The Ithacan 2010-09-30
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Mediamonkey Filelist
MediaMonkey Filelist Track # Artist Title Length Album Year Genre Rating Bitrate Media # Local 1 Kirk Franklin Just For Me 5:11 2019 Gospel 182 Disk Local 2 Kanye West I Love It (Clean) 2:11 2019 Rap 4 128 Disk Closer To My Local 3 Drake 5:14 2014 Rap 3 128 Dreams (Clean) Disk Nellie Tager Local 4 If I Back It Up 3:49 2018 Soul 3 172 Travis Disk Local 5 Ariana Grande The Way 3:56 The Way 1 2013 RnB 2 190 Disk Drop City Yacht Crickets (Remix Local 6 5:16 T.I. Remix (Intro 2013 Rap 128 Club Intro - Clean) Disk In The Lonely I'm Not the Only Local 7 Sam Smith 3:59 Hour (Deluxe 5 2014 Pop 190 One Disk Version) Block Brochure: In This Thang Local 8 E40 3:09 Welcome to the 16 2012 Rap 128 Breh Disk Soil 1, 2 & 3 They Don't Local 9 Rico Love 4:55 1 2014 Rap 182 Know Disk Return Of The Local 10 Mann 3:34 Buzzin' 2011 Rap 3 128 Macc (Remix) Disk Local 11 Trey Songz Unusal 4:00 Chapter V 2012 RnB 128 Disk Sensual Local 12 Snoop Dogg Seduction 5:07 BlissMix 7 2012 Rap 0 201 Disk (BlissMix) Same Damn Local 13 Future Time (Clean 4:49 Pluto 11 2012 Rap 128 Disk Remix) Sun Come Up Local 14 Glasses Malone 3:20 Beach Cruiser 2011 Rap 128 (Clean) Disk I'm On One We the Best Local 15 DJ Khaled 4:59 2 2011 Rap 5 128 (Clean) Forever Disk Local 16 Tessellated Searchin' 2:29 2017 Jazz 2 173 Disk Rahsaan 6 AM (Clean Local 17 3:29 Bleuphoria 2813 2011 RnB 128 Patterson Remix) Disk I Luh Ya Papi Local 18 Jennifer Lopez 2:57 1 2014 Rap 193 (Remix) Disk Local 19 Mary Mary Go Get It 2:24 Go Get It 1 2012 Gospel 4 128 Disk LOVE? [The Local 20 Jennifer Lopez On the -
Deutsche Nationalbibliografie
Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2021 T 05 Stand: 05. Mai 2021 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2021 ISSN 1613-8945 urn:nbn:de:101-202011201812 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie sche Katalogisierung von Ausgaben musikalischer Wer- auf der Sachgruppenübersicht angegeben, entsprechend ke (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD (PM)“ zugrunde. -
Tupac Shakur 29 Dr
EXPONENTES DEL VERSO computación PDF generado usando el kit de herramientas de fuente abierta mwlib. Ver http://code.pediapress.com/ para mayor información. PDF generated at: Sat, 08 Mar 2014 05:48:13 UTC Contenidos Artículos Capitulo l: El mundo de el HIP HOP 1 Hip hop 1 Capitulo ll: Exponentes del HIP HOP 22 The Notorious B.I.G. 22 Tupac Shakur 29 Dr. Dre 45 Snoop Dogg 53 Ice Cube 64 Eminem 72 Nate Dogg 86 Cartel de Santa 90 Referencias Fuentes y contribuyentes del artículo 93 Fuentes de imagen, Licencias y contribuyentes 95 Licencias de artículos Licencia 96 1 Capitulo l: El mundo de el HIP HOP Hip hop Hip Hop Orígenes musicales Funk, Disco, Dub, R&B, Soul, Toasting, Doo Wop, scat, Blues, Jazz Orígenes culturales Años 1970 en el Bronx, Nueva York Instrumentos comunes Tocadiscos, Sintetizador, DAW, Caja de ritmos, Sampler, Beatboxing, Guitarra, bajo, Piano, Batería, Violin, Popularidad 1970 : Costa Este -1973 : Costa, Este y Oeste - 1980 : Norte America - 1987 : Países Occidentales - 1992 : Actualidad - Mundial Derivados Electro, Breakbeat, Jungle/Drum and Bass, Trip Hop, Grime Subgéneros Rap Alternativo, Gospel Hip Hop, Conscious Hip Hop, Freestyle Rap, Gangsta Rap, Hardcore Hip Hop, Horrorcore, nerdcore hip hop, Chicano rap, jerkin', Hip Hop Latinoamericano, Hip Hop Europeo, Hip Hop Asiatico, Hip Hop Africano Fusiones Country rap, Hip Hop Soul, Hip House, Crunk, Jazz Rap, MerenRap, Neo Soul, Nu metal, Ragga Hip Hop, Rap Rock, Rap metal, Hip Life, Low Bap, Glitch Hop, New Jack Swing, Electro Hop Escenas regionales East Coast, West Coast, -
Top 25 Rap Singles • 25, 1994 1 Rhyme I Cash Box June
CASH BOX JUNE25, 1994 31 URBAN THE TOP 25 RAP SINGLES • 25, 1994 1 RHYME I CASH BOX JUNE |H REGULATE (from "Above The Rim") (Death Row/Interscope/AG 98280) Warren G. & Nate Dogg 2 7 2 FU N KDAFIED (So So Def/Chaos/Columbia 77523) Da Brat 1 3 3 GOT ME WAITING (Uptown/MCA 54815) . Heavy D. & The Boyz 3 11 4 SWEET POTATO E PIE (Outburst/RAL/Chaos 77350) Domino 4 8 5 CROOKLYN (40 Acres And A Mule Musicworks/MCA 54837) . Crooklyn Dodgers 5 5 TOOTSIE ROLL (Down Low/Rip-lt6911) . 69 Boyz DEBUT 7 EASE MY MIND (Chrysalis/ERG 58158) . Arrested Development 7 4 8 PUMPS AND A BUMP(Giant/Reprise 18218) . Hammer 6 13 BACK IN THE DAY (Giant/Reprise/Wbmer Bros. 18217) Ahmad 10 6 10 WORKER MAN (Epic 77289) 8 6 11 FANTASTIC VOYAGE (Tommy Boy 617) . Coolio 11 4 It was an appropriate pairing—Gil Scott-Heron and Arrested Development. They were among the guests that helped departed late-night TV host Arsenio 12 PLAYER’S BALL (La face/Arista 2-4060) . Outkast 13 15 Hall close his show last month. It was a send-off, but both acts dropped words 4 TA’S (MCA 54870) . Eazy-E 24 2 [JJI LOVE DEM GANGS of knowledge that reflect the power that Arsenio commanded in that syndi- . 6 cated TV universe. Arrested Development’s Speech has evoked Heron’s name 14 BUCKTOWN (Week/Nervous 20069) Snif-N-Wessun 12 as an influence. So when Speech’s crew hit the scene May 18, Heron, will who 15 HERE IT IS, BAM! (Ufe/Bellmark 79520) . -
THE MISCELLANEOUS MEANING of GANGSTA RAP in 1990S
RAPRESENTING: THE MISCELLANEOUS MEANING OF GANGSTA RAP IN 1990s AMERICA Master’s Thesis in North American Studies Leiden University By Inge Oosterhoff S1474839 19 December 2014 Supervisor: Dr. Damian Pargas Second reader: Dr. Adam Fairclough Table of Contents Introduction Approach to Danger 2 Chapter 1 Rapresent: Roots of Gangsta Rap 10 Chapter 2 Panic Zone: The Dangers of Gangsta Rap 32 Chapter 3 A Hazy Shade of Criminal: Gangsta Rap and Black Stereotypes 54 Conclusion Ain’t a Damn Thing Changed 74 Bibliography 81 1 Introduction Approach to Danger 1 “Rap is really funny, man. But if you don’t see that it’s funny, it will scare the shit out of you.” – Ice-T Gangsta rap has generated greater public controversy than any popular music genre in American history. Concern over popular music’s effect on society is not new, nor exclusively American. In the 1920s, the popularity of jazz music generated heated public debates over its corruption of America’s segregated youth. Similarly, rock and roll caused great uproar during the 1950s; as did punk music in 1970s Great Britain. In each of these cases, the new music genres incited public fear for its negative impact on youth; specifically concerning its effect on youth’s attitudes towards sex, drugs, violence, and lawlessness. Notably, America’s greatest moral panics were incited by black music genres. Moreover, public controversies over black music have historically affected the political orientation of the American public. This makes the relationship between American political history and controversy over popular black music a particularly interesting topic for research.2 Music and politics have always been intrinsically linked. -
Ice Cube Death Certificate Anniversary
Ice Cube Death Certificate Anniversary Broke Patsy still skunk: rheological and murine Geoffrey burn-ups quite loathingly but disbowel her postponements unknightly. Quietist Kip wobble ubique, he criticized his whinchats very drizzly. Flemming is alike cheerful after incantational Sven supernaturalises his seedcake genuinely. Blake's Beats 20 Records That touch Me Through 2020 Discussion How do but feel. Ice Cube Releases 25th Anniversary Edition of 'Death. Ice Cube signs to Interscope Records and will re-release 'Death Certificate' for its 25-year anniversary. The Album Death Certificate was first released in 1991 featuring the lyrical stylings of Ice Cube Rapper Actor Producer and rotate around. 25th Anniversary Edition 2LP plus insert this new tracks included in this reissue Hard-edged hip-hop classic from 1991 newly reissued on HQ double vinyl. You looking for his game and all the page or sending a different delivery. Both of the kind of ice cube death certificate anniversary edition opens with such credibility as one music library on to improve your devices to apple id, and the game and principal beneficiaries of. Death Certificate 25th Anniversary Edition Ice Cube Listen Listen live Listen Buy Always Send men To This Retailer By using this movie you nerd to. Be reset your alipay account set up there was not ice cube death certificate anniversary edition with every throwback thursday song you love with the album is essential to? Listen to Death Certificate 25th Anniversary Edition on Spotify Ice Cube Album 2017 23 songs. Do say can have read more than we think we all, ice cube death certificate anniversary edition opens with them. -
Rap As It Reaches a Mass Audience
University of Pardubice Faculty of Arts and Philosophy Images of African-American Masculinity in Hip Hop Music Petra Filipová Master thesis 2011 Prohlašuji: Tuto práci jsem vypracovala samostatně. Veškeré literární prameny a informace, které jsem v práci využila, jsou uvedeny v seznamu použité literatury. Byla jsem seznámena s tím, že se na moji práci vztahují práva a povinnosti vyplývající ze zákona č. 121/2000 Sb., autorský zákon, zejména se skutečností, že Univerzita Pardubice má právo na uzavření licenční smlouvy o užití této práce jako školního díla podle § 60 odst. 1 autorského zákona, a s tím, že pokud dojde k užití této práce mnou nebo bude poskytnuta licence o užití jinému subjektu, je Univezita Pardubice oprávněna ode mne požadovat přiměřený příspěvek na úhradu nákladů, které na vytvoření díla vynaložila, a to podle okolností až do jejich skutečné výše. Souhlasím s prezenčním zpřístupňením své práce v Univerzitní knihovně. V Pardubicích dne 24. března 2011 Petra Filipová ACKNOWLEDGEMENTS: I would like to express my gratitude to Mgr. Šárka Bubíková, Ph.D. for her valuable guidance throughout the process of writing my thesis. Furthermore, I would like to thank my parents for their lifelong help and support. Abstract The thesis deals with depictions of African-American masculinity in hip hop music. It analyzes the ways black masculinity is portrayed in hip hop and what stereotypes the images generate. The analysis essentially targets the lyrical content of commercial rap as it reaches a mass audience. The initial part focuses on rap’s recurrent themes and attempts to identify the stereotypes it supports. The following chapters try to explain the origin of the narrow portrayals, considering both American and African-American socio-cultural background. -
Teorija Slovenske Ulične Poezije in Družbeni Kontekst
UNIVERZA V LJUBLJANI FILOZOFSKA FAKULTETA ODDELEK ZA SLOVENISTIKO JERNEJ KUSTERLE Teorija slovenske ulične poezije in družbeni kontekst Magistrsko delo Mentor: red. prof. dr. Marko Juvan Univerzitetni študijski program druge stopnje: Slovenistika – E-PED Ljubljana, 2016 Zahvala Zahvaljujem se vsem fakultetnim profesorjem, od katerih sem v času študija prejel ogromno znanja, ki mi je pomagalo pri raziskovanju in oblikovanju magistrskega dela. Posebej pa se zahvaljujem svojemu mentorju, red. prof. dr. Marku Juvanu, ki mi je dovolil nadaljnje raziskovanje in razvijanje teorije ulične poezije in bil pri tem pripravljen sprejeti novosti, zaradi česar je bilo najino sodelovanje uspešno in produktivno. Še enkrat iskrena hvala. Izvleček Teorija slovenske ulične poezije in družbeni kontekst Magistrsko delo obravnava ulično poezijo, ki je dolgo časa asociirala zgolj z glasbeno umetnostjo, in je javnosti bolj znana pod zvrstnim imenom rap. Delo najprej utemelji rabo besedne zveze ulična poezija znotraj literarne vede, pri čemer izhaja iz razvezane kratične oblike »rap« ter pomena obeh sestavin besedne zveze »ulična poezija«. Hkrati pojasni razliko med ulično, poulično in urbano poezijo ter uvede novost v teorijo ulične poezije, tj. delitev na ožjo in širšo opredelitev raziskovanega predmeta. Temu sledi umestitev v širši historični družbeno-politični kontekst v Ameriki, od koder ta oblika (protestne) poezije izhaja, in Sloveniji kot državi uvoznici, kjer se je ulična poezija v 90. letih 20. stoletja dokončno prilagodila kulturno-družbeno-političnemu -
ICE CUBE Ice Cube Is an Award Winning Actor, Director, Producer
ICE CUBE Ice Cube is an award winning actor, director, producer and music icon. After penning the most memorable lyrics on NWA’s groundbreaking songs “Straight Outta Compton” and “Fuck Tha Police,” Ice Cube left the group at the peak of its popularity to pursue one of the most successful careers in music history. As a solo recording artist, Ice Cube has sold more than 10 million albums while remaining one of rap’s most respected and influential artists today. Last year, he was inducted into the Rock & Roll Hall of Fame with his group NWA. In 1991 Cube made his acting debut with a lead role in the critically acclaimed and Academy Award nominated Boyz N The Hood. Since then, he has become one of the most bankable actors in Hollywood with film credits that include Friday, Three Kings, xXx: State of the Union and the Barbershop, Are We There Yet?, Ride Along, and 21 Jump Street franchises to name just a few. As an accomplished producer through his company, Cube Vision (Friday, the Barbershop, Are We There Yet? and Ride Along franchises), writer (Friday, The Players Club, The Janky Promoters) and director (The Players Club) - Ice Cube has established himself as one of entertainment’s most bankable, reliable, relevant, and prolific figures both on and off the screen. As a television producer, Cube Vision took the Barbershop and Are We There Yet? series to successful network runs and also enjoyed success with the controversial Black. White. His production company’s latest project, Hip Hop Squares on VH1 became the highest rated non-sports show to air in prime time when it premiered on March 13, 2017. -
Dissertation Full Draft
Copyright by Bryan John McCann 2009 The Dissertation Committee for Bryan John McCann Certifies that this is the approved version of the following dissertation: Contesting the Mark of Criminality: Resistance and Ideology in Gangsta Rap, 1988-1997 Committee: Dana L. Cloud, Supervisor Barry Brummett Jennifer Fuller Joshua Gunn Stephen John Hartnett Contesting the Mark of Criminality: Resistance and Ideology in Gangsta Rap, 1988-1997 by Bryan John McCann, B.S.; M.S. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2009 Dedication To the heroic families of Texas’s death row. They are the inspiration for this project and the heart of a movement. Acknowledgements As a materialist, I believe that all texts are conditioned by relationships. Indeed, completing this project would have been impossible were it not for my connection to a wide range of people. I am especially indebted to my talented dissertation committee. Dana Cloud, in addition to being a wise and dedicated advisor, is a dear friend and comrade. Her example and mentorship are constant reminders that scholarship should emerge from the concrete struggles of ordinary people and that while it is important to interpret the world; the point is ultimately to change it. In addition to helping cultivate a supportive and challenging environment as department chair at the University of Texas, Barry Brummett has helped me develop a deeper appreciation for the artistry of criticism and what it means to “get inside” a text. -
Slovenski, Pdf (256
izvirni znanstveni članek UDK:82.0:784.66 AFIRMACIJA SPLETA V ULIČNI POEZIJI Jernej Kusterle Jesenice, Slovenija Keywords: streety poetry, rap, internet, modernization, actualization In the area of street poetry the end of the 20th century meant a radical turning point. General popularization of internet caused its affirmation in lyrics of the street poetry. The living language directives make authors and authoresses modernize their vocabulary and actualize presented contents using elements of internet environment. At the same time new forms of sound records, communication, advertising, marketing, (self-)promotion etc. have been introduced by internet. The following article will present internet influence on street poetry in America and Slovenia as well. Some examples of the authors` and authoresses` lyrics will also be presented. Ključne besede: ulična poezija, rap, splet, modernizacija, aktualizacija Konec 20. stoletja je pomenil korenito prelomnico na področju ulične poezije, saj je s splošno popularizacijo spleta prišlo do njegove afirmacije v besedilih. Avtorji in avtorice v skladu s smernicami živega jezika modernizirajo svoj slovar ter aktualizirajo upovedane vsebine z elementi, ki jih prinaša spletno okolje. Hkrati se s spletom pojavijo nove oblike zvočnega zapisa, komunikacije, oglaševanja, trženja, (samo)promocije itd. Prispevek bo prikazal vplive spleta na ulično poezijo v Ameriki in Sloveniji, pri čemer bodo posebej obravnavani primeri besedil avtorjev in avtoric. 1 Uvod Slovenska ulična poezija je zaradi (glede na svetovni kontekst) poznega nastanka izpustila stopnjo izdajanja albumov na vinilnih ploščah, v manjši meri ujela obdobje izhajanja albumov hkrati na CD-jih in avdiokasetah ter doživela popularizacijo z nastopom interneta, ko so komadi 222 v različnih vrstah zvočnih zapisov (npr. -
Habitus of the Hood. Edited by Chris Richardson & Hans A. Skott
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Canadian Journal of Communication (CJC) Reviews Habitus of the Hood. Edited by Chris Richardson & Hans A. Skott- Myhre. Chicago, IL: Intellect, 2012, 325 pp. ISBN 9781841504797 (pkb). I’m so hood, I can’t help it I’m so hood, I can’t help it Love me for being me Cause I can’t change it, can’t rearrange it I am what I am So love me for being me I’m So Hood (50 Cent, 2003) n their compendium Habitus of the Hood, Chris Richardson and Han Skott-Myhre Iembark on an ambitious project that seeks to rethink the experiential qualities of life at the social margins. Their focus is on urban sites and their inhabitants, who are often defined as violent and “carceral,” corroded by pervasive “weariness and distrust” and, most agonizingly, prone to reproduction across generations. Working explicitly within French sociologist Pierre Bourdieu’s concept of habitus 1, the editors present a clear and theoretically appropriate frame, adopting Bourdieu’s definition as “‘a system of durable, transposable dispositions’ that form ‘principles which generate and organize practices and representations’” (p. 9). They seek to rein - force the hood’s mobile, expansive character that is simultaneously physical, psycho - logical, and symbolic, explaining, “as the saying goes, ‘you can take me out of the hood but you can’t take the hood out of me.’ This internalizing of one’s environment, its im - plications, and its representations are what we seek to interrogate” (p.