David Street Wins Campaign for SGA President by Threevotes
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The Moral Priorities of Rap Listeners
Published: Nzinga, K.L.K., & Medin, D.L. (2018). The Moral Priorities of Rap Listeners. Journal of Cognition and Culture, 312-342. http://booKsandjournals.brillonline.com/content/journals/10.1163/15685373-12340033 The Moral Priorities of Rap Listeners Kalonji L.K. NZINGA Douglas L. MEDIN Northwestern University A Cross-cultural approach to moral psychology starts from researchers withholding judgments about universal right and wrong and instead exploring community members’ values and what they subjeCtively perCeive to be moral or immoral in their loCal Context. This study seeks to identify the moral ConCerns that are most relevant to listeners of hip- hop music. We use validated psyChologiCal surveys inCluding the Moral Foundations Questionnaire (Graham, Haidt, & Nosek 2009) to assess whiCh moral ConCerns are most central to hip-hop listeners. Results show that hip-hop listeners prioritize concerns of justiCe and authentiCity more than non-listeners and deprioritize ConCerns about respeCting authority. These results show that the ConCept of the “good person” within the hip-hop subculture is fundamentally a person that is oriented towards soCial justiCe, rebellion against the status quo, and a deep devotion to keeping it real. Results are followed by a disCussion of the role that youth subCultures have in soCializing young people to prioritize Certain virtues over others as they develop their moral identity. 1. Introduction Many AmeriCan rappers inCluding KendriCk Lamar (2010), Snoop Dogg (2015), and Busta Rhymes (2006) have delivered the following CatCh phrase in their lyriCs: “You Can take me out the hood, but you Can’t take the hood out of me.” They proClaim that there are Certain aspeCts of the “hood” lifestyle and value system that, onCe they are part of you, direCt how you perCeive the world and behave in it. -
Window Pain Reality Bites
Anri I wnidrl have» ontten au/av with it. if it weren’t for that meddlna ... igns of Age: Representing the day I will look like the women depicted, Older Body” and “Forgotten saggy breasts and all. W indow Pain Dreams: Art After Eighty” are the What’s important, though, is that these Debi Finestone previews 1SIue Window two latest exhibits down at the Santa Barbara exhibits bring the issue of aging into the Contemporary Arts Forum. Both exhibits open. They confront your fears and miscon ou’ve just been in share a common purpose in persuading the ceptions of getting old bv having them stare vited to a swanky view er to you right in the Manhattan dinner Y face as a big simply think party, hosted by Theatre and redefine black-and- UCSB. Thispartyis thepre- Reality Bites those general white photo mise of the group’s upcom- , ized notions graph. These ing production of Craig Lu that we all have images are cas’ “Blue Window.” of getting old powerful — the But that’s only the surface and looking layer of the play, explains older body sur- old. rounds you Director Tom Whitaker, These two once you step “It’s really about all the char bodies of work inside the gal acters taking some kind of depict older lery. Its redun step forward in their lives, people in non- dancy brings and about how even though Conventional acceptance, and we feel alone, we are all con scenarios as soon the older nected.” By doing this, the well as everyday body does not play explores the themes of life. -
UNIVERSAL MUSIC • Rihanna – Rihanna 777 Tour… 7Countires7days7shows DVD • Jay Sean – Neon • Jessica Sanchez
Rihanna – Rihanna 777 Tour… 7countires7days7shows DVD Jay Sean – Neon Jessica Sanchez – Me, You & The Music New Releases From Classics And Jazz Inside!!! And more… UNI13-20 “Our assets on-line” UNIVERSAL MUSIC 2450 Victoria Park Ave., Suite 1, Willowdale, Ontario M2J 5H3 Phone: (416) 718.4000 Artwork shown may not be final The Following titles will move to I Code effective FRIDAY, APRIL 12, 2013 Artist Title Catalog UPC Price Code New Number (Current) Price Code GN'R LIES GEFMD24198 720642419823 N I GAYE MARVIN WHAT'S GOING 4400640222 044006402222 N I ON(REMASTERED URIAH HEEP DEMONS & WIZARDS 8122972 042281229725 N I SOUNDTRACK A NIGHT AT THE DRSSD50033 600445003323 SP I ROXBURY ROTH, ASHER ASLEEP IN THE BREAD B001281202 602527018355 SP I AISLE MELLENCAMP AMERICAN FOOL B000418902 602498801376 N I JOHN (COUGAR) MANOWAR LOUDER THAN HELL GEFSD24925 720642492529 SP I MALMSTEEN TRILOGY 8310732 042283107328 N I YNGWIE CRAZY FROG PRESENTS MORE CRAZY B000714902 602517018839 N I HITS ONYX BACDAFUCUP 3145234472 731452344724 N I MALMSTEEN RISING FORCE 8253242 042282532428 N I YNGWIE YOUNG NEIL OLD WAYS 0694907052 606949070526 N I MELLENCAMP SCARECROW B000451202 602498812396 N I JOHN (COUGAR) REDMAN DARE IZ A DARKSIDE 3145238462 731452384621 N I 3 DOORS DOWN ANOTHER 700 MILES B000160302 602498612477 AW I (LIVE) BON JOVI JON BLAZE OF GLORY 8464732 042284647328 N I MENDES GREATEST HITS CD3258 075021325821 N I SERGIO RICHIE LIONEL DANCING ON THE 4400383002 044003830028 N I CEILING (RE BIRDMAN FAST MONEY B000422002 602498801918 SP I SOUNDTRACK XANADU‐REMASTERED -
Nas, Affirmative Action (Feat
Nas, Affirmative Action (feat. AZ, Foxy Brown, and Cormega (The Firm)) [Intro: AZ] This is what... this what they want huh? This is what it's all about.. What? Time to take Affirmative Action son They just don't understand, youknowImean? Niggaz comin sideways thinkin stuff is sweet man Yknahmean? Niggaz don't understand the four devils: Lust.. Envy.. Hate.. Jealousy Wicked niggaz man [AZ the Visualiza] Yo, sit back relax catchin contacts, sip your cog-nac And let's all wash this money through this laundry mat Sneak attack, a new cat sit back, worth top dollar In fact, touch mines, and I'll react like a Rottweiler Who pull the late, we play for high stakes at gunpoint Catch em and break, undress em tie em with tape, no escape The Corleone, fettucini Capone Roam in your own zone or get kidnapped and clapped in your dome We got it sewn, The Firm art of war is unknown Lower your tone, face it, homicide cases get blown Aristocrats, politickin daily with diplomats See me I'm an official mack, Lex Coupe triple black [Cormega] Criminal thoughts in the blue Porsche, my destiny's to be the new boss That nigga Paulie gotta die - he too soft That nigga's dead on, a key of her-oin, they found his head on the couch with his dick in his mouth, I put the hit out Yo, the smoothest killer since Bugsy, bitches love me And Queens where my drugs be, I wear Guess jeans and rugbies Yo my people from Medina they will see you when you re-up on your heater all your cream go betweeen us Real shit, my Desert Eagle got a ill grip I chill with, niggaz that hit Dominican -
The Life & Rhymes of Jay-Z, an Historical Biography
ABSTRACT Title of Dissertation: THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 Omékongo Dibinga, Doctor of Philosophy, 2015 Dissertation directed by: Dr. Barbara Finkelstein, Professor Emerita, University of Maryland College of Education. Department of Teaching and Learning, Policy and Leadership. The purpose of this dissertation is to explore the life and ideas of Jay-Z. It is an effort to illuminate the ways in which he managed the vicissitudes of life as they were inscribed in the political, economic cultural, social contexts and message systems of the worlds which he inhabited: the social ideas of class struggle, the fact of black youth disempowerment, educational disenfranchisement, entrepreneurial possibility, and the struggle of families to buffer their children from the horrors of life on the streets. Jay-Z was born into a society in flux in 1969. By the time Jay-Z reached his 20s, he saw the art form he came to love at the age of 9—hip hop— become a vehicle for upward mobility and the acquisition of great wealth through the sale of multiplatinum albums, massive record deal signings, and the omnipresence of hip-hop culture on radio and television. In short, Jay-Z lived at a time where, if he could survive his turbulent environment, he could take advantage of new terrains of possibility. This dissertation seeks to shed light on the life and development of Jay-Z during a time of great challenge and change in America and beyond. THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 An historical biography: 1969-2004 by Omékongo Dibinga Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2015 Advisory Committee: Professor Barbara Finkelstein, Chair Professor Steve Klees Professor Robert Croninger Professor Derrick Alridge Professor Hoda Mahmoudi © Copyright by Omékongo Dibinga 2015 Acknowledgments I would first like to thank God for making life possible and bringing me to this point in my life. -
Sonic Jihadâ•Flmuslim Hip Hop in the Age of Mass Incarceration
FIU Law Review Volume 11 Number 1 Article 15 Fall 2015 Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt Follow this and additional works at: https://ecollections.law.fiu.edu/lawreview Part of the Other Law Commons Online ISSN: 2643-7759 Recommended Citation SpearIt, Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration, 11 FIU L. Rev. 201 (2015). DOI: https://dx.doi.org/10.25148/lawrev.11.1.15 This Article is brought to you for free and open access by eCollections. It has been accepted for inclusion in FIU Law Review by an authorized editor of eCollections. For more information, please contact [email protected]. 37792-fiu_11-1 Sheet No. 104 Side A 04/28/2016 10:11:02 12 - SPEARIT_FINAL_4.25.DOCX (DO NOT DELETE) 4/25/16 9:00 PM Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt* I. PROLOGUE Sidelines of chairs neatly divide the center field and a large stage stands erect. At its center, there is a stately podium flanked by disciplined men wearing the militaristic suits of the Fruit of Islam, a visible security squad. This is Ford Field, usually known for housing the Detroit Lions football team, but on this occasion it plays host to a different gathering and sentiment. The seats are mostly full, both on the floor and in the stands, but if you look closely, you’ll find that this audience isn’t the standard sporting fare: the men are in smart suits, the women dress equally so, in long white dresses, gloves, and headscarves. -
The A-Z of Brent's Black Music History
THE A-Z OF BRENT’S BLACK MUSIC HISTORY BASED ON KWAKU’S ‘BRENT BLACK MUSIC HISTORY PROJECT’ 2007 (BTWSC) CONTENTS 4 # is for... 6 A is for... 10 B is for... 14 C is for... 22 D is for... 29 E is for... 31 F is for... 34 G is for... 37 H is for... 39 I is for... 41 J is for... 45 K is for... 48 L is for... 53 M is for... 59 N is for... 61 O is for... 64 P is for... 68 R is for... 72 S is for... 78 T is for... 83 U is for... 85 V is for... 87 W is for... 89 Z is for... BRENT2020.CO.UK 2 THE A-Z OF BRENT’S BLACK MUSIC HISTORY This A-Z is largely a republishing of Kwaku’s research for the ‘Brent Black Music History Project’ published by BTWSC in 2007. Kwaku’s work is a testament to Brent’s contribution to the evolution of British black music and the commercial infrastructure to support it. His research contained separate sections on labels, shops, artists, radio stations and sound systems. In this version we have amalgamated these into a single ‘encyclopedia’ and added entries that cover the period between 2007-2020. The process of gathering Brent’s musical heritage is an ongoing task - there are many incomplete entries and gaps. If you would like to add to, or alter, an entry please send an email to [email protected] 3 4 4 HERO An influential group made up of Dego and Mark Mac, who act as the creative force; Gus Lawrence and Ian Bardouille take care of business. -
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. -
The Evolution of Commercial Rap Music Maurice L
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research. -
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. -
Spanglish En Canciones Populares Spanglish in Popular Music Magisterská Diplomová Práce
UNIVERZITA PALACKÉHO V OLOMOUCI Filozofická fakulta Katedra romanistiky Spanglish en canciones populares Spanglish in popular music Magisterská diplomová práce Autor: Bc. Markéta Rokosová Vedoucí práce: Mgr. Radim Zámec, Ph. D. Olomouc 2020 Prohlášení Prohlašuji, že jsem tuto bakalářskou diplomovou práci vypracovala samostatně pod odborným vedením Mgr. Radima Zámce, Ph. D. a uvedla v ní veškerou literaturu a ostatní zdroje, které jsem použila. V Olomouci dne ................................. Podpis……………………………… Poděkování Děkuji vedoucímu mé diplomové práce panu Mgr. Radimovi Zámcovi, Ph.D. za odborné vedení, za pomoc a rady při zpracování této práce. Obsah Introducción ........................................................................................................................... 6 1. Spanglish y su definición ............................................................................................. 8 2. Características de Spanglish ....................................................................................... 10 2.1. Fenómenos lingüísticos .................................................................................... 10 2.1.1. Los préstamos ....................................................................................... 10 2.1.2. Calcos .................................................................................................... 11 2.1.3. El cambio de código ............................................................................. 11 2.2. Español vestigial .............................................................................................. -
An AZ of Merton's Black Heritage
An A-Z of Merton’s Black Heritage: Part Two. MUSIC: Merton musical associations. SLICK RICK ( real name Richard Walters. ) Of Jamaican heritage, Rick was born in Mitcham in 1965 and sadly blinded in one eye during childhood. In 1976 his family emigrated, settling in the Bronx district of New York. After studying at the Laguardia High School of Music & Art, Rick began rapping and beat-boxing as part of the Get Fresh Crew. Then known as MC Ricky D, Walters appeared alongside Doug E Fresh on “Top of the Pops” and “Soul Train,” performing their hit singles “The Show” and ”La Di Da Di.” In 1986 Rick joined the leading rap/hip-hop label Def Jam Records. His album The Great Adventures of Slick Rick” reached No. 1 in the Billboard R&B/Hip-hop chart. After a five year jail term for injuring his bodyguard cousin ( and a passer-by, ) who had been extorting money and threatening his family, Rick released a further two albums but these had mixed reviews. His fourth album “The Art of Storytelling” was released in 1999 to critical acclaim and featured collaborations with OutKast, Raekwon and Snoop Dog. He has also worked with Will.i.am. After reforming his behaviour, Rick was pardoned of former charges and given U S citizenship. He now mentors youngsters against violence and supports humanitarian charities. (Left ) Slick Rick pictured during the late 1980s and ( right ) performing in Los Angeles in 2009. YOUNG MC ( Real name Marvin Young ) A Hip-hop, rapper and producer, Marvin is the son of Jamaican immigrants and was born in South Wimbledon in May 1967.