African American Musicians of the 1980S

Total Page:16

File Type:pdf, Size:1020Kb

African American Musicians of the 1980S African American Musicians of the 1980s How the politics of the decade influenced their music By Sharon Jones AMCS 273 Political Music Prior to the 1980s ● Baldwin believed that “black music was always inextricably bound to suffering, to the blues.” (Vogel, 2018) ○ “The music begins on the auction block” states Baldwin (Vogel, 2018) ● Black musicians have had a long history of writing music relating to their experiences and the 1970s still had plenty of material to inspire their lyrics ○ The Vietnam War, Nixon and the Watergate scandal, continuation of the Cold War, and the beginnings of a new conservative movement that continues into the 1980s ● Marvin Gaye’s “What’s Going On” expressed the frustration many felt at the time about racism, war, and drug abuse (Browne, 2020) ● Stevie Wonder’s “Living for the City” is a song about a boy who travels to the city only to be imprisoned for a crime he did not commit (Browne, 2020) ○ It referenced the beginnings of a new period of mass incarceration that would soon begin Prominent Political Events of the 1980s ● Fiscal policy that 1) Cut taxes, 2) Increased defense spending, 3) Cut federal spending on social programs such as food stamps, school lunch programs, and Medicaid (Berkeley, 2011) ○ This disproportionately affected those living in urban areas who were primarily African American (Vogel, 2018) ● War on Drugs and Mass incarceration ○ Anti-Drug Abuse Act of 1986- increased the federal funds in the fight against drugs and established mandatory minimums, which has been accredited with the racial disparities in prisons because of the difference in the minimum sentence for crack vs powder cocaine (NPR, 2011) ○ Prisoners under the Jurisdiction of State or Federal correctional authorities went from 314,457 in 1979 to 774,375 by 1990 (U.S. Department of Justice Bureau of Justice Statistics) ○ “In 1990, blacks accounted for 47% of State prisoners and 12% of the population” (U.S. Department of Justice Bureau of Justice Statistics) ● Inaction in response to the AIDS epidemic ○ Reagan did not utter the word AIDS until 1985, 5 years after taking office (Fitzsimons, 2018) ○ Rather than provide proper education, Reagan ruled in favor of abstinence-based education ○ According to the CDC, over 250,000 people died from AIDS over the course of the decade (HIV and AIDS --- United States, 1981--2000) Prince- “Sign O’ the Times” (1987) ● “In France a skinny man died of a big disease with a little name By chance his girlfriend came across a needle and soon she did the same At home there are seventeen-year-old boys and their idea of fun Is being in a gang called The Disciples, high on crack, totin' a machine gun” (Prince, 1987) ○ Prince talks about the AIDS epidemic and drug addiction. Reagan’s refusal to act upon the AIDS epidemic resulted in the deaths on over 200,000 Americans ● “My sister killed her baby 'cause she couldn't afford to feed it And we're sending people to the moon” (Prince, 1987) ○ This lyric references the cuts to many social programs like food stamps and welfare that Reagan put into effect. The government prioritizes things such as space exploration over the citizens. ○ Also a reference to Reagan’s villainization of “welfare queens” who were stigmatized as “poor black single mothers” who were “moochers of the welfare system” (Vogel, 2011) Grandmaster Flash and the Furious Five-“The Message” (1982) ● One of the first examples of politically conscious hip-hop ● This song was a scathing social commentary on what life was like for those living in inner city poverty, a situation that was only made worse during the 80s ● “The bill collectors, they ring my phone And scare my wife when I'm not home Got a bum education, double-digit inflation Can't take the train to the job, there's a strike at the station” (Grandmaster Flash and the Furious Five, 1982) ○ The policies that Reagan enacted during the 1980s hit urban communities, which were primarily black, the hardest ○ The lyrics reflect the conditions of urban African American communities as well as the lack of opportunity that existed within them ○ According to Joseph Vogel, “ by the end of the 1980s, nearly 50 percent of black children were living below the poverty line (Vogel, 2011) Public Enemy Much of Public Enemy’s discography is politically charged, so here are two examples “Black Steel in the Hour of Chaos” (1988) 911 is a Joke (1990) ● “They wanted me for their army or whatever ● Although it was released in 1990, the album was written in Picture me giving a damn, I said never 1989 and about the events of the decade ● “Now I dialed 911 a long time ago Here is a land that never gave a damn Don't you see how late they're reacting? About a brother like me and myself because they never did They only come and they come when they wanna” I wasn't with it but just that very minute it occurred to me (Public Enemy, 1990) The suckers had authority” (Public Enemy, 1988) ● “They don't care 'cause they stay paid anyway They treat you like an ace that can't beat a trey ● “Nevertheless, they could not understand that I'm a Black A no-use number with no-use people man And I could never be a veteran” (Public Enemy, 1988) If your life is on the line then you're dead today” (Public Enemy, 1990) ○ In a time with increased defence spending, this man ○ This song is about the lack of response to 911 calls does not want to serve the country because they in black communities because the paramedics will have never served him still make money regardless ○ Because he is black, he feels it would not be right for ○ Despite the over-policing in the same communities, him to also serve in the military the paramedics often did not respond to emergencies where someone could be saved Boogie Down Productions- “Stop the Violence” (1988) ● “It's just the presidents, and all the money they spent All the things they invent, and how their house is so immaculate They create missiles, my family's eating gristle Then they get upset when the press blows the whistle” ● “What's the solution, to stop all this confusion? Rewrite the constitution, change the drug which you're using Rewrite the constitution or the emancipation proclamation We fight inflation, yet the president's still on vacation (Boogie Down Productions, 1988) ○ Another reference to the poverty that many in black communities experience while the government continues to spend money on things like missiles ○ This song also singles out Reagan in multiple lyrics, namely how he was still on vacation as he reportedly spent 390 days on “vacation” (Robertson, 2014) ○ It also acknowledges how hard change will be in the country as many of the beliefs are ingrained within the very documents the country prides itself upon N.W.A.- “F*** tha Police” (1988) ● “F*** the police comin' straight from the underground A young n**** got it bad 'cause I'm brown And not the other color, so police think They have the authority to kill a minority” ● “F***in' with me 'cause I'm a teenager With a little bit of gold and a pager Searchin' my car, lookin' for the product Thinkin' every n**** is sellin' narcotics” (N.W.A., 1988) ○ This song took a much different tone than the other politically charged songs before it, the explicit lyrics expressed their frustration with the ramifications of the War on Drugs ○ It took aim specifically at police brutality and racial profiling that many African Americans experienced then and that continues today ○ It was one of the originators of the sub genre known as “gangster rap” that would carry over into the next decade Political Music Post 1980s ● The 1990s continued with the “tough on crime” mentality of the previous decade ○ Violent Crime Control Act and Law Enforcement Act of 1994 furthered mass incarceration which disproportionately affects African American men in the country ● Hip hop, much of which talked about police brutality, became the primary vehicle for the frustrations of the black community ● “Sound of Da Police” by KRS-One, prominent member of Boogie Down Productions, spoke about police brutality as well as the systematic oppression within the country ● “Trapped” by Tupac Shakur also referenced the systematic oppression that prevents those living in poverty from climbing out ○ Tupac had many songs that talked about his own personal struggles with poverty and oppression, but he also wrote lyrics to “celebrate blackness, women, and black women” in “Keep Your Head Up” (Ruiz, 2019) ○ This was a contradiction to what many critics had to say about the “violent and misogynistic” lyrics in “gangster rap” Works Cited Browne, David. 2020. “12 Great Seventies Soul Protest Classics.” Rolling Stone. Retrieved November 21, 2020 (https://www.rollingstone.com/music/music-features/seventies-protest-soul-classics-playlist-1071531/). Boogie Down Productions, 1988. Stop The Violence. [Online] New York City: Jive. Available at: <https://www.youtube.com/watch?v=q20s1DlMJXc> [Accessed 20 November 2020]. Fitzsimons, Tim. “LGBTQ History Month: The Early Days of America’s AIDS Crisis.” NBC News, NBC News, 15 Oct. 2018, www.nbcnews.com/feature/nbc-out/lgbtq-history-month-early-days-america-s-aids-crisis-n919701. Accessed 20 Nov. 2020. Grandmaster Flash and the Furious Five, 1982. The Message. [Online] Englewood: Sugar Hill Records. Available at: <https://www.youtube.com/watch?v=gYMkEMCHtJ4> [Accessed 20 November 2020]. HIV and AIDS --- United States, 1981--2000. 2020, www.cdc.gov/mmwr/preview/mmwrhtml/mm5021a2.htm.
Recommended publications
  • Derrick Bell: Godfather Provocateur André Douglas Pond Cummings University of Arkansas at Little Rock William H
    University of Arkansas at Little Rock William H. Bowen School of Law Masthead Logo Bowen Law Repository: Scholarship & Archives Faculty Scholarship 2012 Derrick Bell: Godfather Provocateur andré douglas pond cummings University of Arkansas at little Rock William H. Bowen School of Law, [email protected] Follow this and additional works at: https://lawrepository.ualr.edu/faculty_scholarship Part of the Judges Commons, Law and Race Commons, and the Legal Profession Commons Recommended Citation andré douglas pond cummings, Derrick Bell: Godfather Provocateur, 28 Harv. J. Racial & Ethnic Just. 51 (2012). This Article is brought to you for free and open access by Bowen Law Repository: Scholarship & Archives. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Bowen Law Repository: Scholarship & Archives. For more information, please contact [email protected]. DERRICK BELL: GODFATHER PROVOCATEUR andrg douglas pond cummings* I. INTRODUCTION Professor Derrick Bell, the originator and founder of Critical Race The- ory, passed away on October 5, 2011. Professor Bell was 80 years old. Around the world he is considered a hero, mentor, friend and exemplar. Known as a creative innovator and agitator, Professor Bell often sacrificed his career in the name of principles and objectives, inspiring a generation of scholars of color and progressive lawyers everywhere.' Bell resigned a tenured position on the Harvard Law School faculty to protest Harvard's refusal to hire and tenure women of color onto its law school
    [Show full text]
  • BROWNOUT Fear of a Brown Planet COOP AVAILABLE SHIPPING with PROMO POSTER
    BROWNOUT Fear Of A Brown Planet COOP AVAILABLE SHIPPING WITH PROMO POSTER KEY SELLING POINTS • Billboard premier: Brownout Delivers Funky Cover of Public Enemy’s ‘Fight the Power’ • Fear Of A Brown Planet follows The Elmatic Instrumentals and Enter The 37th Chamber in Fat Beats Records heralded stream of instrumental takes of hip hop classics • Brownout has released past albums with Ubiquity Records (Brown Sabbath) and enjoyed a stint backing the late legend Prince • Tour dates planned for the summer of 2018 DESCRIPTION ARTIST: Brownout Twenty-eight years ago, pissed-off 12-year-olds around the universe discovered TITLE: Fear Of A Brown Planet a new planet, a Black Planet. Public Enemy’s aggressive, Benihana beats and incendiary lyrics instilled fear among parents and teachers everywhere, even CATALOG: L-FB5185 / CD-FB5185 in the border town of Laredo, Texas, home of the future founders of the Latin- Funk-Soul-Breaks super group, Brownout. The band’s sixth full-length album LABEL: Fat Beats Records Fear of a Brown Planet is a musical manifesto inspired by Public Enemy’s GENRE: Psych-Funk/Hip-Hop music and revolutionary spirit. BARCODE: 659123518512 / 659123518529 Chuck D., the Bomb Squad, Flava Flav and the rest of the P.E. posse couldn’t possibly have expected that their golden-era hip hop albums would sow the FORMAT: LP / CD seeds for countless Public Enemy sleeper cells, one that would emerge nearly HOME MARKET: Austin, Texas three decades later in Austin, Texas. Greg Gonzalez (bass) remembers a kid back in junior high hipped him to the fact that Public Enemy’s “Bring the Noise” RELEASE: 5/25/2018 is built on James Brown samples, while a teenaged Beto Martinez (guitar) $17.98 / CH / $9.98 / AH alternated between metal and hip-hop in his walk-man, and Adrian Quesada LIST PRICE: (guitar/keys) remembers falling in love with Public Enemy’s sound at an early CASE QTY: LP 30 / CD 200/1 age.
    [Show full text]
  • The Role of Radicalism in African-American Protest Music
    “WE’D RATHER DIE ON OUR FEET THAN BE LIVIN’ ON OUR KNEES” THE ROLE OF RADICALISM IN AFRICAN-AMERICAN PROTEST MUSIC, 1960 – 1990: A CASE STUDY AND LYRICAL ANALYSIS Master’s Thesis in North American Studies Leiden University By Roos Fransen 1747045 10 June 2018 Supervisor: Dr. S.A. Polak Second reader: Dr. M.L. de Vries Contents Introduction 3 Chapter 1: Nina Simone and calling out racism 12 Chapter 2: James Brown, black emancipation and self-pride 27 Chapter 3: Public Enemy, black militancy and distrust of government and 40 media Conclusion 52 Works cited 56 2 Introduction The social importance of African-American music originates in the arrival of African slaves on the North American continent. The captured Africans transported to the British colonial area that would later become the United States came from a variety of ethnic groups with a long history of distinct and cultivated musical traditions. New musical forms came into existence, influenced by Christianity, yet strongly maintaining African cultural traditions. One of the most widespread early musical forms among enslaved Africans was the spiritual. Combining Christian hymns and African rhythms, spirituals became a distinctly African- American response to conditions on the plantations slaves were forced to work1. They expressed the slaves’ longing for spiritual and physical freedom, for safety from harm and evil, and for relief from the hardships of slavery. Many enslaved people were touched by the metaphorical language of the Bible, identifying for example with the oppressed Israelites of the Old Testament, as this spiritual Go Down Moses illustrates: Go down, Moses Way down in Egypt's land Tell old Pharaoh Let my people go2 The spiritual is inspired by Exodus 8:1, a verse in the Old Testament.
    [Show full text]
  • Torts: Cases and Context Volume One
    1 Torts: Cases and Context Volume One Eric E. Johnson Associate Professor of Law University of North Dakota School of Law eLangdell Press 2015 About the Author Eric E. Johnson is an Associate Professor of Law at the University of North Dakota. He has taught torts, intellectual property, sales, entertainment law, media law, sports law, employment law, and writing courses. He has twice been selected by students as the keynote speaker for UND Law’s graduation banquet. His writing on legal pedagogy has appeared in the Journal of Legal Education. With scholarly interests in science and risk, and in intellectual property, Eric’s publications include the Boston University Law Review, the University of Illinois Law Review, and New Scientist magazine. His work was selected for the Yale/Stanford/Harvard Junior Faculty Forum in 2013. Eric’s practice experience includes a wide array of business torts, intellectual property, and contract matters. As a litigation associate at Irell & Manella in Los Angeles, his clients included Paramount, MTV, CBS, Touchstone, and the bankruptcy estate of eToys.com. As in-house counsel at Fox Cable Networks, he drafted and negotiated deals for the Fox Sports cable networks. Eric received his J.D. cum laude from Harvard Law School in 2000, where he was an instructor of the first-year course in legal reasoning and argument. He received his B.A. with Highest and Special Honors from the Plan II program at the University of Texas at Austin. Outside of his legal career, Eric performed as a stand-up comic and was a top-40 radio disc jockey.
    [Show full text]
  • 1 Title Page Needs Pasted, Roman Numeral I [Not Shown]
    “IT’S BIGGER THAN HIP HOP”: POPULAR RAP MUSIC AND THE POLITICS OF THE HIP HOP GENERATION A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia In Partial Fulfillment of the Requirements for the Degree Master of Arts by DEREK EVANS Dr. Tola Pearce, Thesis Supervisor DECEMBER 2007 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled “IT’S BIGGER THAN HIP HOP”: POPULAR RAP MUSIC AND THE POLITICS OF THE HIP HOP GENERATION Presented by Derek J. Evans A candidate for the degree of Master of Arts, And hereby certify that, in their opinion, it is worthy of acceptance. ________________________________________ Professor Ibitola O. Pearce ________________________________________ Professor David L. Brunsma ________________________________________ Professor Cynthia Frisby …to Madilyn. ACKNOWLEDGEMENTS I wish to extend my unending gratitude to Dr. Tola Pearce for her support, guidance and, most of all, her patience. Many thanks to Dr. David Brunsma for providing me with fresh perspectives and for showing great enthusiasm about my project. I would like to thank Dr. Cynthia Frisby for helping me recognize gaps in my research and for being there during crunch-time. I would also like to thank my fellow sociology graduate students and colleagues for letting me bounce ideas off of them, for giving me new ideas and insights, and for pushing me to finish. Lastly, I would like to thank my wife Samantha for sticking by my side through it all. You are my rock. Shouts to Ice
    [Show full text]
  • Black Expressive Art, Resistant Cultural Politics, and the [Re] Performance of Patriotism Deborah Elizabeth Whaley University of Iowa
    Trotter Review Volume 17 Issue 1 Literacy, Expression and the Language of Article 4 Resistence 9-21-2007 Black Expressive Art, Resistant Cultural Politics, and the [Re] Performance of Patriotism Deborah Elizabeth Whaley University of Iowa Follow this and additional works at: http://scholarworks.umb.edu/trotter_review Part of the African American Studies Commons, Music Commons, and the Politics and Social Change Commons Recommended Citation Whaley, Deborah Elizabeth (2007) "Black Expressive Art, Resistant Cultural Politics, and the [Re] Performance of Patriotism," Trotter Review: Vol. 17: Iss. 1, Article 4. Available at: http://scholarworks.umb.edu/trotter_review/vol17/iss1/4 This Article is brought to you for free and open access by the William Monroe Trotter Institute at ScholarWorks at UMass Boston. It has been accepted for inclusion in Trotter Review by an authorized administrator of ScholarWorks at UMass Boston. For more information, please contact [email protected]. THE TROTTER REVIEW Black Expressive Art, Resistant Cultural Politics, and the [Re] Performance of Patriotism Deborah Elizabeth Whaley Introduction During World War I, the Boston editor William Monroe Trotter described black American patriotism as a cautious endeavor and America's willingness to participate in the World War while it turned its back on domestic issues as misguided. In an era when freedom bypassed most black women and men within the nation-state of America and in an era of mass lynching in the American South, he proclaimed that black Americans and the U.S. government might refocus their efforts on making the world safer for "Negroes." As historian Eric Foner reminds us, black Americans were aware of the limits of American proclamations of freedom that Trotter alludes to in his discussion of nationalist loyalty during war: It was among black Americans that the wartime language of freedom inspired the most exalted hopes.
    [Show full text]
  • Public Enemy's Views on Racism As Seen Trough Their Songlyrics Nama
    Judul : Public enemy's views on racism as seen trough their songlyrics Nama : Rasti Setya Anggraini CHAPTER I INTRODUCTION A. Background of Choosing The Subject Music has become the most popular and widespread entertainment product in the world. As the product of art, it has performed the language of emotions that can be enjoyed and understood universally. Music is also well known as a medium of expression and message delivering long before radio, television, and sound recordings are available. Through the lyrics of a song, musicians may express everything they want, either their social problems, political opinions, or their dislike toward something or someone. As we know, there are various music genres existed in the music industries nowadays : such as classic, rock, pop, jazz, folk, country, rap, etc. However, not all of them can be used to accommodate critical ideas for sensitive issues. Usually, criticism is delivered in certain music genre that popular only among specific community, where its audience feels personal connection with the issues being criticized. Hip-hop music belongs to such genre. It served as Black people’s medium 1 2 for expressing criticism and protest over their devastating lives and conditions in the ghettos. Yet, hip-hop succeeds in becoming the most popular mainstream music. The reason is this music, which later on comes to be synonym with rap, sets its themes to beats and rivets the audience with them. Therefore, for the audiences that do not personally connected with black struggle (like the white folks), it is kind of protect them from its provocative message, since “it is possible to dig the beats and ignore the words, or even enjoy the words and forget them when it becomes too dangerous to listen” (Sartwell, 1998).
    [Show full text]
  • To “Trauma”: Adverse Childhood Experiences and Hip Hop's
    University of Arkansas at Little Rock William H. Bowen School of Law Bowen Law Repository: Scholarship & Archives Faculty Scholarship 2020 From “Mind Playing Tricks On Me” to “Trauma”: Adverse Childhood Experiences and Hip Hop’s Prescription andré douglas pond cummings University of Arkansas at Little Rock William H. Bowen School of Law, [email protected] Caleb Gregory Conrad Follow this and additional works at: https://lawrepository.ualr.edu/faculty_scholarship Part of the Law and Society Commons Recommended Citation andré douglas pond cummings & Caleb Gregory Conrad, From "Mind Playing Tricks on Me" to "Trauma": Adverse Childhood Experiences and Hip Hop's Prescription, 59 Washburn L.J. 267 (2020). This Article is brought to you for free and open access by Bowen Law Repository: Scholarship & Archives. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Bowen Law Repository: Scholarship & Archives. For more information, please contact [email protected]. CUMMINGS CORRECTED.DOCX (DO NOT DELETE) 3/3/20 10:52 AM From “Mind Playing Tricks On Me”* to “Trauma”**: Adverse Childhood Experiences and Hip Hop’s Prescription andré douglas pond cummings† and Caleb Gregory Conrad†† INTRODUCTION Over the past two decades, research focused on the causes and the lasting impact of Adverse Childhood Experiences, or ACEs, has been changing the way researchers, healthcare providers, and advocates approach areas like mental health, risky behaviors, and chronic disease.1 Numerous studies have produced and solidified results that present three undeniable truths: (1) the vast majority of Americans have experienced some form of trauma in their childhood,2 (2) people with low income or educational attainment and people of color experience increased instances of childhood trauma and adversity,3 and (3) the more childhood trauma an individual *GETO BOYS, Mind Playing Tricks On Me, on WE CAN’T BE STOPPED (Rap-A-Lot/Priority Records 1991).
    [Show full text]
  • 202: December 16–January 19A Free Paper for Free People a New
    TH#202: Decembere 16–JanuaryInDyP 19 a Free PaPer FOren Free PeOPLeDenT THE INDY NEEDs Your HElp! see P2 & back Page FOr DeTaILs >>>>> Lynne Foster abL newack mOvemen TLI FOrves racIaL Jus maTIce begTTIns,er P4 editorial THe InDyPenDenT uPgraDIng TO InDy 2.0 THE INDYPENDENT, INC. 388 Atlantic Avenue, 2nd Floor ’ve worked on this newspaper for many newspaper like the Indy, and keeping Brooklyn, ny 11217 years. My favorite moment in the month-long it afloat has been no easy task. 212-904-1282 I cycle of publishing The Indypendent always As we enter our 15th year, we’re occurs during the final hours before going to continuing to evolve as an organiza- www.indypendent.org press. tion. Happily, we’re now reaching a twitter: @theIndypendent It’s when all the stories, photos and illustra- financial milestone where we can pay facebook.com/theIndypendent tions for the new issue have come in and been all of the core members of our team. Though porters will be hosting house parties for us this laid out in freshly designed pages with headlines long overdue, it’s a huge step forward for us. winter and spring and we will be celebrating BOARD OF DIRECTORS: and captions and only final page proofs to go. We also plan to make the Indy more welcom- our 15th anniversary in a big way next fall. Ellen Davidson, Anna Gold, At this point, everyone’s individual efforts have ing to the many talented freelance writers and This is the time to make a contribution. We’re already outpacing last year’s fund drive, but we John Tarleton taken shape and collectively become something artists who would love to contribute to the paper larger and more powerful.
    [Show full text]
  • The BG News September 3, 1990
    Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 9-3-1990 The BG News September 3, 1990 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News September 3, 1990" (1990). BG News (Student Newspaper). 5099. https://scholarworks.bgsu.edu/bg-news/5099 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. City Classic rock, hard rock dominate Smith and Johnson lead ground attack in Falcon's local radio formats win over UC Tuesday Vol.73 Issue 5 September 3, 1990 Bowling Green, Ohio The BG News ■ssszAn Independent Student Voice for 70 Years sasas BRIEFLY West fears PEOPLE for release Fight In flight: New Kids on the Block of captives member Donnie Wahlberg got into a scuffle with a fel- low passenger over an air- in Mideast line seat during a weekend flight from Salt Lake City to by Laura King Atlanta, authorities said Monday. Associated Press writer A police report said Wahlberg, 20, fought with Baghdad balked Monday at al- the man in the coach section lowing more airlifts of foreign of Delta Air Lines Flight hostages, and Western govern- 1140 after it left Salt Lake ments expressed fears that Sad- City on Sunday. dam Hussein's government did The report alleged Wahl- not intend to fulfill its promise to berg poked the passenger in free remaining woman and chil- the eye and passenger al- dren captives.
    [Show full text]
  • «What Does It Take to Authenticate My Nigganess?» …
    «What Does it Take to Authenticate my Nigganess?» … En studie av Nas’ autentisitet og hans tilknytning til Conscious rap Ingvar Örn Þrastarson Masteroppgave i musikkvitenskap Institutt for musikkvitenskap Høst 2012 Universitetet i Oslo Bildet på forsiden er tegnet av Omar Williams, og er brukt med kunstnerens tillatelse. Bildets URL: http://4.bp.blogspot.com/- iBeqcEN0uZ0/TcJDF34UAxI/AAAAAAAAACA/vRzs3sz5uDU/s1600/Sketch%25235.JPG Forord Denne masteroppgaven er et resultat av mitt flerårige arbeid med hiphopkulturen i USA i et bredt perspektiv, og prosessen har vært lang og krevende, men mest av alt interessant og lærerik. Til å begynne med vil jeg takke min veileder Anne Danielsen for inspirerende og motiverende veiledningsmøter, interessante diskusjoner og innsiktsfulle kommentarer. Din kunnskap og din tilgjengelighet har vært av helt avgjørende betydning for prosessen. Jeg vil også rette en stor takk til mine nærmeste venner for uvurderlig støtte – særlig i innspurtsperioden – og til mine medstudenter for motiverende samtaler med stort faglig utbytte, samt utallige kaffepauser. Tusen takk til mine eminente korrekturlesere Kirsti Vogt og Linn Astrid Blix Torget for grundig og effektivt arbeid. Til slutt, men ikke minst, vil jeg takke min nærmeste familie for støtte, tilstedeværelse og for å ha troen på meg. Det betyr mye. Oslo, november 2012 Ingvar Örn Þrastarson II III INNHOLD Forord ........................................................................................................................................ II 1. Innledning
    [Show full text]
  • Alternatives to E Mergency M Edical S Ervices
    ALTERNATIVES TO E MERGENCY M EDICAL S ERVICES the rosehip medic collective Alternatives to EMS Rosehip Medic Collective May 2011 version1.0 Table of Contents Introductions About Us 2 Why “Alternatives to EMS”? 4 A Brief History of EMS 5 Acknowledgments Tried and Existing Alternatives EGYHOP 15 Special thanks to the Institute for Anarchist Street Medics 17 Studies for their recognition, grant funding and Common Ground Health Clinic 19 continued support. We’d like to thank the Mutual CAHOOTS 20 Aid Street Medics for organizing the Street Medic Individuals/Unaffi liated Networks 21 Conference, which was an incredible opportunity Hatz alah and Faith-based EMS 22 for learning and networking. We’d also like the thank everyone who interviewed with and guided Our Thoughts us, Whitebird/CAHOOTS for taking us on an amaz- ing tour, and the many people who helped us edit this document. EMS Safety and Police 24 Horizontal Infrastructure/Tiered System 34 Patient Oriented Care 38 Additionally, we’d like to thank the members of the Black Cross Health Collective who have acted Conclusions as mentors to The Rosehips since our wide-eyed beginnings. Visions for the Future 44 Further Reading 48 Introductions - cartoons by Steve Berry EMT-P 1 About The Rosehips About the Authors The Rosehip Medic Collective is a group of volunteer While organized by Rosehip as a whole, this Street Medics and health care activists in and around document is the work of four authors, and we feel it’s Portland, Oregon. We provide fi rst aid and emergency important to locate ourselves in the landscape of privilege care at protests, direct actions, and other sites of and oppression.
    [Show full text]