Hip Hop-Decoded MUS 307/AFR 317
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(2001) 96- 126 Gangsta Misogyny: a Content Analysis of the Portrayals of Violence Against Women in Rap Music, 1987-1993*
Copyright © 2001 Journal of Criminal Justice and Popular Culture All rights reserved. ISSN 1070-8286 Journal of Criminal Justice and Popular Culture, 8(2) (2001) 96- 126 GANGSTA MISOGYNY: A CONTENT ANALYSIS OF THE PORTRAYALS OF VIOLENCE AGAINST WOMEN IN RAP MUSIC, 1987-1993* by Edward G. Armstrong Murray State University ABSTRACT Gangsta rap music is often identified with violent and misogynist lyric portrayals. This article presents the results of a content analysis of gangsta rap music's violent and misogynist lyrics. The gangsta rap music domain is specified and the work of thirteen artists as presented in 490 songs is examined. A main finding is that 22% of gangsta rap music songs contain violent and misogynist lyrics. A deconstructive interpretation suggests that gangsta rap music is necessarily understood within a context of patriarchal hegemony. INTRODUCTION Theresa Martinez (1997) argues that rap music is a form of oppositional culture that offers a message of resistance, empowerment, and social critique. But this cogent and lyrical exposition intentionally avoids analysis of explicitly misogynist and sexist lyrics. The present study begins where Martinez leaves off: a content analysis of gangsta rap's lyrics and a classification of its violent and misogynist messages. First, the gangsta rap music domain is specified. Next, the prevalence and seriousness of overt episodes of violent and misogynist lyrics are documented. This involves the identification of attributes and the construction of meaning through the use of crime categories. Finally, a deconstructive interpretation is offered in which gangsta rap music's violent and misogynist lyrics are explicated in terms of the symbolic encoding of gender relationships. -
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. -
Toddler Time Songs!
Toddler Time Songs! Welcome to Manly Library Baa Baa Black Sheep Toddler time! Here are the Baa baa black sheep have you any wool? songs we’ll be singing this Yes sir, yes sir, three bags full year. We hope you can come One for the master and one for the dame along on Mondays at 10:30am And one for the little boy who lives down the lane for some singing, rhyming and stories! Row Row Row your Boat Row Row Row your Boat WELCOME SONGS Gently down the stream Merrily, merrily, merrily, merrily Hi, hello and how are you? Life is but a dream. (Mary Had a Little Lamb tune) Hi Hello and how are you? Hickery Dickery Dock How are you, How are you? Hickery Dickery Dock Hi Hello and how are you? The mouse climbed up the clock How are you today? The clock struck one, The mouse ran down Goodbye Hickery Dickery Dock Goodbye. Goodbye. We’ll see you soon See you soon, see you soon. Rainbow song Goodbye. Goodbye. We’ll see you soon Red and yellow and pink and green On another day. Purple and orange and blue I can sing a rainbow, Sing a rainbow, SITTING SONGS Sing a rainbow too. Hey Diddle Diddle The bear went over the mountain Hey diddle diddle, the cat and the fiddle The bear went over the mountain The cow jumped over the moon The bear went over the mountain The little dog laughed to see such fun The bear went over the mountainnnnn And the dish ran away with the spoon To see what he could see To see what he could see To see what he could see BINGO The other side of the mountain There was a farmer had a dog, The other side of the mountain and Bingo was his name-o The other side of the mountainnnnn B I N G O Was all that he could see B I N G O B I N G O and Bingo was his name-o ACTION SONGS Dingle Dangle Scarecrow When all the cows were sleeping and the sun had gone to bed, Galumph Up jumped the scarecrow Galumph went the little green frog last night and this is what he said Galumph went the little green frog “I’m a dingle dangle scarecrow Galumph went the little green frog last night with my flippy floppy hat. -
A Hip-Hop Copying Paradigm for All of Us
Pace University DigitalCommons@Pace Pace Law Faculty Publications School of Law 2011 No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson Jr. Elisabeth Haub School of Law at Pace University Follow this and additional works at: https://digitalcommons.pace.edu/lawfaculty Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Horace E. Anderson, Jr., No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us, 20 Tex. Intell. Prop. L.J. 115 (2011), http://digitalcommons.pace.edu/lawfaculty/818/. This Article is brought to you for free and open access by the School of Law at DigitalCommons@Pace. It has been accepted for inclusion in Pace Law Faculty Publications by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. No Bitin' Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson, Jr: I. History and Purpose of Copyright Act's Regulation of Copying ..................................................................................... 119 II. Impact of Technology ................................................................... 126 A. The Act of Copying and Attitudes Toward Copying ........... 126 B. Suggestions from the Literature for Bridging the Gap ......... 127 III. Potential Influence of Norms-Based Approaches to Regulation of Copying ................................................................. 129 IV. The Hip-Hop Imitation Paradigm ............................................... -
Amici Curiae Brief of Erik Nielson, Charis E
No. 15-666 __________________________________________ In the Supreme Court of the United States _____ ____ TAYLOR BELL, Petitioner, V. ITAWAMBA COUNTY SCHOOL BOARD, Respondent. _____ ____ On Petition for a Writ of Certiorari to the United States Court Of Appeals for the Fifth Circuit ______ ___ AMICI CURIAE BRIEF OF ERIK NIELSON, CHARIS E. KUBRIN, TRAVIS L. GOSA, MICHAEL RENDER (AKA “KILLER MIKE”) AND OTHER SCHOLARS AND ARTISTS IN SUPPORT OF PETITIONER _____ ____ CHARLES “CHAD” BARUCH Counsel of Record COYT RANDAL JOHNSTON JR. JOHNSTON TOBEY BARUCH 3308 Oak Grove Avenue Dallas, Texas 75204 (214) 741-6260 [email protected] Counsel for Amici Curiae __________________________________________ LEGAL PRINTERS LLC, Washington DC ! 202-747-2400 ! legalprinters.com i TABLE OF CONTENTS Table of Contents ........................................................ i Table of Authorities ................................................... ii Interests of Amici Curiae ........................................... 1 Summary of Argument .............................................. 3 Argument .................................................................... 6 A. “Fight the power”: The politics of hip hop .......... 6 B. “Put my Glock away, I got a stronger weapon that never runs out of ammunition”: The non- literal rhetoric of hip hop .................................. 12 C. “They ain’t scared of rap music—they scared of us”: Rap’s bad rap .............................................. 19 Conclusion ............................................................... -
Thesis, the Songs of 10 Rappers Were Analyzed
ABSTRACT Get Rich or Die Tryin’: A Semiotic Approach to the Construct of Wealth in Rap Music Kristine Ann Davis, M.A. Mentor: Sara J. Stone, Ph.D. For the past 30 years, rap music has made its way into the mainstream of America, taking an increasingly prominent place in popular culture, particularly for youth, its main consumers. This thesis looks at wealth through the lens of semiotics, an important component of critical/cultural theory, using a hermeneutical analysis of 11 rap songs, spanning the last decade of rap music to find signification and representation of wealth in the rap song lyrics. The research finds three important themes of wealth - relationship between wealth and the opposite sex, wealth that garners respect from other people, and wealth as a signifier for “living the good life” - and five signifiers of wealth – money, cars, attire, liquor, and bling. Get Rich or Die Tryin': A Semiotic Approach to the Construct of Wealth in Rap Music by Kristine Ann Davis, B.A. A Thesis Approved by the Department of Journalism ___________________________________ Clark Baker, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee ___________________________________ Sara J. Stone, Ph.D., Chairperson ___________________________________ Mia Moody-Ramirez, Ph.D. ___________________________________ Tony L.Talbert, Ed.D. Accepted by the Graduate School August 2011 ___________________________________ J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright ! 2011 by Kristine Ann Davis All rights reserved! CONTENTS ACKNOWLEDGMENTS v Chapter 1. -
1 Hip Hop and Rap Music Rising up from the Bronx Rap, As We Know It
1 Hip Hop and Rap Music Rising Up From the Bronx Rap, as we know it today, has changed considerably from when it first originated in the 1970s. What first started out as a subgenre being performed by MCs on the ghetto streets of the Bronx has evolved into a very popular music genre that most people can enjoy to this day. DJ Kool Herc is generally accepted as the man who started it all. It was with his help, and quite a few others, that caused rap and hip hop to grow and develop in its early years. From Rap and Hip Hop Music, I learned almost everything I needed to know about rap. I learned more about the people who originated the genre, how rapping and hip hop eventually grew throughout the 1970s to the early 2000s, and genres that influenced rap. DJ Kool Herc, the man who started it all, was born in Jamaica in 1955 and later moved to the Bronx in 1967 where he began performing as a DJ in block parties that were hosted throughout the community (Rap). Nearly everybody in these block parties grew to love the percussive breaks found in soul, funk, and disco music, so DJ Kool Herc and other DJs began to use them (Rap). However, the percussive breaks in these songs were rather short, so DJs would extend them by using turntables (Rap). Extending the percussive breaks became more and more popular as consumer friendly turntables, drum machines, and samplers were made and more people could afford them. To make the beats and breaks more interesting, DJs would scratch, beat mix, and beat juggle using the turntables to give hip hop a more unique sound (Rap). -
Fair Use Avoidance in Music Cases Edward Lee Chicago-Kent College of Law, [email protected]
Boston College Law Review Volume 59 | Issue 6 Article 2 7-11-2018 Fair Use Avoidance in Music Cases Edward Lee Chicago-Kent College of Law, [email protected] Follow this and additional works at: https://lawdigitalcommons.bc.edu/bclr Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Edward Lee, Fair Use Avoidance in Music Cases, 59 B.C.L. Rev. 1873 (2018), https://lawdigitalcommons.bc.edu/bclr/vol59/iss6/2 This Article is brought to you for free and open access by the Law Journals at Digital Commons @ Boston College Law School. It has been accepted for inclusion in Boston College Law Review by an authorized editor of Digital Commons @ Boston College Law School. For more information, please contact [email protected]. FAIR USE AVOIDANCE IN MUSIC CASES EDWARD LEE INTRODUCTION .......................................................................................................................... 1874 I. FAIR USE’S RELEVANCE TO MUSIC COMPOSITION ................................................................ 1878 A. Fair Use and the “Borrowing” of Copyrighted Content .................................................. 1879 1. Transformative Works ................................................................................................. 1879 2. Examples of Transformative Works ............................................................................ 1885 B. Borrowing in Music Composition ................................................................................... -
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. -
Alternative Performances of Race and Gender in Hip-Hop Music : Nerdcore Counterculture
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2012 Alternative performances of race and gender in hip-hop music : nerdcore counterculture. Jessica Elizabeth Ronald University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Ronald, Jessica Elizabeth, "Alternative performances of race and gender in hip-hop music : nerdcore counterculture." (2012). Electronic Theses and Dissertations. Paper 1231. https://doi.org/10.18297/etd/1231 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. ALTERNATNE PERFORMANCES OF RACE AND GENDER IN HIP-HOP MUSIC: NERDCORECOUNTERCULTURE By Jessica Elizabeth Ronald B.A., Women's and Gender Studies 2008 M.A., Women's and Gender Studies 2010 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts Department of Pan African Studies University of Louisville Louisville, Kentucky May 2012 ALTERNATIVE PERFORMANCES OF RACE AND GENDER IN HIP-HOP MUSIC: NERDCORE COUNTERCULTURE By Jessica Ronald B.A., Women’s and Gender Studies 2008 M.A., Women’s and Gender Studies 2010 A Thesis Approved on April 18, 2012 by the following Thesis Committee: Dr. -
No Bitin' Allowed a Hip-Hop Copying Paradigm for All Of
20 Tex. Intell. Prop. L.J. 115 Texas Intellectual Property Law Journal Fall, 2011 Article NO BITIN’ ALLOWED: A HIP-HOP COPYING PARADIGM FOR ALL OF US Horace E. Anderson, Jr.a1 Copyright (c) 2011 Intellectual Property Law Section of the State Bar of Texas; Horace E. Anderson, Jr. I. History and Purpose of Copyright Act’s Regulation of Copying 119 II. Impact of Technology 126 A. The Act of Copying and Attitudes Toward Copying 126 B. Suggestions from the Literature for Bridging the Gap 127 III. Potential Influence of Norms-Based Approaches to Regulation of Copying 129 IV. The Hip-Hop Imitation Paradigm 131 A. Structure 131 1. Biting 131 2. Beat Jacking 133 3. Ghosting 135 4. Quoting 136 5. Sampling 139 B. The Trademark Connection 140 C. The Authors’ Rights Connection 142 D. The New Style - What the Future of Copyright Could Look Like 143 V. Conclusion 143 VI. Appendix A 145 VII. Appendix B 157 VIII. Appendix C 163 *116 Introduction I’m not a biter, I’m a writer for myself and others. I say a B.I.G. verse, I’m only biggin’ up my brother1 It is long past time to reform the Copyright Act. The law of copyright in the United States is at one of its periodic inflection points. In the past, major technological change and major shifts in the way copyrightable works were used have rightly led to major changes in the law. The invention of the printing press prompted the first codification of copyright. The popularity of the player piano contributed to a reevaluation of how musical works should be protected.2 The dawn of the computer age led to an explicit expansion of copyrightable subject matter to include computer programs.3 These are but a few examples of past inflection points; the current one demands a similar level of change. -
The Intertextuality and Translations of Fine Art and Class in Hip-Hop Culture
arts Article The Intertextuality and Translations of Fine Art and Class in Hip-Hop Culture Adam de Paor-Evans Faculty of Culture and the Creative Industries, University of Central Lancashire, Lancashire PR1 2HE, UK; [email protected] Received: 24 October 2018; Accepted: 12 November 2018; Published: 16 November 2018 Abstract: Hip-hop culture is structured around key representational elements, each of which is underpinned by the holistic element of knowledge. Hip-hop emerged as a cultural counter position to the socio-politics of the urban condition in 1970s New York City, fuelled by destitution, contextual displacement, and the cultural values of non-white diaspora. Graffiti—as the primary form of hip-hop expression—began as a political act before morphing into an artform which visually supported the music and dance elements of hip-hop. The emerging synergies graffiti shared with the practices of DJing, rap, and B-boying (breakdancing) forged a new form of art which challenged the cultural capital of music and visual and sonic arts. This article explores moments of intertextuality between visual and sonic metaphors in hip-hop culture and the canon of fine art. The tropes of Michelangelo, Warhol, Monet, and O’Keefe are interrogated through the lyrics of Melle Mel, LL Cool J, Rakim, Felt, Action Bronson, Homeboy Sandman and Aesop Rock to reveal hip-hop’s multifarious intertextuality. In conclusion, the article contests the fallacy of hip-hop as mainstream and lowbrow culture and affirms that the use of fine art tropes in hip-hop narratives builds a critical relationship between the previously disparate cultural values of hip-hop and fine art, and challenges conventions of the class system.