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The Fine Art of Rap Author(S): Richard Shusterman Source: New Literary History, Vol
The Fine Art of Rap Author(s): Richard Shusterman Source: New Literary History, Vol. 22, No. 3, Undermining Subjects (Summer, 1991), pp. 613- 632 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/469207 Accessed: 30/11/2009 16:24 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=jhup. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to New Literary History. http://www.jstor.org The Fine Art of Rap Richard Shusterman ... rapt Poesy, And arts, though unimagined, yet to be. -
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). -
Various Sugar Hill Story Volume Two Mp3, Flac, Wma
Various Sugar Hill Story Volume Two mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Sugar Hill Story Volume Two Country: US Released: 1990 MP3 version RAR size: 1237 mb FLAC version RAR size: 1766 mb WMA version RAR size: 1987 mb Rating: 4.3 Votes: 623 Other Formats: WAV VQF MOD MPC AAC MP4 ADX Tracklist 1 –Grandmaster Melle Mel & The Furious Five The Message 2 –West Street Mob Let's Dance 3 –Sugar Hill Gang* Rappers Delight 4 –Sequence* Funk You Up 5 –Treacherous Three Feel The Heartbeat 6 –Sugar Hill Gang* 8th Wonder 7 –Grandmaster Melle Mel & The Furious Five Freedom 8 –Sugar Hill Gang* Apache 9 –The Furious Five meets The Sugar Hill Gang* Showdown 10 –The Mean Machine Disco Dream 11 –Trouble Funk Hey Fellas 12 –Crash Crew* On The Radio Barcode and Other Identifiers Barcode: 0 93382-5248-2 0 Other versions Category Artist Title (Format) Label Category Country Year Sugar Hill Story - Volume Two SHC-5248 Various Sugar Hill Records SHC-5248 US 1989 (Cass, Comp) Related Music albums to Sugar Hill Story Volume Two by Various Sugar Hill Gang - Apache Various - The Greatest Rap Hits Vol 4 Various - Old School Rap Hits I Grandmaster Melle Mel & The Furious Five - Beat Street / Internationally Known Various - Genius Of Rap - The Sugarhill Story Various - The Best Of Grandmaster Flash And Sugar Hill Grandmaster Flash And The Furious 5 - Freedom Sugar Hill Gang - Hot Hot Summer Day Sugarhill Gang - Hot Hot Summer Day Grandmaster Melle Mel & The Furious Five - We Don't Work For Free. -
BRE CONFERENCE '90 UPDATE! Columbia " 01\ TENTS
BRE CONFERENCE '90 UPDATE! Columbia " 01\ TENTS MAY 18. 1990 VOLUME XV. NUMBER 18 Publisher SIDNEY MILLER Assistant Publisher SUSAN MILLER Editor -in -Chief RUTH ADKINS ROBINSON Managing Editor JOSEPH ROLAND REYNOLDS FEATURES International Editor COVER STORY-BBD 14 DOTUN ADEBAYO STARTALK-The Winans 45 VP/Midwest Editor DOWNLINK 31 JEROME SIMMONS SECTIONS Art Department PUBLISHERS 5 LANCE VANTILE WHITFIELD art director NEWS 6 MARTIN BLACKWELL MUSIC REPORT 8 typography/computers MUSIC REVIEWS 11 Columnists RADIO NEWS 32 LARRIANN FLORES CONCERT REVIEW SPIDER HARRISON 42 JONATHAN KING JAZZ NOTES 43 ALAN LEIGH GRAPEVINE/PROPHET 46 NORMAN RICHMOND CHARTS & RESEARCH TIM SMITH NEW RELEASE CHART 17 ELAINE STEPTER RADIO REPORT 29 Concert/Record Reviews SINGLES CHART LARRIANN FLORES 34 ELAINE STEPTER THE NATIONAL ADDS 37 Reporters PROGRAMMER'S POLL 36 CORNELIUS GRANT JAZZ CHART 43 COY OAKES ALBUMS CHART 44 LANSING SEBASTIAN COLUMNS RACHEL WILLIAMS RAP, ROOTS & REGGAE 10 Production WHATEVER HAPPENED TO? 12 MAXINE CHONG-MORROW GOSPEL LYNETTE JONES 13 FAR EAST PERSPECTIVE Administration 18 ROXANNE POWELL. office mgr. BRITISH INVASION 19 FELIX WHYTE traffic CANADIAN REPORT 20 Media Relations MICHELE ELYZABETH ENT. (213) 276-1067 Printing PRINTING SERVICES. INC. BLACK RADIO EXCLUSIVE USPS 363-210 ISSN 0745-5992 is published by Black Radio Exclusive 6353 Hollywood Blvd.. Hollywood. CA 90028-6363 (2131469-7262 FAX# 213-469-4121 ' MODEM: 213-469-9172 BRE NEWSSTANDS-New York: Penn Book Store. (2121564-6033; Midwest: Ingram Periodicals; Los Angeles: World Book & News; Robertson News & Bookstore. Las Palmas Newsstand. Japan: Tower Records SUBSCRIPTION RATES: 3 Mos.-$90.6 Mos.-5120:9 Mos.-0150. 1 Yr.-S175: 1st Class -$250: Overseas -$250. -
DJ Skills the Rise of the Hip-Hop DJ 3
The Rise of the Hip-Hop DJ 1 74 The Rise of The Hip-hop DJ DJs were Hip-hop’s original architects, and remain crucial to its contin- ued development. Hip-hop is more than a style of music; it’s a culture. As with any culture, there are various artistic expressions of Hip-hop, the four principal expressions being: • visual art (graffiti) • dance (breaking, rocking, locking, and popping, collectively known in the media as “break dancing”) • literature (rap lyrics and slam poetry) • music (DJing and turntablism) Unlike the European Renaissance or the Ming Dynasty, Hip-hop is a culture that is very much alive and still evolving. Some argue that Hip-hop is the most influential cultural movement in history, point- ing to the globalization of Hip-hop music, fashion, and other forms of expression. Style has always been at the forefront of Hip-hop. Improvisation is called free styling, whether in rap, turntablism, breaking, or graf- fiti writing. Since everyone is using the essentially same tools (spray paint for graffiti writers, microphones for rappers and beat boxers, their bodies for dancers, and two turntables with a mixer for DJs), it’s the artists’ personal styles that set them apart. It’s no coincidence that two of the most authentic movies about the genesis of the move- ment are titled Wild Style and Style Wars. There are also many styles of writing the word “Hip-hop.” The mainstream media most often oscillates between “hip-hop” and “hip hop.” The Hiphop Archive at Harvard writes “Hiphop” as one word, 2 DJ Skills The Rise of the Hip-Hop DJ 3 with a capital H, embracing KRS-ONE’s line of reasoning that “Hiphop Kool DJ Herc is a culture with its own foundation narrative, history, natives, and 7 In 1955 in Jamaica, a young woman from the parish of Saint Mary mission.” After a great deal of input from many people in the Hip-hop community, I’ve decided to capitalize the word but keep the hyphen, gave birth to a son who would become the father of Hip-hop. -
'What Ever Happened to Breakdancing?'
'What ever happened to breakdancing?' Transnational h-hoy/b-girl networks, underground video magazines and imagined affinities. Mary Fogarty Submitted in partial fulfillment Of the requirements for the degree of Interdisciplinary MA in Popular Culture Brock University St. Catharines, Ontario © November 2006 For my sister, Pauline 111 Acknowledgements The Canada Graduate Scholarship (SSHRC) enabled me to focus full-time on my studies. I would also like to express my deepest gratitude to my committee members: Andy Bennett, Hans A. Skott-Myhre, Nick Baxter-Moore and Will Straw. These scholars have shaped my ideas about this project in crucial ways. I am indebted to Michael Zryd and Francois Lukawecki for their unwavering kindness, encouragement and wisdom over many years. Steve Russell patiently began to teach me basic rules ofgrammar. Barry Grant and Eric Liu provided comments about earlier chapter drafts. Simon Frith, Raquel Rivera, Anthony Kwame Harrison, Kwande Kefentse and John Hunting offered influential suggestions and encouragement in correspondence. Mike Ripmeester, Sarah Matheson, Jeannette Sloniowski, Scott Henderson, Jim Leach, Christie Milliken, David Butz and Dale Bradley also contributed helpful insights in either lectures or conversations. AJ Fashbaugh supplied the soul food and music that kept my body and mind nourished last year. If AJ brought the knowledge then Matt Masters brought the truth. (What a powerful triangle, indeed!) I was exceptionally fortunate to have such noteworthy fellow graduate students. Cole Lewis (my summer writing partner who kept me accountable), Zorianna Zurba, Jana Tomcko, Nylda Gallardo-Lopez, Seth Mulvey and Pauline Fogarty each lent an ear on numerous much needed occasions as I worked through my ideas out loud. -
The Hidden (1987) Beat Street (1984) Killer Klowns From
THEY COULD SOLVE V 9000 reviews on www.empireonline.com.au V NATURE'S BIGGEST › THE BEST CLASSIC FILMS MYSTERY. OUT NOW ON DVD AND VIDEO IF THEY ONLY BEAT STREET (1984) Starring Rae Dawn Chong, Guy Davis, Jon Chardiet Director Stan Lathan HAD A CLUE. Rated TBC Out Now Rent/Buy PITY POOR 50 CENT: THE WALKING The rarely-seen hologram bicep’s itchy trigger finger would gyro-fart wowed the cubic be made redundant in 1984’s New zirconia convention. York City, where, according to this film, gangs battled with dance moves rather than semi-automatic weapons. The second Hollywood film to cash in on the then popular craze of breakdancing, Beat Street acts more as a fascinating cultural document of early hip-hop rather than a decently plotted or well acted film. The so-called “four elements” of hip-hop are represented in the central characters: Aspiring MC/DJ Kenny, his breakdancing younger brother Lee and their graffiti artist friend This is undoubtedly dated and flimsy, but Ramon, with the trio embarking on a mission to those after some reasonably ace breakdance get famous off their mad hip-hop skills, yo. battle scenes – and proof that you can actually The film’s main attraction is the appearance wear a racoon’s tail on your head and still look of several founding fathers of hip-hop: Kool cool – will find much to love. Herc, the Rock Steady Crew, Afrika Bambaataa DVD EXTRAS None. and Grandmaster Melle Mel & The Furious Five JAMES JENNINGS among the more notable. FILM ))))) EXTRAS ))))) Don Johnson wouldn't escape this time. -
Chapter 6. the Voice of the Other America: African
Chapter 6 Th e Voice of the Other America African-American Music and Political Protest in the German Democratic Republic Michael Rauhut African-American music represents a synthesis of African and European tradi- tions, its origins reaching as far back as the early sixteenth century to the begin- ning of the systematic importation of “black” slaves to the European colonies of the American continent.1 Out of a plethora of forms and styles, three basic pil- lars of African-American music came to prominence during the wave of indus- trialization that took place at the start of the twentieth century: blues, jazz, and gospel. Th ese forms laid the foundation for nearly all important developments in popular music up to the present—whether R&B, soul and funk, house music, or hip-hop. Th anks to its continual innovation and evolution, African-American music has become a constitutive presence in the daily life of several generations. In East Germany, as throughout European countries on both sides of the Iron Curtain, manifold directions and derivatives of these forms took root. Th ey were carried through the airwaves and seeped into cultural niches until, fi nally, this music landed on the political agenda. Both fans and functionaries discovered an enormous social potential beneath the melodious surface, even if their aims were for the most part in opposition. For the government, the implicit rejection of the communist social model represented by African-American music was seen as a security issue and a threat to the stability of the system. Even though the state’s reactions became weaker over time, the offi cial interaction with African-American music retained a political connotation for the life of the regime. -
The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities
The Miseducation of Hip-Hop dance: Authenticity, and the commodification of cultural identities. E. Moncell Durden., Assistant Professor of Practice University of Southern California Glorya Kaufman School of Dance Introduction Hip-hop dance has become one of the most popular forms of dance expression in the world. The explosion of hip-hop movement and culture in the 1980s provided unprecedented opportunities to inner-city youth to gain a different access to the “American” dream; some companies saw the value in using this new art form to market their products for commercial and consumer growth. This explosion also aided in an early downfall of hip-hop’s first dance form, breaking. The form would rise again a decade later with a vengeance, bringing older breakers out of retirement and pushing new generations to develop the technical acuity to extraordinary levels of artistic corporeal genius. We will begin with hip-hop’s arduous beginnings. Born and raised on the sidewalks and playgrounds of New York’s asphalt jungle, this youthful energy that became known as hip-hop emerged from aspects of cultural expressions that survived political abandonment, economic struggles, environmental turmoil and gang activity. These living conditions can be attributed to high unemployment, exceptionally organized drug distribution, corrupt police departments, a failed fire department response system, and Robert Moses’ building of the Cross-Bronx Expressway, which caused middle and upper-class residents to migrate North. The South Bronx lost 600,000 jobs and displaced more than 5,000 families. Between 1973 and 1977, and more than 30,000 fires were set in the South Bronx, which gave rise to the phrase “The Bronx is Burning.” This marginalized the black and Latino communities and left the youth feeling unrepresented, and hip-hop gave restless inner-city kids a voice. -
“Rapper's Delight”
1 “Rapper’s Delight” From Genre-less to New Genre I was approached in ’77. A gentleman walked up to me and said, “We can put what you’re doing on a record.” I would have to admit that I was blind. I didn’t think that somebody else would want to hear a record re-recorded onto another record with talking on it. I didn’t think it would reach the masses like that. I didn’t see it. I knew of all the crews that had any sort of juice and power, or that was drawing crowds. So here it is two years later and I hear, “To the hip-hop, to the bang to the boogie,” and it’s not Bam, Herc, Breakout, AJ. Who is this?1 DJ Grandmaster Flash I did not think it was conceivable that there would be such thing as a hip-hop record. I could not see it. I’m like, record? Fuck, how you gon’ put hip-hop onto a record? ’Cause it was a whole gig, you know? How you gon’ put three hours on a record? Bam! They made “Rapper’s Delight.” And the ironic twist is not how long that record was, but how short it was. I’m thinking, “Man, they cut that shit down to fifteen minutes?” It was a miracle.2 MC Chuck D [“Rapper’s Delight”] is a disco record with rapping on it. So we could do that. We were trying to make a buck.3 Richard Taninbaum (percussion) As early as May of 1979, Billboard magazine noted the growing popularity of “rapping DJs” performing live for clubgoers at New York City’s black discos.4 But it was not until September of the same year that the trend gar- nered widespread attention, with the release of the Sugarhill Gang’s “Rapper’s Delight,” a fifteen-minute track powered by humorous party rhymes and a relentlessly funky bass line that took the country by storm and introduced a national audience to rap. -
Smith, Troy African & African American Studies Department
Fordham University Masthead Logo DigitalResearch@Fordham Oral Histories Bronx African American History Project 2-3-2006 Smith, Troy African & African American Studies Department. Troy Smith Fordham University Follow this and additional works at: https://fordham.bepress.com/baahp_oralhist Part of the African American Studies Commons Recommended Citation Smith, Troy. Interview with the Bronx African American History Project. BAAHP Digital Archive at Fordham University. This Interview is brought to you for free and open access by the Bronx African American History Project at DigitalResearch@Fordham. It has been accepted for inclusion in Oral Histories by an authorized administrator of DigitalResearch@Fordham. For more information, please contact [email protected]. Interviewer: Mark Naison, Andrew Tiedt Interviewee: Troy Smith February 3, 2006 - 1 - Transcriber: Laura Kelly Mark Naison (MN): Hello, this is the 143rd interview of the Bronx African American History Project. It’s February 3, 2006. We’re at Fordham University with Troy Smith who is one of the major collectors of early hip hop materials in the United States and the lead interviewer is Andrew Tiedt, graduate assistant for the Bronx African American History Project. Andrew Tiedt (AT): Okay Troy, first I wanna say thanks for coming in, we appreciate it. Your archive of tapes is probably one of the most impressive I’ve ever seen and especially for this era. Well before we get into that though, I was wondering if you could just tell us a little bit about where you’re from. Where did you grow up? Troy Smith (TS): I grew up in Harlem on 123rd and Amsterdam, the Grant projects, 1966, I’m 39 years old now. -
Hip-Hop & the Global Imprint of a Black Cultural Form
Hip-Hop & the Global Imprint of a Black Cultural Form Marcyliena Morgan & Dionne Bennett To me, hip-hop says, “Come as you are.” We are a family. Hip-hop is the voice of this generation. It has become a powerful force. Hip-hop binds all of these people, all of these nationalities, all over the world together. Hip-hop is a family so everybody has got to pitch in. East, west, north or south–we come MARCYLIENA MORGAN is from one coast and that coast was Africa. Professor of African and African –dj Kool Herc American Studies at Harvard Uni- versity. Her publications include Through hip-hop, we are trying to ½nd out who we Language, Discourse and Power in are, what we are. That’s what black people in Amer- African American Culture (2002), ica did. The Real Hiphop: Battling for Knowl- –mc Yan1 edge, Power, and Respect in the LA Underground (2009), and “Hip- hop and Race: Blackness, Lan- It is nearly impossible to travel the world without guage, and Creativity” (with encountering instances of hip-hop music and cul- Dawn-Elissa Fischer), in Doing Race: 21 Essays for the 21st Century ture. Hip-hop is the distinctive graf½ti lettering (ed. Hazel Rose Markus and styles that have materialized on walls worldwide. Paula M.L. Moya, 2010). It is the latest dance moves that young people per- form on streets and dirt roads. It is the bass beats DIONNE BENNETT is an Assis- mc tant Professor of African Ameri- and styles of dress at dance clubs. It is local s can Studies at Loyola Marymount on microphones with hands raised and moving to University.