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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. -
MBW Yearbook
2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018YEARBOOK 2019 2019 2019 2018 20182018/2019 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018Brought to2019 you by 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 1 2 3 Are you making the most of your success? Our efficient international payments, transparent foreign exchange and smart treasury management services will help you and your artists realise your global ambitions. +44 (0)20 3735 1735 | [email protected] | CENTTRIPMUSIC.COM Centtrip Limited is authorised and regulated by the Financial Conduct Authority (FCA) as an Electronic Money Institution (EMI). Our firm reference number is 900717. For more information on EMIs please visit the FCA’s website. The Centtrip Prepaid Mastercard is issued by Prepaid Financial Services Limited (PFS) pursuant to a licence from Mastercard International Incorporated. PFS is also authorised and regulated by the FCA as an Electronic Money Institution (firm reference number 900036). Their registered address is Fifth Floor, Langham House, 302–308 Regent Street, London W1B 3AT. 4 5 Contents Lyor Cohen, YouTube 08 Dre London, London Ent 16 David Joseph, Universal Music 24 Carolyn Williams, RCA 32 Paul Rosenberg, Goliath Artists/Def -
ABSTRACT LYNCH, KRYSTAL ANDREA. the Minstrelization of Hip Hop and Spoken Word Authenticity
ABSTRACT LYNCH, KRYSTAL ANDREA. The Minstrelization of Hip Hop and Spoken Word Authenticity: Expressions of Postmodern Blackness. (Under the direction of Dr. Sheila Smith McKoy.) Because of the need to preserve hip hop culture in postmodern American, a question that should be asked is, how is hip-hop music relevant to postmodernism and how is postmodernism relevant to the African-American experience, specifically that of African- American youth culture? This current hip hop generation is chronologically and ideologically removed from the Civil Rights movement of its parents and grandparents and ambivalent to the history of African-American people in general. For a generation that has marginally benefited socially from the struggles of the past, postmodern blackness is a reality. Postmodern blackness is defined as intraracial solidarity, cultural authenticity, and social awareness with the purpose of rousing and empowering black culture through music. Postmodern blackness supplies the foundation for understanding hip hop culture and the people who thrive within the culture. Race plays a primary function as a mark of authenticity within the hip hop culture where white hip hop artists signify a demarcation of racial identity. This new racial identity enables white hip hop artists to comfortably put on blackness as a viable means of self- definition, thereby engaging in the blackface minstrel tradition. The analysis white appropriation of black cultural becomes a normative consumptiveness as the artist avidly upholds postmodern blackness. In a strong sense, white hip hop artists redefine hip hop culture with a multiracial movement that transcends color. This thesis also emphasizes the importance of realness and authenticity in hip hop culture by comparing and contrasting the spoken word movement with commercial hip hop. -
Gangsta Rap and the Politics Of
WOMEN RAPPERS AND THE NEOLIBERAL POLITICS OF INDIFFERENCE: REEVALUATING THE RACIAL AND SEXUAL POLITICS OF LOS ANGELES GANGSTA RAP IN THE EARLY 1990s by SAMUEL V. GOLTER A THESIS Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts September 2017 THESIS APPROVAL PAGE Student: Samuel V. Golter Title: Women Rappers and Neoliberal Indifference: Reevaluating the Racial and Sexual Politics of Los Angeles Gangsta Rap in the Early 1990s This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the School of Music and Dance by: Loren Kajikawa Chairperson Eduardo Wolf Member Stephen Rodgers Member and Sara D. Hodges Interim Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded September 2017 ii © 2017 Samuel V. Golter iii THESIS ABSTRACT Samuel V. Golter Master of Arts School of Music and Dance September 2017 Title: Women Rappers and Neoliberal Indifference: Reevaluating the Racial and Sexual Politics of Gangsta Rap in the Early 1988-1994 This thesis asks why women gangsta rappers have been excluded from virtually all academic and popular discourses about the genre. While ‘positive’ and ‘empowering’ New York-based female rappers in the late 80s and 90s are often referenced by those concerned with gangsta rap’s misogynistic tendencies, women rappers in Los Angeles who performed alongside male gangsta rappers, were represented on labels managed by gangsta rappers, and were otherwise self- consciously engaging in the gangsta rap style are almost never acknowledged by either the genre’s defenders or detractors. -
White Chicks with a Gangsta' Pitch: Gendered Whiteness in United WHITE CHICKS GANGSTA PITCH
Williams: White Chicks with a Gangsta' Pitch: Gendered Whiteness in United WHITE CHICKS GANGSTA PITCH . White Chicks with a Gangsta’ Pitch: Gendered Whiteness in United States Rap Culture (1990-2017) Melvin L. Williams The current research analyzed the authenticating strategies employed by White female rappers to establish legitimacy in Rap culture. Specifically, the study investigated the lyrical content of 109 Rap songs, produced by seven White female rappers signed to major record labels from 1990 to 2017 in the United States. An analysis of Rap lyrics from Tairrie B, Icy Blu, Sarai, Lady Sovereign, Kreayshawn, K.Flay, and Iggy Azalea revealed a number of findings that complicated and supported Edward Armstrong and Mickey Hess’s Hip Hop authenticating strategies. These rappers emphasized authenticity in their lyrical content and chronicled the multiple systems of oppressions facing White women in Rap, among other strategies. The seven rappers also presented themes that articulated a new Hip Hop authenticating strategy: “Look but don’t touch.” This strategy indicated a shift in the tactics used by White male rappers to establish legitimacy in the musical genre and captured the unique standpoints of White women in Rap culture. The majority of the discourse in Hip Hop has primarily been about the thoughts, feelings, and ethos of Black men.1 While Hip Hop has experienced some diversity over the years with the acceptances of Eminem, Macklemore, and Ryan Lewis, and more recently, Mac Miller, Logic, and Post Malone, White female rappers still have not achieved the same level of mainstream success as their White male counterparts. The advent of a White female “rocking the mic” is still heavily questioned and scrutinized by Hip Hop artists and fans. -
Hip-Hop Poetry
"MAKE ME NOD MY HEAD IN REVERENCE": PASSION, PAIN AND POLITICS IN HIP-HOP POETRY by Tara Henley B.A. Hon, Simon Fraser University, 2000 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS Department ef English O Tara Henley 2003 SIMON FRASER UNIVERSITY August 2003 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL I Name: Tara Henley Degree: Master of Arts Title of Thesis: "Make Me Nod My Head in Reverence": Passion, Pain and Politics in Hip-Hop Poetry Examining Committee: Chair: Dr. Tom Grieve Assistant Professor Dr. Sheila Delany Senior Supervisor Professor 3) ~d~aulfhdra sbPervisor Associate Professor Crawford Killian External Examiner Instructor and Department Head Department of Communications Capilano College Date Approved: I PARTIAL COPYRIGHT LICENCE I hereby grant to Simon Fraser University the right to lend my thesis, project or extended essay (the title of which is shown below) to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. I further agree that permission for multiple copying of this work for scholarly purposes may be granted by me or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without my written permission. Title of Thesis: "Make Me Nod My Head In Reverence": Passion, Pain, and Politics in Hip-Hop Poetry Author: (Signature) AG. -
African-American Ownership of Record Labels in the Twentieth Century Stuart Lucas Tully Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2016 Buying In and Selling Out: African-American Ownership of Record Labels in the Twentieth Century Stuart Lucas Tully Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Tully, Stuart Lucas, "Buying In and Selling Out: African-American Ownership of Record Labels in the Twentieth Century" (2016). LSU Doctoral Dissertations. 3246. https://digitalcommons.lsu.edu/gradschool_dissertations/3246 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. BUYING IN AND SELLING OUT: AFRICAN-AMERICAN OWNERSHIP OF RECORD LABELS IN THE TWENTIETH CENTURY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy n i The Department of History y Stuart Tully B.S., Mississippib College, 2002 M.A., Louisiana State University, 2009 Ma 2016 y To Warren, This one is for you ii ACKNOWLEDGEMENTS Charles Shindo guided this project from inception to completion and his direction has been immensely impactful. He has been gracious, insightful, and above all encouraging of this project. I must thank him for humoring me during all the seemingly endless visits to his office that somehow always turned out productive thanks to his advice.