Too $Hort Get in Where You Fit In
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Hip Hop's Hostile Gospel: a Post-Soul Theological Exploration
Hip Hop’s Hostile Gospel <UN> Studies in Critical Research on Religion Series Editor Warren S. Goldstein Center for Critical Research on Religion and Harvard University (u.s.a.) Editorial Board Roland Boer, University of Newcastle (Australia) Christopher Craig Brittain, University of Aberdeen (u.k.) Darlene Juschka, University of Regina (Canada) Lauren Langman, Loyola University Chicago (u.s.a.) George Lundskow, Grand Valley State University (u.s.a.) Kenneth G. MacKendrick, University of Manitoba (Canada) Andrew M. McKinnon, University of Aberdeen (u.k.) Michael R. Ott, Grand Valley State University (u.s.a.) Sara Pike, California State University, Chico (u.s.a.) Dana Sawchuk, Wilfrid Laurier University (Canada) Advisory Board William Arnal, University of Regina (Canada) Jonathan Boyarin, Cornell University (u.s.a.) Jay Geller, Vanderbilt University (u.s.a.) Marsha Hewitt, University of Toronto (Canada) Michael Löwy, Centre National de la Recherche Scientifique (France) Eduardo Mendieta, Stony Brook University (u.s.a.) Rudolf J. Siebert, Western Michigan University (u.s.a.) Rhys H. Williams, Loyola University Chicago (u.s.a.) VOLUME 6 The titles published in this series are listed at brill.com/scrr <UN> Hip Hop’s Hostile Gospel A Post-Soul Theological Exploration By Daniel White Hodge LEIDEN | BOSTON <UN> Cover illustration: “The character is a fallen Angel spray-can. I was going for idolatry and the character is supposed to be an idol that people worship, a hip-hop idol. The eye inside the pyramid represents the illuminati and how many rappers fall for that false teaching. The right hand is doing a typical Jesus gesture while the left is holding a rod with a microphone at the end. -
(2001) 96- 126 Gangsta Misogyny: a Content Analysis of the Portrayals of Violence Against Women in Rap Music, 1987-1993*
Copyright © 2001 Journal of Criminal Justice and Popular Culture All rights reserved. ISSN 1070-8286 Journal of Criminal Justice and Popular Culture, 8(2) (2001) 96- 126 GANGSTA MISOGYNY: A CONTENT ANALYSIS OF THE PORTRAYALS OF VIOLENCE AGAINST WOMEN IN RAP MUSIC, 1987-1993* by Edward G. Armstrong Murray State University ABSTRACT Gangsta rap music is often identified with violent and misogynist lyric portrayals. This article presents the results of a content analysis of gangsta rap music's violent and misogynist lyrics. The gangsta rap music domain is specified and the work of thirteen artists as presented in 490 songs is examined. A main finding is that 22% of gangsta rap music songs contain violent and misogynist lyrics. A deconstructive interpretation suggests that gangsta rap music is necessarily understood within a context of patriarchal hegemony. INTRODUCTION Theresa Martinez (1997) argues that rap music is a form of oppositional culture that offers a message of resistance, empowerment, and social critique. But this cogent and lyrical exposition intentionally avoids analysis of explicitly misogynist and sexist lyrics. The present study begins where Martinez leaves off: a content analysis of gangsta rap's lyrics and a classification of its violent and misogynist messages. First, the gangsta rap music domain is specified. Next, the prevalence and seriousness of overt episodes of violent and misogynist lyrics are documented. This involves the identification of attributes and the construction of meaning through the use of crime categories. Finally, a deconstructive interpretation is offered in which gangsta rap music's violent and misogynist lyrics are explicated in terms of the symbolic encoding of gender relationships. -
No Bitin' Allowed a Hip-Hop Copying Paradigm for All Of
20 Tex. Intell. Prop. L.J. 115 Texas Intellectual Property Law Journal Fall, 2011 Article NO BITIN’ ALLOWED: A HIP-HOP COPYING PARADIGM FOR ALL OF US Horace E. Anderson, Jr.a1 Copyright (c) 2011 Intellectual Property Law Section of the State Bar of Texas; Horace E. Anderson, Jr. I. History and Purpose of Copyright Act’s Regulation of Copying 119 II. Impact of Technology 126 A. The Act of Copying and Attitudes Toward Copying 126 B. Suggestions from the Literature for Bridging the Gap 127 III. Potential Influence of Norms-Based Approaches to Regulation of Copying 129 IV. The Hip-Hop Imitation Paradigm 131 A. Structure 131 1. Biting 131 2. Beat Jacking 133 3. Ghosting 135 4. Quoting 136 5. Sampling 139 B. The Trademark Connection 140 C. The Authors’ Rights Connection 142 D. The New Style - What the Future of Copyright Could Look Like 143 V. Conclusion 143 VI. Appendix A 145 VII. Appendix B 157 VIII. Appendix C 163 *116 Introduction I’m not a biter, I’m a writer for myself and others. I say a B.I.G. verse, I’m only biggin’ up my brother1 It is long past time to reform the Copyright Act. The law of copyright in the United States is at one of its periodic inflection points. In the past, major technological change and major shifts in the way copyrightable works were used have rightly led to major changes in the law. The invention of the printing press prompted the first codification of copyright. The popularity of the player piano contributed to a reevaluation of how musical works should be protected.2 The dawn of the computer age led to an explicit expansion of copyrightable subject matter to include computer programs.3 These are but a few examples of past inflection points; the current one demands a similar level of change. -
"Now I Ain't Sayin' She's a Gold Digger": African American Femininities in Rap Music Lyrics Jennifer M
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 "Now I Ain't Sayin' She's a Gold Digger": African American Femininities in Rap Music Lyrics Jennifer M. Pemberton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF SOCIAL SCIENCES “NOW I AIN’T SAYIN’ SHE’S A GOLD DIGGER”: AFRICAN AMERICAN FEMININITIES IN RAP MUSIC LYRICS By Jennifer M. Pemberton A Dissertation submitted to the Department of Sociology in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2008 The members of the Committee approve the dissertation of Jennifer M. Pemberton defended on March 18, 2008. ______________________________ Patricia Yancey Martin Professor Directing Dissertation ______________________________ Dennis Moore Outside Committee Member ______________________________ Jill Quadagno Committee Member ______________________________ Irene Padavic Committee Member Approved: ___________________________________ Irene Padavic, Chair, Department of Sociology ___________________________________ David Rasmussen, Dean, College of Social Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii For my mother, Debra Gore, whose tireless and often thankless dedication to the primary education of children who many in our society have already written off inspires me in ways that she will never know. Thank you for teaching me the importance of education, dedication, and compassion. For my father, Jeffrey Pemberton, whose long and difficult struggle with an unforgiving and cruel disease has helped me to overcome fear of uncertainty and pain. Thank you for instilling in me strength, courage, resilience, and fortitude. -
Too $Hort Get in Where You Fit in Mp3, Flac, Wma
Too $hort Get In Where You Fit In mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Get In Where You Fit In Country: Europe Released: 1993 MP3 version RAR size: 1474 mb FLAC version RAR size: 1433 mb WMA version RAR size: 1542 mb Rating: 4.4 Votes: 720 Other Formats: AUD MP1 DXD DMF AHX VOC AC3 Tracklist Hide Credits 1 Don't Fight The Intro 2:47 2 I'm A Player 6:01 Just Another Day 3 6:34 Engineer – Rob ChiarelliGuitar – Stan "The Guitar" ManKeyboards, Producer – QD III 4 Gotta Get Some Lovin' 5:47 5 Money In The Ghetto 5:42 6 B!$*&*% Betty 5:26 All My B$*&I%* Are Gone 7 5:37 Featuring – Ant Banks The Dangerous Crew 8 4:30 Featuring – Ant Banks, Mhisani, Pee-Wee, Spice 1 Get In Where You Fit In 9 8:34 Featuring – Rappin' Ron & Ant Diddley Dog Playboy $hort 10 4:49 Keyboards [Solo] – D. Hall 11 Way Too Real 5:42 12 It's All Good 6:02 Oakland Style 13 5:54 Featuring – FM Blue Credits Bass, Guitar – Shorty B Drums – Pee-Wee, Sean G Keyboards – Ant Banks, Pee-Wee Mastered By – Tom Coyne Mixed By – Ant Banks, Todd Shaw Producer – Ant Banks (tracks: 4, 7, 10, 11, 13), The Dangerous Crew (tracks: 1, 2, 5, 6, 8, 9, 12) Vocals – Leslie Calaway, Roniece Levias Other versions Category Artist Title (Format) Label Category Country Year Get In Where You Fit In 01241 41526 2 Too $hort* Jive 01241 41526 2 Germany 1993 (CD, Album) Get In Where You Fit In 1004755-41526 Too Short Jive 1004755-41526 US 1993 (CD, Album) Get In Where You Fit In 01241-41526-2 Too $hort* Jive 01241-41526-2 US Unknown (CD, Album, RE) Get In Where You Fit In 01241-41526-2 Too $hort* Jive 01241-41526-2 US 1993 (CD, Album, Club) Get In Where You Fit In 01241-41526-4 Too Short Jive 01241-41526-4 US 1993 (Cass, Album) Related Music albums to Get In Where You Fit In by Too $hort Doug Banks - I Just Kept On Dancing Kill It Kid - Burst Its Banks Ron Banks & Belita Woods - The Closer I Get To You Joan Baez - On The Banks Of The Ohio / Lowlands Buddy Banks Sextette - I Need It Bad / Banks' Boogie Fletcher B / Fletcher B, Mr. -
![3. SMACK THAT – EMINEM (Feat. Eminem) [Akon:] Shady Convict](https://docslib.b-cdn.net/cover/1496/3-smack-that-eminem-feat-eminem-akon-shady-convict-2571496.webp)
3. SMACK THAT – EMINEM (Feat. Eminem) [Akon:] Shady Convict
3. SMACK THAT – EMINEM thing on Get a little drink on (feat. Eminem) They gonna flip for this Akon shit You can bank on it! [Akon:] Pedicure, manicure kitty-cat claws Shady The way she climbs up and down them poles Convict Looking like one of them putty-cat dolls Upfront Trying to hold my woodie back through my Akon draws Slim Shady Steps upstage didn't think I saw Creeps up behind me and she's like "You're!" I see the one, because she be that lady! Hey! I'm like ya I know lets cut to the chase I feel you creeping, I can see it from my No time to waste back to my place shadow Plus from the club to the crib it's like a mile Why don't you pop in my Lamborghini away Gallardo Or more like a palace, shall I say Maybe go to my place and just kick it like Plus I got pal if your gal is game TaeBo In fact he's the one singing the song that's And possibly bend you over look back and playing watch me "Akon!" [Chorus (2X):] [Akon:] Smack that all on the floor I feel you creeping, I can see it from my Smack that give me some more shadow Smack that 'till you get sore Why don't you pop in my Lamborghini Smack that oh-oh! Gallardo Maybe go to my place and just kick it like Upfront style ready to attack now TaeBo Pull in the parking lot slow with the lac down And possibly bend you over look back and Convicts got the whole thing packed now watch me Step in the club now and wardrobe intact now! I feel it down and cracked now (ooh) [Chorus] I see it dull and backed now I'm gonna call her, than I pull the mack down Eminem is rollin', d and em rollin' bo Money -
Hip Hop and Literacy in the Lives of Two Students in a Transitional English Course
Running head: HIP HOP AND LITERACY 1 Hip hop and Literacy in the Lives of Two Students in a Transitional English Course A dissertation submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Education (Ed.D.) in the College of Education, Criminal Justice and Human Services Literacy and Second Language Studies University of Cincinnati Deborah M. Sánchez, M.Ed. Dr. Susan Watts-Taffe (Chair) Dr. Chester Laine (Co-chair) Dr. Carmen Kynard (Member) Dr. Gulbahar Beckett (Member) HIP HOP AND LITERACY 2 Abstract This qualitative dissertation study investigated the following research question: How does Hip hop influence the literate lives, i.e., the connections of Hip hop to readings, writings and other communicative practices, of students who placed into transitional college English courses? The impetus for the study came from the importance that Hip hop has in the lives of young people (Smitherman, 1997). The participants in this study, Dionne and Mike, were students placed into a 1st year non-credit bearing English course, also known as a transitional course (Armstrong, 2007), at a 4-year university. The study employed tools of ethnography (Heath & Street, 2008), such as interviews, classroom observations and textual analysis of students‘ language and literacy practices in spaces inside and outside of the classroom. This study is conceptually framed within cultural studies (Hicks, 2003, 2005, 2009; Nelson, Treichler, & Grossberg, 1992) and sociocultural studies (Dyson & Smitherman, 2009; Street, 2001). Data were analyzed using linguistic analysis (Alim, 2006) and textual analysis (Kellner, 2009). -
Racism in the Ron Artest Fight
Flagrant Foul: Racism in "The Ron Artest Fight" by Jeffrey A. Williams* "There's a reason. But I don't think anybody ought to be surprised, folks. I really don't think anybody ought to be surprised. This is the hip-hop culture on parade. This is gang behavior on parade minus the guns. That's what the culture of the NBA has become." - Rush Limbaugh1 "Do you really want to go there? Do I have to? .... I think it's fair to say that the NBA was the first sport that was widely viewed as a black sport. And whatever the numbers ultimately are for the other sports, the NBA will always be treated a certain way because of that. Our players are so visible that if they have Afros or cornrows or tattoos- white or black-our consumers pick it up. So, I think there are al- ways some elements of race involved that affect judgments about the NBA." - NBA Commissioner David Stern2 * B.A. in History & Religion, Columbia University, 2002, J.D., Columbia Law School, 2005. The author is currently an associate in the Manhattan office of Milbank Tweed Hadley & McCloy. The views reflected herein are entirely those of the author alone. I would dedi- cate this piece to shedding tattoo tears. 1 Rush Limbaugh, the Rush Limbaugh Show, Nov. 22, 2004 available at http://www.free republic.com/focus/f-news/1289370/posts. To view footage of the fight, see infra note 42 (col- lecting clips). 2 Michael Lee, NBA Fights to Regain Image; One Year Later, Brawl Leaves a Mark Throughout League, WASHINGTON POST, November 19, 2005 at E01. -
NBA All Star Bash 2012 February 24, 2012 Thru February 26, 2012
FocalPointMusicGroup NBA All Star Bash 2012 February 24, 2012 thru February 26, 2012 Investor Package About Us Focal Point Music Group is the premiere source of engagement for concert talent that capitalizes on an ever-changing entertain- ment market. FocalPoint coincides with LEVEL A artists across the world and our main goal and profitability are skillfully executed by joining with same likeness musical institutions to ensure a proper market for our artists. We at FocalPoint strive to maintain certain ideals and beliefs: Focal Point Music Group commits to the production of topnotch promoting. Concert events are one of the areas that greatly de- fine our legacy, which is why our focal point is great entertain- ment. Our concerts are designed to motivate, entertain, and up- lift our audiences, all the while, exuding a tremendous amount of fortitude; based solely upon this philosophy of extraordinary team effort. We, here at Focal Point Music Group, hold one another accountable for committing to these aforementioned principles. Needless to say, Focal Point Music Group, Inc. is a compre- hensive, full service, music entertainment corporation built on the concepts of superior quality and impeccable integrity in all facets of its operations. Focal Point Music Group was founded, and inspired by Ziapone Luckette. Mr. Luckette also referred to as Zee, has worked in many numerous successful companies such as Warner Brothers Records, Walt Disney Company, Sony Music, BMG, and EMI (a Division of Capitol Records). He has also worked alongside many successful label executives and representatives, and these are including but not limited to: Troy Shelton, Max Goose, David McPherson, Ron Fair, A.D. -
Getting Hip to the Hop: a Rap Bibliography/Discography
Music Reference Services Quarterly. 1996, vol.4, no.4, p.17-57. ISSN: 1540-9503 (online) 1058-8167 (print) DOI: 10.1300/J116v04n04_02 http://www.tandfonline.com/toc/wmus20/current http://www.tandfonline.com/toc/wmus20/4/4 © 1996 The Haworth Press, Inc. All rights reserved. Getting Hip to the Hop: A Rap Bibliography/Discography Leta Hendricks ABSTRACT. This bibliographic/discographic essay examines works which may be used to develop a core collection on Rap music. A selected bibliography and discography is also provided. INTRODUCTION Research interest has recently emerged in the popular African-American musical idiom known as Rap and continues to grow as social and cultural scholars have embarked on a serious study of Rap music and culture. Therefore, the student, scholar, and general library patron may seek information on Rap and its relationship with the African-American community. During the 1970's, libraries rushed to include in their holdings culturally diverse materials, especially materials on African-American history, literature, and culture. Today, emphasis is placed on cultural diversity, Rap is sometimes deemed to be low art and may be overlooked in the collecting of diverse materials. However, Rap has already celebrated its sixteenth anniversary and, like Rock and Roll, Rap is here to stay. Rap music research is difficult because (1) the librarian or information provider generally lacks knowledge of the category,' and (2) primary/ephemeral materials are not widely accessible.2 This selective bibliographic and discographic essay examines a variety of Rap resources and materials including biographies, criticisms, discographies, histories, recordings, and serials to help fill the Rap knowledge and culture gap and assist in the development of a core collection on Rap music. -
Diversification and Post-Regionalism in North American Hip-Hop Flow
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
Foleiyal Home to Extract a Nugget of Musi- Cal Information to Help with Somebody's Research
NEXT WEEK: ISSUE 2000! THE MOST TRUSTED NAME IN RADIO APRIL 8 1994 This Week Rhino is the label you love to love; the label whose entire cata- log any music -lover would want to own. That's because the peo- ple who work at the company are passionate about music to traitorous levels. In talking to people for our cover story, Managing Editor Ben Fong - Torres heard about Rhino employees who'd turn chapffing researchers onto competing product if they felt the rivals' stuff surpassed their own; about staffers who'd spend off -hours leafing through album liner notes and books at FOleiyal home to extract a nugget of musi- cal information to help with somebody's research. Into That's dedication, and that also explains why Rhino, which e releases new material as well as their prized reissues, is ambiva- lent about radio and its tightly - corseted ways. Still, the label, founded by RichardFOOSand Harold Bronson, aka 'The Rhino Brothers' (Top), fights the good fight, in the twin -interests of doing business and of getting act the best music out and heard...In News, Howard Stern's run for Governor of New York gets seri- Rhino Records, the ous; George Michael's law- suit against Gold Mine of Music, Sony gets a setback, and Tonya Harding Reaches Out to Radio does a few spins on radio. Boz Scaggs (above, right) With a New Repertoire is out with his first album in six years. Campaign of the Week details how Virgin plans to mar- ket it. And on the GO Charts, Rosco Martinez, Heart, and SherylCPOW(above) have something to CPOW about.