DOCSLIB.ORG

Raptivism: the Act of Hip Hop's Counterpublic Sphere Forming Into

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Raptivism: the Act of Hip Hop's Counterpublic Sphere Forming Into Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 Raptivism: the Act of Hip Hop’s Counterpublic Sphere Forming into a Social Movement to Seize its Political Opportunities Matthew .C Maddex Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Communication Commons Recommended Citation Maddex, Matthew C., "Raptivism: the Act of Hip Hop’s Counterpublic Sphere Forming into a Social Movement to Seize its Political Opportunities" (2014). LSU Doctoral Dissertations. 727. https://digitalcommons.lsu.edu/gradschool_dissertations/727 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. RAPTIVISM: THE ACT OF HIP HOP’S COUNTERPUBLIC SPHERE FORMING INTO A SOCIAL MOVEMENT TO SEIZE ITS POLITICAL OPPORTUNITIES A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Communication by Matthew C. Maddex B.A., California State University, Long Beach, 2004 M.A., Miami University (Ohio), 2007 December 2014 TABLE OF CONTENTS Abstract .......................................................................................................................................... iii Chapter 1: Introduction ................................................................................................................... 1 Preview of Chapters .......................................................................................................... 16 Conclusion ........................................................................................................................ 19 Chapter 2: The Roots–From Ancestral Speech to the Politics of Hip Hop .................................. 21 African Oral Traditions for the Foundation of Modern Rap ............................................. 26 Contributing Factors to the Formation of a Hip Hop Culture ........................................... 32 “The Message” and The Politics of Rap’s Voice .............................................................. 38 Hip Hop’s Community ...................................................................................................... 42 Chapter 3: Rap’s Space–Argumentative Spheres, Counterpublics and Identity ........................... 44 The Three Spheres of Argumentation ............................................................................... 46 Habermas: From Bourgeois Public Sphere to the Public Sphere ..................................... 50 Counterpublic Spheres: Formation & Function ................................................................ 58 Factors Affecting the Counterpublic Sphere ..................................................................... 64 Chapter 4: Hip Hop President?–Obama and Hip Hop’s Outreach to Each Other ........................ 73 Hip Hop’s Counterpublic Sphere: An Expression To Alter the Cultural Battlegrounds .. 76 “I Need You:” Barack Obama’s Appeal to the Hip Hop Community .............................. 83 Hip Hop’s Expressive Messages To Promote and Challenge Obama .............................. 97 Reflections on Barack Obama: Hope for Hip Hop? ....................................................... 107 Chapter 5: Hip Hop Republicans–A New Face for the Grand Ole Party ................................... 111 The GOP’s Need For A “Makeover” .............................................................................. 114 Conservative Connections to Hip Hop ........................................................................... 121 Hiphoprepublican.com (HHR): Providing Conservative Hip Hop a Voice ................... 132 Reflections on Hip Hop Being Conservative .................................................................. 138 Chapter 6: Crafting Hip Hop’s Social Movement to Seize Political Opportunities ................... 144 Music and Culture in the Formation of A Movement..................................................... 147 Conceptualizing Political Opportunity Structure ............................................................ 157 Hip Hop Emerging Activism to Seize Political Opportunities ....................................... 165 Conclusion ...................................................................................................................... 175 Bibliography ............................................................................................................................... 179 Appendix A: “My President is Rap: The Complete History of Barack Obama’s Hip-Hop Moments” .................................................................................................................................... 189 Appendix B: “Letter to Vibe Magazine” by Barack Obama ...................................................... 191 i Appendix C: "My President"–Young Jeezy ............................................................................... 193 Appendix D: "Black President"–Nas .......................................................................................... 196 Appendix E: “Why I’m A Hip Hop Conservative”–by Trey Radel ........................................... 199 Appendix F: When Black Meant Republican”–by Chris Ladd .................................................. 201 Vita .............................................................................................................................................. 203 ii Abstract This study explores recent attempts by the hip hop community to be recognized in the mainstream political sphere and to have its concerns acknowledged and addressed. This project examines how the scholarship of hip hop (musicology), rhetoric (counterpublic spheres), politics and social movement theory intertwine, and to demonstrate how hip hop’s community can emerge as a counterpublic sphere that could become a social movement capable of altering the current cultural and political landscape in the United States. Although hip hop as a culture consists of four major elements: breakdancing, graffiti art, deejaying, and rapping, this study focuses on rappers and the use of rap music in the political sphere. It suggests that hip hop is a counterpublic sphere that has the power to affect culture and politics and examines attempts by both liberal and conservative politicians and organizations to garner the hip hop community’s vote. It then discusses political opportunity theory and suggests that it may help the hip hop community emerge as a social movement capable of seizing its political opportunities. It relies upon the rhetorical work of the counterpublic sphere theory as a result of the hip hop community seeking a voice and recognition in the political public sphere. This serves as one of the basis for creating a counterpublic sphere. iii Chapter 1: Introduction He's coming, he's coming, he's coming He's coming, he's coming, he's coming He's coming, he's coming, he's coming He's here His name is Jesse His name is Jesse Hypocrites and uncle toms are talking trash (Let's talk about Jesse) Liberty and justice are a thing of the past (Let's talk about Jesse) They want a stronger nation at any cost (Let's talk about Jesse) Even if it means that everything will soon be lost (Let's talk about Jesse) He started on the bottom, now he's on the top He proved that he could make it, so don't ever stop Brothers stand together and let the whole world see Our brother Jesse Jackson go down in history So vote, vote, vote, everybody get up and vote Vote, vote, everybody get up and vote Vote, vote, everybody get up and vote Vote, vote, everybody get up and vote . The 30th day that's in December is a day that everyone's gonna remember Because on that day a righteous man, thought about taking a brand new stand The name of the man is Jesse Jackson and his call is for peace without an action 'Cause now is the time to change the nation without just another negotiation He went to the East for human rights to free a lieutenant shot down in flight Just another statistic and the government knew it, they didn't even want the man to go do it Before he left, he called the president's home and Reagan didn't even answer the phone But I tell you one thing and that's a natural fact, you can bet he calls Jesse when Jesse got back He started on the bottom, now he's on the top He proved that he could make it, so don't ever stop Brothers stand together and let the whole world see Our brother Jesse Jackson go down in history So vote Hypocrites just talking trash (Let's talk about Jesse) Liberty and Justice are a thing of the past (Let's talk about Jesse) (lyricsfreak.com) - Grandmaster Flash & the Furious Five The 1984 Democratic presidential primaries featured the famed civil rights leader, minister, and activist, Jesse Jackson, as the political underdog candidate seeking support against favorites Walter Mondale and Gary Hart. In an attempt to help garner more support for his 1 candidacy, Jackson was offered a unique means to get his message out, through a rap song written by the rap group Grandmaster Flash & the Furious Five. Grandmaster Flash wrote the rap song “Jesse” as a way to bring young
Load more

Recommended publications
  • Kaya Hip-Hop in Coastal Kenya: the Urban Poetry of UKOO FLANI
    Page 1 of 46 Kaya Hip-Hop in Coastal Kenya: The Urban Poetry of UKOO FLANI By: Divinity LaShelle Barkley [email protected] Academic Director: Athman Lali Omar I.S.P. Advisor: Professor Mohamed Abdulaziz S.I.T. Kenya, Fall 2007 Coastal Cultures & Swahili Studies Kaya Hip Hop in Coastal Kenya Fall 2007 ISP, SIT Kenya By: Divinity L. Barkley Page 2 of 46 Table of Contents Acknowledgements………………………………………..………………….page 3 Abstract……………………………………………..…………………………page 4 Introduction…………………………………..……………………………pages 5-8 Hip-Hop & Kenyan Youth Culture Research Problem Status of Hip-Hop in Kenya Hypotheses The Setting……………………………….………………………………pages 9-10 Methodology: Data Collection……………………………………..…pages 10-12 Biases and Assumptions………………………..………...…………...pages 13-14 Discussion & Analysis…………………………………………………pages 14-38 Ukoo Flani ni nani? Kaya Hip-Hop Traditional Role of Music in African Culture Genesis of Rap/Hip-hop in American Ghettoes The Ties That Bind Kenyan Radio The Maskani Ghetto Life Will the real Ukoo Flani please stand up? Urban Poetry: Analyzing Ukoo Flani’s Lyrics Conclusion…………………………..……………………….…………pages 38-42 Conclusion Part I: The Future of Ukoo Flani Conclusion Part II: Hypotheses Results Conclusion Part III: Recommendations for Future SIT Students Bibliography………………………………………………..…………..pages 43-44 Interview/Meeting Schedule………………………………………………page 45 ISP Review Sheet…………….……………………………………….……page 46 Kaya Hip Hop in Coastal Kenya Fall 2007 ISP, SIT Kenya By: Divinity L. Barkley Page 3 of 46 Acknowledgements First and foremost, I would like to thank the entire Ukoo Flani crew for their contributions to my project. I am fascinated by your amazing talent and dedication to making positive music to inspire future generations. I am amazed at what you have been able to accomplish despite limited access to resources.
    [Show full text]
  • 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).
    [Show full text]
  • Visitor Use Density and Wilderness Experience: Proceedings; 2000 June 1Ð3; Missoula, MT
    United States Department of Agriculture Visitor Use Density and Forest Service Rocky Mountain Wilderness Experience: Research Station Proceedings Proceedings RMRS-P-20 August 2001 Missoula, Montana June 1–3, 2000 Abstract Freimund, Wayne A.; Cole, David N., comps. 2001. Visitor use density and wilderness experience: proceedings; 2000 June 1–3; Missoula, MT. Proceedings RMRS-P-20. Ogden, UT: U.S. Department of Agriculture, Forest Service, Rocky Mountain Research Station. 67 p. The workshop was convened to assess progress and offer further ideas regarding scientific contributions to (1) understanding relationships between visitor use density and wilderness experiences and (2) applying such knowledge to decisions about use limitation in wilderness and parks. The first paper provides an overview of the topic and the papers presented at the workshop. Subsequent papers include reviews of previous research, discussion of issues related to use limitation, exploration of the solitude concept and of visitor conflict, and explications of alternative research methodologies. Keywords: carrying capacity, recreation management, solitude, use limits, visitor density, wilderness experience, research methods The Compilers Wayne A. Freimund is Arkwright Associate Professor of Wilderness Studies and Director of the Wilderness Institute at the University of Montana. He holds a B.S. degree in outdoor recreation from the University of Minnesota, a Masters degree in wildland management from West Virginia University, and a Ph.D. degree in recreation resource management from the University of Minnesota. His research interests are in the management of visitor use, the role of technology on wilderness values, and the application of planning frameworks in wilderness and park management. David N.
    [Show full text]
  • Flexible Games by Which I Mean Digital Game Systems That Can Accommodate Rule-Changing and Rule-Bending
    Let’s Play Our Way: Designing Flexibility into Card Game Systems Gifford Cheung A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: David Hendry, Chair David McDonald Nicolas Ducheneaut Jennifer Turns Program Authorized to Offer Degree: Information School ©Copyright 2013 Gifford Cheung 2 University of Washington Abstract Let’s Play Our Way: Designing Flexibility into Card Game Systems Gifford Cheung Chair of the Supervisory Committee: Associate Professor David Hendry Information School In this dissertation, I explore the idea of designing “flexible game systems”. A flexible game system allows players (not software designers) to decide on what rules to enforce, who enforces them, and when. I explore this in the context of digital card games and introduce two design strategies for promoting flexibility. The first strategy is “robustness”. When players want to change the rules of a game, a robust system is able to resist extreme breakdowns that the new rule would provoke. The second is “versatility”. A versatile system can accommodate multiple use-scenarios and can support them very well. To investigate these concepts, first, I engage in reflective design inquiry through the design and implementation of Card Board, a highly flexible digital card game system. Second, via a user study of Card Board, I analyze how players negotiate the rules of play, take ownership of the game experience, and communicate in the course of play. Through a thematic and grounded qualitative analysis, I derive rich descriptions of negotiation, play, and communication. I offer contributions that include criteria for flexibility with sub-principles of robustness and versatility, design recommendations for flexible systems, 3 novel dimensions of design for gameplay and communications, and rich description of game play and rule-negotiation over flexible systems.
    [Show full text]
  • Tom Jennings
    12 | VARIANT 30 | WINTER 2007 Rebel Poets Reloaded Tom Jennings On April 4th this year, nationally-syndicated Notes US radio shock-jock Don Imus had a good laugh 1. Despite the plague of reactionary cockroaches crawling trading misogynist racial slurs about the Rutgers from the woodwork in his support – see the detailed University women’s basketball team – par for the account of the affair given by Ishmael Reed, ‘Imus Said Publicly What Many Media Elites Say Privately: How course, perhaps, for such malicious specimens paid Imus’ Media Collaborators Almost Rescued Their Chief’, to foster ratings through prejudicial hatred at the CounterPunch, 24 April, 2007. expense of the powerless and anyone to the left of 2. Not quite explicitly ‘by any means necessary’, though Genghis Khan. This time, though, a massive outcry censorship was obviously a subtext; whereas dealing spearheaded by the lofty liberal guardians of with the material conditions of dispossessed groups public taste left him fired a week later by CBS.1 So whose cultures include such forms of expression was not – as in the regular UK correlations between youth far, so Jade Goody – except that Imus’ whinge that music and crime in misguided but ominous anti-sociality he only parroted the language and attitudes of bandwagons. Adisa Banjoko succinctly highlights the commercial rap music was taken up and validated perspectival chasm between the US civil rights and by all sides of the argument. In a twinkle of the hip-hop generations, dismissing the focus on the use of language in ‘NAACP: Is That All You Got?’ (www.daveyd.
    [Show full text]
  • Jay-Z: in Tha’ Mix
    ASC 1138--JAY-Z: IN THA’ MIX JAY-Z: IN THA’ MIX CREDIT HOURS Leta Hendricks [email protected] Tel: 614-688-7478 Classroom – Room 150A Thompson Library Class Meeting – Fridays – 1:30 – 2:18 p.m. January 11 – April 19, 2013 Office Hours – Tuesday – 9:00 – 11:00 a.m. and by appointment WEB Site – Twitter – Second Life- Hip Hop Underground http://slurl.com/secondlife/Cybrary%20City%20II/77/198/8 SYLLABUS COURSE DESCRIPTION JAY-Z is an entrepreneurial phenomenon of the last the twenty years. This seminar examines JAY-Z from different perspectives as an artist and as a businessman. The seminar will discuss perspectives and beliefs about rap music and popular culture. JAY-Z is currently one of the most influential iconic figures of Global Pop Culture. His music embodies the quintessentially “African American” genre of music, we will study his musical roots, trace the development of his career and connect JAY-Z with his culture. An analysis of his business empire will include his drug-marked youth, musical achievements, and urban-informed business savvy. The Seminar will discuss his lyrics and their meanings which reveal JAY-Z’s art and life. JAY-Z heavily borrows from American musical and literary traditions through an examination of select recordings, autobiography, film, essays and criticism, this Seminar will provide students the opportunity to discover the significance of JAY-Z’s contributions to lyric writing, popular music, and beyond. The following resources will facilitate students learning development by using multiple content formats. DJ Hero will engage students through gameplay, simulating DJ turntablism (mixing styles and techniques) connecting gaming activities to assignments, discussions, and projects on JAY-Z and current Rap artists.
    [Show full text]
  • Recording Artist and Entrepreneur, Jeezy, Collaborates with Oasis Digital Studios to Offer a Custom-Designed NFT Featuring His Iconic Snowman Logo
    Recording Artist and Entrepreneur, Jeezy, Collaborates with Oasis Digital Studios to Offer a Custom-Designed NFT Featuring his Iconic Snowman Logo Jeezy’s Snowman Logo Has Been His Signature Piece Since his Major Label Debut Album “Let’s Get It: Thug Motivation 101,” was Released in 2005 Toronto / Vancouver, Canada / Erie PA / New York, NY – April 12, 2021 –Liquid Avatar Technologies Inc. (CSE: LQID / OTC:TRWRF / FRA:4T51) Liquid Avatar Technologies, a global blockchain, digital identity and fintech solutions company together with ImagineAR Inc. (CSE:IP / OTCQB:IPNFF), an Augmented Reality platform company, and DreamView Studios, have announced that Liquid Avatar’s Oasis Digital Studios (“Oasis”) has partnered with American rapper and successful entrepreneur, Jeezy, to create an animated NFT of his iconic snowman logo. The NFT will be available starting late April 2021. A pre-sale waiting list is available for prospective purchasers and collectors on the Oasis website as of today. In the first of many offerings to come, Oasis is helping Jeezy utilize NFT technology as a new way reach his extensive fanbase. Through their collaboration, Jeezy is taking NFTs to a new level by embracing 3D and augmented reality (AR) technology in the production of his art. Starting off his career in the music industry under the name Young Jeezy, Jeezy has now transformed into an entrepreneurial success. In addition to his custom clothing, podcasting and artwork, Jeezy has a line of fitness water called Defiance Fuel, a restauranteur partnership with American Cut Steakhouse and an ongoing incentivized partnership with Tequila Avion. Jeezy also began hosting his own talk show, “Worth a Conversation with Jay “Jeezy” Jenkins” on FOX Soul in October of 2020.
    [Show full text]
  • 1. Summer Rain by Carl Thomas 2. Kiss Kiss by Chris Brown Feat T Pain 3
    1. Summer Rain By Carl Thomas 2. Kiss Kiss By Chris Brown feat T Pain 3. You Know What's Up By Donell Jones 4. I Believe By Fantasia By Rhythm and Blues 5. Pyramids (Explicit) By Frank Ocean 6. Under The Sea By The Little Mermaid 7. Do What It Do By Jamie Foxx 8. Slow Jamz By Twista feat. Kanye West And Jamie Foxx 9. Calling All Hearts By DJ Cassidy Feat. Robin Thicke & Jessie J 10. I'd Really Love To See You Tonight By England Dan & John Ford Coley 11. I Wanna Be Loved By Eric Benet 12. Where Does The Love Go By Eric Benet with Yvonne Catterfeld 13. Freek'n You By Jodeci By Rhythm and Blues 14. If You Think You're Lonely Now By K-Ci Hailey Of Jodeci 15. All The Things (Your Man Don't Do) By Joe 16. All Or Nothing By JOE By Rhythm and Blues 17. Do It Like A Dude By Jessie J 18. Make You Sweat By Keith Sweat 19. Forever, For Always, For Love By Luther Vandros 20. The Glow Of Love By Luther Vandross 21. Nobody But You By Mary J. Blige 22. I'm Going Down By Mary J Blige 23. I Like By Montell Jordan Feat. Slick Rick 24. If You Don't Know Me By Now By Patti LaBelle 25. There's A Winner In You By Patti LaBelle 26. When A Woman's Fed Up By R. Kelly 27. I Like By Shanice 28. Hot Sugar - Tamar Braxton - Rhythm and Blues3005 (clean) by Childish Gambino 29.
    [Show full text]
  • A Study of the Rap Music Industry in Bogota, Colombia by Laura
    The Art of the Hustle: A Study of the Rap Music Industry in Bogota, Colombia by Laura L. Bunting-Hudson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2017 © 2017 Laura L. Bunting-Hudson All Rights Reserved ABSTRACT The Art of the Hustle: A Study of the Rap Music Industry in Bogota, Colombia Laura L. Bunting-Hudson How do rap artists in Bogota, Colombia come together to make music? What is the process they take to commodify their culture? Why are some rappers able to become socially mobile in this process, while others are less so? What is technology’s role in all of this? This ethnography explores those questions, as it carefully documents the strategies utilized by various rap groups in Bogota, Colombia to create social mobility, commoditize products and to create a different vision of modernity within the hip-hop community, as an alternative to the ideals set forth by mainstream Colombian society. Resistance Art Poetry (RAP), is said to have originated in the United States but has become a form of international music. In conducting ethnographic research from December of 2012 to October 2014, I was able to discover how rappers organize themselves politically, how they commoditize their products and distribute them to create various types of social mobilities. In this dissertation, I constructed models to typologize rap groups in Bogota, Colombia, which I call polities of rappers to discuss how these groups come together, take shape, make plans and execute them to reach their business goals.
    [Show full text]
  • Set List Select Several Songs to Be Played at Your Event / Party
    FORM: SET LIST SELECT SEVERAL SONGS TO BE PLAYED AT YOUR EVENT / PARTY SONGS YOU CAN EAT AND DRINK TO MEDLEYS SONGS YOU CAN DANCE TO ELO - Mr. Blue Sky Lykke Li - I follow Rivers St. Vincent - Digital Witness Elton John - Tiny Dancer Major Lazer – Lean On Stealers Wheel - Stuck in the Middle With You Beach Boys - God Only Knows Daft Punk Medley Adele - Rolling in the Deep Empire of the Sun - Walking On a Dream Mariah Carey - Fantasy Steely Dan - Hey Nineteen Belle and Sebastian - Your Covers Blown 90's R&B Medley Amy Winehouse - Valerie Feist - 1,2,3,4 Mark Morrison - Return of the Mack Steely Dan - Peg Black Keys - Gold On the Ceiling TLC Ariel Pink - Round + Round Feist - Sea Lion Woman Mark Ronson - Uptown Funk Stevie Nicks - Stand Back Bon Iver – Holocene Usher Beach Boys - God Only Knows Fleetwood Mac - Dreams Marvin Gaye - Ain't No Mountain High Enough Stevie Wonder - Higher Ground Bon Iver - Re: Stacks Montell Jordan Beck - Debra Fleetwood Mac - Never Going Back MGMT - Electric Feel Stevie Wonder - Sir Duke Bon Iver - Skinny Love Mark Morrison Beck - Where It’s At Fleetwood Mac - Say You Love Me Michael Jackson - Human Nature Stevie Wonder- Superstition Christopher Cross - Sailing Next Belle and Sebastian - Your Covers Blown Fleetwood Mac - You Make Lovin Fun Michael Jackson - Don’t Stop Til You Get Enough Supremes - You Can't Hurry Love David Bowie - Ziggy Stardust 80's Pop + New Wave Medley Billy Preston - Nothing From Nothing Frank Ocean – Lost Michael Jackson - Human Nature Talking Heads - Burning Down the House Eagles - Hotel California New Order Black Keys - Gold On the Ceiling Frankie Vailli - December 1963 (Oh What A Night) Michael Jackson - O The Wall Talking Heads - Girlfriend is Better ELO - Mr.
    [Show full text]
  • Perkembangan Musik Hip-Hop Di Indonesia (1993-2018)
    BEAT, RIMA, DAN PERLAWANAN: PERKEMBANGAN MUSIK HIP-HOP DI INDONESIA (1993-2018) Muhammad Fadhil Setiawan 4415161671 Skripsi ini Disusun untuk Memenuhi Persyaratan Guna Memperoleh Gelar Sarjana Pendidikan PROGRAM STUDI PENDIDIKAN SEJARAH FAKULTAS ILMU SOSIAL UNIVERSITAS NEGERI JAKARTA 2021 ABSTRAK MUHAMMAD FADHIL SETIAWAN. Beat, Rima, dan Perlawanan: Perkembangan Musik Hip-hop di Indonesia (1993-2018). Skripsi. Jakarta : Program Studi Pendidikan Sejarah, Fakultas Ilmu Sosial, Universitas Negeri Jakarta, 2021. Skripsi ini mengkaji tentang proses masuk dan berkembangnya musik Hip-hop di Indonesia. Musik Hip-hop atau musik Rap merupakan sebuah aliran musik perkembangan dari kebudayaan Hip-hop, yaitu sebuah kebudayaan yang dimaknai sebagai kultur gerakan yang muncul di Amerika serikat pada tahun 1970-an. Skripsi Ini bertujuan untuk meneliti tentang bagaimana proses masuknya musik Hip-hop ke Indonesia. Skripsi Ini juga membahas mengenai perkembangan musik Hip-hop di Indonesia sejak awal kemunculannya pada tahun 1993 sampai tahun 2018 pada saat karya dari musisi Hip-hop Indonesia Rich Brian berhasil diterima pada jenjang Internasional. Skripsi ini menggunakan metode historis dengan teknik penulisan deskriptif naratif. Sumber yang digunakan dalam skripsi ini berupa sumber arsip, pustaka, dan lisan. Sumber arsip yang digunakan adalah surat kabar dan majalah yang membahas tentang musik Hip-hop di Indonesia. Sumber pustaka yang digunakan adalah buku-buku yang berhubungan mengenai musik khususnya musik Hip-hop di Indonesia. Sumber lisan yang digunakan adalah wawancara dengan para pelaku musik Hip-hop indonesia dan pengamat musik. Hasil skripsi ini menunjukkan bahwa musik Hip-hop masuk ke Indonesia pada pertengahan dekade 1980 melalui tren tari kejang. Namun lahirnya musik Hip-hop di Indonesia terjadi pada tahun 1993 pada saat rapper Iwa K merilis album musik Hip-hop pertama di Indonesia yang berjudul “Ku Ingin Kembali”.
    [Show full text]
  • The Following Is a List of My Most Popularly Requested Pieces and Songs
    The following is a list of my most popularly requested pieces and songs. It is frequently edited and updated. If you don’t see a song you have in mind, ask me! CLASSICAL Adagio Albinoni Le Cygne Saint-Saëns Air from Water Music G. F. Handel O Mio Babbino Caro Puccini ​ Air on a G String J.S. Bach Musetta’s Waltz, La Boheme Puccini Alleluia from Exsultate, Jubilate Mozart Nocturne, Op. 9 No. 2 Chopin ​ Arioso Bach Prelude in C J.S. Bach Canon in D Pachelbel Reverie Debussy Clair de Lune Debussy River Flows in You Yiruma Eine Kleine Nachtmusik Mozart Theme from 'The Moldau' Smetana Für Elise Beethoven Time to Say Goodbye Andrea Bocelli Gymnopedie No. 1 Erik Satie Trumpet Tune Purcell Wachet Auf J.S. Bach *additional classical, religious, celtic, medieval and traditional selections available POPULAR A Thousand Years Christina Perri How Long Will I Love You Ellie Goulding All My Loving Beatles I’m Yours Jason Mraz All of Me John Legend Killing Me Softly Fugees And So it Goes Billy Joel Love me Tender Elvis Annie’s Song John Denver Lover Taylor Swift Better Together Jack Johnson Love Story Taylor Swift Bittersweet Symphony The Verve Marry Me Train The Best Part of Me Ed Sheeran Morning Has Broken Cat Stevens Can’t Help Falling in Love UB40/Elvis Nights in White Satin Moody Blues Clocks Coldplay No Surprises Radiohead Do you Know the way to San Jose? Dionne Warwick Nothing Else Matters Metallica Dream a Little Dream of Me Mamas & Papas Perfect Ed Sheeran Eleanor Rigby Beatles Photograph Ed Sheeran Everything Michael Buble The Scientist Coldplay Fields of Gold Sting Shape of You Ed Sheeran First Day of My Life Bright Eyes Skinny Love Birdy Flightless Bird, American Mouth Iron & Wine Stand by Me Ben E.
    [Show full text]