She's the DJ, I'm the Rapper
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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). -
The Theme Park As "De Sprookjessprokkelaar," the Gatherer and Teller of Stories
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2018 Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories Carissa Baker University of Central Florida, [email protected] Part of the Rhetoric Commons, and the Tourism and Travel Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Baker, Carissa, "Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories" (2018). Electronic Theses and Dissertations, 2004-2019. 5795. https://stars.library.ucf.edu/etd/5795 EXPLORING A THREE-DIMENSIONAL NARRATIVE MEDIUM: THE THEME PARK AS “DE SPROOKJESSPROKKELAAR,” THE GATHERER AND TELLER OF STORIES by CARISSA ANN BAKER B.A. Chapman University, 2006 M.A. University of Central Florida, 2008 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Arts and Humanities at the University of Central Florida Orlando, FL Spring Term 2018 Major Professor: Rudy McDaniel © 2018 Carissa Ann Baker ii ABSTRACT This dissertation examines the pervasiveness of storytelling in theme parks and establishes the theme park as a distinct narrative medium. It traces the characteristics of theme park storytelling, how it has changed over time, and what makes the medium unique. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
DJ Jazzy Jeff and the Fresh Prince I Think I Can Beat Mike
D.J. Jazzy Jeff And The Fresh Prince I Think I Can Beat Mike Tyson mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: I Think I Can Beat Mike Tyson Country: US Released: 1989 MP3 version RAR size: 1790 mb FLAC version RAR size: 1468 mb WMA version RAR size: 1773 mb Rating: 4.6 Votes: 757 Other Formats: AIFF DXD AC3 WAV MOD AHX AU Tracklist Hide Credits I Think I Can Beat Mike Tyson (Extended Remix) A1 7:06 Remix – Def Geoff Hunt* I Think I Can Beat Mike Tyson (Radio Mix) A2 4:56 Remix – Def Geoff Hunt* A3 I Think I Can Beat Mike Tyson (Instrumental) 4:56 I Think I Can Beat Mike Tyson (LP Version) B1 4:46 Remix – Def Geoff Hunt* Jeff Waz On The Beat Box (Extended Remix) B2 5:10 Remix – D.J. Jazzy Jeff*, Joe "The Butcher" Nicolo B3 Jeff Waz On The Beat Box (Instrumental) 5:39 Companies, etc. Recorded At – Compass Point Studios Recorded At – Kajem/Victory Studios — Victory East, Philadelphia, PA Mixed At – Kajem/Victory Studios — Victory East, Philadelphia, PA Credits Engineer – D.J. Jazzy Jeff*, Nigel Green Mixed By – D.J. Jazzy Jeff*, Nigel Green Producer – D.J. Jazzy Jeff & The Fresh Prince*, Nigel Green, Pete Q. Harris Notes Recorded at Compass Point Studios. The Bahamas and Kajem Victory. Philadelphia PA. Mixed at Kajem Victory. Philadelphia PA. Other versions Category Artist Title (Format) Label Category Country Year D.J. Jazzy Jeff JIVET 225, JIVE I Think I Can Beat Jive, JIVET 225, JIVE UK & And The Fresh 1989 T 225 Mike Tyson (12") Jive T 225 Europe Prince* D.J. -
The Evolution of Graffiti Art
Journal of Conscious Evolution Volume 11 Article 1 Issue 11 Issue 11/ 2014 June 2018 From Primitive to Integral: The volutE ion of Graffiti Art White, Ashanti Follow this and additional works at: https://digitalcommons.ciis.edu/cejournal Part of the Clinical Psychology Commons, Cognition and Perception Commons, Cognitive Psychology Commons, Critical and Cultural Studies Commons, Family, Life Course, and Society Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, Liberal Studies Commons, Social and Cultural Anthropology Commons, Social and Philosophical Foundations of Education Commons, Social Psychology Commons, Sociology of Culture Commons, Sociology of Religion Commons, and the Transpersonal Psychology Commons Recommended Citation White, Ashanti (2018) "From Primitive to Integral: The vE olution of Graffiti Art," Journal of Conscious Evolution: Vol. 11 : Iss. 11 , Article 1. Available at: https://digitalcommons.ciis.edu/cejournal/vol11/iss11/1 This Article is brought to you for free and open access by the Journals and Newsletters at Digital Commons @ CIIS. It has been accepted for inclusion in Journal of Conscious Evolution by an authorized editor of Digital Commons @ CIIS. For more information, please contact [email protected]. : From Primitive to Integral: The Evolution of Graffiti Art Journal of Conscious Evolution Issue 11, 2014 From Primitive to Integral: The Evolution of Graffiti Art Ashanti White California Institute of Integral Studies ABSTRACT Art is about expression. It is neither right nor wrong. It can be beautiful or distorted. It can be influenced by pain or pleasure. It can also be motivated for selfish or selfless reasons. It is expression. Arguably, no artistic movement encompasses this more than graffiti art. -
Turntablism and Audio Art Study 2009
TURNTABLISM AND AUDIO ART STUDY 2009 May 2009 Radio Policy Broadcasting Directorate CRTC Catalogue No. BC92-71/2009E-PDF ISBN # 978-1-100-13186-3 Contents SUMMARY 1 HISTORY 1.1-Defintion: Turntablism 1.2-A Brief History of DJ Mixing 1.3-Evolution to Turntablism 1.4-Definition: Audio Art 1.5-Continuum: Overlapping definitions for DJs, Turntablists, and Audio Artists 1.6-Popularity of Turntablism and Audio Art 2 BACKGROUND: Campus Radio Policy Reviews, 1999-2000 3 SURVEY 2008 3.1-Method 3.2-Results: Patterns/Trends 3.3-Examples: Pre-recorded music 3.4-Examples: Live performance 4 SCOPE OF THE PROBLEM 4.1-Difficulty with using MAPL System to determine Canadian status 4.2- Canadian Content Regulations and turntablism/audio art CONCLUSION SUMMARY Turntablism and audio art are becoming more common forms of expression on community and campus stations. Turntablism refers to the use of turntables as musical instruments, essentially to alter and manipulate the sound of recorded music. Audio art refers to the arrangement of excerpts of musical selections, fragments of recorded speech, and ‘found sounds’ in unusual and original ways. The following paper outlines past and current difficulties in regulating these newer genres of music. It reports on an examination of programs from 22 community and campus stations across Canada. Given the abstract, experimental, and diverse nature of these programs, it may be difficult to incorporate them into the CRTC’s current music categories and the current MAPL system for Canadian Content. Nonetheless, turntablism and audio art reflect the diversity of Canada’s artistic community. -
Hip-Hop's Diversity and Misperceptions
The University of Maine DigitalCommons@UMaine Honors College Summer 8-2020 Hip-Hop's Diversity and Misperceptions Andrew Cashman Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Music Commons, and the Social and Cultural Anthropology Commons This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. HIP-HOP’S DIVERSITY AND MISPERCEPTIONS by Andrew Cashman A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Anthropology) The Honors College University of Maine August 2020 Advisory Committee: Joline Blais, Associate Professor of New Media, Advisor Kreg Ettenger, Associate Professor of Anthropology Christine Beitl, Associate Professor of Anthropology Sharon Tisher, Lecturer, School of Economics and Honors Stuart Marrs, Professor of Music 2020 Andrew Cashman All Rights Reserved ABSTRACT The misperception that hip-hop is a single entity that glorifies wealth and the selling of drugs, and promotes misogynistic attitudes towards women, as well as advocating gang violence is one that supports a mainstream perspective towards the marginalized.1 The prevalence of drug dealing and drug use is not a picture of inherent actions of members in the hip-hop community, but a reflection of economic opportunities that those in poverty see as a means towards living well. Some artists may glorify that, but other artists either decry it or offer it as a tragic reality. In hip-hop trends build off of music and music builds off of trends in a cyclical manner. -
Actors Anonymous of Legion the Watching from Thrill Different a Be Will That Me, for But, Audience
NOTES FROM THE DREAM FACTORY BY TOM ROSTON he first met when they were both in the 2002 Broadway play Burn This. And although we’re talking about Burrell, Norton might as well be speaking about his own brilliant debut in 1996’s Primal Fear, when he, seemingly out of nowhere, rocketed to recognition. “It is a very particular kind of excitement,” he says. “There is no sense of the artifice. That’s what’s really thrilling.” I am always hoping for pure moments when I watch a movie: those times when my disbelief is so entirely suspended that I forget that I’m watching one. Going into a theater, I often feel overwhelmed with baggage—who the main actor slept with last week, how the director mortgaged his house to get the movie made, and how the production designer only used three shades of green on the set. It even bugs me that once I like a director or an actor, I expect something from him or her, and so the work has an added layer of self-consciousness. When the lights go down, it’s hard to wash the slate entirely clean and just watch. That’s why my eyes tend to drift toward the margins for something surprising. And, often, I see it in an actor whom I know nothing about, and who brings something deeper and richer to his character even though he may have just two minutes of screen time. This may seem random (and that’s the point), but do you remember in the Will Smith movie Hitch, which I just caught on DVD, that there’s this misogynist asshole who is, well, such an asshole? Actor Jeffrey Donovan gets it just right. -
Cue Point Aesthetics: the Performing Disc Jockey In
CUE POINT AESTHETICS: THE PERFORMING DISC JOCKEY IN POSTMODERN DJ CULTURE By Benjamin De Ocampo Andres A Thesis Presented to The Faculty of Humboldt State University In Partial Fulfillment of the Requirements for the Degree Master of Arts in Sociology Committee Membership Dr. Jennifer Eichstedt, Committee Chair Dr. Renee Byrd, Committee Member Dr. Meredith Williams, Committee Member Dr. Meredith Williams, Graduate Coordinator May 2016 ABSTRACT CUE POINT AESTHETICS: THE PERFORMING DISC JOCKEY IN POSTMODERN DJ CULTURE Benjamin De Ocampo Andres This qualitative research explores how social relations and intersections of popular culture, technology, and gender present in performance DJing. The methods used were interviews with performing disc jockeys, observations at various bars, and live music venues. Interviews include both women and men from varying ages and racial/ethnic groups. Cultural studies/popular culture approaches are utilized as the theoretical framework, with the aid of concepts including resistance, hegemony, power, and subcultures. Results show difference of DJ preference between analog and digital formats. Gender differences are evident in performing DJ's experiences on and off the field due to patriarchy in the DJ scene. ii ACKNOWLEDGEMENTS First and Foremost, I would like to thank my parents and immediate family for their unconditional support and love. You guys have always come through in a jam and given up a lot for me, big up. To "the fams" in Humboldt, you know who you are, thank you so much for holding me down when the time came to move to Arcata, and for being brothers from other mothers. A shout out to Burke Zen for all the jokes cracked, and cigarettes smoked, at "Chinatown." You help get me through this and I would have lost it along time ago. -
The Mixtape: a Case Study in Emancipatory Journalism
ABSTRACT Title of Dissertation: THE MIXTAPE: A CASE STUDY IN EMANCIPATORY JOURNALISM Jared A. Ball, Doctor of Philosophy, 2005 Directed By: Dr. Katherine McAdams Associate Professor Philip Merrill College of Journalism Associate Dean, Undergraduate Studies During the 1970s the rap music mixtape developed alongside hip-hop as an underground method of mass communication. Initially created by disc-jockeys in an era prior to popular “urban” radio and video formats, these mixtapes represented an alternative, circumventing traditional mass medium. However, as hip-hop has come under increasing corporate control within a larger consolidated media ownership environment, so too has the mixtape had to face the challenge of maintaining its autonomy. This media ownership consolidation, vertically and horizontally integrated, has facilitated further colonial control over African America and has exposed as myth notions of democratizing media in an undemocratic society. Acknowledging a colonial relationship the writer created FreeMix Radio: The Original Mixtape Radio Show where the mixtape becomes both a source of free cultural expression and an anti-colonial emancipatory journalism developed as a “Third World” response to the needs of postcolonial nation-building. This dissertation explores the contemporary colonizing effects of media consolidation, cultural industry function, and copyright ownership, concluding that the development of an underground press that recognizes the tremendous disparities in advanced technological access (the “digital divide”) appears to be the only viable alternative. The potential of the mixtape to serve as a source of emancipatory journalism is studied via a three-pronged methodological approach: 1) An explication of literature and theory related to the history of and contemporary need for resistance media, 2) an analysis of the mixtape as a potential underground mass press and 3) three focus group reactions to the mixtape as resistance media, specifically, the case study of the writer’s own FreeMix Radio: The Original Mixtape Radio Show. -
Confessions of a Black Female Rapper: an Autoethnographic Study on Navigating Selfhood and the Music Industry
Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-8-2020 Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry Chinwe Salisa Maponya-Cook Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation Maponya-Cook, Chinwe Salisa, "Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry." Thesis, Georgia State University, 2020. https://scholarworks.gsu.edu/aas_theses/66 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CONFESSIONS OF A BLACK FEMALE RAPPER: AN AUTOETHNOGRAPHIC STUDY ON NAVIGATING SELFHOOD AND THE MUSIC INDUSTRY by CHINWE MAPONYA-COOK Under the DireCtion of Jonathan Gayles, PhD ABSTRACT The following research explores the ways in whiCh a BlaCk female rapper navigates her selfhood and traditional expeCtations of the musiC industry. By examining four overarching themes in the literature review - Hip-Hop, raCe, gender and agency - the author used observations of prominent BlaCk female rappers spanning over five deCades, as well as personal experiences, to detail an autoethnographiC aCCount of self-development alongside pursuing a musiC career. MethodologiCally, the author wrote journal entries to detail her experiences, as well as wrote and performed an aCCompanying original mixtape entitled The Thesis (available on all streaming platforms), as a creative addition to the research. -
Floetry to Feat Rap Artist Common on Supastar
Floetry To Feat Rap Artist Common on SupaStar Written by Robert ID1831 Tuesday, 23 August 2005 06:50 - It's more than their beauty. It’s more than the passionate vocals of Marsha Ambrosius (the Songstress) and elegant spoken word of Natalie Stewart (the Floacist) that has fans captivated everywhere since FLOETRY first stepped on stage. The dynamic duo's incredible success is deeply rooted in their ability to appeal to all ages, races and genres of music lovers. The proof is in their long list of accolades and demand for appearances: six Grammy nods, six Soul Train awards perched on their mantle, a NAACP nomination for Outstanding New Artist, a standing ovation at BET's Walk of Fame: Tribute to Smokey Robinson, impressionable performances at the Essence Music Festival & Def Poetry Jam (HBO). FLOETRY known to make music that speaks to listeners'' mind, body, and soul are now ready to release a masterpiece to stand the test of time and raise the bar in music with their third CD Flo''Ology on Geffen Records. Plus, they''ve enlisted super producer Scott Storch and Hip-Hop's savior rap artist Common on their 1st single, "SupaStar". Fresh off the Kool Philosophy Tour with The Roots and the Sugar Water Festival Tour alongside Queen Latifah, Erykah Badu and Jill Scott, FLOETRY are quick to point out the differences between Flo''Ology and the topics covered on their 6X Grammy-nominated debut Floetic and its follow-up, Floacism (Live). This time, the duo's lyrics more specifically span the spectrum of romantic relationships.