Gods Behind Bars: Prison Gangs, Due Process, and the First Amendment Justin L
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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. -
Evolution of the Usage of the N-Word in Popular American Rap Music (1990-2019)
FACULTY OF ARTS Evolution of the Usage of the N-word in Popular American Rap Music (1990-2019) Bachelor's thesis FILIP LEITGEB Supervisor: Jeffrey Alan Vanderziel, B.A. Department of English and American Studies English Language and Literature Brno 2021 EVOLUTION OF THE USAGE OF THE N-WORD IN POPULAR AMERICAN RAP MUSIC (1990- 2019) Bibliografický záznam Autor: Filip Leitgeb Filozofická fakulta Masarykova univerzita Department of English and American Studies Název práce: Evolution of the Usage of the N-word in Popular American Rap Music (1990-2019) Studijní program: FF B-FI Filologie Studijní obor: Chyba! Nenalezen zdroj odkazů. Vedoucí práce: Jeffrey Alan Vanderziel, B.A. Rok: 2021 Počet stran: 126 Klíčová slova: hip-hop, n-word, evolution, usage, rap, American, USA, 1990s, 2000s, 2010s 2 EVOLUTION OF THE USAGE OF THE N-WORD IN POPULAR AMERICAN RAP MUSIC (1990- 2019) Bibliographic record Author: Filip Leitgeb Faculty of Arts Masaryk University Department of English and American Studies Title of Thesis: Evolution of the Usage of the N-word in Popular American Rap Music (1990-2019) Degree Programme: FF B-FI Philology Field of Study: Chyba! Nenalezen zdroj odkazů. Supervisor: Jeffrey Alan Vanderziel, B.A. Year: 2021 Number of Pages: 126 Keywords: hip-hop, n-slovo, vývoj, použití, rap, Spojené státy americké, 1990, 2000, 2019 3 EVOLUTION OF THE USAGE OF THE N-WORD IN POPULAR AMERICAN RAP MUSIC (1990- 2019) Anotace Tato bakalářská práce se zabývá rozborem textů populárních amerických rapových skladeb v letech 1990-2019 za účelem zjištění, jakým způsobem se v nich měnilo pou- žití tzv. n-slov (nigger, nigga, negro) a jejich derivátů. -
The Origins of Iconic Images from NYC's Musical History Explained
COLUMNS COLUMNS LANDMARKS THE THE BRONX The places, spaces, MARCY HOTEL and monuments of NYC's musical past, in 2005, after gentrification made significant in- present, and future. roads into Williamsburg, Marcy Avenue was still, in the A column on words of Wolf + Lamb’s Zev Eisenberg, “a dump.” But the gear and the fledging party crew saw the potential for a future PAST FEATURED LANDMARKS 1 MAX NEUHAUS’ "TIMES SQUARE" processes that inform headquarters when they leased a squat brick building, 2 THE THING SECONDHAND STORE once a machine shop, at the intersection of the Williams- the music we make. 3 THE LOFT burg Bridge and the Brooklyn-Queens Expressway. This three-story structure, the color of benign neglect, would become the Marcy Hotel. 1 But Zev (“Wolf”) and his DJ/producer/label part- ner Gadi “Lamb” Mizrahi, both native Brooklynites, saw what the rest of the world didn’t: a perfect spot for QUEENS late-night soirees, the noise of which—minimal tech- no, house, and a grab bag of eclectic sounds—would be masked by the cars roaring overhead. They gut-renovat- 2 ed the space using found materials as décor, a 1920s noir style emerging after they looted a crumbling old theater 3 a friend had purchased upstate. Old film strips made MANHATTAN for a partition by the entrance, and giant film-rewinding spools were set with lights and pronounced chandeliers. The sub-class of audio snake-oil sales- Initially Zev and Gadi had a wine-bar concept for the men has it easy. Not because we’re all easy space, but that idea was jettisoned after a trial run. -
Top 20 Albums of 2017 (Because 10 Wasn't Enough)
Top 20 Albums of 2017 (Because 10 Wasn’t Enough) To say that 2017 was a wild year for music is a vast understatement. As a reaction to the current administration in the White House, various musicians took a political stance to oppose the views of a president with questionable values. Ranging from singer-songwriters like Wilco’s Jeff Tweedy to major bands like the Foo Fighters, there were numerous acts that wrote songs about the current political and social landscape. The music world was also shaken by the passing of legends Tom Petty, The Tragically Hip’s Gordon Downie, Chris Cornell, Fats Domino, Chuck Berry and Gregg Allman. This year has shown that music can still be a reflection of the times, despite how scary these times may be. In Providence, the local music scene has seen people from various ethnic backgrounds and different orientations starting bands. Whether it’s hip-hop, punk, metal, folk or anything in between, it’s adding a glorious dose of diversity to a community that prides itself on being so. The music scene has also been resilient despite the closing of a few venues: RIP Lupo’s Heartbreak Hotel, Aurora and Firehouse 13. There are a lot of questions being asked about the sustainability of the city’s music, art and culture, and we’re still waiting on the answers. With all of this being said, here are my Top 20 Albums of 2017 (Because 10 Wasn’t Enough). 20. SydeSho – SydeSho the Maestro (self-released) SydeSho the Maestro by SydeSho Providence native Oliver Arias, also known as SydeSho, is a blast from the past in terms of hip-hop. -
The Politics of the Cipher: Hip-Hop, Antiphony and Multiculturalism Bharath Ganesh University College London
The politics of the cipher: hip-hop, antiphony and multiculturalism Bharath Ganesh University College London (UCL) Department of Geography Thesis submitted for the degree of Doctor of Philosophy September 2016 I, Bharath Ganesh, confirm that work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Abstract This project explores the incipient forms of multiculture present in the musical publics assembled by hip-hop music and culture based on ethnography of a university student group, S4HH (Students for Hip-hop). I position the cipher (a circle of people rapping together) as the diagram of the ethics and politics of hip-hop listening. The primary aesthetic feature of the cipher is antiphony or call-and-response musicality. However, affect in hip-hop musical publics goes beyond aesthetics; it catalyses ethical and political responses. My methods add detail on the varied socialites of listening to the literature on hip-hop studies. I develop antiphony as a unique event that shatters identity and cultivates ethical subjectivities that are constituted in cycles of affect and response between self and other. This argument is based on writings on antiphony from Wole Soyinka, Toni Morrison, Henry Louis Gates Jr., and Paul Gilroy. This work helps operationalise the concepts ‘event’, ‘self’, ‘other’, ‘body’, and ‘community’ in the work of Emmanuel Levinas, Gilles Deleuze, and Jean-Luc Nancy for mapping the ethics and politics of antiphony in hip-hop listening. My study of antiphonal relations illuminates the ethics and politics of bodily response to the material distribution and circulation of affect in hip-hop spaces. -
“My Logo Is Branded on Your Skin”: the Wu-Tang Clan, Authenticity, Black Masculinity, and the Rap Music Industry
“MY LOGO IS BRANDED ON YOUR SKIN”: THE WU-TANG CLAN, AUTHENTICITY, BLACK MASCULINITY, AND THE RAP MUSIC INDUSTRY By Ryan Alexander Huey A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of History – Master of Arts 2014 ABSTRACT “MY LOGO IS BRANDED ON YOUR SKIN”: THE WU-TANG CLAN, AUTHENTICITY, BLACK MASCULINITY, AND THE RAP MUSIC INDUSTRY By Ryan Alexander Huey The rap group, the Wu-Tang Clan came out of a turbulent period of time in both the rap music industry and American society in the early 1990s. Lawsuits over sampling in rap music forced producers to rethink the ways they made music while crack cocaine and the War on Drugs wreaked havoc in urban communities across the nation, as it did in the Clan’s home borough of Staten Island, New York. Before the formation of the group, Gary “GZA” Grice, had managed to land a recording contract as a solo artist, but his marketing was mismanaged and his career stagnated. He returned in 1992 as one of the nine member collective, who billed themselves as kung fu movie buffs melding low-fi, eerie productions with realistic raps about ghetto life. Drawing from the vibrant underground rap scene of New York City in the 1970s and 1980s, Brooklyn’s rich African American chess tradition, the teachings of the Five Percenters, and the cult following for Hong Kong action cinema, the Clan became a huge hit across the country. Each member fashioned a unique masculine identity for himself, bolstering their hardcore underground image while pushing the boundaries of acceptable expressions of manhood in rap music. -
The Beautiful Struggle: an Analysis of Hip-Hop Icons, Archetypes and Aesthetics
THE BEAUTIFUL STRUGGLE: AN ANALYSIS OF HIP-HOP ICONS, ARCHETYPES AND AESTHETICS ________________________________________________________________________ A Dissertation Submitted to the Temple University Graduate Board ________________________________________________________________________ in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ________________________________________________________________________ by William Edward Boone August, 2008 ii © William Edward Boone 2008 All Rights Reserved iii ABSTRACT The Beautiful Struggle: an Analysis of Hip-Hop Icons, Archetypes and Aesthetics William Edward Boone Doctor of Philosophy Temple University, 2008 Doctoral Advisory Committee Chair: Nathaniel Norment, Ph.D. Hip hop reached its thirty-fifth year of existence in 2008. Hip hop has indeed evolved into a global phenomenon. This dissertation is grounded in Afro-modern, Afrocentric and African-centered theory and utilizes textual and content analysis. This dissertation offers a panoramic view of pre-hip hop era and hip hop era icons, iconology, archetypes and aesthetics and teases out their influence on hip hop aesthetics. I identify specific figures, movements and events within the context of African American and American folk and popular culture traditions and link them to developments within hip hop culture, iconography, and aesthetics. Chapter 1 provides an introduction, which includes a definition of terms, statement of the problem and literature review. It also offers a perfunctory discussion of hip hop -
The Values of Independent Hip-Hop in the Post-Golden Era Hip-Hop’S Rebels
The Values of Independent Hip-Hop in the Post-Golden Era Hip-Hop’s Rebels Christopher Vito The Values of Independent Hip-Hop in the Post-Golden Era Christopher Vito The Values of Independent Hip-Hop in the Post-Golden Era Hip-Hop’s Rebels Christopher Vito Southwestern College Chula Vista, CA, USA ISBN 978-3-030-02480-2 ISBN 978-3-030-02481-9 (eBook) https://doi.org/10.1007/978-3-030-02481-9 Library of Congress Control Number: 2018958592 © The Editor(s) (if applicable) and The Author(s) 2019. This book is an open access publication. Open Access This book is licensed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made. The images or other third party material in this book are included in the book’s Creative Commons license, unless indicated otherwise in a credit line to the material. If material is not included in the book’s Creative Commons license and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifc statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. -
One Hundred Years of L'enseignement Mathématique
One Hundred Years of L'Enseignement Mathematique Moments of Mathematics Education in the Twentieth Century Proceedings of the EM±ICMI Symposium Geneva, 20±22 October 2000 edited by Daniel CORAY, Fulvia FURINGHETTI, Hel eneÁ GISPERT, Bernard R. HODGSON and Gert SCHUBRING L'ENSEIGNEMENT MATHEMA TIQUE GenevÁ e Ð 2003 c 2003 L'Enseignement Mathematique , GenevÁ e Tous droits de traduction et de reproduction reserv es pour tous pays ISSN : 0425-0818 Ð ISBN : 2-940264-06-6 TABLE OF CONTENTS List of participants . 5 The Authors . 6 INTRODUCTION : DANIEL CORAY ± BERNARD R. HODGSON . 9 L'ENSEIGNEMENT MATHEMA TIQUE : BIRTH AND STAKES FULVIA FURINGHETTI Mathematical instruction in an international perspective : the con- tribution of the journal L'Enseignement Mathematique . 19 GERT SCHUBRING L'Enseignement Mathematique and the ®rst International Commis- sion (IMUK) : the emergence of international communication and cooperation . 47 GILA HANNA Journals of mathematics education, 1900±2000 . 67 REACTION : JEAN-PIERRE BOURGUIGNON . 85 GENERAL DISCUSSION (reported by CHRIS WEEKS) . 89 GEOMETRY RUDOLPH BKOUCHE La geom etrie dans les premieresÁ annees de la revue L'Enseignement Mathematique . 95 GEOFFREY HOWSON Geometry : 1950±70 . 113 COLETTE LABORDE Geom etrie ± Periode 2000 et apresÁ . 133 REACTION : NICOLAS ROUCHE . 155 GENERAL DISCUSSION (reported by MARTA MENGHINI) . 160 4 EM±ICMI SYMPOSIUM ANALYSIS JEAN-PIERRE KAHANE L'enseignement du calcul differentiel et integral au deb ut du vingtiemeÁ siecleÁ . 167 MAN-KEUNG SIU Learning and teaching of analysis in the mid twentieth century : a semi-personal observation . 179 LYNN STEEN Analysis 2000 : challenges and opportunities . 191 REACTION : MICHELEÁ ARTIGUE . 211 GENERAL DISCUSSION (reported by MARTA MENGHINI) . -
“Our” Science: Hip Hop Epistemology in STEAM Education
From “They” Science to “Our” Science: Hip Hop Epistemology in STEAM Education Maurice E Dolberry A dissertation submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy University of Washington 2015 Committee: Geneva Gay, Chair Wayne Au Christopher Emdin Program Authorized to Offer Degree: College of Education ©Copyright 2015 Maurice E Dolberry University of Washington Abstract From “They” Science to “Our” Science: Hip Hop Epistemology in STEAM Education By Maurice E Dolberry University of Washington Chair of Supervisory Committee: Professor Geneva Gay College of Education Keywords: hip hop; science; math; critical race theory; epistemology; pedagogy Hip hop has moved from being considered a type of music into being understood as a culture in which a prominent type of music originates. Hip hop culture has a philosophy and epistemological constructs as well. This study analyzed those constructs to determine how conceptions of science factor in hip hop worldviews. Pedagogical models in culturally responsive teaching and Science, Technology, Engineering, Arts, and Mathematics (STEAM) education were also examined to discern their philosophical connections with hip hop culture. These connections were used to create two theoretical models. The first one, Hip Hop Science, described how scientific thought functions in hip hop culture. The second model, Hip Hop STEAM Pedagogy, proposes how hip hop culture can inform STEAM teaching practices. The study began by using Critical Race Theory to create a theoretical framework proposing how the two theoretical models could be derived from the philosophical and pedagogical concepts. Content analysis and narrative inquiry were used to analyze data collected from scholarly texts, hip hop songs, and interviews with hip hop-responsive educators. -
Baltimore Polytechnic Institute
1 Program Overview Baltimore Polytechnic Institute Baltimore Polytechnic Institute, founded in 1883, has maintained a standard of excellence for over 120 years and is a Blue Ribbon School of Excellence. Founded as a technical (engineering) school, Poly gives students an advanced education in mathematics and science. Poly students consistently maintain standardized test scores above state and national averages. The Poly faculty is comprised of highly qualified individuals who provide valuable insight into the subjects they teach. They work beyond the regular school hours running sports, clubs, and other extracurricular activities. Not only are the students and faculty among the best in the state, but the Poly Alumni Association is also of the highest caliber. Alumni invest countless hours and dollars in support of Poly, keeping the school strong. Jacqueline Williams, class of 1983, has been the director of Poly for five years and has done an exceptional job in bringing great heart and vision to this already prestigious school. The Ingenuity Project® A four-year program for capable and motivated students who excel in mathematics and science, the Ingenuity Project at Baltimore Polytechnic Institute began in 1997. In conjunction with fast-paced, content-rich mathematics and science classes taught by experienced teachers, research is emphasized through classroom activities and off-campus opportunities. To qualify for and remain in the Project, Ingenuity students must have excellent attendance, with no unexcused absences and attain an 80% average or higher in all coursework, including summer programs. Students are expected to maintain a demeanor that is respectful of others and reflects the importance of their school work. -
April 4,2011
Sounding Blackness· Affect and the Sonic Unconscious Bertolain Elysee Maya Nadkarni April 4,2011 I would like to thank Maya Nadkarni for her extraordinary guidance throughout this entire process - it is quite impossible to envision this work existing without her help. I would also like to thank Anthony Foy and Robin Wagner-Pacifici for engaging with and pushing my ideas, both regarding this paper and more generally. Matthew Goodman, Daniel Symonds, and Andy Forrest have played an especially critical role in keeping me sane and grounded during the rough patches. Finally, special thanks are also due to Kethy Jules-Elysee, my mother, and Daniel Elysee, my father, who have sponsored and supported this and every other proj ect I have undertaken. Table of Contents Abstract 4 Introduction 4 Chapter 1: Black Music, Structure, Meaning 12 Chapter 2: Recording Black Sounds 26 Chapter 3: Voice and the Sonic Unconscious 40 Conclusion 64 Bibliography 67 Abstract: This paper interrogates the relationship between the histories ofblack musical production in the United States and the evolution of sound recording technology since the late 19th century through its successive mediations. The development ofcertain devices, such as the phonograph and the tape recorder, facilitated the spread and documentation ofdifferent genres of African-American music, while the formal innovations ofthese genres, particularly hip-hop, have also directly informed and altered the course and use ofthese technologies. After providing this history, the paper looks to the voice through the lens ofwhat I term the sonic unconscious, hearkening to Walter Benjamin's concept of"unconscious optics" in his famous artwork essay - different mediations ofthe voice through sound technologies allow listeners to hear the voice in novel ways.