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Black Music, Gender & Sexuality
WGSS 391: Black Music, Gender & Sexuality Fumi Okiji [email protected] Tu/Th 10-11:15am Hasbrouck Laboratory, Room 130 Office hours: Tuesdays, 12-1:30pm, South College, W473 This course explores how black popular music cultures are shaped by performances and representations of gender and sexuality. The course will touch upon a number of themes including hip hop feminism, sex radicalism and camp, gender performativity and black masculinity. We will read music and film/video by artists such as Meshell Ndegeocello, Prince, Nicki Minaj, Bessie Smith and Beyonce as socio-historical texts that allow us access to an alternative source of knowledge supplementing the more theoretical. Students will be expected to build on their appreciation of black music to develop tools with which to critically engage with the expression, and with which to attend to the social, historical, performative and artistic complexes at play. This course fulfills critical race feminisms for UMass WGSS majors and minors. Offensive language and images You will be required to view, listen, think and talk about language, images and sounds that you might find offensive. This may include words and imagery that is sexist, homo- or transphobic, racist or obscene. It should go without saying that, I do not share or condone these words and actions. I do, however, believe that our engagement with these expressions is essential to an elucidation of the themes that underpin the course. It is important for each student to understand that by signing up to this course, you are agreeing to view and to listen to all material pertaining to it, regardless of its potentially offensive nature. -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture Permalink https://escholarship.org/uc/item/65f2825x Author Young, Mark Thomas Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Mark Thomas Young June 2015 Dissertation Committee: Dr. Sherryl Vint, Chairperson Dr. Steven Gould Axelrod Dr. Tom Lutz Copyright by Mark Thomas Young 2015 The Dissertation of Mark Thomas Young is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS As there are many midwives to an “individual” success, I’d like to thank the various mentors, colleagues, organizations, friends, and family members who have supported me through the stages of conception, drafting, revision, and completion of this project. Perhaps the most important influences on my early thinking about this topic came from Paweł Frelik and Larry McCaffery, with whom I shared a rousing desert hike in the foothills of Borrego Springs. After an evening of food, drink, and lively exchange, I had the long-overdue epiphany to channel my training in musical performance more directly into my academic pursuits. The early support, friendship, and collegiality of these two had a tremendously positive effect on the arc of my scholarship; knowing they believed in the project helped me pencil its first sketchy contours—and ultimately see it through to the end. -
1St First Society Handbook AFB Album of Favorite Barber Shop Ballads, Old and Modern
1st First Society Handbook AFB Album of Favorite Barber Shop Ballads, Old and Modern. arr. Ozzie Westley (1944) BPC The Barberpole Cat Program and Song Book. (1987) BB1 Barber Shop Ballads: a Book of Close Harmony. ed. Sigmund Spaeth (1925) BB2 Barber Shop Ballads and How to Sing Them. ed. Sigmund Spaeth. (1940) CBB Barber Shop Ballads. (Cole's Universal Library; CUL no. 2) arr. Ozzie Westley (1943?) BC Barber Shop Classics ed. Sigmund Spaeth. (1946) BH Barber Shop Harmony: a Collection of New and Old Favorites For Male Quartets. ed. Sigmund Spaeth. (1942) BM1 Barber Shop Memories, No. 1, arr. Hugo Frey (1949) BM2 Barber Shop Memories, No. 2, arr. Hugo Frey (1951) BM3 Barber Shop Memories, No. 3, arr, Hugo Frey (1975) BP1 Barber Shop Parade of Quartet Hits, no. 1. (1946) BP2 Barber Shop Parade of Quartet Hits, no. 2. (1952) BP Barbershop Potpourri. (1985) BSQU Barber Shop Quartet Unforgettables, John L. Haag (1972) BSF Barber Shop Song Fest Folio. arr. Geoffrey O'Hara. (1948) BSS Barber Shop Songs and "Swipes." arr. Geoffrey O'Hara. (1946) BSS2 Barber Shop Souvenirs, for Male Quartets. New York: M. Witmark (1952) BOB The Best of Barbershop. (1986) BBB Bourne Barbershop Blockbusters (1970) BB Bourne Best Barbershop (1970) CH Close Harmony: 20 Permanent Song Favorites. arr. Ed Smalle (1936) CHR Close Harmony: 20 Permanent Song Favorites. arr. Ed Smalle. Revised (1941) CH1 Close Harmony: Male Quartets, Ballads and Funnies with Barber Shop Chords. arr. George Shackley (1925) CHB "Close Harmony" Ballads, for Male Quartets. (1952) CHS Close Harmony Songs (Sacred-Secular-Spirituals - arr. -
ALEX DELGADO Production Designer
ALEX DELGADO Production Designer PROJECTS DIRECTORS STUDIOS/PRODUCERS THE KEYS OF CHRISTMAS David Meyers YouTube Red Feature OPENING NIGHTS Isaac Rentz Dark Factory Entertainment Feature Los Angeles Film Festival G.U.Y. Lady Gaga Rocket In My Pocket / Riveting Short Film Entertainment MR. HAPPY Colin Tilley Vice Short Film COMMERCIALS & MUSIC VIDEOS SOL Republic Headphones, Kraken Rum, Fox Sports, Wendy’s, Corona, Xbox, Optimum, Comcast, Delta Airlines, Samsung, Hasbro, SONOS, Reebok, Veria Living, Dropbox, Walmart, Adidas, Go Daddy, Microsoft, Sony, Boomchickapop Popcorn, Macy’s Taco Bell, TGI Friday’s, Puma, ESPN, JCPenney, Infiniti, Nicki Minaj’s Pink Friday Perfume, ARI by Ariana Grande; Nicki Minaj - “The Boys ft. Cassie”, Lil’ Wayne - “Love Me ft. Drake & Future”, BOB “Out of My Mind ft. Nicki Minaj”, Fergie - “M.I.L.F.$”, Mike Posner - “I Took A Pill in Ibiza”, DJ Snake ft. Bipolar Sunshine - “Middle”, Mark Ronson - “Uptown Funk”, Kelly Clarkson - “People Like Us”, Flo Rida - “Sweet Spot ft. Jennifer Lopez”, Chris Brown - “Fine China”, Kelly Rowland - “Kisses Down Low”, Mika - “Popular”, 3OH!3 - “Back to Life”, Margaret - “Thank You Very Much”, The Lonely Island - “YOLO ft. Adam Levine & Kendrick Lamar”, David Guetta “Just One Last Time”, Nicki Minaj - “I Am Your Leader”, David Guetta - “I Can Only Imagine ft. Chris Brown & Lil’ Wayne”, Flying Lotus - “Tiny Tortures”, Nicki Minaj - “Freedom”, Labrinth - “Last Time”, Chris Brown - “She Ain’t You”, Chris Brown - “Next To You ft. Justin Bieber”, French Montana - “Shot Caller ft. Diddy and Rick Ross”, Aura Dione - “Friends ft. Rock Mafia”, Common - “Blue Sky”, Game - “Red Nation ft. Lil’ Wayne”, Tyga “Faded ft. -
A King Named Nicki: Strategic Queerness and the Black Femmecee
Women & Performance: a journal of feminist theory ISSN: 0740-770X (Print) 1748-5819 (Online) Journal homepage: http://www.tandfonline.com/loi/rwap20 A king named Nicki: strategic queerness and the black femmecee Savannah Shange To cite this article: Savannah Shange (2014) A king named Nicki: strategic queerness and the black femmecee, Women & Performance: a journal of feminist theory, 24:1, 29-45, DOI: 10.1080/0740770X.2014.901602 To link to this article: https://doi.org/10.1080/0740770X.2014.901602 Published online: 14 May 2014. Submit your article to this journal Article views: 2181 View Crossmark data Citing articles: 2 View citing articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rwap20 Women & Performance: a journal of feminist theory, 2014 Vol. 24, No. 1, 29–45, http://dx.doi.org/10.1080/0740770X.2014.901602 A king named Nicki: strategic queerness and the black femmecee Savannah Shange* Department of Africana Studies and the Graduate School of Education, University of Pennsylvania, Philadelphia, PA, United States This article explores the deployment of race, queer sexuality, and femme gender performance in the work of rapper and pop musical artist Nicki Minaj. The author argues that Minaj’s complex assemblage of public personae functions as a sort of “bait and switch” on the laws of normativity, where she appears to perform as “straight” or “queer,” while upon closer examination, she refuses to be legible as either. Rather than perpetuate notions of Minaj as yet another pop diva, the author proposes that Minaj signals the emergence of the femmecee, or a rapper whose critical, strategic performance of queer femininity is inextricably linked to the production and reception of their rhymes. -
The Portrayal of African American Women in Hip-Hop Videos
Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 6-2005 The Portrayal of African American Women in Hip-Hop Videos Ladel Lewis Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Sociology Commons Recommended Citation Lewis, Ladel, "The Portrayal of African American Women in Hip-Hop Videos" (2005). Master's Theses. 4192. https://scholarworks.wmich.edu/masters_theses/4192 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. THE PORTRAYAL OF AFRICAN AMERICAN WOMEN IN HIP-HOP VIDEOS By Ladel Lewis A Thesis Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Master of Arts Department of Sociology Western Michigan University Kalamazoo, Michigan June 2005 Copyright by Ladel Lewis 2005 ACKNOWLEDGEMENTS I wish to thankmy advisor, Dr. Zoann Snyder, forthe guidance and the patience she has rendered. Although she had a course reduction forthe Spring 2005 semester, and incurred some minor setbacks, she put in overtime in assisting me get my thesis finished. I appreciate the immediate feedback, interest and sincere dedication to my project. You are the best Dr. Snyder! I would also like to thank my committee members, Dr. Douglas Davison, Dr. Charles Crawford and honorary committee member Dr. David Hartman fortheir insightful suggestions. They always lent me an ear, whether it was fora new joke or about anything. -
Contest and Judging Handbook
CONTEST AND JUDGING HANDBOOK Published by the Society Contest and Judging Committee Barbershop Harmony Society 110 7th Avenue North Nashville, Tennessee 37203-3704 Current revisions to this document are online at www.barbershop.org June 2020 (With Current Contest Rules) Ed. Note: This is a complex document with a lot of content. Please help with the challenging job of managing it by advising of any typos, incorrect references, broken hyperlinks, or suggestions for improvement. Send a note to [email protected] with page number and suggestion. Thank you! Approved by the Society Contest and Judging Committee. Published: 25 June 2020 Contest Rules, Chapter 3, contains all rules approved/authorized by the Society Board of Directors, CEO, and SCJC through 25 June 2020. TABLE OF CONTENTS (Click on chapter title or page number for direct link.) Table of Contents (06/25/20) ............................................................................................. 1-1 Definition of the Barbershop Style (8/19/18) ................................................................... 2-1 Contest Rules (6/25/20) ...................................................................................................... 3-1 The Judging System (10/25/19) ......................................................................................... 4-1 Music Category Description (2/11/20) .............................................................................. 5-1 Performance Category Description (1/19/20) ................................................................. -
Most Requested Songs of 2012
Top 200 Most Requested Songs Based on millions of requests made through the DJ Intelligence® music request system at weddings & parties in 2012 RANK ARTIST SONG 1 Journey Don't Stop Believin' 2 Black Eyed Peas I Gotta Feeling 3 Lmfao Feat. Lauren Bennett And Goon Rock Party Rock Anthem 4 Lmfao Sexy And I Know It 5 Cupid Cupid Shuffle 6 AC/DC You Shook Me All Night Long 7 Diamond, Neil Sweet Caroline (Good Times Never Seemed So Good) 8 Bon Jovi Livin' On A Prayer 9 Maroon 5 Feat. Christina Aguilera Moves Like Jagger 10 Morrison, Van Brown Eyed Girl 11 Beyonce Single Ladies (Put A Ring On It) 12 DJ Casper Cha Cha Slide 13 B-52's Love Shack 14 Rihanna Feat. Calvin Harris We Found Love 15 Pitbull Feat. Ne-Yo, Afrojack & Nayer Give Me Everything 16 Def Leppard Pour Some Sugar On Me 17 Jackson, Michael Billie Jean 18 Lady Gaga Feat. Colby O'donis Just Dance 19 Pink Raise Your Glass 20 Beatles Twist And Shout 21 Cruz, Taio Dynamite 22 Lynyrd Skynyrd Sweet Home Alabama 23 Sir Mix-A-Lot Baby Got Back 24 Jepsen, Carly Rae Call Me Maybe 25 Usher Feat. Ludacris & Lil' Jon Yeah 26 Outkast Hey Ya! 27 Isley Brothers Shout 28 Clapton, Eric Wonderful Tonight 29 Brooks, Garth Friends In Low Places 30 Sister Sledge We Are Family 31 Train Marry Me 32 Kool & The Gang Celebration 33 Sinatra, Frank The Way You Look Tonight 34 Temptations My Girl 35 ABBA Dancing Queen 36 Loggins, Kenny Footloose 37 Flo Rida Good Feeling 38 Perry, Katy Firework 39 Houston, Whitney I Wanna Dance With Somebody (Who Loves Me) 40 Jackson, Michael Thriller 41 James, Etta At Last 42 Timberlake, Justin Sexyback 43 Lopez, Jennifer Feat. -
2020 C'nergy Band Song List
Song List Song Title Artist 1999 Prince 6:A.M. J Balvin 24k Magic Bruno Mars 70's Medley/ I Will Survive Gloria 70's Medley/Bad Girls Donna Summers 70's Medley/Celebration Kool And The Gang 70's Medley/Give It To Me Baby Rick James A A Song For You Michael Bublé A Thousands Years Christina Perri Ft Steve Kazee Adventures Of Lifetime Coldplay Ain't It Fun Paramore Ain't No Mountain High Enough Michael McDonald (Version) Ain't Nobody Chaka Khan Ain't Too Proud To Beg The Temptations All About That Bass Meghan Trainor All Night Long Lionel Richie All Of Me John Legend American Boy Estelle and Kanye Applause Lady Gaga Ascension Maxwell At Last Ella Fitzgerald Attention Charlie Puth B Banana Pancakes Jack Johnson Best Part Daniel Caesar (Feat. H.E.R) Bettet Together Jack Johnson Beyond Leon Bridges Black Or White Michael Jackson Blurred Lines Robin Thicke Boogie Oogie Oogie Taste Of Honey Break Free Ariana Grande Brick House The Commodores Brown Eyed Girl Van Morisson Butterfly Kisses Bob Carisle C Cake By The Ocean DNCE California Gurl Katie Perry Call Me Maybe Carly Rae Jespen Can't Feel My Face The Weekend Can't Help Falling In Love Haley Reinhart Version Can't Hold Us (ft. Ray Dalton) Macklemore & Ryan Lewis Can't Stop The Feeling Justin Timberlake Can't Get Enough of You Love Babe Barry White Coming Home Leon Bridges Con Calma Daddy Yankee Closer (feat. Halsey) The Chainsmokers Chicken Fried Zac Brown Band Cool Kids Echosmith Could You Be Loved Bob Marley Counting Stars One Republic Country Girl Shake It For Me Girl Luke Bryan Crazy in Love Beyoncé Crazy Love Van Morisson D Daddy's Angel T Carter Music Dancing In The Street Martha Reeves And The Vandellas Dancing Queen ABBA Danza Kuduro Don Omar Dark Horse Katy Perry Despasito Luis Fonsi Feat. -
Scheme of the Research
SCHEME OF THE RESEARCH TITLE OF THE RESEARCH THE IN FLUENCE OF SOCIAL CLASS TO THE USE OF SWEAR WORD IN NICKI MINAJS’S RAP SONGS LYRIC Sociolinguistic Study Social Class Language Variety Style and Regist - Uper-uper class - Lower-uper class - Uper-middle class - Lower-middle class Swear Word - Uper-Lower class - Lower-lower class THE INFLUENCE OF SOCIAL CLASS TO THE USE OF SWEAR WORDS IN NICKI MINAJ’S RAP SONGS LYRIC Darma Persada University POSTER OF THE RESEARCH THE FLUENCE OF SOCIAL CLASS TO THE USE SWEAR WORD IN NICKI MINAJ’S RAP SONGS LYRIC Mely Arfiyanti 2015130032 DARMA PERSADA UNIVERSITY BACKGROUND FRAME WORK OF THEORIES: Sociolinguistics is the study of the relationship between language and society. How social factors can influence the Sociolinguistics Theory: way people speak. Community development; Culture, - Factors of social technology andeven religion, has caused people to form classs - Type of scoial class certian groups of social class. This form social class demands that group identities differ fromn other social Language variety classes. This need cause the effort to be different; - Style and register Included in the use of language. Each social lass seeks to be different from other sociall classes through the use of a different language. METHOD OF THE RESEARCH RESULT OF THE RESEARCH In this research, the writer use Based on the songs that the writer analyzesd, style and qualitative method to collect the data. register theory use in rap songs. They use swear The sources of the data are from words as her style asher special language that use in journals, articles, books, and internet. -
AN ANALYSIS on the USE of SLANG LANGUAGE in NICKI MINAJ's SONG LYRICS Vera Seprina [email protected] Djasminar Anwar
AN ANALYSIS ON THE USE OF SLANG LANGUAGE IN NICKI MINAJ'S SONG LYRICS Vera Seprina [email protected] Djasminar Anwar [email protected] English Department Faculty of Letters ABSTRACT The phenomena of slang language use almost in all genres of music, inspired the writer choose to focused in the study to discusses about analysis of the types and meanings of the slang language in Nicki Minaj's song lyrics. The purpose of this study is to classify the types and determine the meanings of slang language that used, in Nicki Minaj's song lyrics. The method used in this study is descriptive qualitative method. The writer uses Eric Partridge theories and other relevant references as well in order to obtain the relevant analysis between the theory and the statement. From the results of the study, it is found out that Society slang was the slang language type that most often used in Nicki Minaj's song lyrics and the meanings of the slang language in this song is related to sexuality. Key words : Slang language, Song lyrics. Language ABSTRAK Fenomena penggunaan bahasa gaul di hampir seiiap genre musik saai ini, menginsiprasi penulis untuk fokus dalam penelitian yang membahas tentang analisis bahasa gaul yang digunakan dalam lirik lagu Nicki Minaj. Tujuan dari penelitian ini adalah untuk menentukatt tipe dan makna dari bahasa gaul yang digunakan dalam lirik lagu Nicki Minaj. Melode yang digunakan dalam penelitian ini adalah metode deskriptif kualitatif. Penulis menggunakan teori Eric Partridge dan beberapa teori pendukung lain yang relevan untuk menjadikan penelitian ini bersifat relevan antara teori yang digunakan dengan halyang akan diieliti oleh penults. -
Eminem 1 Eminem
Eminem 1 Eminem Eminem Eminem performing live at the DJ Hero Party in Los Angeles, June 1, 2009 Background information Birth name Marshall Bruce Mathers III Born October 17, 1972 Saint Joseph, Missouri, U.S. Origin Warren, Michigan, U.S. Genres Hip hop Occupations Rapper Record producer Actor Songwriter Years active 1995–present Labels Interscope, Aftermath Associated acts Dr. Dre, D12, Royce da 5'9", 50 Cent, Obie Trice Website [www.eminem.com www.eminem.com] Marshall Bruce Mathers III (born October 17, 1972),[1] better known by his stage name Eminem, is an American rapper, record producer, and actor. Eminem quickly gained popularity in 1999 with his major-label debut album, The Slim Shady LP, which won a Grammy Award for Best Rap Album. The following album, The Marshall Mathers LP, became the fastest-selling solo album in United States history.[2] It brought Eminem increased popularity, including his own record label, Shady Records, and brought his group project, D12, to mainstream recognition. The Marshall Mathers LP and his third album, The Eminem Show, also won Grammy Awards, making Eminem the first artist to win Best Rap Album for three consecutive LPs. He then won the award again in 2010 for his album Relapse and in 2011 for his album Recovery, giving him a total of 13 Grammys in his career. In 2003, he won the Academy Award for Best Original Song for "Lose Yourself" from the film, 8 Mile, in which he also played the lead. "Lose Yourself" would go on to become the longest running No. 1 hip hop single.[3] Eminem then went on hiatus after touring in 2005.