From Jay-Z to Dead Prez: Examining Representations of Black
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Kaya Hip-Hop in Coastal Kenya: the Urban Poetry of UKOO FLANI
Page 1 of 46 Kaya Hip-Hop in Coastal Kenya: The Urban Poetry of UKOO FLANI By: Divinity LaShelle Barkley [email protected] Academic Director: Athman Lali Omar I.S.P. Advisor: Professor Mohamed Abdulaziz S.I.T. Kenya, Fall 2007 Coastal Cultures & Swahili Studies Kaya Hip Hop in Coastal Kenya Fall 2007 ISP, SIT Kenya By: Divinity L. Barkley Page 2 of 46 Table of Contents Acknowledgements………………………………………..………………….page 3 Abstract……………………………………………..…………………………page 4 Introduction…………………………………..……………………………pages 5-8 Hip-Hop & Kenyan Youth Culture Research Problem Status of Hip-Hop in Kenya Hypotheses The Setting……………………………….………………………………pages 9-10 Methodology: Data Collection……………………………………..…pages 10-12 Biases and Assumptions………………………..………...…………...pages 13-14 Discussion & Analysis…………………………………………………pages 14-38 Ukoo Flani ni nani? Kaya Hip-Hop Traditional Role of Music in African Culture Genesis of Rap/Hip-hop in American Ghettoes The Ties That Bind Kenyan Radio The Maskani Ghetto Life Will the real Ukoo Flani please stand up? Urban Poetry: Analyzing Ukoo Flani’s Lyrics Conclusion…………………………..……………………….…………pages 38-42 Conclusion Part I: The Future of Ukoo Flani Conclusion Part II: Hypotheses Results Conclusion Part III: Recommendations for Future SIT Students Bibliography………………………………………………..…………..pages 43-44 Interview/Meeting Schedule………………………………………………page 45 ISP Review Sheet…………….……………………………………….……page 46 Kaya Hip Hop in Coastal Kenya Fall 2007 ISP, SIT Kenya By: Divinity L. Barkley Page 3 of 46 Acknowledgements First and foremost, I would like to thank the entire Ukoo Flani crew for their contributions to my project. I am fascinated by your amazing talent and dedication to making positive music to inspire future generations. I am amazed at what you have been able to accomplish despite limited access to resources. -
Tom Jennings
12 | VARIANT 30 | WINTER 2007 Rebel Poets Reloaded Tom Jennings On April 4th this year, nationally-syndicated Notes US radio shock-jock Don Imus had a good laugh 1. Despite the plague of reactionary cockroaches crawling trading misogynist racial slurs about the Rutgers from the woodwork in his support – see the detailed University women’s basketball team – par for the account of the affair given by Ishmael Reed, ‘Imus Said Publicly What Many Media Elites Say Privately: How course, perhaps, for such malicious specimens paid Imus’ Media Collaborators Almost Rescued Their Chief’, to foster ratings through prejudicial hatred at the CounterPunch, 24 April, 2007. expense of the powerless and anyone to the left of 2. Not quite explicitly ‘by any means necessary’, though Genghis Khan. This time, though, a massive outcry censorship was obviously a subtext; whereas dealing spearheaded by the lofty liberal guardians of with the material conditions of dispossessed groups public taste left him fired a week later by CBS.1 So whose cultures include such forms of expression was not – as in the regular UK correlations between youth far, so Jade Goody – except that Imus’ whinge that music and crime in misguided but ominous anti-sociality he only parroted the language and attitudes of bandwagons. Adisa Banjoko succinctly highlights the commercial rap music was taken up and validated perspectival chasm between the US civil rights and by all sides of the argument. In a twinkle of the hip-hop generations, dismissing the focus on the use of language in ‘NAACP: Is That All You Got?’ (www.daveyd. -
Jay-Z-Beyonce Vip-Offer 5.Pdf
JAY-Z & BEYONCÉ play the OLYMPIASTADION BERLIN On Thursday, June 28, 2018, JAY-Z & BEYONCÉ will hit the Olympiastadion Berlin on their OTR Tour II. The couple’s worldwide name of recognition is beyond dispute. Hits like Crazy in Love, Baby Boy or Single Ladies (Put a ring on it) crowned BEYONCÉ the Queen of Pop and vaulted her on the top of the world. The Rapper, music producer, entrepreneur and husband JAY-Z sits enthroned right there next to her. Songs like Hard Knock Life, Empire State of Mind and 99 Problems turned the New Yorker into a legend of Hip Hop. On the following pages, you can find all the information on how to experience this magnificent live concert in the luxurious hospitality areas of the Olympiastadion Berlin. If you are interested, we would kindly ask you to sign and fill out the reservation form (last page) and send it back to us via fax (030 – 306 88 120) or via email ([email protected]). We look forward to welcome you! OVERVIEW OF THE VIP-AREAS BUSINESS SEATS HALL OF HONOUR State guests from around the world, members of government and guests of honor from the world of sports and entertainment take their seats here and you could make this the arena for your event as well. The Hall of Honor is a place of prominence – grand panoramic windows, provide one of the most impressive views of the stadium. Business Seat in the category 1 with best view of the stage* One parking pass per two tickets Access via a separate entrance Hot and cold buffet in the Atrium or Business Lounge Large selection of beverages** Attentive service personnel BUSINESS SEATS HALL OF HONOUR EUR 395 excl. -
Song Title Artist Disc
Song Title Artist Disc # # 1 CRUSH GARBAGE 6639 # 9 DREAM LENNON, JOHN 6013 #1 NELLY 9406 (LOVE IS LIKE A) HEATWAVE MARTHA & THE VANDELLAS 7235 (YOU WANT TO) MAKE A MEMORY BON JOVI 14106 (YOU'VE GOT) THE MAGIC TOUCH PLATTERS, THE 1255 '03 BONNIE & CLYDE JAY-Z & BEYONCE 10971 1 THING AMERIE 13133 1, 2, 3 RED LIGHT 1910 FRUITGUM CO. 10237 1,2 STEP CIARA & MISSY ELLIOTT 12989 10 OUT OF 10 LOUCHIE LOU 7399 10 SECONDS DOWN SUGAR RAY 6418 10,000 PROMISES BACKSTREET BOYS 3350 100 YEARS FIVE FOR FIGHTING 12772 100% PURE LOVE WATERS, CRYSTAL 9306 1000 OCEANS AMOS, TORRIE 6711 10TH AVE. FREEZEOUT SPRINGSTEEN, BRUCE 11813 10TH AVENUE FREEZE OUT SPRINGSTEEN, BRUCE 2632 12:51 STROKES, THE 12520 1-2-3 BARRY, LEN 8210 ESTEFAN, GLORIA 13 18 & LIFE SKID ROW 2633 1969 STEGALL, KEITH 6712 1979 SMASHING PUMPKINS 6713 1982 TRAVIS, RANDY 3386 1985 BOWLING FOR SOUP 12880 1999 PRINCE 6714 19TH NERVOUS BREAKDOWN ROLLING STONES, THE 1032 2 BECOME 1 SPICE GIRLS 1427 2 STEP DJ UNK 14155 20 GOOD REASONS THIRSTY MERC 14107 2001 INTRO ELVIS 1604 20TH CENTURY FOX DOORS, THE 6715 21 QUESTIONS 50 CENT & NATE DOGG 11730 24 JEM 13169 24 HOURS AT A TIME TUCKER, MARSHALL, B 2634 24/7 EDMONDS, KEVON 6820 25 MILES STARR, EDWIN 9488 25 OR 6 TO 4 CHICAGO 4735 26 MILES FOUR PREPS, THE 10102 26 CENTS WILKINSONS, THE 6821 29 NIGHTS LEIGH, DANNI 6822 3 LIBRAS PERFECT CIRCLE, A 6824 3 LITTLE PIGS GREEN JELLY 2429 3:00 A.M. -
Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time. -
Polish Musicians Merge Art, Business the INAUGURAL EDITION of JAZZ FORUM SHOWCASE POWERED by Szczecin Jazz—Which Ran from Oct
DECEMBER 2019 VOLUME 86 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
Foia's Got 99 Problems,And Circuit
UNIVERSITY OF PITTSBURGH LAW REVIEW Vol. 82 ● Spring 2021 NOTES FOIA’S GOT 99 PROBLEMS, AND CIRCUIT COURT DISAGREEMENT ABOUT AUTHORITY TO COMPEL AFFIRMATIVE DISCLOSURES IS DEFINITELY ONE Emily Costantinou ISSN 0041-9915 (print) 1942-8405 (online) ● DOI 10.5195/lawreview.2021.795 http://lawreview.law.pitt.edu This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. This site is published by the University Library System of the University of Pittsburgh as part of its D- Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press. NOTES FOIA’S GOT 99 PROBLEMS, AND CIRCUIT COURT DISAGREEMENT ABOUT AUTHORITY TO COMPEL AFFIRMATIVE DISCLOSURES IS DEFINITELY ONE Emily Costantinou* INTRODUCTION Imagine that you work for a nonprofit organization, and your job routinely requires you to review records from a federal government agency. You discover that the information you need falls under the Freedom of Information Act (FOIA), which requires federal agencies to make such information freely available to the public for inspection.1 Fortunately, a searchable online collection of records exists that allows you to find all the information you need in one place—without having to make repeated requests to the government for each document.2 However, there’s a catch: this collection is behind a paywall.3 * Candidate for J.D., 2021, University of Pittsburgh School of Law; B.A. English Literature, 2013, summa cum laude, University of Pittsburgh. 1 Freedom of Information Act, 5 U.S.C. § 552 (2018). 2 See generally Margaret B. Kwoka, FOIA, Inc., 65 DUKE L.J. -
Finding Aid to the Historymakers ® Video Oral History with James Poyser
Finding Aid to The HistoryMakers ® Video Oral History with James Poyser Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Poyser, James, 1967- Title: The HistoryMakers® Video Oral History Interview with James Poyser, Dates: May 6, 2014 Bulk Dates: 2014 Physical 7 uncompressed MOV digital video files (3:06:29). Description: Abstract: Songwriter, producer, and musician James Poyser (1967 - ) was co-founder of the Axis Music Group and founding member of the musical collective Soulquarians. He was a Grammy award- winning songwriter, musician and multi-platinum producer. Poyser was also a regular member of The Roots, and joined them as the houseband for NBC's The Tonight Show Starring Jimmy Fallon. Poyser was interviewed by The HistoryMakers® on May 6, 2014, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2014_143 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Songwriter, producer and musician James Jason Poyser was born in Sheffield, England in 1967 to Jamaican parents Reverend Felix and Lilith Poyser. Poyser’s family moved to West Philadelphia, Pennsylvania when he was nine years old and he discovered his musical talents in the church. Poyser attended Philadelphia Public Schools and graduated from Temple University with his B.S. degree in finance. Upon graduation, Poyser apprenticed with the songwriting/producing duo Kenny Gamble and Leon Huff. Poyser then established the Axis Music Group with his partners, Vikter Duplaix and Chauncey Childs. He became a founding member of the musical collective Soulquarians and went on to write and produce songs for various legendary and award-winning artists including Erykah Badu, Mariah Carey, John Legend, Lauryn Hill, Common, Anthony Hamilton, D'Angelo, The Roots, and Keyshia Cole. -
Mediated Music Makers. Constructing Author Images in Popular Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Laura Ahonen Mediated music makers Constructing author images in popular music Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XII, on the 10th of November, 2007 at 10 o’clock. Laura Ahonen Mediated music makers Constructing author images in popular music Finnish Society for Ethnomusicology Publ. 16. © Laura Ahonen Layout: Tiina Kaarela, Federation of Finnish Learned Societies ISBN 978-952-99945-0-2 (paperback) ISBN 978-952-10-4117-4 (PDF) Finnish Society for Ethnomusicology Publ. 16. ISSN 0785-2746. Contents Acknowledgements. 9 INTRODUCTION – UNRAVELLING MUSICAL AUTHORSHIP. 11 Background – On authorship in popular music. 13 Underlying themes and leading ideas – The author and the work. 15 Theoretical framework – Constructing the image. 17 Specifying the image types – Presented, mediated, compiled. 18 Research material – Media texts and online sources . 22 Methodology – Social constructions and discursive readings. 24 Context and focus – Defining the object of study. 26 Research questions, aims and execution – On the work at hand. 28 I STARRING THE AUTHOR – IN THE SPOTLIGHT AND UNDERGROUND . 31 1. The author effect – Tracking down the source. .32 The author as the point of origin. 32 Authoring identities and celebrity signs. 33 Tracing back the Romantic impact . 35 Leading the way – The case of Björk . 37 Media texts and present-day myths. .39 Pieces of stardom. .40 Single authors with distinct features . 42 Between nature and technology . 45 The taskmaster and her crew. -
A Pedagogy of Freedom: Using Hip Hop in the Classroom to Engage African-American Students
A PEDAGOGY OF FREEDOM: USING HIP HOP IN THE CLASSROOM TO ENGAGE AFRICAN-AMERICAN STUDENTS _______________________________________________________________________ A Dissertation Proposal presented to the Faculty of the Graduate School University of Missouri-Columbia ________________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Education ________________________________________________________________________ by TRACY D. HALL Dr. Barbara N. Martin, Dissertation Supervisor DECEMBER 2007 © Copyright by Tracy D. Hall 2007 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled A PEDAGOGY OF FREEDOM: USING HIP HOP IN THE CLASSROOM TO ENGAGE AFRICAN-AMERICAN STUDENTS ___________________________________________________ Professor Barbara Martin ___________________________________________________ Professor Sandy Hutchinson ___________________________________________________ Professor Patricia Antrim ______________________________________________________ Professor Doug Thomas _____________________________________________________ Professor Michael Jinks ACKNOWLEDGMENTS I am grateful to God for the wonderful people who have assisted me along the way to fulfilling my dream of earning a doctorate degree. First, my sincere appreciation to my dissertation supervisor, Dr. Barbara Martin, for your encouragement, support, guidance and great humor, throughout this dissertation writing process. For encouraging me -
Metric Ambiguity and Flow in Rap Music: a Corpus-Assisted Study of Outkast’S “Mainstream” (1996)
Metric Ambiguity and Flow in Rap Music: A Corpus-Assisted Study of Outkast’s “Mainstream” (1996) MITCHELL OHRINER[1] University of Denver ABSTRACT: Recent years have seen the rise of musical corpus studies, primarily detailing harmonic tendencies of tonal music. This article extends this scholarship by addressing a new genre (rap music) and a new parameter of focus (rhythm). More specifically, I use corpus methods to investigate the relation between metric ambivalence in the instrumental parts of a rap track (i.e., the beat) and an emcee’s rap delivery (i.e., the flow). Unlike virtually every other rap track, the instrumental tracks of Outkast’s “Mainstream” (1996) simultaneously afford hearing both a four-beat and a three-beat metric cycle. Because three-beat durations between rhymes, phrase endings, and reiterated rhythmic patterns are rare in rap music, an abundance of them within a verse of “Mainstream” suggests that an emcee highlights the three-beat cycle, especially if that emcee is not prone to such durations more generally. Through the construction of three corpora, one representative of the genre as a whole, and two that are artist specific, I show how the emcee T-Mo Goodie’s expressive practice highlights the rare three-beat affordances of the track. Submitted 2015 July 15; accepted 2015 December 15. KEYWORDS: corpus studies, rap music, flow, T-Mo Goodie, Outkast THIS article uses methods of corpus studies to address questions of creative practice in rap music, specifically how the material of the rapping voice—what emcees, hip-hop heads, and scholars call “the flow”—relates to the material of the previously recorded instrumental tracks collectively known as the beat. -
Congratulations, George. No Wonder They Call You "King"
A D V E R T I S E M E N T r EXPERIENCE THE BUZZ MA" 3 2003 56 NUMBER ONE SINGLES 32 PLATINUM ALBUMS COUNTRY MUSIC HALL OF FAME MEMBER COUNTRY ALBUM OF THE YEAR Congratulations, George. No wonder they call you "King" www.billboand.com www.billboerd.biz US $6.99 CAN $8 99 UK £5.50 99uS Y8.:9CtiN 18> MCA NASHVILLE #13INCT - SCII 3 -DIGIT 907 413124083434 MARI0 REG A04 000!004 s, 200: MCA Nashville 'lllllllliLlllllllulii llll IIIIIIIIIIIIIIIIIIIIfII I MONTY G2EENIY 0027 l 3740 ELA AVE 4 P o 1 96 L7-Z0`_ 9 www.GeorgeStrait.co LONG BE.1CB CA 90807 -3 IC? "001160 www.americanradiohistory.com ATTENTION INDIE MUSICIANS! THE IMWS IS NOW ACCEPTING ENTRIES. DISC MAKERS" Independent Music World Series In 2008, the IMWS will award over $250,000 in cash GOSPEL, METAL, and prizes to independent musicians. No matter HIP HOP, PUNK, where you live, you are eligible to enter now! JAZZ, COUNTRY, EMO, ROCK, RAP, Whatever your act is... REGGAETON, we've showcased your style of music. AND MANY MORE! Deadline for entries is May 14, 2008 2008 Showcases in LOS ANGELES, ATLANTA, CHICAGO, and NEW YORK CITY. VISIT WWW.DISCMAKERS.COM /08BILLBOARD TO ENTER, READ THE RULES AND REGULATIONS, FIND OUT ABOUT PAST SHOWCASES, SEE PHOTOS,AND LEARN ALL ABOUT THE GREAT IMWS PRIZE PACKAGE. CAN'T GET ONLINE? CALL 1 -888- 800-5796 FOR MORE INFO. i/, Billboard sonicbíds,- REMO `t¡' 0 SAMSON' cakewalk DRUM! Dc.!1/Watk4 Remy sHvRE SLIM z=rn EleCtronic Musicioo www.americanradiohistory.com THEATER TWEETERS CONCERTS CASH IN AT THE MOVIES >P.27 DEF JAMMED LIFE AFTER JAY-Z FOR THE ROOTS