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Internet Killed the B-Boy Star: a Study of B-Boying Through the Lens Of
Internet Killed the B-boy Star: A Study of B-boying Through the Lens of Contemporary Media Dehui Kong Senior Seminar in Dance Fall 2010 Thesis director: Professor L. Garafola © Dehui Kong 1 B-Boy Infinitives To suck until our lips turned blue the last drops of cool juice from a crumpled cup sopped with spit the first Italian Ice of summer To chase popsicle stick skiffs along the curb skimming stormwater from Woodbridge Ave to Old Post Road To be To B-boy To be boys who snuck into a garden to pluck a baseball from mud and shit To hop that old man's fence before he bust through his front door with a lame-bull limp charge and a fist the size of half a spade To be To B-boy To lace shell-toe Adidas To say Word to Kurtis Blow To laugh the afternoons someone's mama was so black when she stepped out the car B-boy… that’s what it is, that’s why when the public the oil light went on changed it to ‘break-dancing’ they were just giving a To count hairs sprouting professional name to it, but b-boy was the original name for it and whoever wants to keep it real would around our cocks To touch 1 ourselves To pick the half-smoked keep calling it b-boy. True Blues from my father's ash tray and cough the gray grit - JoJo, from Rock Steady Crew into my hands To run my tongue along the lips of a girl with crooked teeth To be To B-boy To be boys for the ten days an 8-foot gash of cardboard lasts after we dragged that cardboard seven blocks then slapped it on the cracked blacktop To spin on our hands and backs To bruise elbows wrists and hips To Bronx-Twist Jersey version beside the mid-day traffic To swipe To pop To lock freeze and drop dimes on the hot pavement – even if the girls stopped watching and the street lamps lit buzzed all night we danced like that and no one called us home - Patrick Rosal 1 The Freshest Kids , prod. -
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998). -
Radiohead's Pre-Release Strategy for in Rainbows
Making Money by Giving It for Free: Radiohead’s Pre-Release Strategy for In Rainbows Faculty Research Working Paper Series Marc Bourreau Telecom ParisTech and CREST Pinar Dogan Harvard Kennedy School Sounman Hong Yonsei University July 2014 RWP14-032 Visit the HKS Faculty Research Working Paper Series at: http://web.hks.harvard.edu/publications The views expressed in the HKS Faculty Research Working Paper Series are those of the author(s) and do not necessarily reflect those of the John F. Kennedy School of Government or of Harvard University. Faculty Research Working Papers have not undergone formal review and approval. Such papers are included in this series to elicit feedback and to encourage debate on important public policy challenges. Copyright belongs to the author(s). Papers may be downloaded for personal use only. www.hks.harvard.edu Makingmoneybygivingitforfree: Radiohead’s pre-release strategy for In Rainbows∗ Marc Bourreau†,Pınar Dogan˘ ‡, and Sounman Hong§ June 2014 Abstract In 2007 a prominent British alternative-rock band, Radiohead, pre-released its album In Rainbows online, and asked their fans to "pick-their-own-price" (PYOP) for the digital down- load. The offer was available for three months, after which the band released and commercialized the album, both digitally and in CD. In this paper, we use weekly music sales data in the US between 2004-2012 to examine the effect of Radiohead’s unorthodox strategy on the band’s al- bum sales. We find that Radiohead’s PYOP offer had no effect on the subsequent CD sales. Interestingly, it yielded higher digital album sales compared to a traditional release. -
Deftones' New Release, 'Gore', Has Been Called a Departure from The
Deftones’ new release, ‘Gore’, has been called a departure from the group’s recent albums— somber and a little less optimistic. Stephen Carpenter and Chino Moreno discuss filling different guitar frequencies with different numbers of strings, tone modeling, and keeping the inspiration alive for more than two decades. by TZVI GLUCKIN March 10, 2016 edit by: deftfan (DeftonesZone) Grammy-winning rock group deftones is a guitar- centric, the knowledge i had read up on, was told about, and riff-driven band. Since their 1995 debut, adrenaline, the alt absorbed from others.” Deftones new album—two years in legends have been revered as extremely passionate masters the making—builds on carpenter’s experience, of sonic layering. And gore, their eighth studio release, is experimentation, and vast tonal awareness. Moreno adds a a guitar tour de force, featuring low-tuned 8-strings, swirly different perspective to the mix. “if it sounds good in a delays, sonic soundscapes, and bone-crushing chunk. little room with all of us in a circle then there’s a good Stephen carpenter is the band’s primary guitarist, while chance it should sound good on tape or recorded,” he says. lead singer chino moreno started adding additional guitars Gore, produced by the band in tandem with Matt Hyde, is with their third release, 2000’S white pony. Together, they a guitarist's feast and is replete with swagger, low-end create a dense, colorful, musical wall. “it’s like the rumble, and ambient textures. It also features Alice in bulldozer effect,” carpenter says. “you just get in where Chains guitarist Jerry Cantrell on the song “Phantom you fit in.” Bride.” Carpenter is the consummate gearhead. -
Upheaval Records Interview
Upheaval Records Interview This is the second interview in a series of Canadian record labels, and this is one of my all time favorite record labels! Everything released by this dude was amazing! And it definitely stands the test of time! Dan actually has copies left of the New Day Rising 7″, Lockjaw CD and Day of Mourning CD. You can email him to acquire some copies for your own. The complete Upheaval Records discography includes: UR-666 – New Day Rising double 7” (1996) – Less than 2000 copies UP002CD – Ignorance Never Settles“Cycles of Consumption” (1996) – 1000 copies UP003CD – Lockjaw “A Lesson in Hate” (1997) – Less than 1000 UP004CD – Day of Mourning “Reborn as the Enemy” (1998) – 1000 copies UR-666 – New Day Rising double 7” (1996) UP002CD – Ignorance Never Settles “Cycles of Consumption” (1996) UP003CD – Lockjaw “A Lesson in Hate” (1997) UP004CD – Day of Mourning “Reborn as the Enemy” (1998) Instead of using the label logo, Upheaval Records used this definition on the outside of the New Day Rising 7″ -When was the label formed and where was it located originally? The label was formed in 1996. I ran it out of Hamilton. At first, I would trade my releases with other labels from all over the world, so the whole room would be just packed with records. It was kind of neat where it was my fantasy equivalent to business people who dream of wanting to roll around in money. I didn’t actually want to roll around in records, but I loved having boxes of them everywhere. -
Epsiode 20: Happy Birthday, Hybrid Theory!
Epsiode 20: Happy Birthday, Hybrid Theory! So, we’ve hit another milestone. I’ve rated for 15+ before like 6am, when it made 20 episodes of this podcast – which becomes a Top 50 countdown. When I was is frankly very silly – and I was trying younger, it was the quickest way to find to think about what I could write about new music, and potentially accidentally to reflect such a momentous occasion. see something that would really scar I was trying to think of something that you, music-video wise. Like that time I was released in the year 2000 and accidentally saw Aphex Twin’s Come to was, as such, experiencing a similarly Daddy music video. momentous 20th anniversary. The answer is, unsurprisingly, a lot of things But because I was tiny and my brain – Gladiator, Bring It On and American was a sponge, it turns out a lot of what Psycho all came out in the year 2000. But I consumed has actually just oozed into I wasn’t allowed to watch any of those every recess of my being, to the point things until I was in high school, and they where One Step Closer came on and I didn’t really spur me to action. immediately sang all the words like I was in some sort of trance. And I haven’t done And then I sent a rambling voice memo a musical episode for a while. So, today, to Wes, who you may remember from we’re talking Nu Metal, baby! Hell yeah! such hits as “making this podcast sound any good” and “writing the theme tune I’m Alex. -
“Rapper's Delight”
1 “Rapper’s Delight” From Genre-less to New Genre I was approached in ’77. A gentleman walked up to me and said, “We can put what you’re doing on a record.” I would have to admit that I was blind. I didn’t think that somebody else would want to hear a record re-recorded onto another record with talking on it. I didn’t think it would reach the masses like that. I didn’t see it. I knew of all the crews that had any sort of juice and power, or that was drawing crowds. So here it is two years later and I hear, “To the hip-hop, to the bang to the boogie,” and it’s not Bam, Herc, Breakout, AJ. Who is this?1 DJ Grandmaster Flash I did not think it was conceivable that there would be such thing as a hip-hop record. I could not see it. I’m like, record? Fuck, how you gon’ put hip-hop onto a record? ’Cause it was a whole gig, you know? How you gon’ put three hours on a record? Bam! They made “Rapper’s Delight.” And the ironic twist is not how long that record was, but how short it was. I’m thinking, “Man, they cut that shit down to fifteen minutes?” It was a miracle.2 MC Chuck D [“Rapper’s Delight”] is a disco record with rapping on it. So we could do that. We were trying to make a buck.3 Richard Taninbaum (percussion) As early as May of 1979, Billboard magazine noted the growing popularity of “rapping DJs” performing live for clubgoers at New York City’s black discos.4 But it was not until September of the same year that the trend gar- nered widespread attention, with the release of the Sugarhill Gang’s “Rapper’s Delight,” a fifteen-minute track powered by humorous party rhymes and a relentlessly funky bass line that took the country by storm and introduced a national audience to rap. -
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. -
PAST Both Influenced by 90'S Mainstays As Sunny Day Real
PAST Both influenced by 90's mainstays as Sunny Day Real Estate, Quicksand and At The Drive In as Deftones, Radiohead, Muse and the Foo Fighters; Face Tomorrow have been mastering their skills for over a decade to come to a sound all their own. Their first three albums and most notably their last album In The Dark, released by Excelsior Recordings/V2 in 2008, allowed them to play over 500 shows and brought them through Germany, the UK, Belgium, Denmark, France, Austria, Switzerland, Italy, the Czech republic, the USA and big festivals like Lowlands, Pukkelpop, Paaspop, Groezrock, got them airplay on a.o. Kerrang TV, MTV 2, Jim TV, TMF Belgium. Gaining both a European audience as growing as musicians with every album. In bet- FACE TOMORROW ween all this the band recorded a brand new album in the famous Split Se- “s/t” cond Sound Studios in Amsterdam with producer Jochem Jacobs (mostly known form his band Textures). Jochem succeeded in finally catching the live Release-Date: 25.03.2011 REDFIELD 049 power and energy of the band on CD. Darius van Helfteren was responsible Barcode CD: 4260080810678 for the mastering. Barcode Vinyl: 4260080810685 LC 12650 PRESENT Tracklist: The new CD Face Tomorrow sounds very positive and hopeful compared to 1. All the Way the melancholic appropriately titled In the Dark. During the writing process of 2. The Fix the latter, both Jelle and Aart lost their father, which of course had a great im- 3. Delirium pact on their life and the lyrics of the band. The new album shows a band 4. -
Deftones - Ohms Episode 196
Song Exploder Deftones - Ohms Episode 196 Hrishikesh: You’re listening to Song Exploder, where musicians take apart their songs and piece by piece tell the story of how they were made. My name is Hrishikesh Hirway. (“Ohms” by DEFTONES) Hrishikesh: This episode contains explicit language. Deftones are a Grammy-winning band from Sacramento who’ve sold over ten million albums. Their ninth album came out this year on September 25th, 2020. It’s called Ohms, and the last track on it is also called “Ohms.” In this episode, singer Chino Moreno breaks down how that song came together, and how they literally went back to where things started in order to create the music. (“Ohms” by DEFTONES) Hrishikesh: Here’s Chino Moreno on how “Ohms” got started. Chino: My name is Chino Moreno. (Music fades out) Chino: The first time I heard anything of it was a email that I received from Stephen Carpenter, who plays guitar. He sent this demo and I remember I was travelling, and I was on my way to Yellowstone National Park. And I remember like my wife was getting mad at me because I don’t have unlimited data so like I was downloading stuff like using my cellular network. And she was like “Why are you downloading stuff right now? We’re going to run out of data!” But I had already got like two thirds of the way through so I just continued on. This was probably three or so years ago out of the blue. He rarely sends me demos because a lot of our music is really written like when all of us are in the same room. -
Metaldata: Heavy Metal Scholarship in the Music Department and The
Dr. Sonia Archer-Capuzzo Dr. Guy Capuzzo . Growing respect in scholarly and music communities . Interdisciplinary . Music theory . Sociology . Music History . Ethnomusicology . Cultural studies . Religious studies . Psychology . “A term used since the early 1970s to designate a subgenre of hard rock music…. During the 1960s, British hard rock bands and the American guitarist Jimi Hendrix developed a more distorted guitar sound and heavier drums and bass that led to a separation of heavy metal from other blues-based rock. Albums by Led Zeppelin, Black Sabbath and Deep Purple in 1970 codified the new genre, which was marked by distorted guitar ‘power chords’, heavy riffs, wailing vocals and virtuosic solos by guitarists and drummers. During the 1970s performers such as AC/DC, Judas Priest, Kiss and Alice Cooper toured incessantly with elaborate stage shows, building a fan base for an internationally-successful style.” (Grove Music Online, “Heavy metal”) . “Heavy metal fans became known as ‘headbangers’ on account of the vigorous nodding motions that sometimes mark their appreciation of the music.” (Grove Music Online, “Heavy metal”) . Multiple sub-genres . What’s the difference between speed metal and death metal, and does anyone really care? (The answer is YES!) . Collection development . Are there standard things every library should have?? . Cataloging . The standard difficulties with cataloging popular music . Reference . Do people even know you have this stuff? . And what did this person just ask me? . Library of Congress added first heavy metal recording for preservation March 2016: Master of Puppets . Library of Congress: search for “heavy metal music” April 2017 . 176 print resources - 25 published 1980s, 25 published 1990s, 125+ published 2000s . -
Deftones Announce 2Nd Annual Dia De Los Deftones
FOR IMMEDIATE RELEASE July 29, 2019 DEFTONES ANNOUNCE THE 2ND ANNUAL DIA DE LOS DEFTONES Saturday, NovemBer 2nd at Petco Park | Park at the Park In San Diego, CalifornIa Tickets On Sale Friday, August 2nd, 2019 at 10AM! 2ND ANNUAL DIA DE LOS DEFTONES Petco Park | Park at the Park Tickets: $75 plus fees VIP Packages: $195 - $595 Tickets on sale Friday, August 2nd, 2019 at 10AM PST http://www.ticketmaster.com/ All Ages July 29, 2019 (San DIego, CA) – Deftones announce their second annual Dia De Los Deftones, going on sale this Friday, August 2nd at 10 AM (PST). This all ages festival lineup includes Deftones, Chvrches, Gojira, JPEGMAFIA, Hum, Youth Code and Brutus. Tickets start at $75 and are available at Ticketmaster.com. Exclusive VIP packages go onsale Tuesday, July 30th at 10AM (PST). Presale opportunities will be available on Wednesday, July 31st starting at 10AM (PST). Multiplatinum, Grammy Award-winning alternative-rock band Deftones will headline the self-titled festival for the 2nd year. Lead singer and guitarist, Chino Moreno says of this year’s line-up; “In our second year of our festival, the exciting challenge for us is to make sure we once again give the fans a wonderful day of music that reflects the diversity of our own tastes. Each artist fits a different vertical of the music that we all love. There is truly something for everyone.” Deftones have released eight studio albums to date and have sold over 10 million albums worldwide. The band is vocalist/guitarist Chino Moreno, guitarist Stephen Carpenter, keyboardist/samplist Frank Delgado, drummer Abe Cunningham, and bassist Sergio Vega.