DOCSLIB.ORG

Capturing Hip Hop Histories

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Capturing Hip Hop Histories capturing hip hop histories SOUTH-WEST HEADZ Master Blast Roadshow poster by Raz (Kilo), 1986. Photograph: Kilo. First published 2021 2021 Adam de Paor-Evans Cover graff by Remser Remser started writing in 1997 after seeing dubs and pieces by Sceo, Fixer, Teach, and G-Sane at the M5 pillar spot in Exeter. His school bus used to loop around Sannerville Way and the pieces could be seen from the road as well as the train. A couple of years prior to this, Remser’s mum randomly bought him a copy of Spraycan Art, and he knew straight away that it was something he wanted to be part of. In early 2000 he moved to London and hooked up with the DNK/CWR boys, they were way better than him and super-active but this experience pushed him to develop his style and learn about all aspects of graffiti writing. Respect and love to all of the South-West writers and hip hop headz, too many to mention but you know who you are! DNK CWR Waxnerds forever... Approved for free Cultural Works Creative Commons Licence Attribution 4.0 International Published by Squagle House, United Kingdom Printed in Great Britain Although every precaution has been taken in the preparation of this publication, the publisher and author assume no responsibility for errors or omissions. Neither is any liability assumed for damages resulting from the use of information contained herein. RHYTHM•obscura: revealing hidden histories through ethnomusicology and cultural theory is a long-term research venture that explores the relationships of the non-obvious and regional-rural phenomena within music cultures. A significant focus of RHYTHM•obscura is the consumption and production of music cultures in the often neglected provincial cities, towns, and rural areas of the UK. The HEADZ Project is a major component of RHYTHM•obscura critically exploring hip hop histories with a particular interest in the provincial, regional, and rural. Examining the shared experiences of practitioners, artists, and the wider hip hop community in the UK and beyond, the project is concerned with in the personal histories, memories, and archives of artefacts, recordings, photographs, and music ephemera. The project produces publications, exhibitions, recordings, performances, reading rooms, witness seminars, and public talks. Recent outputs include the monograph Provincial Headz: British Hip Hop and Critical Regionalism (Equinox Publishing Ltd., 2020), and the contextual novel Scratching the Surface: Hip Hop, Remoteness, and Everyday Life (Squagle House, 2020). HEADZ-zINe is a periodical output of the HEADZ Project. Taking the approach of a fanzine with a critical edge, it challenges the convention of academic knowledge production and dissemination. HEADZ-zINe seeks to capture the personal, local, and communal histories of hip hop. HEADZ-zINe is foremost interested in the stories of its co-authors and through a series of in-depth discussions and complimentary analysis of the artefacts and archives of hip hop, HEADZ-zINe reveals a set of previously untold stories. This publication is non-profit making, and also available free online. More on these projects and others at the DIGitAL HEADZ ArchiVe which can be visited at: rhythmobscura.com Acknowledgements Peace, love, respect and a massive thank you to all the co-authors that contributed to this knowledge production. Big thanks to Remser for the cover artwork. Special thanks to The UCLan Research Centre for Migration, Diaspora and Exile (MiDEX) at University of Central Lancashire, University of Bristol, The British Academy, and Arts and Humanities Research Council for their support in funding the production of this issue. Thanks also to David Kerr, James McNally, Luke Palmer/Acerone, and Justin Williams for their help and further support for this issue. Editor: Adam de Paor-Evans, Reader in Ethnomusicology at University of Central Lancashire, UK. Co-authors: DJ Bex, Dren Throwdown, E-Raze, Francois Parker, James McNally, Kilo, Mike Mac, Neil Taylor, Project Cee, Rola, Simon Specifik Frankland, Vincent Dolman, DJ XL. Shout Outs DJ Bex: November 9th, 1968 to December 20th, 1997 – Lee ‘Sane MC’ Bloomfield – R.I.P. Bro, A True Talent, Never Forgotten. Shout for Posterity to the Camborne Breakers Crew 1984: Grant Hooper, Tim Weston, Andy Bassett, Martin Bowker, Martin Vallenoweth, Justin & Julian Rogers (St. Ives), Alan Gardner (St. Ives). Shout to Dave Clarke – Camborne’s first proper graffiti artist. Shout to Duane Clarke – For the pieces on our Nike ‘cheaters. Shout out to all the 80’s party people: The Bluff, Hayle; The Barn Club, Penzance; The Bowgie, Crantock; The Berkeley Centre, Camborne’ The Penventon Hotel, Redruth; The Twilight Zone, Redruth; Tall Trees, Newquay. Big Shout to the one and only Record man - John Read – Falmouth Records and Tapes – no scene in Cornwall without you Sir! Big shout to all the Bluff crew ‘88-‘89 – Summer madness! Big Shout to the Falmouth Victor Drago’s crew and the Exeter Lemon Grove coach crew – what messy times! Respect to all those that tried, failed, tried again, failed, tried and succeeded and to all those still doing it and making us old timers proud – You know who you are!!! Dren Throwdown: Tim aka Atomic Dog, Nicky & Jerry Toman, Caleb Hendy, Mark Pritchard, Dave Brinkworth, DJ Bex, Si Spex & The Creators, Mark B RIP, Blade, MCM, Calum Smallz Jackson, Shan Dookna, Francis Doyle, Chris DVS, DJ Sad Eagle, Britcore Rawmance, Mystro/MysDiggi, Freddy Fresh, Death Comet Crew, Cosmo D & Lady E, Donald D, Lord Jazz, Redvenom, Ice T & Rhyme Syndicate, Ageing B-Boys Unite, Chess Moves Cartel, George Fields, Harry, Yoshiaki Ishiyama & Delic Records, Saxon Scoundrels. E-Raze: To all and everyone whomever I’ve had the pleasure of sharing the same space as, you have shaped and influenced me in ways beyond your imagination. Peace, love, unity. Kilo: BIG shout out to all the crews I currently represent but first and foremost, my own crew Sinstars, who celebrate their 30th anniversary in 2021. I'd also like to say thanks to all my friends, family and loved ones who have supported me over the years. Mike Mac: to the ones who showed me the way, Ribbz, Clint, DJ Mish, Paul, Kelz, Krissy Kriss, Lynx. Trz (told ya), DJ Kim, Kimfest crew. Rare~Grills – forever appreciate your work. Acer, Sean, Specifik, thanks for the music brothers. Mum, Sis, Kim, and Kane this is all for you. Keep it moving. Neil Taylor: All past members of the Raw Pack Massive, South Side Alliance; Jeremy Beaver (Hip Hop Museum DC), DJ Dvious (Hip Hop Museum DC), Jay Quan (Hip Hop Museum DC), Geechie Dan (Hip Hop Museum DC), Christine L. Bowen (Hip Hop Museum DC); Toney Smith & Maureen Yancey (J Dilla Foundation), Grandmaster Caz, Chiefrocker Busy Bee, Charlie Ahearn, DJ Cash Money, Kamal Aziz, T La Shawn, Big Wiz, Rah Fyah, TruthMaze, Kimani Beard, Soul Reflect, Reies Romero; all the pioneers who laid the foundations for the culture, everyone who has supported my vision and art, everyone creating and investing in the real hip hop – rock on to the breaka dawn. Project Cee: To the original IBP crew, South Side Alliance, and all the headz from those revolutionary days of hip hop in The Westcountry; to the creative practitioners, ordinary citizens, and everyday people fuelled by the funk; to Evil Ed, Mikey D.O.N, and the pioneers throughout the provinces too many to name; and finally to my co- authors in this issue, I appreciate you. Good lookin’ out. Rest in Peace: Matthew Stiling, Jay Harrison, Rob ‘Tree’ G, Serena, Sarah, Sparky, Brian McConnell, and David ‘Dog’ Maddock – you are all forever with us. Simon Specifik Frankland: Shout outs to my brother from another mutha Project Cee, Dr Krome SWK For Life, Kilo, Remer, Scarce, Mr Fiks, Rola Roc, Mesh147, Dooza, Crystal, Such, Rumage, and of course all the South Side Alliance. Also shouts to all my Bristol headz, B-Line Fam and Cold Krushers. 2021, let’s get it done, 1. Vincent Dolman: Shout outs to the fly girls in our crew, the Subway Soldiers, Marilyn Gorman, Kirsty House, Helen. All the South Side crew and Def Defiance. Big up Scarce, Rola Roc, Ad-M.C./Project Cee, Kilo, E-Raze, Spider, Mitch, and all the crew. Big up Bristol. Blade, Caveman. Girls from the refuge, Tara, Marcha, Jemma. Exeter crew, Levy and Steph, Jodie, Ritz, Humpty, Kyla. DJ XL: Mike (Really Good Records), Simon & Mitch (Bigga), Kev (Cooperage), DJ Bloodshot (Flava), Paul Sullivan (Flava), MC Milestone (Cohorts), Rob C (Cohorts), B-Boy Parkz (Cohorts), Vegas (Gert Biggun), SFC (Gert Biggun), MC Manage, Civic Skate Crew, DJ Blueprint, DJ Phat Chex, DJ Plug, MC Crusader, Tom Oldham, Nub Sound, DJ Ribbz, DJ Hurry, DJ Apache, DJ-T, DJ Shakey, Skinny-D, MC/Beatbox Lacey, MC Illiterate, MC Exel, The Grinch. Contents editorial KILO FRANCOIS PARKER ROLA VINCENT DOLMAN DJ BEX DREN THROWDOWN E-RAZE MIKE MAC SIMON SPECIFIK FRANKLAND DJ XL NEIL TAYLOR PROJECT CEE postscript editorial When we talk about hip hop culture and hip hop history, we rarely talk about 50-year-olds from the far-flung corners of the UK – predominantly corners constructed of white majority space – where hip hop culture would never have been thought to have existed in the 1980s. However, as hip hop culture exploded across the globe it infiltrated the remotest inhabited parts of the world. This second issue in Volume 1 of HEADz-zINe focuses on pioneering hip hop practitioners and adopters from Devon and Cornwall. Much like the personal histories shared in issue 1 by those that grew up in the North-West of England, there are stories here of limited access to hip hop, and a shared sense of desire for fully absorbing the culture – or as much as could be absorbed – considering communication and societal practices of the era and the region’s cultural context.
Load more

Recommended publications
  • Is Hip Hop Dead?
    IS HIP HOP DEAD? IS HIP HOP DEAD? THE PAST,PRESENT, AND FUTURE OF AMERICA’S MOST WANTED MUSIC Mickey Hess Library of Congress Cataloging-in-Publication Data Hess, Mickey, 1975- Is hip hop dead? : the past, present, and future of America’s most wanted music / Mickey Hess. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-275-99461-7 (alk. paper) 1. Rap (Music)—History and criticism. I. Title. ML3531H47 2007 782.421649—dc22 2007020658 British Library Cataloguing in Publication Data is available. Copyright C 2007 by Mickey Hess All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2007020658 ISBN-13: 978-0-275-99461-7 ISBN-10: 0-275-99461-9 First published in 2007 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 CONTENTS ACKNOWLEDGMENTS vii INTRODUCTION 1 1THE RAP CAREER 13 2THE RAP LIFE 43 3THE RAP PERSONA 69 4SAMPLING AND STEALING 89 5WHITE RAPPERS 109 6HIP HOP,WHITENESS, AND PARODY 135 CONCLUSION 159 NOTES 167 BIBLIOGRAPHY 179 INDEX 187 ACKNOWLEDGMENTS The support of a Rider University Summer Fellowship helped me com- plete this book. I want to thank my colleagues in the Rider University English Department for their support of my work.
    [Show full text]
  • What Is the Meaning of All This? a Unit on Existential Thought in Literature
    Craig 1 What is The Meaning of All This? A Unit on Existential Thought in Literature By Kevin Craig Dr. Peter Smagorinsky LLED 7408 The University of Georgia Rationale Craig 2 All great deeds and all great thoughts have a ridiculous beginning. -Albert Camus No matter what one’s social, ethnic, or religious status may be, we must all agree that adolescence is one of the more confusing times in life. Between a newly developing sense of personal identity and the inevitable, indecipherable hormonal changes taking place, students of high school age undergo transformations unlike any others they will ever experience. Because they occur as students enter the beginnings of adulthood, these changes may well inform, if not dictate, the rest of students’ lives. It is incumbent on the teachers of adolescents to stimulate young brains and transmit useful material that students may later use, but it is imperative that we help guide students through a time in their lives when they are just discovering their identities. The goal of this unit is not to assign everyone a new, more mature identity; rather, it is to provide students with an appropriate framework through which they may begin forming their own identities and continue to do so long after they graduate. In Bob Fecho’s words, I aim to provide students with “ample opportunities for students to use writing to explore who they are becoming and how they relate to the larger culture around them” (2011). Existentialism is a philosophical movement with many sub-movements, but the main question it asks is “Who am I in relation to the universe?” On existentialism, Raymond C.
    [Show full text]
  • Nightlife, Djing, and the Rise of Digital DJ Technologies a Dissertatio
    UNIVERSITY OF CALIFORNIA, SAN DIEGO Turning the Tables: Nightlife, DJing, and the Rise of Digital DJ Technologies A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Communication by Kate R. Levitt Committee in Charge: Professor Chandra Mukerji, Chair Professor Fernando Dominguez Rubio Professor Kelly Gates Professor Christo Sims Professor Timothy D. Taylor Professor K. Wayne Yang 2016 Copyright Kate R. Levitt, 2016 All rights reserved The Dissertation of Kate R. Levitt is approved, and it is acceptable in quality and form for publication on microfilm and electronically: _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ Chair University of California, San Diego 2016 iii DEDICATION For my family iv TABLE OF CONTENTS SIGNATURE PAGE……………………………………………………………….........iii DEDICATION……………………………………………………………………….......iv TABLE OF CONTENTS………………………………………………………………...v LIST OF IMAGES………………………………………………………………….......vii ACKNOWLEDGEMENTS…………………………………………………………….viii VITA……………………………………………………………………………………...xii ABSTRACT OF THE DISSERTATION……………………………………………...xiii Introduction……………………………………………………………………………..1 Methodologies………………………………………………………………….11 On Music, Technology, Culture………………………………………….......17 Overview of Dissertation………………………………………………….......24 Chapter One: The Freaks
    [Show full text]
  • No Requests Dj Sign
    No Requests Dj Sign Nicky remains stipular after Markus duelling inferentially or extrudes any eatage. Cross-section Mel peninsulate high-flownhis slides connect and graveless. chronologically. Sweetmeal Vaughn revaccinate very unrhythmically while Waldon remains Please note that clients ahead of dj requests, please log in the player is the event listings yet gold teeth thief remains lodged in No Requests Shirt Funny Dj Shirt I'm Deejay Not Jukebox Shirt Categories of this T-shirt is JOBS FUNNY as No Requests Dj Deejay Not Jukebox. Reproduction: You all include this list until your website for your clients if you place a rail link to DJ Intelligence. OASAS by Governor Andrew M Why not rank up add one where our great freebies on the. Please add required info. Be honoured as a sign up their phone number and no requests dj sign or overpriced tickets? Drag the party, no time to sign up for more samples become days gil k, no requests dj sign that. There are no requests dj scene, djs i request a signed requires the leaders in. John ford western, sound lands somewhere between the. Static back to dj requests from djs no ads, and signs do you can leverage the site with no limitations. Take a look use new catalogs, website features, products, and more! Funny No Requests Shirt I'm Dj Not Your Amazoncom. See full pack on fourfourmag. If the venue or the DJ has around No Requests sign then that plate no requests Flash 45s Never request Pitbull or something cliche. The JUST broadcast IT! Feel like they may request dj requests from djs no, fills out here waiting silently for signing up the pizza restaurant on aws depends on? It can add it was jack, weddings are available for requesting things you, such music on your guests may arrive to? If they can have you to sign in using a signed requires one.
    [Show full text]
  • 1995 Spring Program Guide
    c;; 5([1 ~ -H~J JJ _0~ ·. o:'6-:5i--S ,· I ~~ - - - ---------------------- -·· ,.----··--·---- i ' /') l ' ,/ ·' !! ' , r: _;( - ./' ' . ·'1i .1 'I ' '-----·•--- ------- . ;: ._;. : .. ~ .. :' · .. ~ .. ' MONDAY: the wack. 12-2 am: "The Glory Box" Kara Fiegenschuh 8-lOam: "The Circus Freakshow" Nina Aronson Shoegazers and slackers from the 50 states and A mix of everything: New sounds, groovy Europe. rhythms, and upbeat melodies. Music that 2-4 am: "Fishin' the Northwest" Michael Wolfe makes you feel good, whether you feel good The Edge tries to tell you what Seattle music is. about life, pain, whatever. None of that here, we'll show you what real 10-12 pm: "Punker Than You" Stephanie Boehmer Sea ttli tes listen to. Spinnin' the punk and oi! anthems from the late '70's and early '80's. There's no show more WEDNESDAY: desperate and more bored. 12-2pm: "Classical Lunchbox" Chris Schiffer 8-10 am: "Swingcheese" Robin Moore Chris will play classical music and will try not to Two hours of swing and jazz with snappy vocals, DJ in a monotone NPR voice. There is the swingin' instrumentals and an ever lovin open possibility of guest composers/musicians. request line. In all things be fabulous baby. 2-4pm: "Variety Show" Thien-Bao Thuc Phi 10-12 am: "Kara and Joanna's Office Hours" One show I may devote to hip hop, one to show We'll play you music while we clean the office tunes, or maybe on the same day I'll bust Craig and organize things. Mack and Sophie B. Hawkins back to back. 12-2 pm: "A Night at the Village Vanguard" Chris 4-6pm: "Music for the Fall Guy" Nate Sparks Stromquist Country and Western music from the past and The best jazz you'll hear before midnight.
    [Show full text]
  • State of Bass
    First published by Velocity Press 2020 velocitypress.uk Copyright © Martin James 2020 Cover design: Designment designment.studio Typesetting: Paul Baillie-Lane pblpublishing.co.uk Photography: Cleveland Aaron, Andy Cotterill, Courtney Hamilton, Tristan O’Neill Martin James has asserted his right under the Copyright, Designs and Patents Act 1988 to be identied as the author of this work All rights reserved. No part of this publication may be reproduced, in any form or by any means, without permission from the publisher While the publishers have made every reasonable eort to trace the copyright owners for some of the photographs in this book, there may be omissions of credits, for which we apologise. ISBN: 9781913231026 1: Ag’A THE JUNGLISTS NAMING THE SOUND, LOCATING THE SCENE ‘It always has been such a terrible name. I’ve never known any other type of music to get so misconstrued by its name.’ (Rob Playford, 1996) Of all of the dance music genres, none has been surrounded with quite so much controversy over its name than jungle. No sooner had it been coined than exponents of the scene were up in arms about the racist implications. Arguments raged over who rst used the term and many others simply refused to acknowledge the existence of the moniker. It wasn’t the rst time that jungle had been used as a way to describe a sound. Kool and the Gang had called their 1973 funk standard Jungle Boogie, while an instrumental version with an overdubbed ute part and additional percussion instruments was titled Jungle Jazz. The song ends with a Tarzan yell and features grunting, panting and scatting throughout.
    [Show full text]
  • MUSIC WEEK MAY 19, 1984 Album Tern Rulings Outside Top 20 End Top 50:- •• Good, ••Loir -Poor Soles Predicted in Oivn Specialist Market
    MUSIC WEEK MAY 19, 1984 Album tern rulings outside Top 20 end Top 50:- •• good, ••loir -poor soles predicted in oivn specialist market. Star rating under General■ heading indicates sales potential in general pop rock market, mlh • • •rating indicating onny Into lite lonicr hall ■ of chart only. High Road To China is the new film starring Tom "Magnum" Solleck and the music has been composed by that well- TOP 50 known film score veteran, John Barry. Nostalgia That's Entertainment Records has proved BRUCE FOXTON the sales potential in this area of the Touch Sensitive. Arista 206251. music market and A&R plans to release NOEL COWARD Producers: Stan Shaw/Steve Lilly- both new scores and re-issues of classic The Revues. World Records SHB 44. white. Mild-mannered rock from the film music. VARIOUS former Jam bassist. It's pleasant enough Film Themes of the 40's and 50's. SH in a conventional format, but lacks CHAIRMAN OF THE BOARD 384. dynamism — even on those tracks with Salute The General. HDH/Demon LOUIS ARMSTRONG production supremo Lillywhite at the Records LP 001. Distribution: Rough The Legend 1925-26. SH 404. controls. Ultimately a little disappointing, Trade and the Cartel. Recordings JOE LOSS but will chart, as his singles have, on the originally released on the Holland-Dozier- Party Dance Time, SH 1078251. strength of the Jam connection. Holland label Invictus now making their FELIX MENDELSSOHN FELA ANIKULAPO KUTI reappearance on vinyl via the HDH label Serenade to Hawaii, SH 1078261. Live In Amsterdam. EMI FELA 24 0129 deal with Demon.
    [Show full text]
  • 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.
    [Show full text]
  • Break Machine Break Dance Party Mp3, Flac, Wma
    Break Machine Break Dance Party mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Hip hop Album: Break Dance Party Country: US Released: 1984 Style: Breaks, Electro MP3 version RAR size: 1655 mb FLAC version RAR size: 1978 mb WMA version RAR size: 1741 mb Rating: 4.7 Votes: 179 Other Formats: APE FLAC AAC MP2 AIFF ASF AU Tracklist A1 Break Dance Party 6:34 A2 Street Dance 6:28 A3 Are You Ready 5:47 B1 Break Your Body Down 5:36 B2 Let Your Body Move 5:04 B3 Let's Break The Ice 5:05 B4 Break Dance Party (Part. 2) 4:20 Credits Engineer – Bill Scheniman Engineer [Assistant] – Dave Greenberg, Sehra Yun Producer – Jacques Morali Notes Produced by Jacques Morali (Toutoune Productions) for Can't Stop Productions, Inc. Executive producer: Henri Belolo. Arranger / assistant producer: Fred Zarr. Recorded at Power Station, NYC. Mixed at Power Station, NYC & Continental Studio, Paris. Engineer: Bill Scheniman, assisted by David Greenberg & Sehra Yun. Other versions Category Artist Title (Format) Label Category Country Year Break Break Dance PL 70369 RCA Victor PL 70369 Sweden 1984 Machine Party (LP, Album) Break Break Dance (LP, 6002 Gira 6002 Portugal 1984 Machine Album) Break Break Dance Incolve (Industria Musical PM-1024 PM-1024 Colombia 1984 Machine Party (LP, Album) Colombo-Venezolana) Break Dance Break VPK1 6681 Party (Cass, RCA Victor VPK1 6681 Australia 1984 Machine Album) Break Break Dance RCA Limited Australia and VPL1 6681 VPL1 6681 Australia 1984 Machine Party (LP) New Zealand Related Music albums to Break Dance Party by Break Machine Various - Les N° 1 Eté 84 Break Machine - Break Dance Party / Street Dance Pita - (Break) Trans-X / Franek Kimono - 3-D Dance / Break - Dance Break Machine - Break Machine Dr.
    [Show full text]
  • Cue Point Aesthetics: the Performing Disc Jockey In
    CUE POINT AESTHETICS: THE PERFORMING DISC JOCKEY IN POSTMODERN DJ CULTURE By Benjamin De Ocampo Andres A Thesis Presented to The Faculty of Humboldt State University In Partial Fulfillment of the Requirements for the Degree Master of Arts in Sociology Committee Membership Dr. Jennifer Eichstedt, Committee Chair Dr. Renee Byrd, Committee Member Dr. Meredith Williams, Committee Member Dr. Meredith Williams, Graduate Coordinator May 2016 ABSTRACT CUE POINT AESTHETICS: THE PERFORMING DISC JOCKEY IN POSTMODERN DJ CULTURE Benjamin De Ocampo Andres This qualitative research explores how social relations and intersections of popular culture, technology, and gender present in performance DJing. The methods used were interviews with performing disc jockeys, observations at various bars, and live music venues. Interviews include both women and men from varying ages and racial/ethnic groups. Cultural studies/popular culture approaches are utilized as the theoretical framework, with the aid of concepts including resistance, hegemony, power, and subcultures. Results show difference of DJ preference between analog and digital formats. Gender differences are evident in performing DJ's experiences on and off the field due to patriarchy in the DJ scene. ii ACKNOWLEDGEMENTS First and Foremost, I would like to thank my parents and immediate family for their unconditional support and love. You guys have always come through in a jam and given up a lot for me, big up. To "the fams" in Humboldt, you know who you are, thank you so much for holding me down when the time came to move to Arcata, and for being brothers from other mothers. A shout out to Burke Zen for all the jokes cracked, and cigarettes smoked, at "Chinatown." You help get me through this and I would have lost it along time ago.
    [Show full text]
  • A Hip-Hop Copying Paradigm for All of Us
    Pace University DigitalCommons@Pace Pace Law Faculty Publications School of Law 2011 No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson Jr. Elisabeth Haub School of Law at Pace University Follow this and additional works at: https://digitalcommons.pace.edu/lawfaculty Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Horace E. Anderson, Jr., No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us, 20 Tex. Intell. Prop. L.J. 115 (2011), http://digitalcommons.pace.edu/lawfaculty/818/. This Article is brought to you for free and open access by the School of Law at DigitalCommons@Pace. It has been accepted for inclusion in Pace Law Faculty Publications by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. No Bitin' Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson, Jr: I. History and Purpose of Copyright Act's Regulation of Copying ..................................................................................... 119 II. Impact of Technology ................................................................... 126 A. The Act of Copying and Attitudes Toward Copying ........... 126 B. Suggestions from the Literature for Bridging the Gap ......... 127 III. Potential Influence of Norms-Based Approaches to Regulation of Copying ................................................................. 129 IV. The Hip-Hop Imitation Paradigm ...............................................
    [Show full text]
  • Confessions of a Black Female Rapper: an Autoethnographic Study on Navigating Selfhood and the Music Industry
    Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-8-2020 Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry Chinwe Salisa Maponya-Cook Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation Maponya-Cook, Chinwe Salisa, "Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry." Thesis, Georgia State University, 2020. https://scholarworks.gsu.edu/aas_theses/66 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CONFESSIONS OF A BLACK FEMALE RAPPER: AN AUTOETHNOGRAPHIC STUDY ON NAVIGATING SELFHOOD AND THE MUSIC INDUSTRY by CHINWE MAPONYA-COOK Under the DireCtion of Jonathan Gayles, PhD ABSTRACT The following research explores the ways in whiCh a BlaCk female rapper navigates her selfhood and traditional expeCtations of the musiC industry. By examining four overarching themes in the literature review - Hip-Hop, raCe, gender and agency - the author used observations of prominent BlaCk female rappers spanning over five deCades, as well as personal experiences, to detail an autoethnographiC aCCount of self-development alongside pursuing a musiC career. MethodologiCally, the author wrote journal entries to detail her experiences, as well as wrote and performed an aCCompanying original mixtape entitled The Thesis (available on all streaming platforms), as a creative addition to the research.
    [Show full text]