Tobe Nwigwe's Southern Raps at the BET Experience Are Marinaded
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
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. -
Afrimerican Academy Town Hall 2 Summer Camp Start Dates: Arts Culture Arts (June 28Th - August 27Th 2021) May 15Th
KEY DATES Afrimerican Academy Town Hall 2 Summer Camp Start dates: Arts Culture Arts (June 28th - August 27th 2021) May 15th Creating Cultural Bridges Through Business Town Hall 3 Startups Cooking Virtual Online Classes In-Person Student Outings: June 5th Museums - Design Gardening Health & Application Dance S.T.E.A.M. Wellness and more… & Activism Deadline Located in Boston June 12th An Enriching Camp Designed to Educate and Empower Camp Start Who are we serving? The young POCs of Boston June 28th Email [email protected] for info Camp end REGISTER NOW! Aug 27th Welcome to ‘Afrimerican Academy: Community Town Hall & Info Session’ Please fill out polls and surveys. Ask your questions in the Q&A Section. Raise your hands to speak. 2 mins limit. Feel free to comment in the chat. ‘Building cultural bridges in the African diaspora through Education, Technology & Travel’ afrimericanone.org WATCH [email protected] AFRIMERICAN TV ON Afrimerican Academy Team Marlon Solomon - President Dapo Olagbaju - Vice President Kiara M. - Intern Uche O. - Intern Glorya Fernandez Cultural Nutrition Instructor/ Outreach Coordinator ‘Building cultural bridges in the African diaspora through Education, Technology & Travel’ Afrimerican Culture Initiative Inc. Afrimerican Culture Initiative Inc. founded in 2015 African Diaspora Cultural Education Consultancy African American, AfroLatinX, Afro-Carribean, African Immigrant and other community members. Develops Independent Research - Northeastern University Redline Sprawl - Nigerian Annuity Project (#Endsars) Social Justice Project Management Afrimerican Academy - BPCS Cultural Nutrition Program Educational Content Creator Afrimerican Academy - Cultural Events - ‘Lives in Me’ Challenge Afrimerican Academy Afrimerican Academy launched in 2020 African Diaspora Cultural Education Resource African Diaspora Cultural Competency (Community Unity & Understanding) Afterschool & Summer programming Free for low income youth in Boston, MA. -
Dj Music Mp4 Download DJ MP4 - MP4 DJ's Vol
dj music mp4 download DJ MP4 - MP4 DJ's vol. II. Listen to over 70 million songs with an unlimited streaming plan. Listen to this album and more than 70 million songs with your unlimited streaming plans. 1 month free, then £14,99/ month. DJ MP4, Composer, Writer, MainArtist - Julio Mix, Composer, Writer. DJ MP4, Composer, Writer, MainArtist - Julio Mix, Composer, Writer. DJ MP4, Composer, Writer, MainArtist - Julio Mix, Composer, Writer. DJ MP4, Composer, Writer, MainArtist - Julio Mix, Composer, Writer. DJ MP4, Composer, Writer, MainArtist - Julio Mix, Composer, Writer. DJ MP4, Composer, Writer, MainArtist - Julio Mix, Composer, Writer. DJ MP4, Composer, Writer, MainArtist - Julio Mix, Composer, Writer. DJ MP4, Composer, Writer, MainArtist - Julio Mix, Composer, Writer. DJ MP4, Composer, Writer, MainArtist - Julio Mix, Composer, Writer. DJ MP4, Composer, Writer, MainArtist - Julio Mix, Composer, Writer. DJ MP4, Composer, Writer, MainArtist - Julio Mix, Composer, Writer. DJ MP4, Composer, Writer, MainArtist - Julio Mix, Composer, Writer. DJ MP4, Composer, Writer, MainArtist - Julio Mix, Composer, Writer. About the album. 1 disc(s) - 13 track(s) Total length: 00:54:36. Why buy on Qobuz. Stream or download your music. Buy an album or an individual track. Or listen to our entire catalogue with our high-quality unlimited streaming subscriptions. Zero DRM. The downloaded files belong to you, without any usage limit. You can download them as many times as you like. Choose the format best suited for you. Download your purchases in a wide variety of formats (FLAC, ALAC, WAV, AIFF. ) depending on your needs. Listen to your purchases on our apps. Download the Qobuz apps for smartphones, tablets and computers, and listen to your purchases wherever you go. -
Aesthetic Play and Bad Intent
Article Aesthetic Play and Bad Intent Andrew J. Kerr† Threatening words or images are assumed by American courts to be non-art. But this threshold question of art status is complicated by the evolution of rap and performance art. There is no articulable way to discern art from non-art for these non- textual media, a problem compounded in the unique context of the Internet. In civil litigation we can resort to institutionalist tests like audience reception. But mens rea matters in criminal prosecution. I favor judicial pragmatism in what I argue here is a very non-legal area of law. I. INTRODUCTION In March 2016, Compton rapper YG released the single, “FDT”, shorthand for “fuck Donald Trump,” as a critical response to the then Republican primary challenger. The track was rec- orded in about an hour,1 and eventually became a summer an- them because of its political appeal.2 VICE Media’s Noisey pub- lication celebrated it as the best track of 2016. Some of the lyrics are rote and predictable. Still, it possesses a vital energy and contains several clever lines, such as the couplet: “Reagan sold coke / Obama sold hope.”3 Any rap fan would recognize the song † Lecturer of Legal English, Georgetown University Law Center. I thank Robin West, Alexa Freeman, Sonya Bonneau, and Xiangyu Zhang for their help- ful comments, as well as the organizers and participants of the 2017 Law and Literature conference at Masaryk University for their formative feedback on this project. Copyright © 2018 by Andrew J. Kerr. 1. Adelle Platon, YG & Nipsey Hussle Discuss Their Anti-Donald Trump Track ‘FDT’ & Why ‘Trump Is Not the Answer’, BILLBOARD (Apr. -
Beyoncé Feminism, Rihanna Womanism: Popular Music and Black Feminist Theory AFR 330, WGS 335 Flags: Cultural Diversity in the US, Global Cultures Spring 2020
The University of Texas at Austin Beyoncé Feminism, Rihanna Womanism: Popular Music and Black Feminist Theory AFR 330, WGS 335 Flags: Cultural Diversity in the US, Global Cultures Spring 2020 Prof: Dr. Traci-Ann Wint Course Description Beyoncé’s fifth live album Homecoming chronicled her performance as the first black woman to headline the Coachella festival. As with Lemonade, the film and performance put Beyoncé’s music in conversation with luminaries such as Toni Morrison and W.E.B. DuBois. Beyoncé’s contemporaries Rihanna and Lizzo similarly center black culture in their music and are unapologetic about their work’s engagement with issues specific to black womanhood. By engaging the music and videos of these and other Black femme recording artists as popular, accessible expressions of African American and Caribbean feminisms, this course explores their contribution to black feminist thought and their impact on global audiences. Beginning with close analysis of these artists’ songs and videos, we read their work in conversation with black feminist theoretical works that engage issues of race, location, violence, economic opportunity, sexuality, standards of beauty, and creative self-expression. The course aims to provide students with an introduction to media studies methodology as well as black feminist theory, and to challenge us to close the gap between popular and academic expressions of black women’s concerns. Course Goals The course aims to provide students with an introduction to Black feminism, Black feminist thought and womanism through an examination of popular culture. At the end of the course students should have a firm grasp on Black Feminist and Womanist theory, techniques in pop culture and media analysis and should be comfortable with the production of scholarly work for a popular audience. -
Outstanding Lighting Design/Lighting Direction for a Variety Special
2021 Primetime Emmy® Awards Ballot Outstanding Lighting Design/Lighting Direction For A Variety Series The Amber Ruffin Show Episode 117 In this episode of The Amber Ruffin Show, Amber’s first audience member is attacked after stealing her sidekick’s joke, Amber previews a movie chronicling Harriet Tubman’s true dream, sings a song about her fear of the coronavirus, and coaches the parents who opposed transgender representation in a school book program. America's Got Talent The Finals The top 10 acts perform one last time from Universal Studios for their chance to win $1 million and be named the most talented act in America. American Idol Episode 419 Season 4 of American Idol concludes with the top three finalists taking the stage one last time in hopes of securing America’s vote to becoming this season’s winner. In addition to the top 3, former contestants returned to join renowned music artists for unforgettable performances throughout the show. Antiques Roadshow American Stories Antiques Roadshow transports audiences across America to discover captivating stories about items ranging from the everyday to the extraordinary. For the first time, Antiques Roadshow visits with notable people from comedy, film, TV, literature, music, and sports to learn about their personal treasures while exploring our collective history. A Black Lady Sketch Show If I’m Paying These Chili’s Prices, You Cannot Taste My Steak! A common Black figure-of-speech comes alive; commentators analyze a high-stakes search for a cafeteria seat; a fast-paced nail appointment gets pricey; a woman uses a cult-like seminar to scare off her friend; a psycho tampers with his hostage’s purse; a woman reaches hair nirvana; the women stage a presidential debate. -
Hip Hop Feminism Comes of Age.” I Am Grateful This Is the First 2020 Issue JHHS Is Publishing
Halliday and Payne: Twenty-First Century B.I.T.C.H. Frameworks: Hip Hop Feminism Come Published by VCU Scholars Compass, 2020 1 Journal of Hip Hop Studies, Vol. 7, Iss. 1 [2020], Art. 1 Editor in Chief: Travis Harris Managing Editor Shanté Paradigm Smalls, St. John’s University Associate Editors: Lakeyta Bonnette-Bailey, Georgia State University Cassandra Chaney, Louisiana State University Willie "Pops" Hudson, Azusa Pacific University Javon Johnson, University of Nevada, Las Vegas Elliot Powell, University of Minnesota Books and Media Editor Marcus J. Smalls, Brooklyn Academy of Music (BAM) Conference and Academic Hip Hop Editor Ashley N. Payne, Missouri State University Poetry Editor Jeffrey Coleman, St. Mary's College of Maryland Global Editor Sameena Eidoo, Independent Scholar Copy Editor: Sabine Kim, The University of Mainz Reviewer Board: Edmund Adjapong, Seton Hall University Janee Burkhalter, Saint Joseph's University Rosalyn Davis, Indiana University Kokomo Piper Carter, Arts and Culture Organizer and Hip Hop Activist Todd Craig, Medgar Evers College Aisha Durham, University of South Florida Regina Duthely, University of Puget Sound Leah Gaines, San Jose State University Journal of Hip Hop Studies 2 https://scholarscompass.vcu.edu/jhhs/vol7/iss1/1 2 Halliday and Payne: Twenty-First Century B.I.T.C.H. Frameworks: Hip Hop Feminism Come Elizabeth Gillman, Florida State University Kyra Guant, University at Albany Tasha Iglesias, University of California, Riverside Andre Johnson, University of Memphis David J. Leonard, Washington State University Heidi R. Lewis, Colorado College Kyle Mays, University of California, Los Angeles Anthony Nocella II, Salt Lake Community College Mich Nyawalo, Shawnee State University RaShelle R. -
Megan Thee Stallion, Fever
REVIEWS Megan Thee Stallion Fever 8.0 1501 CERTIFIED / 300 ENTERTAINMENT • 2019 BY: TAYLOR CRUMPTON / MAY 23 2019 RAP Megan Thee Stallion’s debut is steeped in sex, pimpin, and power; it sounds like a once and future Houston rap classic. hen MeganMeganMegan TheeTheeThee StallionStallionStallion’s “Big Ole Freak” landed on Billboard’s Hot 100 in April, it was a testament to years of viral W freestyles and her devoted “hotties,” whose faithful support on social media helped the song rise to mainstream recognition. The 24- year-old has been prolific—her evolution is displayed through the invention of various rap personas, such as Tina Snow, Megan Thee Stallion, and Hot Girl Meg, the turn-up queen with serious ambition on her mind. “We have so many legends and so many greats,” she recently said of her hometown of Houston, Texas. “But I don’t feel like we ever really had a female rapper from Houston or Texas shut that shit down.” With her debut project Fever, she hopes to succeedMegan in doing Thee just Stallion that. At its core is the intersection of two beautiful rap legacies: the women rap tradition started by MCMCMC LyteLyteLyte and QueenQueenQueen LatifahLatifahLatifah, and Southern rap dynasty ushered in by Houston’s GetoGetoGeto BoysBoysBoys and UndergroundUndergroundUnderground KingsKingsKings. From the first song, Megan weaponizes misogynymisogynymisogyny through the execution of bars worthy of XXL Freshman Class President. South Park’s influence, home to fellow Houston legends ScarfaceScarfaceScarface and Lil’Lil’Lil’ KekeKekeKeke, is felt throughout “Hood Rat Shit,” which transitions into an ass-and clit-eating tutorial for her male tricks on “Pimpin,” where the spirit of Houston’s pimp tradition is embedded within every word. -
How Avid Fans Determine and Value Authenticity in Rap Music
THE RELEVANCE OF REAL: HOW AVID FANS DETERMINE AND VALUE AUTHENTICITY IN RAP MUSIC _______________ A Thesis Presented to The Faculty of the Department of Sociology University of Houston _______________ In Partial Fulfillment Of the Requirements for the Master’s Degree _______________ By Erian J. Aquil May 2018 THE RELEVANCE OF REAL: HOW AVID FANS DETERMINE AND VALUE AUTHENTICITY IN RAP MUSIC _______________ An Abstract of a Thesis Presented to The Faculty of the Department of Sociology University of Houston _______________ In Partial Fulfillment Of the Requirements for the Master’s Degree _______________ By Erian J. Aquil May 2018 ABSTRACT Authenticity in rap music holds historical importance in hip hop culture. Low-income blacks in New York City used rap music to express their feelings about and bring awareness to issues in their communities. Rap music is no longer as closely tied to its origins, but authenticity remains a valuable part of these expressions. Though researchers acknowledge rap music has changed, they use historical markers to identify what is authentic in rap music and rarely investigate how fans understand authenticity today. In-depth interviews with eighteen avid rap fans illustrate new ways fans determine authenticity in rap music. Borrowing from Swidler’s (1986) “cultural tool kit,” this study shows how fans draw from their personal toolkits to determine authenticity. Specifically, fans determine authenticity based on whether they believe an artist is telling stories about personal lived experiences, whether they can relate to an artist’s lyrics, and/or whether an artist shows vulnerability in some way. Conversely, fans consider lyrics inauthentic when a rapper tells exaggerated stories that do not seem plausible. -
Nipsey Hussle
NIPSEY HUSSLE Founded in 2010, Hussle’s All Money In made an epochal debut with its very first release, “THE MARATHON,” marking Hussle’s fifth official mixtape and follow-up to his introductory “BULLETS AIN’T GOT NO NAME” trilogy. Named among XXL’s “100 Best Mixtapes of 2010,” the collection was quickly followed by 2011’s “THE MARATHON CONTINUES” and then 2013’s “CRENSHAW,” the latter proving a media sensation when over one thousand first edition cassettes priced at $100 each were sold out in less than 24 hours at an All Money In pop-up shop in Fairfax, CA. 2014 saw Hussle embark on the nationwide “Crenshaw Tour” before unleashing his next mixtape, “MAILBOX MONEY,” this time available in a 100-copy limited edition priced at $1000. “SLAUSON BOY 2” made its debut in 2016, comprising 17 tracks first released as part of Hussle’s weekly #MarathonMonday series. That same year also saw Hussle team with YG for the landmark single, “FDT (F*** Donald Trump),” praised by the Los Angeles Times as “the most prophetic, wrathful and unifying protest song of 2016.” At the end of 2017, Hussle announced his independent label All Money In LLC entered into a strategic deal with Atlantic Records. Hussle’s debut album ‘Victory Lap,’ released February 16, was the first project dropped under the joint venture. Along with his work as a lead artist, Hussle has previously collaborated with a veritable who’s-who of contemporary hip hop, including Kendrick Lamar, Drake, Rick Ross, YG, Ty Dolla Sign, Meek Mill, DJ Mustard, Young Thug and many more. -
K.Dot Analysis Draft
Kendrick Lamar Duckworth, better known as Kendrick Lamar, was born June 17, 1987 in Compton, California. His mother and father, who are originally from Chicago, moved to Compton in search of a new and better life as his father was a member of Chicago’s notorious Gangster Disciples gang. Lamar was born and raised in Compton at the heights of the crack epidemic and Los Angeles’ gang violence. Kendrick was raised in the Westside, Compton neighborhood where rapper, Westside Boogie, is also from. This neighborhood is the territory for the Westside Piru’s, a Compton blood-gang. The Westside Piru’s are also very closely associated with the Tree Top Piru’s where rappers YG and Dj Quik are from. As a child, Lamar was surrounded by guns, drugs and violence like many marginalized young black children were (and still are) at the time. Surrounded by madness, Kendrick managed to remain a good student who enjoyed writing stories and poems. These stories and poems later became rap lyrics. Since its inception, Hip-Hop music and culture has been synonymous with African-American culture and lived experiences as well as the way that these two things are interpreted by different audiences. Hip-Hop music in its totality has inseparable ties to African cultural traditions. Since the turn of the century, Hip-Hop music and culture have seemingly become more monotonous concerning the thematics of lyrics, beats, and visual portrayals.McClendon (2015) states that in this century, the performance of “cool” is repeatedly flaunted but lacks substance. In this century, “cool” is sustained by dress, appearance, and behaviours that constantly feed a celebrity system fixed on aspects of shared videos and momentary transcribed thoughts. -
Michigan Chronicle
City.Life.Style. Where City Meets Life and Life Meets Style C1 | January 22-28, 2020 michiganchronicle.com 2010-2020: The Apex of Black Music & Social Media By Trevor W. Coleman II t the end of a decade, and approaching a new, the dominating pres- ence of hip hop and R&B is operating on a new foundation – social Amedia. The influence an artist has on pop culture and music quality almost always coincides with the artist’s presence on social media. When looking back at the songs that will form the popular music for the 2010 decade, such as Drake’s 2016 single Hotline Bling, or this year’s Old Town Road, these songs can’t be mentioned without noting their respective memes and the social media commotion that trailed these songs for months after their releases. The unification of social media and hip hop music is the source of influence in which established and emerging artists benefit. When a song is popular on social media, the artist has all they need to establish a fan base even before recording a full-length album or releasing another single. This year has been the biggest example of rappers emerging from social media: Megan Thee Stallion off the Hot Girl Summer hashtag and Lil Nas X with the buzz of Old Town Road stemming from video-sharing app TikTok earlier this year. When it comes to The influence that these songs have had on pop music throughout 2019 the careers of artists is an example of black social media’s influence on pop culture.