“Dear Mama” Performed by 2Pac
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Variational Text Linguistics: Revisiting Register in English
Christoph Schubert and Christina Sanchez-Stockhammer (Eds.) Variational Text Linguistics Topics in English Linguistics Editors Elizabeth Closs Traugott Bernd Kortmann Volume 90 Variational Text Linguistics Revisiting Register in English Edited by Christoph Schubert Christina Sanchez-Stockhammer ISBN 978-3-11-044310-3 e-ISBN (PDF) 978-3-11-044355-4 e-ISBN (EPUB) 978-3-11-043533-7 ISSN 1434-3452 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2016 Walter de Gruyter GmbH, Berlin/Boston Cover image: Brian Stablyk/Photographer’s Choice RF/Getty Images Typesetting: fidus Publikations-Service GmbH, Nördlingen Printing and binding: CPI books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Acknowledgements The foundations for this edited collection of articles were laid at the interna- tional conference Register revisited: New perspectives on functional text variety in English, which took place at the University of Vechta, Germany, from June 27 to 29, 2013. The aim of the present volume is to conserve the research papers and many inspiring discussions which were stimulated then and to make them available to a larger audience. It was only possible to achieve this aim thanks to the help of many people joining us in the effort. First and foremost, we would like to thank all contributors for their continued cooperation in this project. -
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. -
The Life & Rhymes of Jay-Z, an Historical Biography
ABSTRACT Title of Dissertation: THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 Omékongo Dibinga, Doctor of Philosophy, 2015 Dissertation directed by: Dr. Barbara Finkelstein, Professor Emerita, University of Maryland College of Education. Department of Teaching and Learning, Policy and Leadership. The purpose of this dissertation is to explore the life and ideas of Jay-Z. It is an effort to illuminate the ways in which he managed the vicissitudes of life as they were inscribed in the political, economic cultural, social contexts and message systems of the worlds which he inhabited: the social ideas of class struggle, the fact of black youth disempowerment, educational disenfranchisement, entrepreneurial possibility, and the struggle of families to buffer their children from the horrors of life on the streets. Jay-Z was born into a society in flux in 1969. By the time Jay-Z reached his 20s, he saw the art form he came to love at the age of 9—hip hop— become a vehicle for upward mobility and the acquisition of great wealth through the sale of multiplatinum albums, massive record deal signings, and the omnipresence of hip-hop culture on radio and television. In short, Jay-Z lived at a time where, if he could survive his turbulent environment, he could take advantage of new terrains of possibility. This dissertation seeks to shed light on the life and development of Jay-Z during a time of great challenge and change in America and beyond. THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 An historical biography: 1969-2004 by Omékongo Dibinga Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2015 Advisory Committee: Professor Barbara Finkelstein, Chair Professor Steve Klees Professor Robert Croninger Professor Derrick Alridge Professor Hoda Mahmoudi © Copyright by Omékongo Dibinga 2015 Acknowledgments I would first like to thank God for making life possible and bringing me to this point in my life. -
Outlawz, in the Event of My Demise
Outlawz, In The Event Of My Demise [Geronimo Ji Jaga] In the event of my demise when my heart can beat no more I hope I die for a princeple Or a belief that I have lived for I will die before my time Beacause I feel the shadow's depth So much I wanted to acomplish Before I reached my death I have to come to grips with the possibility And wiped the last tear from my eyes I loved all who were positive In the event of my demise [Young Noble] In the event of my demise don't shed no tear I'll share my wizdom with the world, they'll know I was here Know I was clear, every thing I said I ment A outlaw, when I was born they prepared my ditch Said I won't live long, statistic showed I'm tryna past 24 realistic goal, listen all You gotta stay cold inside That's what I tell myself when I feel alone sometime But I can't cry, I don't tear no more I love god, from death I don't fear no more A part taken in this movment to better my people Though they see me on TV, I tell them we equal Don't look at me as a stranger, I'm one of your own We was rised in concrete and grew as a rose Still I rise, but never get a chance to fly Mama please don't cry In the event of my demise [Chorus: Young Noble] In the event of my demise can't breathe no more hope I die for a princeple something I lived for dying before my time feel the shadows of depth Trying to fulfill all my dreams before I reach my death came to grips with the possibility The world's killing me, and my soldiers die young with no sympathy I wipe the last tear from my eyes I loved all who stand strong -
Social Adversity Portrayed by Tupac and Eminem
Social adversity portrayed by Tupac and Eminem Written by: HIP HOP PSYCH Co-Founders Dr Akeem Sule & Dr Becky Inkster Published: 5th October 2015 Tupac Shakur and Eminem are often touted as two of the greatest rappers of all time. Whilst Tupac is African American and Eminem is Caucasian, their lyrics have similar narrative story telling styles that are filled with anguished suffering, anger and other emotional tones conveyed in their hip-hop songs. Two songs that describe important issues of adversity reflecting strong emotional turmoil in their lyrics includes the songs, ‘Death around the corner’ from Tupac Shakur’s album, ‘Me Against The World’, and ‘Cleaning out my closet’ by Eminem from his album, ‘The Eminem Show’. In this article, we dissect the lyrics for psychopathological themes and we use the biopsychosocial model to explore the underpinnings of the emotional turmoil experienced by these two characters. In the song, ‘Death around corner’, Tupac’s character is preoccupied with paranoia about a perceived threat to his own life as well as to his family’s life. He feels the need to protect himself and his family from perceived targeted violence. Straight away, the song opens with a skit. It is a dialogue between Tupac’s character, his partner, and their son. Tupac’s character is standing by the window with a firearm (i.e., an ‘AK’, abbreviated for AK-47). His son is confused about his father’s strange behaviour and his wife is exasperated with her partner HIP HOP PSYCHTM COPYRIGHT © 2015 ALL RIGHTS RESERVED and feels he is consumed by his paranoia. -
Anglophone Music As Poetry
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Croatian Digital Thesis Repository University of Rijeka Faculty of Humanities and Social Sciences in Rijeka Department of English Matea Lacmanović: Anglophone Music as Poetry Mentor: Lovorka Gruić Grmuša, PhD Rijeka, July 2015 1 Abstract Literature as a whole is usually divided into poetry, prose and drama (Solar 2006: 154) with fairly clear boundaries between them. When it comes to their subdivision and definition of specific literature and art type, the boundaries become unclear and many questions arise. One of the most difficult questions to answer is what poetry is and which criteria must be met in order for some work to be classified as poetry. It is known that authors such as Shakespeare, Byron, Cummings or Angelou are poets and their work is interpreted as poetry. However, can the circle of poetry and art be expanded to similar forms such as contemporary music? That is the topic of this thesis – analysis, explanation and specific examples of modern song lyrics which can be viewed as poetry and something more valuable in the art context than it actually is due to the commercialization of music. With songs performed by Tupac, Garbage, Leonard Cohen, Bill Withers and various artists who belong to different music genres and eras, poetry is broadened and upgraded to the 21st century level. Key words: Anglophone music, music, poetry, lyrics, analysis, literature, art, contemporary, modern, intermediation, authorship 2 Table of Contents Abstract -
A Stylistic Analysis of 2Pac Shakur's Rap Lyrics: in the Perpspective of Paul Grice's Theory of Implicature
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2002 A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature Christopher Darnell Campbell Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Rhetoric Commons Recommended Citation Campbell, Christopher Darnell, "A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature" (2002). Theses Digitization Project. 2130. https://scholarworks.lib.csusb.edu/etd-project/2130 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English: English Composition by Christopher Darnell Campbell September 2002 A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino by Christopher Darnell Campbell September 2002 Approved.by: 7=12 Date Bruce Golden, English ABSTRACT 2pac Shakur (a.k.a Makaveli) was a prolific rapper, poet, revolutionary, and thug. His lyrics were bold, unconventional, truthful, controversial, metaphorical and vulgar. -
Spiritualizing Hip Hop with I.C.E.: the Poetic Spiritual
SPIRITUALIZING HIP HOP WITH I.C.E.: THE POETIC SPIRITUAL NARRATIVES OF FOUR BLACK EDUCATIONAL LEADERS FROM HIP HOP COMMUNITIES by Alexis C. Maston A dissertation submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy with a Major in Adult, Professional, and Community Education May 2014 Committee Members: Jovita Ross-Gordon, Co-Chair John Oliver, Co-Chair Ann K. Brooks Raphael Travis, Jr. COPYRIGHT by Alexis C. Maston 2014 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Alexis C. Maston, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. DEDICATION This dissertation is first dedicated to my Lord and personal savior Jesus without whom this study would not have been possible. You are Alpha, Omega, the beginning and the end, and I went on this journey because you directed me to. Secondly, I dedicate this to my paternal and maternal grandparents, Fred and Emma Jean Maston, and Jacqueline Perkins, what you did years ago in your own lives made it possible for me to obtain this great opportunity. Thirdly, this dissertation is dedicated to Hip Hop communities worldwide who have always carried the essence of spirituality; this dissertation will uncover some of that truth. -
Music and the Construction of Historical Narrative in 20Th and 21St Century African-American Literature
1 Orientations in Time: Music and the Construction of Historical Narrative in 20th and 21st Century African-American Literature Leisl Sackschewsky A dissertation submitted in partial fulfillment of requirements for the degree of Doctor of Philosophy University of Washington 2016 Reading Committee: Sonnet Retman, Chair Habiba Ibrahim Alys Weinbaum Program Authorized to Offer Degree: English 2 © Copyright 2016 Leisl Sackschewsky 3 University of Washington Abstract Orientations in Time: Music and the Construction of Historical Narrative in 20th and 21st Century African-American Literature Chair of Supervisory Committee: Associate Professor Sonnet Retman American Ethnic Studies This dissertation argues that the intersections between African-American literature and music have been influential in both the development of hip-hop aesthetics and, specifically, their communication of historical narrative. Challenging hip-hop historiographers that narrate the movement as the materialization of a “phantom aesthetic”, or a sociological, cultural, technological, and musical innovation of the last forty years, this dissertation asserts that hip-hop artists deploy distinctly literary techniques in their attempts to animate, write, rewrite, rupture, or reclaim the past for the present. Through an analysis of 20th and 21st century African-American literary engagements with black music, musical figures, scenes of musical performance, and what I call ‘musical-oral’, I hope to demonstrate how prose representations of music disrupt the linear narratives of -
Sample Chapter
3 Pain, Misery, Hate and Love All at Once A THEOLOGY OF SUFFERING I remember the period well. It was the months following the 1992 LA Riots. We were young, full of energy, and having bore witness to the destructive forces that tore our community apart, we wanted to change the direction of the ‘hood. So what did we do? We organized gangs, nonprofits and people with like-minded worldviews to create something that had never been done, a gang truce. A fifteen-city organizational effort involving gang leaders, commu- nity organizations and rappers like Tupac, the then lesser known Snoop Dogg and former members of NWA, as well as people who wanted to see a change from the violence of the 1980s, put together posters, banners, flyers and events that helped put a message of peace out in the commu- nity. Large gangs like the Crips and the Bloods came to park BBQ’s to celebrate the newfound peace. MTV covered many of the events. For the first time it seemed as though urban peace was beginning to take shape. I was truly amazed. Especially being as angry as I was after the Rodney King trial verdict, I was beginning to see some change that I could be a part of. We decided that each city needed to take their concerns to City SoulOfHipHop.indb 75 4/26/10 11:13:30 AM 76 THE SOUL OF HIP HOP Hall. We had hoped to file for a “state of emergency” to begin receiv- ing federal funds to clean up our ‘hoods and begin to restore our fam- ilies. -
8123 Songs, 21 Days, 63.83 GB
Page 1 of 247 Music 8123 songs, 21 days, 63.83 GB Name Artist The A Team Ed Sheeran A-List (Radio Edit) XMIXR Sisqo feat. Waka Flocka Flame A.D.I.D.A.S. (Clean Edit) Killer Mike ft Big Boi Aaroma (Bonus Version) Pru About A Girl The Academy Is... About The Money (Radio Edit) XMIXR T.I. feat. Young Thug About The Money (Remix) (Radio Edit) XMIXR T.I. feat. Young Thug, Lil Wayne & Jeezy About Us [Pop Edit] Brooke Hogan ft. Paul Wall Absolute Zero (Radio Edit) XMIXR Stone Sour Absolutely (Story Of A Girl) Ninedays Absolution Calling (Radio Edit) XMIXR Incubus Acapella Karmin Acapella Kelis Acapella (Radio Edit) XMIXR Karmin Accidentally in Love Counting Crows According To You (Top 40 Edit) Orianthi Act Right (Promo Only Clean Edit) Yo Gotti Feat. Young Jeezy & YG Act Right (Radio Edit) XMIXR Yo Gotti ft Jeezy & YG Actin Crazy (Radio Edit) XMIXR Action Bronson Actin' Up (Clean) Wale & Meek Mill f./French Montana Actin' Up (Radio Edit) XMIXR Wale & Meek Mill ft French Montana Action Man Hafdís Huld Addicted Ace Young Addicted Enrique Iglsias Addicted Saving abel Addicted Simple Plan Addicted To Bass Puretone Addicted To Pain (Radio Edit) XMIXR Alter Bridge Addicted To You (Radio Edit) XMIXR Avicii Addiction Ryan Leslie Feat. Cassie & Fabolous Music Page 2 of 247 Name Artist Addresses (Radio Edit) XMIXR T.I. Adore You (Radio Edit) XMIXR Miley Cyrus Adorn Miguel Adorn Miguel Adorn (Radio Edit) XMIXR Miguel Adorn (Remix) Miguel f./Wiz Khalifa Adorn (Remix) (Radio Edit) XMIXR Miguel ft Wiz Khalifa Adrenaline (Radio Edit) XMIXR Shinedown Adrienne Calling, The Adult Swim (Radio Edit) XMIXR DJ Spinking feat. -
“Virtual Cloning” Shannon Flynn Smith
3 3 9 v irtual Cloning: tr anSfor M ation or iMitation? Reforming the Saderup Court’s transformative Use test for Rights of Publicity S H a nnon f ly n n S m i t H * Introduction upac Shakur, dead nearly sixteen years, rose up slowly from beneath T the stage at the 2012 Coachella Valley Music & Arts Festival in Indio, California to rouse the crowd and perform his songs 2 of Amerikaz Most Wanted and Hail Mary alongside rap artists Snoop Dogg and Dr. Dre.1 Ce- line Dion and Elvis Presley belted If I Can Dream together in a duet on the hit performance show American Idol in 2007,2 thirty years after Presley’s This paper was awarded third place in the California Supreme Court Historical Society’s 2014 CSCHS Selma Moidel Smith Law Student Writing Competition in California Legal History. * J.D., 2014, Michigan State University College of Law; B.A. (Journalism), 2011, Uni- versity of Wyoming. She is now a member of the Colorado State Bar. The author would like to thank Adam Candeub for his thoughtful assistance in developing this article. 1 Claire Suddath, How Tupac Became a Hologram (Is Elvis Next?), Businessweek (Apr. 16, 2012), http://www.businessweek.com/articles/2012-04-16/how-tupac-became-a- hologram-plus-is-elvis-next; Tupac Hologram Snoop Dogg and Dr. Dre Perform Coachella Live 2012, YouTube (Apr. 17, 2012), http://www.youtube.com/watch?v=TGbrFmPBV0Y [hereinafter Tupac Live Hologram]. 2 American Idol Elvis & Celine Dion “If I Can Dream,” YouTube (Jan. 8, 2010), http://www.youtube.com/watch?v=p1HtPG6eMIo.