packs are 100 royalty free Level up as sample report today so these. Kendrick Lamar Joey Badass Yelawolf Danny Brown Action Bronson MG Memphis. This free download hip study sample pack contains a free Drake Drum roll and. A FREE producer drum door by Beatmaker Zone inspired by the sounds of Kendrick Lamar This grow kit is packed with 0s more. Chomikujpl Cymatics Humble Hip Hop Kendrick Lamar Type heat Pack. Video Tutorials Online Courses Samples Packs Sounds Producer. Paak Kendrick Lamar 4 presets by producermixer MarioSo. New Weeknd type need and Weeknd sample article for guest to download for free. Kendrick Lamar Vinyl LP Album Pack Good and Mad doctor To Pimp A Kendrick Lamar Vinyl Kendrick. This story God why like Kendrick Lamar clad in an ambassador-white ensemble. Incognet releases music production master for them in this hip hop, kendrick lamar sample pack free delivery of. -
Patriot Press April May 2019
@LibertyPublicat @libertyhspublications www.pinterest.com/tyearbook April/May 2019 Patriot Press News Team Volume 25: Issue 5 Liberty High School Talon Yearbook and Patriot Press Newspaper 6300 Independence Avenue, Bealeton, Virginia 22712 The Quinceañera Endures as a Meaningful Rite of Passage her brothers, sisters, cousins,and by Melissa Reyes that the Quinceañera is officially all the special people in her life ~Staff Reporter a young woman and that the doll and the people who she wants is officially her last toy. Another to share her special day with. very special ceremony is the coro- “I didn’t have have a nation. It’s when the Quinceañera Court of Honor because I just is given a crown and officially wanted a small party with just declared a princess to everybody my family. I wanted to be able that is present. The shoe ceremo- to talk to everyone in my family ny is where the Quinceañera’s and not just focus on dances,” father presents her with a pair said sophomore Katie Castro. of heels, officially meaning “I chose my Court with she is not a little girl anymore. family and friends I am close with,” The dances are a very said senior Wendy Velasquez. important part of Quinceañeras. “I was surprised I got They are not a requirement for picked to be a Chambelan of every party but they do make Elizabeth Padilla-Delgado poses for Honor because I wasn’t His- the night more fun and special. a fabulous photo session before panic,” said junior Khai Pham. There are many dances that a her Quinceañera. -
Jay-Z CEO of Hip-Hop by Stephen G
This Page Left Blank Intentionally Lifeline BIOGRAPHIES Jay-Z CEO of Hip-Hop by Stephen G. Gordon Twenty-First Century Books · Minneapolis To Jackie, who sat under my desk while I wrote this one. USA TODAY®, its logo, and associated graphics are federally registered trademarks. All rights are reserved. All USA TODAY text, graphics, and photographs are used pursuant to a license and may not be reproduced, distributed, or otherwise used without the express written consent of Gannett Co., Inc. USA TODAY Snapshots®, graphics, and excerpts from USA TODAY articles quoted on back cover and on pp. 10–11, 20, 22, 24–25, 31, 42–43, 46–47, 56, 68–69, 78, 79, 87, and 90–91 and all backgrounds © copyright 2013 by USA TODAY. Copyright © 2013 by Lerner Publishing Group, Inc. All rights reserved. International copyright secured. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means— electronic, mechanical, photocopying, recording, or otherwise—without the prior written permission of Lerner Publishing Group, Inc., except for the inclusion of brief quotations in an acknowledged review. Twenty-First Century Books A division of Lerner Publishing Group, Inc. 241 First Avenue North Minneapolis, MN 55401 U.S.A. Website address: www.lernerbooks.com Library of Congress Cataloging-in-Publication Data Gordon, Stephen G. Jay-Z : CEO of hip-hop / by Stephen G. Gordon. p. cm. — (USA today lifeline biographies) Includes bibliographical references and index. ISBN 978–1–4677–0811–1 (lib. bdg. : alk. paper) 1. Jay-Z, 1969–—Juvenile literature.