Interview with NY Rapper Jay Uno
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Lisa DEL SOL Columbia University
7 Race Relations and Conversations as Hip-Hop Calls Out Anime In TweRk by Latasha N. Nevada Diggs Lisa DEL SOL Columbia University The poetry of Latasha N. Nevada Diggs (2013) moves beyond the conventional boundaries separating music and text within traditional Western literature in her book TweRk. By both actively connecting and fusing music and text into this body of work she creates a text with a sonic element that moves beyond the boundaries of the page. Diggs (2013) further complicates the relationship between text, sound and visual media in her poetry which is a fusion of pop culture, rhythm, African American Vernacular English (AAVE) and a multitude of languages (including various Caribbean Patois) making it difficult to categorize her poetry due to its polyphonic nature. Diggs’s (2013) poetry ranges from references and direct quotes from hip-hop songs (such as titles and lyrics), as well as alluding to particular rhythms all while addressing stereotypes of sexism and combatting worldwide images of anti-blackness. I will discuss sound and its relationship to poetry, the role of pop culture in the text, and its interactions with misogynoir.1 Using Edouard Glissant’s terminology for language and culture in the Caribbean being an amalgamation of sorts, what he called Antillanité2 and viewing Diggs’s (2013) representation of Blackness through a multicultural lens disrupts the monolithic narrative of Black identity. She invokes a pluralistic perspective on language with her use of Japanese, English and AAVE in the same poem. She also examines the duality of Black identity, what WEB DuBois referred to as double consciousness (DuBois 1961, 3) and alienation exemplifying the “twoness” the “two souls, two thoughts and two unreconciled strivings; two warring ideals in one dark body” (DuBois 1961, 3). -
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. -
Five Star Transcript
Five Star Transcript Timecode Character Dialogue/Description Explanation INT: Car, Night 01:00:30:00 Primo March 24th, 2008, a little boy was born. 01:00:40:00 Sincere Israel Najir Grant, my son. 01:01:00:00 That's my son. 01:01:01:00 You know where I was? Nah, not the hospital bed. 01:01:10:00 Nah not in the waiting room. 01:01:13:00 I was locked the fuck up. 01:01:23:00 Remember gettin' that call, putting the call in I should say. Had a beautiful baby boy, and I wasn't there to greet him when he 01:01:33:00 came into the world. 01:01:36:00 And, um, it's funny. 01:01:40:00 I was released the week after. 01:01:43:00 April 1st, my Pop's birthday. Dialogue Transcript Five Star a film by Keith Miller 1 Five Star Transcript Timecode Character Dialogue/Description Explanation 01:01:48:00 Came home on April Fool's Day, dig that. I remember walking in, into the P's*. Everybody yo Primo, Primo oh, 01:01:56:00 * P’s = projects/housing project shit. 01:02:03:00 Fuck y'all. I want to see my son. 01:02:06:00 Walked up the stairs, I was nervous. 01:02:14:00 Haven't seen my daughter in so long. Open the door, everybody greeting me. Oh welcome home! Welcome 01:02:20:00 home! Yeah it's nice, that that that was sweet. Move! I want to see my son. -
Flashback, Flash Forward: Re-Covering the Body and Id-Endtity in the Hip-Hop Experience
FLASHBACK, FLASH FORWARD: RE-COVERING THE BODY AND ID-ENDTITY IN THE HIP-HOP EXPERIENCE Submitted By Danicia R. Williams As part of a Tutorial in Cultural Studies and Communications May 04,2004 Chatham College Pittsburgh, Pennsylvania Tutor: Dr. Prajna Parasher Reader: Ms. Sandy Sterner Reader: Dr. Robert Cooley ACKNOWLEDGEMENTS I would like to thank Dr. Prajna Paramita Parasher, my tutor for her faith, patience and encouragement. Thank you for your friendship. Ms. Sandy Sterner for keeping me on my toes with her wit and humor, and Dr. Cooley for agreeing to serve on my board. Kathy Perrone for encouraging me always, seeing things in me I can only hope to fulfill and helping me to develop my writing. Dr. Anissa Wardi, you and Prajna have changed my life every time I attend your classes. My parent s for giving me life and being so encouraging and trusting in me even though they weren't sure what I was up to. My Godparents, Jerry and Sharon for assisting in the opportunity for me to come to Chatham. All of the tutorial students that came before me and all that will follow. I would like to give thanks for Hip-Hop and Sean Carter/Jay-Z, especially for The Black Album. With each revolution of the CD my motivation to complete this project was renewed. Whitney Brady, for your excitement and brainstorming sessions with me. Peace to Divine Culture for his electricity and Nabri Savior. Thank you both for always being around to talk about and live in Hip-Hop. Thanks to my friends, roommates and coworkers that were generally supportive. -
8123 Songs, 21 Days, 63.83 GB
Page 1 of 247 Music 8123 songs, 21 days, 63.83 GB Name Artist The A Team Ed Sheeran A-List (Radio Edit) XMIXR Sisqo feat. Waka Flocka Flame A.D.I.D.A.S. (Clean Edit) Killer Mike ft Big Boi Aaroma (Bonus Version) Pru About A Girl The Academy Is... About The Money (Radio Edit) XMIXR T.I. feat. Young Thug About The Money (Remix) (Radio Edit) XMIXR T.I. feat. Young Thug, Lil Wayne & Jeezy About Us [Pop Edit] Brooke Hogan ft. Paul Wall Absolute Zero (Radio Edit) XMIXR Stone Sour Absolutely (Story Of A Girl) Ninedays Absolution Calling (Radio Edit) XMIXR Incubus Acapella Karmin Acapella Kelis Acapella (Radio Edit) XMIXR Karmin Accidentally in Love Counting Crows According To You (Top 40 Edit) Orianthi Act Right (Promo Only Clean Edit) Yo Gotti Feat. Young Jeezy & YG Act Right (Radio Edit) XMIXR Yo Gotti ft Jeezy & YG Actin Crazy (Radio Edit) XMIXR Action Bronson Actin' Up (Clean) Wale & Meek Mill f./French Montana Actin' Up (Radio Edit) XMIXR Wale & Meek Mill ft French Montana Action Man Hafdís Huld Addicted Ace Young Addicted Enrique Iglsias Addicted Saving abel Addicted Simple Plan Addicted To Bass Puretone Addicted To Pain (Radio Edit) XMIXR Alter Bridge Addicted To You (Radio Edit) XMIXR Avicii Addiction Ryan Leslie Feat. Cassie & Fabolous Music Page 2 of 247 Name Artist Addresses (Radio Edit) XMIXR T.I. Adore You (Radio Edit) XMIXR Miley Cyrus Adorn Miguel Adorn Miguel Adorn (Radio Edit) XMIXR Miguel Adorn (Remix) Miguel f./Wiz Khalifa Adorn (Remix) (Radio Edit) XMIXR Miguel ft Wiz Khalifa Adrenaline (Radio Edit) XMIXR Shinedown Adrienne Calling, The Adult Swim (Radio Edit) XMIXR DJ Spinking feat. -
He's Been Fighting for His Career for Near Fifteen Years. Never Afraid of Change, He's Sticking and Moving and Going For
! Ü HE’S BEEN FIGHTING FOR HIS CAREER FOR NEAR FIFTEEN YEARS. NEVER AFRAID OF CHANGE, HE’S STICKING AND MOVING " AND GOING FOR HIS. BUT TIME WEARS HARD ON THE BOOGIE DOWN STREETS. HAS HAD HIS HITS, BUT HE’S TAKEN SOME, TOO. SALTER S JEFFERY // IMAGE GOLIANOPOULOS THOMAS WORDS Ü " ! XXL MAGAZINE 000 ! Ü " " t’s seven o’clock in the evening, album past 500,000 in sales, earning him his and recent audience-expanding cameos with and Fat Joe needs a designated first gold plaque. Three years later, in 2001, Jennifer Lopez, Paris Hilton and Ricky Martin, driver. The 36-year-old rapper isn’t when Murder Inc. was dominating hip-hop he J.O.S.E. remains his only platinum record. inebriated, but he drives like Ricky released “What’s Luv?” a frothy Irv Gotti pro- Joe is well aware of his SoundScan struggles. Bobby after one too many Miller duction that propelled Jealous Ones Still Envy “The strangest thing in the whole universe,” Lites. He breaks too suddenly, ac- to platinum status. Today, the South runs hip- he says, “is Fat Joe being a household name, celerates too carelessly and nearly hop, and, of course, Fat Joe has noticed. making the biggest hit records in the history of crashes too often. He’s also eas- “Joe’s good at reading the future,” says mankind, and not selling that many records. It ily distracted by the radio (Nelly Miami-based DJ Khaled, who’s known him for will be reevaluated years from now.” Furtado’s “Promiscuous” brings more than 10 years. -
O 1 O 4 O 6 O Te © 23 ®U
See below °.E complete legend information. AIRPLAY SALES DATA MONITORED BY COMPILED BY nielsen nielse-i 3 3 BDS SoundS:an fn ij2 x TITLE TITLE ARTIST .a 3ó ís-.3 3ó ARTIST !IMPRINT/ PROMOTION LABELI r3 _ 3á AHTI ST ' ',IIMOTIUN _, UMBRELLA WHINE UP 1 ®U UR HAND OUTTA MY SYSTEM cip55. 4 RIHANNA FEAT. JAY -2 (SRP /DEF JAM/IDJMG) KAT DELUNA FEAT. ELEPHANT MAN (EPIC) BOW WOW COLUMBIA MAKES ME WONDER REHAB GIVE IT TO ME 1, BECAUSE 1 9 10 OF YOU 2 54 ? 8 20 1 MAROON 5 (A &M /OCTONE /UNIVERSAL) AMY WFNEHOUSE (UNIVERSAL REPUBLIC) TIMBALAND (MOSLEY /BLACKGROUND / INTERSCOPE) NE -YO (DEF JAM /IDJMG) O 1 PARTY LIKE A ROCKSTAR ROCK YO HIPS SUMMER LOVE NEVER AGAIN 53 46 13 23 7 SHOP BOYZ (ONDECK/UNIVERSAL REPUBLIC) CRIME MOB FEAT. LIL SCRAPPY (CRUNK/BME /REPRISE) JUSTIN TIMBERLAKE (JIVE/ZOMBA) hJ KELLY CLARKSON RCA/RMG 4 14 BUY U A DRANK (SHAWTY SNAPPIN') I DON'T WANNA STOP GIRLFRIEND BEAUTIFUL GIRLS CD80 3 12 35 2 T -PAIN FEAT. YUNG JOC BOY OZZY OSBOURNE 1*I O`% (KONVICT/NAPPY /JIVE/ZOMBA) (EPIC) AVRIL LAVIGNE (RCA/RMG) SEAN KINGSTON BELUGA HEIGHTS /EPIC SUMMER LOVE LOST IN THIS MOMENT HOME WHINE UP 6 8« 55 48 10 ) 10 30 4 O JUSTIN TIMBERLAKE (JIVE /ZOMBA) BIG & RICH (WARNER BROS. (NASHVILLE)/WRN) DAUGHTRY (RCA/RMG) NAT DELUNA FEAT. ELEPHANT MAN EPIC GIRLFRIEND _ WIPE ME DOWN BUY U A DRANK (SHAWTY SNAPPIN) THE WAY I LIVE 6 2 13 11 31 27 14 AVRIL LAVIGNE (RCA/RMG) LIL BOOSIE FEAT. -
The Top 7000+ Pop Songs of All-Time 1900-2017
The Top 7000+ Pop Songs of All-Time 1900-2017 Researched, compiled, and calculated by Lance Mangham Contents • Sources • The Top 100 of All-Time • The Top 100 of Each Year (2017-1956) • The Top 50 of 1955 • The Top 40 of 1954 • The Top 20 of Each Year (1953-1930) • The Top 10 of Each Year (1929-1900) SOURCES FOR YEARLY RANKINGS iHeart Radio Top 50 2018 AT 40 (Vince revision) 1989-1970 Billboard AC 2018 Record World/Music Vendor Billboard Adult Pop Songs 2018 (Barry Kowal) 1981-1955 AT 40 (Barry Kowal) 2018-2009 WABC 1981-1961 Hits 1 2018-2017 Randy Price (Billboard/Cashbox) 1979-1970 Billboard Pop Songs 2018-2008 Ranking the 70s 1979-1970 Billboard Radio Songs 2018-2006 Record World 1979-1970 Mediabase Hot AC 2018-2006 Billboard Top 40 (Barry Kowal) 1969-1955 Mediabase AC 2018-2006 Ranking the 60s 1969-1960 Pop Radio Top 20 HAC 2018-2005 Great American Songbook 1969-1968, Mediabase Top 40 2018-2000 1961-1940 American Top 40 2018-1998 The Elvis Era 1963-1956 Rock On The Net 2018-1980 Gilbert & Theroux 1963-1956 Pop Radio Top 20 2018-1941 Hit Parade 1955-1954 Mediabase Powerplay 2017-2016 Billboard Disc Jockey 1953-1950, Apple Top Selling Songs 2017-2016 1948-1947 Mediabase Big Picture 2017-2015 Billboard Jukebox 1953-1949 Radio & Records (Barry Kowal) 2008-1974 Billboard Sales 1953-1946 TSort 2008-1900 Cashbox (Barry Kowal) 1953-1945 Radio & Records CHR/T40/Pop 2007-2001, Hit Parade (Barry Kowal) 1953-1935 1995-1974 Billboard Disc Jockey (BK) 1949, Radio & Records Hot AC 2005-1996 1946-1945 Radio & Records AC 2005-1996 Billboard Jukebox -
20 Second Songs to Sing While Washing Your Hands
20 SECOND SONGS TO SING WHILE WASHING YOUR HANDS “Billie Jean” “Love on Top” by Michael Jackson by Beyonce Billie Jean is not my lover Baby it’s you She’s just a girl who claims that, I am the one You’re the one I love But the kid is not my son You’re the one I need She says I am the one, but the kid is not my son You’re the only one I see Come on baby it’s you “No Scrubs” You’re the one that gives your all by TLC You’re the one I can always call When I need to make everything stop No, I don’t want no scrubs Finally you put my love on top A scrub is a guy that can’t get no love from me Hangin’ out the passenger side of his best friend’s ride “Beat It” Trying to holla at me by Michael Jackson I don’t want no scrubs Just beat it, beat it, beat it, beat it A scrub is a guy that can’t get no love from me No one wants to be defeated Hangin’ out that passenger side of his best Showin’ how funky and strong is your fight friend’s ride It doesn’t matter who’s wrong or right Trying to holla at me Just beat it (beat it) Just beat it (beat it) “Jolene” Just beat it (beat it) by Dolly Parton Just beat it (beat it, uh) Jolene, Jolene, Jolene, Jolene I’m begging of you please don’t take my man “Gangsta’s Paradise” Jolene, Jolene, Jolene, Jolene by Coolio Please don’t take him just because you can As I walk through the valley of the shadow of death “Africa” I take a look at my life and realize there’s by Toto nothin’ left It’s gonna take a lot to drag me away from you Cause I’ve been blastin’ and laughin’ so long There’s nothing that a hundred men or more that even my mama thinks that my mind is gone could ever do But I ain’t never crossed a man that I bless the rains down in Africa didn’t deserve it Gonna take some time to do the things Me be treated like a punk, you know we never had that’s unheard of You better watch how you’re talkin’ and “Over the Rainbow” where you’re walkin by Judy Garland Somewhere over the rainbow Way up high And the dreams that you dream of Once in a Lullaby. -
Fellowship of the Misery
LMU/LLS Theses and Dissertations 2020 Fellowship of the Misery Malachi James Moore Loyola Marymount University, [email protected] Follow this and additional works at: https://digitalcommons.lmu.edu/etd Part of the Screenwriting Commons Recommended Citation Moore, Malachi James, "Fellowship of the Misery" (2020). LMU/LLS Theses and Dissertations. 914. https://digitalcommons.lmu.edu/etd/914 This Thesis is brought to you for free and open access by Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in LMU/LLS Theses and Dissertations by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. Fellowship of the Misery TITLE A Feature Screenplay presented to and approved by the Faculty Thesis Committee in the MFA Writing for the Screen Program in the School of Film & Television at Loyola Marymount University of Los Angeles, California. In Partial Fulfillment Of the Requirements for the Degree Master of Fine Arts Writing for the Screen By Malachi James Moore MFA Candidate APPROVAL TO MFA CANDIDACY The following graduate student has met all the criteria to advance to candidacy for a Masters in Fine Arts with an emphasis in Writing for the Screen by completing the following requirements and portfolio: • Three revised feature film screenplays • One spec episodic teleplay (either a half-hour comedy or one hour drama) • One original pilot teleplay (either a half-hour comedy or one hour drama) • SCWR 690: Thesis feature screenplay workshop • SCWR 691: Revised thesis feature screenplay workshop • SCWR 692: Feature film portfolio workshop (revision of all projects written during the three-year program) Add Digital Signature Type Your Name Graduate Director: Patricia K. -
Cuban Link Interview by Joel Marasigan
CUBAN LINK INTERVIEW BY JOEL MARASIGAN A few years ago Big Pun's protégé, Cuban Link, got his face slashed in a squab- ble in a New York deli. He blames his former crew, Terror Squad, and lead, Fat Joe, for the bloody altercation, as well as the ensuing difficulties with the music industry due to the industry's loyalty to Fat Joe. It’s true that some have seen tougher times, but everyone loves the underdog and the tough fight he'll expe- rience. What doesn't kill you makes you stronger, right? Cuban Link's faith in his talent and his motivation to keep himself grinding could help him avoid dead sales. It's interesting to hear the artist's business perspective—in this case, his promo plan. The game for his official reintroduction, through the independent release of Chain Reaction, is to diversify the music and hit the outside markets. Cuban's chess-like approach is second nature since he's been playing chess since grade school. 2NR: I hear you're a chess it it a little. If the music industry were a chess game, who would be your rook, knights, etc? CL: Well, I know we've got a lot more than eight pawns. The queen, the most powerful piece on the board, ain't there yet—still looking for one. My street game would be my knights and my bishops—my crew, the people who are around me, my inside click. The M.O.B. label would definitely play the rooks. 2NR: What's the best move for Cuban Link for 2005? CL: We're still talking about chess, so with that, we've gotta check 'em and we've gotta check the game. -
Patiently Waiting 50 Cent [Intro: 50 Cent] Hey Em, You Know You're My
Patiently Waiting 50 Cent [Intro: 50 Cent] Hey Em, you know you're my favorite white boy, right? I owe you for this one [Hook: 50 Cent] I been patiently waiting for a track to explode on You can stunt if you want and your ass'll get rolled on If it feels like my flow's been hot for so long If you thinking I'mma fuckin' fall off, you're so wrong [Verse 1: 50 Cent] I'm innocent in my head like a baby born dead, destination heaven Sit and politic with passengers from 9/11 The Lord's blessings leave me lyrically inclined Shit, I ain't even got to try to shine God's the seamstress that tailor fitted my pain I got scriptures in my brain, I could spit at your dame Straight out the good book, look, niggas is shook 50 fear no man, warrior, swing swords like Conan Picture me, pen in hand writing lines knowing the Source'll quote it When I die, they'll read this and say a genius wrote it I grew up without my pops, should that make me bitter? I caught cases I copped out, does that make me a quitter? In this white man's world I'm similar to a squirrel Looking for a slut with a nice butt to get a nut If I get shot today my phone'll stop ringing again These industry niggas ain't friends, they know how to pretend [Hook: 50 Cent] I been patiently waiting for a track to explode on You can stunt if you want and your ass'll get rolled on If it feels like my flow's been hot for so long If you thinking I'mma fuckin' fall off, you're so wrong I been patiently waiting for a track to explode on You can stunt if you want and your ass'll get rolled on If it feels