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Williams, Hipness, Hybridity, and Neo-Bohemian Hip-Hop
HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Maxwell Lewis Williams August 2020 © 2020 Maxwell Lewis Williams HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA Maxwell Lewis Williams Cornell University 2020 This dissertation theorizes a contemporary hip-hop genre that I call “neo-bohemian,” typified by rapper Kendrick Lamar and his collective, Black Hippy. I argue that, by reclaiming the origins of hipness as a set of hybridizing Black cultural responses to the experience of modernity, neo- bohemian rappers imagine and live out liberating ways of being beyond the West’s objectification and dehumanization of Blackness. In turn, I situate neo-bohemian hip-hop within a history of Black musical expression in the United States, Senegal, Mali, and South Africa to locate an “aesthetics of existence” in the African diaspora. By centering this aesthetics as a unifying component of these musical practices, I challenge top-down models of essential diasporic interconnection. Instead, I present diaspora as emerging primarily through comparable responses to experiences of paradigmatic racial violence, through which to imagine radical alternatives to our anti-Black global society. Overall, by rethinking the heuristic value of hipness as a musical and lived Black aesthetic, the project develops an innovative method for connecting the aesthetic and the social in music studies and Black studies, while offering original historical and musicological insights into Black metaphysics and studies of the African diaspora. -
Kendrick Lamar Album Downloads CLICK HERE to DOWNLOAD
kendrick lamar album downloads CLICK HERE TO DOWNLOAD. 1. Wesley’s Theory 2. For Free? (Interlude) 3. King Kunta 4. Institutionalized 5. These Walls 6. U 7. Alright 8. For Sale? (Interlude) 9. Momma 10. Hood Politics 11. How Much A Dollar Cost 12. Complexion 13. The Blacker The Berry 14. You Ain’t Gotta Lie (Momma Said) 15. I 16. Mortal Man. “Oh My God!” Is what would have screamed the legendary Joseph Joestar learning that Kendrick Lamar suddenly swung his album on the net! Writing MCM.fr should admit she is sort of shocked. The promotion was going thus slowly … yet instead of reveal everything directly, Kendrick Lamar had initial proclaimed the discharge date of his album referred to as Untitled at the time (which was scheduled for March twenty three at the base) before revealing the title, cowl and tracklist. whereas we have a tendency to sagely waited to own the names of these UN agency contributed to his CD, well no! The rapper skip this step so as to supply USA to concentrate to the album in its entireness per week before the discharge date! Indulge yourself by throwing a word of this project! Since the album is formally downloadable, we have a tendency to currently apprehend UN agency collaborated with the creative person Pimp To A Butterfly. we discover once more Thundercat, Bilal and Pakistani monetary unit Wise UN agency were within the single Untitled Kendrick Lamar, the legendary Snoop Dogg and President Clinton, and at last the gifted Californian rapper Rapsody! On the assembly facet we’ve got no data, however we have a tendency to bet the presence of Flying Lotus (K.Dot UN agency has already worked for the wonderful song ne'er Catch Me) Sounwave, Dr. -
Music 10378 Songs, 32.6 Days, 109.89 GB
Page 1 of 297 Music 10378 songs, 32.6 days, 109.89 GB Name Time Album Artist 1 Ma voie lactée 3:12 À ta merci Fishbach 2 Y crois-tu 3:59 À ta merci Fishbach 3 Éternité 3:01 À ta merci Fishbach 4 Un beau langage 3:45 À ta merci Fishbach 5 Un autre que moi 3:04 À ta merci Fishbach 6 Feu 3:36 À ta merci Fishbach 7 On me dit tu 3:40 À ta merci Fishbach 8 Invisible désintégration de l'univers 3:50 À ta merci Fishbach 9 Le château 3:48 À ta merci Fishbach 10 Mortel 3:57 À ta merci Fishbach 11 Le meilleur de la fête 3:33 À ta merci Fishbach 12 À ta merci 2:48 À ta merci Fishbach 13 ’¡¡ÒàËÇèÒ 3:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 14 ’¡¢ÁÔé’ 2:29 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 15 ’¡à¢Ò 1:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 16 ¢’ÁàªÕ§ÁÒ 1:36 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 17 à¨éÒ’¡¢Ø’·Í§ 2:07 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 18 ’¡àÍÕé§ 2:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 19 ’¡¡ÒàËÇèÒ 4:00 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 20 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:49 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 21 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 22 ¡ÅèÍÁÅÙ¡â€ÃÒª 1:58 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 23 ¡ÅèÍÁÅÙ¡ÅéÒ’’Ò 2:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 24 Ë’èÍäÁé 3:21 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 25 ÅÙ¡’éÍÂã’ÍÙè 3:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 26 ’¡¡ÒàËÇèÒ 2:10 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 27 ÃÒËÙ≤˨ђ·Ãì 5:24 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… -
There's No Shortcut to Longevity: a Study of the Different Levels of Hip
Running head: There’s No Shortcut to Longevity 1 This thesis has been approved by The Honors Tutorial College and the College of Business at Ohio University __________________________ Dr. Akil Houston Associate Professor, African American Studies Thesis Adviser ___________________________ Dr. Raymond Frost Director of Studies, Business Administration ___________________________ Cary Roberts Frith Interim Dean, Honors Tutorial College There’s No Shortcut to Longevity 2 THERE’S NO SHORTCUT TO LONGEVITY: A STUDY OF THE DIFFERENT LEVELS OF HIP-HOP SUCCESS AND THE MARKETING DECISIONS BEHIND THEM ____________________________________ A Thesis Presented to The Honors Tutorial College Ohio University _______________________________________ In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Business Administration ______________________________________ by Jacob Wernick April 2019 There’s No Shortcut to Longevity 3 Table of Contents List of Tables and Figures……………………………………………………………………….4 Abstract…………………………………………………………………………………………...5 Introduction…………………………………………………………………………………..6-11 Parameters of Study……………………………………………………………..6 Limitations of Study…………………………………………………………...6-7 Preface…………………………………………………………………………7-11 Literary Review……………………………………………………………………………..12-32 Methodology………………………………………………………………………………....33-55 Jay-Z Case Study……………………………………………………………..34-41 Kendrick Lamar Case Study………………………………………………...41-44 Soulja Boy Case Study………………………………………………………..45-47 Rapsody Case Study………………………………………………………….47-48 -
Popular Music, Popular Movement(S) 2018 CWRU MGSA Conference Case Western Reserve University October 5-6, 2018
Popular Music, Popular Movement(s) 2018 CWRU MGSA Conference Case Western Reserve University October 5-6, 2018 Friday, October 5 8:30-9:30: Breakfast and Coffee Dampeer Room Kelvin Smith Library, 2nd Floor 9:30-11:30: Communities in Confrontation Moderator: Paul Abdullah, Case Western Reserve University Rachel Schuck, “Carnatic Music Transplanted to America: Innovations of Youth in ‘Sustaining Sampradaya’” Samantha Skaller, “My Name is Nina Simone: Jazz, Violence, Trauma, and the Civil Rights Movement” Samantha Cooper, “That (Kosher?) Mikado: American Jewish Reception of Gilbert and Sullivan’s Comic Operetta, 1885-1940” Briana Nave, “‘No Thanks!’: Political Punk in the Capital in the Era of Trump and the Alt- Right” 1:30-3:00: Mediated Voices Moderator: Mandy Smith, Rock & Roll Hall of Fame Jasmine Henry, “Beats and Brotherhood: The DIY Hip-Hop Recording Studio as Black Public Sphere” Sarah Lindmark, “Watching Their Souls Speak: Childish Gambino, Kendrick Lamar, Beyoncé Knowles-Carter, and the Development of the Long-Form Music Video” Kyle Kostenko, “RuPaul Reconsidered: Intersections of Gender, Sexuality, and Race in ‘Supermodel (You Better Work)’” 3:00-4:00 Coffee and Refreshments 4:00-5:00: Keynote I: Mary Simonson Harkness Chapel Classroom 11200 Bellflower Rd 5:00-6:00: Reception 8:00: The Cleveland Orchestra and Franz Welser-Möst perform Mahler 2nd Symphony, “Resurrection” Saturday, October 6 8:30-9:30: Breakfast and Coffee Clark Hall, Room 206 11130 Bellflower Rd 9:30-11:30: Identities in Flux Moderator: James Aldridge, Case Western Reserve University Steph Ruozzo, “Stairway to Paradise: George Gershwin’s Climb Towards Acceptance in the Jazz Canon” Larissa A. -
Elizabeth Campbell Johannah Fisher
Ripley-Union-Lewis-Huntington High School February 2017 Edition By: Elizabeth Campbell What is love? As Valentine’s Day rolls around, I ask myself this question. To me, love is a feeling you get when you find someone you would do anything for. It’s when you would do anything to protect that per- son, and care for them no matter what obstacles you face. Love is unconditional and has no limits. Love never ends; it only grows stronger. I’ve been lucky enough to experience love, and it is the best feeling. Love is a feeling that is hard to come by, but once you find it, you are changed forever. I found love about one year and six months ago. My boyfriend’s name is Timothy, and he is my best friend. He has helped me understand what love truly is. We care about each other, and we put each other first. When you are in a relationship, you have to consider how your actions affect the other person. We enjoy our time together be- cause every minute is precious. Relationships aren’t perfect, but if it’s love, you work for it. Not everything is perfect though. Some- times there are arguments, but they never come to the point where we question our love for one another. Our love is unconditional. We don’t isolate ourselves from the world like some couples do. We enjoy our time with each other, but we make time for our friends as well. We have the best times together; we’re con- stantly laughing and joking around with each other. -
Motion for Partial Summary Judgment
Case 1:18-cv-01554-PAE Document 94 Filed 07/12/18 Page 1 of 25 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK LINA IRIS VIKTOR, a/k/a NATASHA ELENA Civil Action No.: 1:18-cv-01554 (KBF) COOPER, ECF Case Plaintiff, - against - KENDRICK LAMAR, a/k/a KENDRICK LAMAR DUCKWORTH; SOLANA IMANI ROWE, a/k/a SZA; TOP DAWG ENTERTAINMENT LLC; INTERSCOPE RECORDS; UNIVERSAL MUSIC GROUP RECORDINGS, INC. a/k/a UMG RECORDINGS, INC.; RADICALMEDIA LLC; DAVE MEYERS; DAVE FREE; FREENJOY, INC.; BUF, INC.; and JOHN DOES 1-8, Defendants. MEMORANDUM OF LAW IN SUPPORT OF DEFENDANTS’ MOTION FOR PARTIAL SUMMARY JUDGMENT MANATT, PHELPS & PHILLIPS, LLP 7 Times Square New York, NY 10036 (212) 790-4500 Attorneys for Defendants Kendrick Lamar Duckworth p/k/a Kendrick Lamar; Solana Imani Rowe p/k/a SZA; Top Dawg Entertainment LLC; Interscope Records; UMG Recordings, Inc.; Dave Friley; Dave Meyers; BUF, Inc.; and Freenjoy, Inc. Case 1:18-cv-01554-PAE Document 94 Filed 07/12/18 Page 2 of 25 TABLE OF CONTENTS Page PRELIMINARY STATEMENT ................................................................................................... 1 FACTUAL BACKGROUND ........................................................................................................ 3 LEGAL STANDARD .................................................................................................................. 14 ARGUMENT ............................................................................................................................... 15 I. PLAINTIFF IS NOT ENTITLED TO DISGORGE -
The Evolution of Masculinity and Mental Health Narratives in Rap Music
Man Down: The Evolution of Masculinity and Mental Health Narratives in Rap Music Rachel Hart,[1] Department of English, University of Bristol Abstract This article explores how one of the most typically hyper-masculine cultural arenas in Britain and America has evolved over the past 30 years, as rap artists decide to reject the stoicism of toxic masculinity in favour of promoting healthier conversations surrounding men’s mental health and associated coping mechanisms. Though rap has always been vocal about mental distress, its dominant narratives have evolved over the past 30 years to talk more specifically and positively about mental health issues. Over time rap has begun promoting therapy, medication, self-care and treatment, rather than self-medication via drugs and alcohol, or violence against the self or others. This is symbiotically informing and being informed by society’s changing ideas about masculinity and the construct of gender. In order to explore the evolution in discussions around men’s mental health from the 1990s to the present day, this article is split into three sections, each focusing on a different decade. I closely analyse the lyrics of one rap song in each chapter, which has been selected to represent rap’s general trends regarding discussions of mental health from that decade. I also briefly explore other songs that prove the decade’s trends. This article draws upon academic research as well as personal interviews undertaken with Solomon OB (2016’s National Poetry Slam champion), and Elias Williams, founder of MANDEM.com (an online media platform engaging with social issues and shining a light on young men of colour). -
Cultural and Musical Implications of Live-Instrumental Hip-Hop" (2016)
University of Vermont ScholarWorks @ UVM UVM College of Arts and Sciences College Honors Theses Undergraduate Theses 2016 From The Ground Up: Cultural and Musical Implications of Live- Instrumental Hip-Hop Jonah Ullman Follow this and additional works at: https://scholarworks.uvm.edu/castheses Recommended Citation Ullman, Jonah, "From The Ground Up: Cultural and Musical Implications of Live-Instrumental Hip-Hop" (2016). UVM College of Arts and Sciences College Honors Theses. 28. https://scholarworks.uvm.edu/castheses/28 This Undergraduate Thesis is brought to you for free and open access by the Undergraduate Theses at ScholarWorks @ UVM. It has been accepted for inclusion in UVM College of Arts and Sciences College Honors Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. From The Ground Up: Cultural and Musical Implications of LiveInstrumental HipHop A thesis submitted by Jonah Ullman In fulfillment of the requirements for College Honors UNIVERSITY OF VERMONT College of Arts and Sciences May, 2016 ADVISER: Alex Stewart ii ABSTRACT Traditional live instruments have played an important role in hiphop production in various capacities since the earliest stages of the genre’s development. The dominant historical narrative often omits the frequency with which live instruments have been used in hiphop. The authenticity of their use has been a point of contention in the discourse of hiphop producers, consumers, critics and scholars. When used in accordance with hiphop’s aesthetic sensibilities, however, they become a vehicle for innovative and authentic hiphop. Tasteful use of live instruments opens up a range of possibilities in the realms of arrangement techniques and compositional freedom. -
Sing About Me: Kendrick Lamar in Posterity Brandon Apol Cedarville University, [email protected]
Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2016 yS mposium Apr 20th, 3:20 PM - 3:40 PM Sing About Me: Kendrick Lamar in Posterity Brandon Apol Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Composition Commons Apol, Brandon, "Sing About Me: Kendrick Lamar in Posterity" (2016). The Research and Scholarship Symposium. 16. http://digitalcommons.cedarville.edu/research_scholarship_symposium/2016/podium_presentations/16 This Podium Presentation is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Promise That You Will Sing About Me: Kendrick Lamar and Posterity Sometimes it would seem that the quietest moments turn out to have the loudest repercussions. This would certainly seem to be a consistent case for twenty eight-year old Kendrick Lamar, whose career has been defined by surprise and unannounced publications of music that shortly afterward are spun wildly into massively respected works of art. With an album that no one anticipated going to the 2013 Grammy awards, an album that leaked a week ahead of schedule (and brought Kendrick 5 Grammys), and an album that was released with almost no warning whatsoever, Kendrick Lamar Duckworth makes headlines with his art; of this there is no doubt. The question, however, as posed by Kendrick himself, is this: “And I hope that at least one of you sing about me when I’m gone; Am I worth it? Did I put enough work in?”1 I would like to argue that Kendrick Lamar belongs in music history textbooks of the future because of his performance abilities, intellectual and lyrical content (particularly relative to his peers), musical push within the rap genre, and his position with critics and fans alike. -
Friday Refrain
Genre Artist Album Dream Death Dissemination 80s Rock Cub Sport This Is Our Vice 80s Rock Day Wave Headcase/Hard To Read Christian Newsboys Love Riot Christian Steven Curtis Chapman Worship & Believe Country Granger Smith Remington Country Loretta Lynn Full Circle Electronica Tiga No Fantasy Required IndieM Miike Snow iii Metal Big Ups Before A Million Universes Metal Church of Misery And Then There Were None Metal Wolvserpent Aporia:Kala:Ananta Playground of Heron Oblivion Heron Oblivion Rock Playground of Hotel Lights Get Your Hand In My Hand Rock Playground of La Sera Music For Listening To Music To Rock Playground of M. Ward More Rain Rock Playground of Nada Surf You Know Who You Are Rock Playground of Poliça United Crushers Rock Playground of Prince Rama Xtreme Now Rock Playground of RNDM Ghost Riding Rock !1 Genre Artist Album Playground of Robert Pollard Of Course You Are Rock Playground of Sego Once Was Lost Now Just Hanging Rock Around Playground of Thao & the Get Down A Man Alive Rock Stay Down Playground of The Rubens Hoops Rock Playground of Wintersleep The Great Detachment Rock Playground of Yndi Halda Under Summer Rock Playground of The Coral Distance Inbetween Rock Playground of Wall of Death Loveland Rock Pop Club Cheval Discipline Pop Judah And The Lion Folk Hop N’ Roll Pop The Zolas Swooner Pop-Rock Tonight Alive Limitless Poppy Singer- Nicholas Krgovich The Hills Songwriter Punk Rock Adult Books Running From the Blows Rap/Hip-Hop Bas Too High To Riot Rock Dead Stars Bright Colors Rock Violent Femmes We Can Do Anything -
Towards an African-American Genealogy of Market and Religion in Rap Music
POPULAR MUSIC AND SOCIETY, 2018 https://doi.org/10.1080/03007766.2018.1458275 Towards an African-American Genealogy of Market and Religion in Rap Music Kevin Pyon The University of North Carolina, Chapel Hill, NC, USA ABSTRACT This essay provides a new reading of the intersections between religion and rap music in its genealogical consideration of how black laborers’ orientations to the market—from the antebellum slave market to the contemporary music industry—have informed their consequent commodifications of race and religion. The essay (1) traces the informal economy and sacred world of the slaves to the twinned births of the modern black prosperity gospel and hip-hop culture and (2) connects the religio-economic modalities of postbellum peddling and celebrity preachers to contemporary black prosperity preachers and hip-hop moguls. Finally, this essay concludes that the commodified formulations of race and religion in rap music represent transformations of spiritual and market categories of “authenticity” and “freedom” which have structured and sometimes limited our understandings of distinct articulations of race, religion, and the market throughout African-American history. Articulations of Race, Religion, and the Market This essay situates hip-hop music within a lineage of black laborers who have both nego- tiated with and disrupted the market’s commodification of them through various means: the medium of the market itself, their religious belief and practices, and—oftentimes—a paradoxical combination of both.1 It argues that the