The Montclarion, October 14, 1993
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Racial Gatekeeping in Country & Hip-Hop Music
Portland State University PDXScholar University Honors Theses University Honors College 12-14-2020 Racial Gatekeeping in Country & Hip-Hop Music Cervanté Pope Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/honorstheses Part of the Mass Communication Commons, Race and Ethnicity Commons, Social Psychology and Interaction Commons, and the Sociology of Culture Commons Let us know how access to this document benefits ou.y Recommended Citation Pope, Cervanté, "Racial Gatekeeping in Country & Hip-Hop Music" (2020). University Honors Theses. Paper 957. https://doi.org/10.15760/honors.980 This Thesis is brought to you for free and open access. It has been accepted for inclusion in University Honors Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Racial Gatekeeping in Country & Hip-Hop Music By Cervanté Pope Student ID #: 947767021 Portland State University Pope 2 Introduction In mass communication, gatekeeping refers to how information is edited, shaped and controlled in efforts to construct a “social reality” (Shoemaker, Eichholz, Kim, & Wrigley, 2001). Gatekeeping has expanded into other fields throughout the years, with its concepts growing more and more easily applicable in many other aspects of life. One way it presents itself is in regard to racial inclusion and equality, and despite the headway we’ve seemingly made as a society, we are still lightyears away from where we need to be. Because of this, the concept of cultural property has become even more paramount, as a means for keeping one’s cultural history and identity preserved. -
Language Contact and US-Latin Hip Hop on Youtube
City University of New York (CUNY) CUNY Academic Works Publications and Research York College 2019 Choutouts: Language Contact and US-Latin Hip Hop on YouTube Matt Garley CUNY York College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/yc_pubs/251 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Choutouts: Language contact and US-Latin hip hop on YouTube Matt Garley This paper presents a corpus-sociolinguistic analysis of lyrics and com- ments from videos for four US-Latinx hip hop songs on YouTube. A ‘post-varieties’ (Seargeant and Tagg 2011) analysis of the diversity and hybridity of linguistic production in the YouTube comments finds the notions of codemeshing and plurilingualism (Canagarajah 2009) useful in characterizing the language practices of the Chicanx community of the Southwestern US, while a focus on the linguistic practices of com- menters on Northeastern ‘core’ artists’ tracks validate the use of named language varieties in examining language attitudes and ideologies as they emerge in commenters’ discussions. Finally, this article advances the sociolinguistics of orthography (Sebba 2007) by examining the social meanings of a vast array of creative and novel orthographic forms, which often blur the supposed lines between language varieties. Keywords: Latinx, hip hop, orthography, codemeshing, language contact, language attitudes, language ideologies, computer-mediated discourse. Choutouts: contacto lingüístico y el hip hop latinx-estadounidense en YouTube. Este estudio presenta un análisis sociolingüístico de letras de canciones y comentarios de cuatro videos de hip hop latinx-esta- dounidenses en YouTube. -
Rcc the CCCCCD Brown Comes Back Strong, House of Pain Needs to Come Again
FEATURES SEPTEMBER 16, 1992 ] rcc THE CCCCCD Brown comes back strong, House of Pain needs to come again By TJ Stancil Of course, this album was the album in “Something in proud of Cypress Hill’s assistance Music Editor probably made before someone Common.” The album has slow on their album. decided to remix those tracks so jams in abundance as well as the With a song like “Jump Yo, what’s up everybody? I can’t throw out blame. The typical B. Brown dance floor jam, Around,” it would be assumed that I’m back wilh another year of album as is is a Neo-Reggae but the slow jams sometimes seem this album isp^etty hype. WRONG! giving you insight on what’s hot classic (in my opinion) which hollow since he obviously doesn’t Let me tell you why it is definitely and what ’ s not in black and urban should be looked at. Other songs mean them (or does he?). not milk. contemporary music. This year, of mention are ‘Them no care,” Also, some of the slow jams, the First, all of their songs, like with a new staff and new format. “Nuff Man a Dead,” and “Oh majority of which were written and Cypress Hill’s, talk about smoking Black Ink will go further than It’s You.” Enjoy the return of produced by L.A. and Babyface, blounts and getting messed up. before in the realm of African- Reggae, but beware cheap seem as though they would sound Secondly, most of the beats sound American journalism. -
KEEFUS CIANCIA (Discography)
KEEFUS CIANCIA 1/1/19 (Discography) Recording Album / Project Artist Credit Beyond the Palace Walls Paragon Taxi Piano, Keyboards (1993) Jazz in the Present Tense The Solsonics Keyboards (1993) Bop Gun Ice Cube Keyboards (1993) Fo Life Mack 10 Keyboards (1993) Cool Struttin The Pacific Jazz Alliance Keyboards (1994) Keyboards, Moog Synthesizer, N Gatz We Truss South Central Cartel (1994) Claves Nut-Meg Sez "Bozo the Town" Weapon of Choice Keyboards, Vocals (1994) Clavinet, Fender Rhodes, Moog Back to Reality Jeune (1995) Lead Highperspice Weapon of Choice Keyboards, Vocals (1996) I Am L.V. L.V. Keyboards (1996) Radio Odyssey Various Artists Keyboards (1996) The Jade Vincent Moy Producer, Composer, Musician (1996) Experiment Concepto Sol d'Menta Keyboards (1998) Nutmeg Phantasy Weapon of Choice Keyboards (1998) Whitey Ford Sings the Blues [Clean] Everlast Keyboards, Performer (1998) Another True Fiction Jerry Toback Moog Synthesizer (1999) Eat at Whitey's Everlast Bass, Keyboards, Band (2000) Loud Rocks Various Artists Keyboards (2000) Moog Synthesizer, Claves, You Know, for Kids Hate Fuck Trio (2000) Wurlitzer Synthesizer, Farfisa Organ, The ID Macy Gray (2001) Composer Motherland Natalie Merchant Piano, Keyboards (2001) Stimulated, Vol. 1 Various Artists Keyboards (2001) Diana Priscilla Ahn (2001) Organ, Keyboards, Clavinet, C'mon, C'mon Sheryl Crow (2002) String Samples Keyboards, Producer, Engineer, Soul of John Black The Soul of John Black (2003) Associate Producer Piano, Keyboards, Moog Thousand Kisses Deep Chris Botti (2003) Synthesizer, -
DJ Muggs Production Discography
DJ Muggs production discography DJ Muggs production discography. From Wikipedia, the free encyclopedia. Jump to navigation Jump to search. This article does not cite any sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2012) (Learn how and when to remove this template message). This is a Full length List of Production Credits for DJ Muggs outside of his Cypress Hill, Soul Assassins & "Vs" albums. Contents. 1 Afu Ra. 2 Apathy. 3 Beastie Boys. 4 Big Noyd. 5 Big Red. 15 DJ Muggs. 16 Funkdoobiest. 17 George Micheal. DJ Premier discography ┠The following list contains songs produced, co produced or remixed by DJ Premier.[1] Contents 1 Production Discography 1.1 1990 1.1.1 Branford Marsalis Quartet Music from Mo ⦠Wikipedia. RZA discography ┠Discography for Wu Tang Clan leader RZA.tudio AlbumsInstrumental Albums*2007: The RZA Instrumental Experience oundtracks*1999: *2004: Kill Bill Volume 1 (soundtrack) Kill Bill Volume 2 (soundtrack) *2004: Soul Plane *2004: *2005: Unleashed *2005 ⦠Wikipedia. DJ Khalil discography ┠The following is a list of productions by American hip hop and soul producer, DJ Khalil DJ Muggs production discography. From Wikipedia, the free encyclopedia. This is a Full length List of Production Credits for DJ Muggs outside of his Cypress Hill, Soul Assassins & "Vs" albums. YouTube Encyclopedic. 1/5. Dj Muggs Presents | The Soul Assassins (Chapter I) | (1997). Cypress hill | IV | (1998) | [full album] + bonus track. L'Orange - Blame The Author (feat. DJ Muggs. They Talk About It, We Live It (Bullworth) (f/ Prodigy, KRS-One, Method Man & Kam). -
"Authenticity" in Rap Music by Consumers."
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2010 "Rapping About Authenticity": Exploring the Differences in Perceptions of "Authenticity" in Rap Music by Consumers." James L. Wright UTK, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Critical and Cultural Studies Commons, Ethnomusicology Commons, Social Psychology and Interaction Commons, and the Sociology of Culture Commons Recommended Citation Wright, James L., ""Rapping About Authenticity": Exploring the Differences in Perceptions of "Authenticity" in Rap Music by Consumers.". " PhD diss., University of Tennessee, 2010. https://trace.tennessee.edu/utk_graddiss/760 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by James L. Wright entitled ""Rapping About Authenticity": Exploring the Differences in Perceptions of "Authenticity" in Rap Music by Consumers."." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Sociology. Suzaanne B. Kurth, Major Professor We have read this dissertation and recommend its acceptance: Robert Emmet Jones; Hoan Bui; Debora Baldwin Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation written by James L. -
Nu-Metal As Reflexive Art Niccolo Porcello Vassar College, [email protected]
Vassar College Digital Window @ Vassar Senior Capstone Projects 2016 Affective masculinities and suburban identities: Nu-metal as reflexive art Niccolo Porcello Vassar College, [email protected] Follow this and additional works at: http://digitalwindow.vassar.edu/senior_capstone Recommended Citation Porcello, Niccolo, "Affective masculinities and suburban identities: Nu-metal as reflexive art" (2016). Senior Capstone Projects. Paper 580. This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. ! ! ! ! ! ! ! ! ! ! ! AFFECTIVE!MASCULINITES!AND!SUBURBAN!IDENTITIES:!! NU2METAL!AS!REFLEXIVE!ART! ! ! ! ! ! Niccolo&Dante&Porcello& April&25,&2016& & & & & & & Senior&Thesis& & Submitted&in&partial&fulfillment&of&the&requirements& for&the&Bachelor&of&Arts&in&Urban&Studies&& & & & & & & & _________________________________________ &&&&&&&&&Adviser,&Leonard&Nevarez& & & & & & & _________________________________________& Adviser,&Justin&Patch& Porcello 1 This thesis is dedicated to my brother, who gave me everything, and also his CD case when he left for college. Porcello 2 Table of Contents Acknowledgements .......................................................................................................... 3 Chapter 1: Click Click Boom ............................................................................................. -
Grammy Winner EVERLAST on the Second Night at SPIRIT of BURGAS
Grammy Winner EVERLAST on the Second Night at SPIRIT OF BURGAS Thursday, 17 June 2010 Everlast, the former frontman of House of Pain is set to raise the heat at Burgas central beach on the main stage. House of Pain was a great band. And its frontman is even greater - being able to seriously quake the ground, wherever he passes. Everlast aka Erik Schrody is affixing his signature over tracks of an inimitable sound style. Hip Hop is the foundation of his sound, but for his solo project he is erecting over it elements of alternative, rock, American folk and sometimes blues, in a way only he can do. Everlast is a musician, singer, МС and the author of tracks with a sound impossible to confound with anything else and the Californian boy will rock the main stage of SPIRIT of Burgas on Saturday night and get the crowd jumping around! Everlast was first nominated to a Grammy award as The Best Male Rock Vocal Performance for "What It's Like" from his album "Everlast Whitey Ford Sings The Blues". His second Grammy was for The Best Rock Performance by a Duo or Group with Vocal for his collaboration with Carlos Santana in "Put Your Lights On". Among his other page 1 / 2 successful teamwork projects we can quote Madonna, Nice & Smooth, Dilated Peoples, Run DMC, Limp Bizkit, Cypress Hill, KoRn, Prodigy, Swollen Members to name but a few. His creativity and his talent are so offensively obvious, they provoked a duel between Everlast and Еminem, which started in 1999. -
00:00:00 Music Transition “Crown Ones” Off the Album Stepfather by People Under the Stairs
00:00:00 Music Transition “Crown Ones” off the album Stepfather by People Under the Stairs. [Music continues under the dialogue, then fades out.] 00:00:06 Oliver Host Hello! I’m Oliver Wang. Wang 00:00:08 Morgan Host And I’m Morgan Rhodes. You’re listening to Heat Rocks. Rhodes 00:00:10 Oliver Host Every episode, we invite a guest to join us to talk about a heat rock: an album that just burns eternally. And today, we have something for the blunted as we dive back to 1991, to talk about the debut, self-titled album by Cypress Hill. 00:00:27 Music Music “Break It Up” from the album Cypress Hill by the band Cypress Hill. Light, multilayered rap. Break it up, Cypress Hill, break it up Cypress, break it up, Cypress Hill Cypress Hill! Break it up Cypress Hill, break it up Cypress, break it up Cypress Hill Cypress Hill! Break it up Cypress Hill, break it up Cypress, break it up Cypress Hill Cypress Hill! [Music continues under the dialogue briefly, then fades out.] 00:00:39 Oliver Host The first time I ever saw Cypress Hill was at my very first hip-hop show, in San Francisco in ’91. Cypress, however, were not the headliners. That would have been the trio of 3rd Bass, then touring behind their radio single, “Pop Goes the Weasel”. Cypress Hill was the opening act, with only a slow-burn B-side, “How I Could Just Kill a Man”, to their name at the time. Of course, a few years later and this would all change. -
Pop Fiction 2019 Song List
I Love Rock and Roll - Joan Jett Welcome to the Jungle - Guns N’ Roses I'm Gonna Be (I Would Walk 500 Miles) - We Belong Together - Pat Benatar The Proclaimers You Dropped a Bomb on Me - The Gap I've Had The Time of My Life - Dirty Band Dancing/Bill Medley & Jennifer Warnes You Give Love a Bad Name - Bon Jovi I Wanna Dance with Somebody - Whitney You Make My Dreams Come True - Hall & Houston Oats Jack and Diane - John Cougar Melencamp You Shook Me All Night Long - AC/DC Jenny (867-5309) - Tommy Tutone You Spin Me Around - Dead or Alive Jessie’s Girl - Rick Springfield You're the Inspiration - Chicago Jump - Van Halen Jungle Love - Morris Day and the Time 90s Just Can’t Get Enough - Depeche Mode All Mixed Up - 311 Kids in America - Kim Wild All The Small Things - Blink 182 Kiss - Prince As Long as You Love Me - Backstreet Boys Let the Music Play - Shannon Baby Got Back - Sir Mix-a-lot Let's Dance - David Bowie Buddy Holly - Weezer Like a Virgin - Madonna California Love - 2Pac & Dr. Dre Livin’ On A Prayer - Bon Jovi Don't Look Back in Anger - Oasis Love Shack - B-52s Fresh Pince of Bell Air Theme - DJ Jazzy Material Girl - Madonna Jeff & the Fresh Prince (Will Smith) Modern Love - David Bowie Gettin' Jiggy Wit It - Will Smith Never Gonna Give You Up - Rick Astley Give It Away Now - Red Hot Chili Peppers New Sensation - INXS Humpty Dance - Digital Underground (You're My) Obsession - Animotion I Want it That Way - Backstreet Boys Open Your Heart - Madonna Ice Ice Baby - Vanilla Ice Our House - Madness I'm Too Sexy - Right Said Fred Pour Some Sugar On Me - Def Leppard Insane in the Brain - Cypress Hill Pretty Young Thing (P.Y.T.) - Michael Jump Around - House of Pain Jackson Kiss Me - 6 Pence None the Richer Purple Rain - Prince Last Christmas - Wham/George Michael Raspberry Beret - Prince Livin’ La Vida Loca - Ricky Martin Rebel Yell - Billy Idol Love Fool - The Cardigans Relax - Frankie Goes To Hollywood My Own Worst Enemy - Lit Rhythm is Gonna Get You - Gloria Estefan & O.P.P. -
Hip-Hop Realness and the White Performer Mickey Hess
Critical Studies in Media Communication Vol. 22, No. 5, December 2005, pp. 372Á/389 Hip-hop Realness and the White Performer Mickey Hess Hip-hop’s imperatives of authenticity are tied to its representations of African-American identity, and white rap artists negotiate their place within hip-hop culture by responding to this African-American model of the authentic. This article examines the strategies used by white artists such as Vanilla Ice, Eminem, and the Beastie Boys to establish their hip- hop legitimacy and to confront rap music’s representations of whites as socially privileged and therefore not credible within a music form where credibility is often negotiated through an artist’s experiences of social struggle. The authenticating strategies of white artists involve cultural immersion, imitation, and inversion of the rags-to-riches success stories of black rap stars. Keywords: Hip-hop; Rap; Whiteness; Racial Identity; Authenticity; Eminem Although hip-hop music has become a global force, fans and artists continue to frame hip-hop as part of African-American culture. In his discussion of Canadian, Dutch, and French rap Adam Krims (2000) noted the prevailing image of African-American hip-hop as ‘‘real’’ hip-hop.1 African-American artists often extend this image of the authentic to frame hip-hop as a black expressive culture facing appropriation by a white-controlled record industry. This concept of whiteÁ/black interaction has led white artists either to imitate the rags-to-riches narratives of black artists, as Vanilla Ice did in the fabricated biography he released to the press in 1990, or to invert these narratives, as Eminem does to frame his whiteness as part of his struggle to succeed as a hip-hop artist. -
Assimilation and Hip-Hop
Assimilation and Hip-Hop Interethnic Relations and the Americanization of New Immigrants in Hip-Hop Culture By Audun Kjus Aahlin A Thesis Presented to The Department of Literature, Area Studies and European Languages -North American Area Studies- -Faculty of Humanities- University of Oslo In Partial Fulfillment of the Requirements for the MA Degree Spring 2013 Assimilation and Hip-Hop Interethnic Relations and the Americanization of New Immigrants in Hip-Hop Culture II © Audun Kjus Aahlin 2013 Interethnic Relations and the Americanization of New Immigrants in Hip-Hop Culture Audun Kjus Aahlin http://www.duo.uio.no/ Print: CopyCat, Lysaker in Oslo III Acknowledgements It would not be hip-hop without a lot of shout-outs. So… I will like to thank my supervisor, Associate Professor David C. Mauk for his encouragements and advises. I also need to acknowledge Associate Professor Deborah Lynn Kitchen- Døderlein for some needed adjustments in the early part of this project. I am much grateful to Terje Flaatten, who proofread the thesis. Thank you for taking the time out of your busy schedule. Thank you to the John F. Kennedy Institute for North American Studies in Berlin, who let me use their facilities last autumn. I am also grateful to Espen Sæterbakken for his help with the printing of my thesis. Appreciations are also due to Jeff Chang, The Mind Squad, Nelson George, Bakari Kitwana, ego trip, Dream Hampton, and the countless other journalists, writers, scholars and activists who taught me at an early age that few things in life are better combined than hip-hop and intellectual writings.