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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. -
Williams, Hipness, Hybridity, and Neo-Bohemian Hip-Hop
HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Maxwell Lewis Williams August 2020 © 2020 Maxwell Lewis Williams HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA Maxwell Lewis Williams Cornell University 2020 This dissertation theorizes a contemporary hip-hop genre that I call “neo-bohemian,” typified by rapper Kendrick Lamar and his collective, Black Hippy. I argue that, by reclaiming the origins of hipness as a set of hybridizing Black cultural responses to the experience of modernity, neo- bohemian rappers imagine and live out liberating ways of being beyond the West’s objectification and dehumanization of Blackness. In turn, I situate neo-bohemian hip-hop within a history of Black musical expression in the United States, Senegal, Mali, and South Africa to locate an “aesthetics of existence” in the African diaspora. By centering this aesthetics as a unifying component of these musical practices, I challenge top-down models of essential diasporic interconnection. Instead, I present diaspora as emerging primarily through comparable responses to experiences of paradigmatic racial violence, through which to imagine radical alternatives to our anti-Black global society. Overall, by rethinking the heuristic value of hipness as a musical and lived Black aesthetic, the project develops an innovative method for connecting the aesthetic and the social in music studies and Black studies, while offering original historical and musicological insights into Black metaphysics and studies of the African diaspora. -
Digitale Disconnectie Voor De La Soul
juridisch Digitale disconnectie dreigt voor hiphopgroep De La Soul Stakes Is High Bjorn Schipper Met de lancering op Netflix van de nieuwe hitserie The Get Down staat de opkomst van hiphop weer volop in de belangstelling. Tegen de achtergrond van de New Yorkse wijk The Bronx in de jaren ’70 krijgt de kijker een beeld van hoe discomuziek langzaam plaatsmaakte voor hiphop en hoe breakdancen en deejayen in zwang raakten. Een hiphopgroep die later furore maakte is De La Soul. In een tijd waarin digitale exploitatie volwassen is geworden en de online-mogelijkhe- den haast eindeloos zijn, werd onlangs bekend dat voor De La Soul juist digitale disconnectie dreigt met een nieuwe generatie (potentiële) fans1. In deze bijdrage ga ik in op de bizarre digi- tale problemen van De La Soul en laat ik zien dat ook andere artiesten hiermee geconfronteerd kunnen worden. De La Soul: ‘Stakes Is High’ Net als andere hiphopalbums2 bevatten de albums van De New Yorkse hiphopgroep De La Soul bestaat De La Soul vele samples. Dat bleef juridisch niet zon- uit Kelvin Mercer, David Jude Jolicoeur en Vincent der gevolgen en zorgde voor kopzorgen in verband met Mason. De La Soul brak in 1989 direct door met het het clearen van de gebruikte samples. Niet zo vreemd album 3 Feet High and Rising en kreeg vooral door ook als we bedenken dat in die tijd weinig jurispruden- de tekstuele inhoud en het gekleurde hoesontwerp al tie bestond over (sound)sampling. Zo kreeg De La Soul snel een hippie-achtig imago aangemeten. Met hun het na de release in 1989 van 3 Feet High and Rising vaste producer Prince Paul bewees De La Soul dat er aan de stok met de band The Turtles. -
3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (Guest Post)*
“3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (guest post)* De La Soul For hip-hop, the late 1980’s was a tinderbox of possibility. The music had already raised its voice over tensions stemming from the “crack epidemic,” from Reagan-era politics, and an inner city community hit hard by failing policies of policing and an underfunded education system--a general energy rife with tension and desperation. From coast to coast, groundbreaking albums from Public Enemy’s “It Takes a Nation of Millions to Hold Us Back” to N.W.A.’s “Straight Outta Compton” were expressing an unprecedented line of fire into American musical and political norms. The line was drawn and now the stage was set for an unparalleled time of creativity, righteousness and possibility in hip-hop. Enter De La Soul. De La Soul didn’t just open the door to the possibility of being different. They kicked it in. If the preceding generation took hip-hop from the park jams and revolutionary commentary to lay the foundation of a burgeoning hip-hop music industry, De La Soul was going to take that foundation and flip it. The kids on the outside who were a little different, dressed different and had a sense of humor and experimentation for days. In 1987, a trio from Long Island, NY--Kelvin “Posdnous” Mercer, Dave “Trugoy the Dove” Jolicoeur, and Vincent “Maseo, P.A. Pasemaster Mase and Plug Three” Mason—were classmates at Amityville Memorial High in the “black belt” enclave of Long Island were dusting off their parents’ record collections and digging into the possibilities of rhyming over breaks like the Honey Drippers’ “Impeach the President” all the while immersing themselves in the imperfections and dust-laden loops and interludes of early funk and soul albums. -
Saints of Hysteria a Half-Century of Collaborative American Poetry Edited by Denise Duhamel, Maureen Seaton & David Trinidad
Saints of Hysteria A Half-Century of Collaborative American Poetry Edited by Denise Duhamel, Maureen Seaton & David Trinidad Saints of Hysteria A Half-Century of Collaborative American Poetry Edited by Denise Duhamel, Maureen Seaton & David Trinidad Soft Skull Press Brooklyn, NY 2007 Contents Denise Duhamel, Maureen Seaton & David Trinidad i Introduction Charles Henri Ford et al. International Chainpoem 1 Neal Cassady, Allen Ginsberg & Jack Kerouac Pull My Daisy 3 Copyright © 2007 by Denise Duhamel, Maureen Seaton & David Trinidad Jack Kerouac & Lew Welch Masterpiece 5 Cover art: Good’n Fruity Madonna © 1968 Joe Brainard John Ashbery & Kenneth Koch Used by permission of the Estate of Joe Brainard. A Postcard to Popeye 7 Crone Rhapsody 9 Credits & acknowledgments for the poems begin on page 389. Jane Freilicher & Kenneth Koch The Car 12 Soft Skull project editor & book designer: Shanna Compton Bill Berkson & Frank O’Hara St. Bridget’s Neighborhood 13 A note on the text: Because the poems in this anthology were created over seven decades Song Heard Around St. Bridget’s 16 by more than 200 authors, certain idiosyncrasies of style, orthography, and form St. Bridget’s Efficacy 17 have been preserved in order to present the works as their authors intended. These Reverdy 19 variations are characteristic textural effects of the collaborative process Bill Berkson, Michael Brownstein & Ron Padgett and should not be interpreted as errors. Waves of Particles 21 Ron Padgett & James Schuyler Soft Skull Press Within the Dome 22 55 Washington Street -
Article on Conscious Hip Hop
Article on Conscious Hip Hop Excerpt From De La Soul Article By Sheryl Garret, Sunday Times (London), July 1996 In 1989, De La Soul's debut album Three Feet High And Rising was hailed by New York's Village Voice as "the Sergeant Pepper of hip hop". The 24 short but sweet tracks rapped about everything from dandruff to their so-called Daisy Age philosophy, but the quirky humour and catchy hooks hid a more serious intent that may have got lost in the face of the album's massive commercial success. Along with the Jungle Brothers and A Tribe Called Quest, De La Soul were part of a loose organisation called Native Tongues, a hip hop collective based around zany humour, eclectic samples and, most of all, positive vibes. Hip hop meanwhile became dominated by the West Coast sound known as gangsta rap – a verbal cocktail of violence, sexism, guns, drugs and money. On the phone from the US, De La Soul's main spokesman Pos (Kelvin Mercer) says they're reluctant to be seen as a kind of "hip hop police", but admits they took a back-to-basics approach this time because "there are a lot of messages that we wanted to put across to the people, and if you want to teach something, you can't present eleventh- or twelfth-grade material to ninth-grade students". The problem, [Pos] points out, is that … one man's poetry is another's obscenity. If it were left to politicians, many would favour silencing all rap as an inconvenient articulation of black experience. -
Virtuella Artister På Scen Virtual Music Artists on Stage
Virtuella artister på scen Samspelet mellan artisterna och publiken i livekonsertvideor Virtual music artists on stage The interaction of artists and the audience in live concert videos Hella Selle Designprojekt: Find Me Grafisk design Examensarebte på kandidatnivå, 30 hp VT 2020 Handledare design: Oskar Aspman Handledare uppsats: Åsa Harvard-Maare Abstract Denna studie är en inventering av tre lösningar till hur det digitala kan sättas in i ett livekonsertsammanhang, med hjälp av bland annat AR. Studien undersöker genom en videoanalys, de tre virtuella artisterna Gorillaz, Hatsune Miku och K/DAs liveuppträdanden. Tre konsertvideor från ett särskilt tillfälle med motsvarande musikvideo användes som material för analysen. Utifrån frågeställningen undersöks hur de olika semiotiska fälten samspelar, samt ett avsnitt där sambandet mellan grafisk design och AR diskuteras. Frågorna som studien fokuserat på är hur den digitala aspekten av en virtuell artist återges vid livekonserten, samt hur den virtuella artisten kan interagera med såväl levande musiker som med publiken. Analysen visar att alla tre exempel interagerar med publiken i olika mån. Hur den digitala artisten tolkas och återges vid en livekonsert löses genom olika teknologier och med olika metoder. Trots de tydliga skillnaderna har de en sak gemensamt: trots att artisten är virtuell gör samspelet med publiken konsertupplevelsen verklig. sökord augmented reality, Gorillaz, grafisk design, Hatsune Miku, K/DA, semiotiska fält, videoanalys, virtuella artister Innehållsförteckning 1 Inledning -
De La Soul the Best of Mp3, Flac, Wma
De La Soul The Best Of mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: The Best Of Country: Europe Released: 2003 Style: Conscious MP3 version RAR size: 1691 mb FLAC version RAR size: 1383 mb WMA version RAR size: 1102 mb Rating: 4.7 Votes: 577 Other Formats: MP4 MPC WAV VOC FLAC VOX APE Tracklist Hide Credits Me Myself And I (Radio Version) A1 3:41 Co-producer – De La SoulMixed By – PosdnuosProducer – Prince Paul Say No Go A2 4:20 Co-producer – De La SoulMixed By, Arranged By – PosdnuosProducer – Prince Paul Eye Know A3 4:06 Co-producer – De La SoulMixed By, Arranged By – PosdnuosProducer – Prince Paul The Magic Number A4 3:14 Co-producer, Arranged By – De La SoulProducer, Mixed By – Prince Paul Potholes In My Lawn (12" Vocal Version) B1 Co-producer – De La SoulMixed By, Arranged By – PosdnuosProducer, Mixed By, Arranged 3:46 By – Prince Paul Buddy B2 Arranged By – PosdnuosCo-producer – De La SoulFeaturing – Jungle Brothers, Phife*, Q- 4:56 TipMixed By – Pasemaster MaseProducer – Prince Paul Ring Ring Ring (Ha Ha Hey) (UK 7" Edit) B3 5:06 Mixed By – Bob PowerProducer – Prince PaulProducer, Mixed By – De La Soul A Roller Skating Jam Named "Saturdays" B4 Producer – De La Soul, Prince PaulVocals [Disco Diva Singer] – Vinia MojicaVocals [Wrms 4:02 Personality] – Russell Simmons Keepin' The Faith C1 4:45 Producer – De La Soul, Prince Paul Breakadawn C2 4:14 Producer [Additional], Mixed By – Bob PowerProducer, Mixed By – De La Soul, Prince Paul Stakes Is High C3 5:30 Co-producer – De La SoulMixed By – Tim LathamProducer – Jay Dee 4 More C4 4:18 Co-producer – De La SoulFeaturing – ZhanéMixed By – Tim LathamProducer – Ogee* Oooh. -
Williams, Justin A. (2010) Musical Borrowing in Hip-Hop Music: Theoretical Frameworks and Case Studies
Williams, Justin A. (2010) Musical borrowing in hip-hop music: theoretical frameworks and case studies. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11081/1/JustinWilliams_PhDfinal.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. -
Fascicule S4E5 Mai/Juin 2015 (Pdf, 7095Ko)
à découper et à mettre sur son frigo son sur à mettre et à découper AGENDA DE FRIGO AU DOS AU FRIGO DE AGENDA SOMMAIRE Agenda de Frigo................. 2 Edito.................................... 3 Le programme.................... 5 Le poster de Terreur Graphique............... 32 Les actions culturelles........ 34 Le centre ressource............ 37 Le coin des studios.................38 L’instant scientifique...............40 La fiche utile du Docteur Fred.................. 42 Rewind................................. 51 Chez les copains................; 63 Les infos très pratiques du Temps Machine................64 AGENDA DE FRIGO LE TEMPS MACHINE CooRdonnées EDITO Le Temps Machine Parvis Miles Davis BP 134 37301 JOUÉ-LÈS-TOURS CEDEX Tel : 02 47 48 90 60 Courriel : [email protected] www.letempsmachine.com www.facebook.com/letempsmachine DANS LES FAITS ! Horaires Les Bureaux Du lundi au vendredi : Le Temps Machine - l’Espace Musiques murs l’actualité musicale et l’avant-garde, nous 10h00 / 12h30 & 14h00 / 18h00 LE Centre Actuelles de l’Agglomération de Tours - s’inscrit changerons d’atmosphère. Du mardi au vendredi : 10h00 / 13h00 et 14h00 / 18h00 dans le réseau d’une ville, d’un territoire. Il Samedi (uniquement quand concert le soir) : 14h00 / 17h00 Dans les faits ! En juin. Place à un laboratoire ; est destiné au plus grand nombre, ouvert à Et les soirs de concerts de 20h30 à 21h30 à ciel ouvert. Quand les beaux jours arrivent, Les soirs de concerts tous, s’adresse à tous, se construit et s’alimente Ouverture du bar : 20h30 comme vous, Le Temps Machine a des envies Ouverture de la billetterie : 20h30 par l’action de tous. Nos missions d’intérêt d’évasion. -
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. -
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