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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. -
ENG 350 Summer12
ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog. -
DJ Skills the Rise of the Hip-Hop DJ 3
The Rise of the Hip-Hop DJ 1 74 The Rise of The Hip-hop DJ DJs were Hip-hop’s original architects, and remain crucial to its contin- ued development. Hip-hop is more than a style of music; it’s a culture. As with any culture, there are various artistic expressions of Hip-hop, the four principal expressions being: • visual art (graffiti) • dance (breaking, rocking, locking, and popping, collectively known in the media as “break dancing”) • literature (rap lyrics and slam poetry) • music (DJing and turntablism) Unlike the European Renaissance or the Ming Dynasty, Hip-hop is a culture that is very much alive and still evolving. Some argue that Hip-hop is the most influential cultural movement in history, point- ing to the globalization of Hip-hop music, fashion, and other forms of expression. Style has always been at the forefront of Hip-hop. Improvisation is called free styling, whether in rap, turntablism, breaking, or graf- fiti writing. Since everyone is using the essentially same tools (spray paint for graffiti writers, microphones for rappers and beat boxers, their bodies for dancers, and two turntables with a mixer for DJs), it’s the artists’ personal styles that set them apart. It’s no coincidence that two of the most authentic movies about the genesis of the move- ment are titled Wild Style and Style Wars. There are also many styles of writing the word “Hip-hop.” The mainstream media most often oscillates between “hip-hop” and “hip hop.” The Hiphop Archive at Harvard writes “Hiphop” as one word, 2 DJ Skills The Rise of the Hip-Hop DJ 3 with a capital H, embracing KRS-ONE’s line of reasoning that “Hiphop Kool DJ Herc is a culture with its own foundation narrative, history, natives, and 7 In 1955 in Jamaica, a young woman from the parish of Saint Mary mission.” After a great deal of input from many people in the Hip-hop community, I’ve decided to capitalize the word but keep the hyphen, gave birth to a son who would become the father of Hip-hop. -
'What Ever Happened to Breakdancing?'
'What ever happened to breakdancing?' Transnational h-hoy/b-girl networks, underground video magazines and imagined affinities. Mary Fogarty Submitted in partial fulfillment Of the requirements for the degree of Interdisciplinary MA in Popular Culture Brock University St. Catharines, Ontario © November 2006 For my sister, Pauline 111 Acknowledgements The Canada Graduate Scholarship (SSHRC) enabled me to focus full-time on my studies. I would also like to express my deepest gratitude to my committee members: Andy Bennett, Hans A. Skott-Myhre, Nick Baxter-Moore and Will Straw. These scholars have shaped my ideas about this project in crucial ways. I am indebted to Michael Zryd and Francois Lukawecki for their unwavering kindness, encouragement and wisdom over many years. Steve Russell patiently began to teach me basic rules ofgrammar. Barry Grant and Eric Liu provided comments about earlier chapter drafts. Simon Frith, Raquel Rivera, Anthony Kwame Harrison, Kwande Kefentse and John Hunting offered influential suggestions and encouragement in correspondence. Mike Ripmeester, Sarah Matheson, Jeannette Sloniowski, Scott Henderson, Jim Leach, Christie Milliken, David Butz and Dale Bradley also contributed helpful insights in either lectures or conversations. AJ Fashbaugh supplied the soul food and music that kept my body and mind nourished last year. If AJ brought the knowledge then Matt Masters brought the truth. (What a powerful triangle, indeed!) I was exceptionally fortunate to have such noteworthy fellow graduate students. Cole Lewis (my summer writing partner who kept me accountable), Zorianna Zurba, Jana Tomcko, Nylda Gallardo-Lopez, Seth Mulvey and Pauline Fogarty each lent an ear on numerous much needed occasions as I worked through my ideas out loud. -
View Centro's Film List
About the Centro Film Collection The Centro Library and Archives houses one of the most extensive collections of films documenting the Puerto Rican experience. The collection includes documentaries, public service news programs; Hollywood produced feature films, as well as cinema films produced by the film industry in Puerto Rico. Presently we house over 500 titles, both in DVD and VHS format. Films from the collection may be borrowed, and are available for teaching, study, as well as for entertainment purposes with due consideration for copyright and intellectual property laws. Film Lending Policy Our policy requires that films be picked-up at our facility, we do not mail out. Films maybe borrowed by college professors, as well as public school teachers for classroom presentations during the school year. We also lend to student clubs and community-based organizations. For individuals conducting personal research, or for students who need to view films for class assignments, we ask that they call and make an appointment for viewing the film(s) at our facilities. Overview of collections: 366 documentary/special programs 67 feature films 11 Banco Popular programs on Puerto Rican Music 2 films (rough-cut copies) Roz Payne Archives 95 copies of WNBC Visiones programs 20 titles of WNET Realidades programs Total # of titles=559 (As of 9/2019) 1 Procedures for Borrowing Films 1. Reserve films one week in advance. 2. A maximum of 2 FILMS may be borrowed at a time. 3. Pick-up film(s) at the Centro Library and Archives with proper ID, and sign contract which specifies obligations and responsibilities while the film(s) is in your possession. -
The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities
The Miseducation of Hip-Hop dance: Authenticity, and the commodification of cultural identities. E. Moncell Durden., Assistant Professor of Practice University of Southern California Glorya Kaufman School of Dance Introduction Hip-hop dance has become one of the most popular forms of dance expression in the world. The explosion of hip-hop movement and culture in the 1980s provided unprecedented opportunities to inner-city youth to gain a different access to the “American” dream; some companies saw the value in using this new art form to market their products for commercial and consumer growth. This explosion also aided in an early downfall of hip-hop’s first dance form, breaking. The form would rise again a decade later with a vengeance, bringing older breakers out of retirement and pushing new generations to develop the technical acuity to extraordinary levels of artistic corporeal genius. We will begin with hip-hop’s arduous beginnings. Born and raised on the sidewalks and playgrounds of New York’s asphalt jungle, this youthful energy that became known as hip-hop emerged from aspects of cultural expressions that survived political abandonment, economic struggles, environmental turmoil and gang activity. These living conditions can be attributed to high unemployment, exceptionally organized drug distribution, corrupt police departments, a failed fire department response system, and Robert Moses’ building of the Cross-Bronx Expressway, which caused middle and upper-class residents to migrate North. The South Bronx lost 600,000 jobs and displaced more than 5,000 families. Between 1973 and 1977, and more than 30,000 fires were set in the South Bronx, which gave rise to the phrase “The Bronx is Burning.” This marginalized the black and Latino communities and left the youth feeling unrepresented, and hip-hop gave restless inner-city kids a voice. -
Hip Hop Dance: Performance, Style, and Competition
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Oregon Scholars' Bank HIP HOP DANCE: PERFORMANCE, STYLE, AND COMPETITION by CHRISTOPHER COLE GORNEY A THESIS Presented to the Department ofDance and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Master ofFine Arts June 2009 -------------_._.. _--------_...._- 11 "Hip Hop Dance: Performance, Style, and Competition," a thesis prepared by Christopher Cole Gorney in partial fulfillment ofthe requirements for the Master ofFine Arts degree in the Department ofDance. This thesis has been approved and accepted by: Jenife .ning Committee Date Committee in Charge: Jenifer Craig Ph.D., Chair Steven Chatfield Ph.D. Christian Cherry MM Accepted by: Dean ofthe Graduate School 111 An Abstract ofthe Thesis of Christopher Cole Gorney for the degree of Master ofFine Arts in the Department ofDance to be taken June 2009 Title: HIP HOP DANCE: PERFORMANCE, STYLE, AND COMPETITION Approved: ----- r_---- The purpose ofthis study was to identify and define the essential characteristics ofhip hop dance. Hip hop dance has taken many forms throughout its four decades ofexistence. This research shows that regardless ofthe form there are three prominent characteristics: performance, personal style, and competition. Although it is possible to isolate the study ofeach ofthese characteristics, they are inseparable when defining hip hop dance. There are several genre-specific performance formats in which hip hop dance is experienced. Personal style includes the individuality and creativity that is celebrated in the hip hop dancer. Competition is the inherent driving force that pushes hip hop dancers to extend the form's physical limitations. -
Music 04: Global Sound—Jeffers Engelhardt 1
Music 04: Global Sound—Jeffers Engelhardt 1 ❦ MUSIC 04: GLOBAL SOUND ❦ COURSE INFORMATION Arms Music Center 212 Monday, Wednesday 2:00-3:20 Assistant Professor Jeffers Engelhardt Arms Music Center 5 413.542.8469 (office) 413.687.0855 (home) [email protected] http://www.amherst.edu/~jengelhardt Office hours: anytime by appointment COURSE DESCRIPTION AND REQUIREMENTS This course explores the global scale of much music-making and musical consumption today. Migration, diaspora, war, tourism, postsocialist and postcolonial change, commerce, and digital technology have all profoundly reshaped the way musics are created, circulated, and consumed. These forces have also illuminated important ethical, legal, and aesthetic issues concerning intellectual property rights and the nature of musical authorship, the appropriation of “traditional” musics by elites in the global North, and local musical responses to transnational music industries, for instance. Through a series of case studies that will include performances and workshops by visiting musicians, Global Sound will examine how musics animate processes of globalization and how globalization affects musics by establishing new social, cultural, and economic formations. Your work in this course will be challenging, rewarding, and varied. You will be asked to present your work in class and make weekly postings to the course blog. There are also a few events outside of class time that you will need to participate in. I will hand out guidelines and rubrics for all the work you will do in order to make my expectations and standards for evaluation completely clear. Needless to say, preparation for, attendance at, and active participation in every class meeting is essential. -
11 Artists from L.A. Curated by Gajin Fujita
FOR IMMEDIATE RELEASE October 2016 Media Contact: Christina Carlos Telephone: 310-822-4955 Email: [email protected] Chaz Bojorquez 11 artists from L.A. David Cavazos (Big Sleeps) curated by Gajin Fujita Fabian Debora 16 NOVEMBER 2016 – 14 JANUARY 2017 Ricardo Estrada Opening reception: Wednesday, 16 November, 6-9pm Gajin Fujita Alex Kizu (Defer) Patrick Martinez Media preview: Tuesday, 15 November, 11am-1pm Retna Artists will be present. Light refreshments served Jose Reza (Prime) RSVP: [email protected] Jesse Simon Slick Venice, CA -- L.A. Louver is pleased to present a group exhibition curated by Los Angeles artist Gajin Fujita. “Roll Call” refers to tagging all of the names of a graffiti crew who work together to make a piece. Fujita’s inspiration for both the show and its title is in this same spirit, recognizing individual contributors that create an overall picture — a vision of L.A. “Los Angeles is the city that raised me, its streets guided me, and graffiti was my transport. Graffiti took me all over the city, seeking out prime real estate to stake my claim, tag my name and flex my skills. It’s how I came to know all the artists in this exhibition; some of us go back almost 30 years. Graffiti is the foundation on which we built our artistic practices. But beyond graffiti, Los Angeles is what unifies us. We sharpened our skills on its walls and structures.” — Gajin Fujita Fujita grew up in the East L.A. neighborhood of Boyle Heights. As a teen, he became fascinated by the graffiti and hip-hop movement coming out of New York when the movie “Style Wars” was released in the ’80s. -
Cut from a Different Cloth: Examining the Role Hip-Hop Plays In
CUT FROM A DIFFERENT CLOTH: EXAMINING THE ROLE HIP-HOP PLAYS IN BELONGING AT SELECT INSTITUTIONS OF HIGHER EDUCATION _____________ A Dissertation Presented to The Faculty of the Department of Educational Leadership Sam Houston State University _____________ In Partial Fulfillment of the Requirements for the Degree of Doctor of Education _____________ by Jerrell R. Sherman May, 2021 CUT FROM A DIFFERENT CLOTH: EXAMINING THE ROLE HIP-HOP PLAYS IN BELONGING AT SELECT INSTITUTIONS OF HIGHER EDUCATION by Jerrell R. Sherman ______________ APPROVED: Ricardo Montelongo, PhD Dissertation Chair Peggy Holzweiss, PhD Committee Member Wally Barnes, Ed.D. Committee Member Stacey Edmonson, EdD Dean, College of Education DEDICATION My dissertation is dedicated to my family, support system, and those that have inspired me throughout my life. Thanks to my wife, Laah, for staying with me through this crazy journey of peaks and valleys. You have taken on more with our young sons when I was taking night classes, completing assignments, research, attending conferences, and writing this dissertation. Our home and family would not be whole without you. Thank you to my parents, Joseph and Sandra Sherman who always encouraged me to aim big and made me believe I could do anything I put my mind to. Thank you for nurturing and exposing my brother, Ledric, and I to so many things that broadened our horizons. Thanks to my brother Ledric, who has always been so reliable and supportive throughout my life. We know we can always vent to one another and because you have gone through this process before, you are one of few that could truly give me firsthand advice that truly helped me along the way. -
Marissa K. Munderloh Phd Thesis
The Emergence of Post-Hybrid Identities: a Comparative Analysis of National Identity Formations in Germany’s Contemporary Hip-Hop Culture Marissa Kristina Munderloh This thesis is submitted in partial fulfilment for the degree of PhD at the University of St Andrews 3 October 2014 Abstract This thesis examines how hip-hop has become a meaningful cultural movement for contemporary artists in Hamburg and in Oldenburg. The comparative analysis is guided by a three-dimensional theoretical framework that considers the spatial, historical and social influences, which have shaped hip-hop music, dance, rap and graffiti art in the USA and subsequently in the two northern German cities. The research methods entail participant observation, semi-structured interviews and a close reading of hip-hop’s cultural texts in the form of videos, photographs and lyrics. The first chapter analyses the manifestation of hip-hop music in Hamburg. The second chapter looks at the local adaptation of hip-hop’s dance styles. The last two chapters on rap and graffiti art present a comparative analysis between the art forms’ appropriation in Hamburg and in Oldenburg. In comparing hip-hop’s four main elements and their practices in two distinct cities, this research project expands current German hip-hop scholarship beyond the common focus on rap, especially in terms of rap being a voice of the minority. It also offers insights into the ways in which artists express their local, regional or national identity as a culturally hybrid state, since hip-hop’s art forms have always been the result of cultural and artistic mixture. -
Lee Quiñones Black and Blue Lee Quiñones Black and Blue
LEE QUIÑONES BLACK AND BLUE LEE QUIÑONES BLACK AND BLUE Charlie James Gallery is very proud to present Black and Blue, our second solo show with New York-based artist Lee Quiñones. The exhibition takes its name from the show’s centerpiece painting that focuses on our collective witness to the horrific murder of George Floyd on May 25th, 2020, and in a subliminal way, reminds us of the continual silencing of black and brown voices across generation and geography, figures such as Stephen Biko in room 619 and the countless souls abducted in America’s original sin of 1619. The Black and Blue piece makes clear reference to mobile phone technology and to the gravitational pull of social media that we all use in some shape or form every day of our lives. Aside from its semi hidden central figures, Black and Blue contains an array of 569 individually painted I-phone screens, one for each second of the 9 minute 29 second video that marked the murder of Floyd. The painting sets the tone for the rest of the show which features paintings and drawings dealing with historical social justice fault lines, from the desegregation of Little Rock Central High in Little Rock, AR to the ongoing displacement of Native Americans. These new works are conceived around plays on common phrases such as “Loss for words” becoming “Lost for words” and derogatory statements such as “Get Off My Lawn!” countered with “Get Off My Dawn!” Supporting the political nucleus of the show, Lee will present a suite of “bombed” canvas paintings – expressive pieces acknowledging Lee’s graffiti roots executed in a paint booth fashioned within Lee’s studio.