Parley Valerie Tevere & Angel Nevarez, 2015 Recorded Voices, Two

Total Page:16

File Type:pdf, Size:1020Kb

Parley Valerie Tevere & Angel Nevarez, 2015 Recorded Voices, Two Parley Valerie Tevere & Angel Nevarez, 2015 recorded voices, two horn speakers, amplifier Works Cited: Afrika Bambaata Zulu Nation Cosmic Force. “Zulu Nation Throwdown.” Perf. Afrika Bambaata Zulu Nation Cosmic Force, ft. Lisa Lee. Zulu Nation Throwdown. Paul Winley Records, 1980. 12”. Azor, Hurby and Toi Jackson. “It’s My Beat.” Perf. Sweet Tee and Jazzy Joyce. It’s My Beat. Profile Records, 1986. 12”. Fingerprints. “Spinderella’s Not A Fella (But A Girl DJ).” Perf. Salt-N-Pepa. Shake Your Thang / Spinderella’s Not A Fella (But A Girl DJ). Next Plateau Records Inc., 1988. 12”. Fletcher, Ed, Grandmaster Melle Mel, and Sylvia Robinson. “The Message.” Perf. Grandmaster Flash & The Furious Five ft. Duke Bootee and Melle Mel. The Message. Sugar Hill Records, 1982. LP. Fisher, Curtis, Adrian Harris, and Carlos Mandes. “Fresh, Wild, Fly And Bold.” Perf. Cold Crush Brothers. Fresh, Wild, Fly And Bold. Tuff City, 1984. 12”. Fisher, Curtis. “Yvette.” Perf. Grandmaster Caz. Yvette / Mister Bill. Tuff City, 1985. 12”. Funky 4 + 1. “That’s the Joint.” Perf. Funky 4 + 1, ft. Sha-Rock. That’s the Joint. Sugar Hill Records, 1980. 12”. Glover, Martin and Reggie Griffin. “Beat Street Breakdown.” Perf. Grandmaster Melle Mel & The Furious Five. Beat Street (Original Motion Picture Soundtrack). Atlantic, 1984. LP. Lady L. and Afrika Islam. “Ice Cream Dreams.” Perf. Lady L. Ice Cream Dreams. Emergency Records, 1986. 12”. Parker, L and Scott LaRock. “Dope Beat.” Perf. Boogie Down Productions. Criminal Minded. B-Boy Records, 1987. LP. Parker, L and Scott LaRock. “South Bronx.” Perf. Boogie Down Productions. Criminal Minded. B-Boy Records, 1987. LP. Parker, L and Scott LaRock. “Elementary.” Perf. Boogie Down Productions. Criminal Minded. B-Boy Records, 1987. LP. Parker, L and Scott LaRock. “Word from Our Sponsor.” Perf. Boogie Down Productions. Criminal Minded. B-Boy Records, 1987. LP. Parker, L and Scott LaRock. “Poetry.” Perf. Boogie Down Productions. Criminal Minded. B-Boy Records, 1987. LP. Parker, L and Scott LaRock. “Remix for P is Free.” Perf. Boogie Down Productions. Criminal Minded. B-Boy Records, 1987. LP. .
Recommended publications
  • Grandmaster Flash and the Furious Five
    Grandmaster Flash and the Furious Five To download an editable PowerPoint, visit edu.rockhall.com Grandmaster Flash and the Furious Five: Fast Facts • Formed in 1976 in the South Bronx, New York; broke up by 1986 • Members: DJ Grandmaster Flash and rappers Melle Mel, Kidd Creole, Mr. Ness/Scorpio, Cowboy, and Rahiem • Recorded at Sugar Hill Records, the first hip-hop record label • Grandmaster Flash revolutionized the use of turntables in hip-hop by developing techniques such as “scratching” and “punch phrasing.” • First hip-hop group to be inducted into the Rock & Roll Hall of Fame (2007) Grandmaster Flash and the Furious Five: Important Bronx Locations New Jersey ▪ South Bronx (Bronx), New York New York City Recognized birthplace of hip-hop music and culture; Grandmaster Flash and the Furious Five’s home neighborhood Queens ▪ Harlem (Manhattan), New York Recorded with Enjoy Records until 1980 ▪ Englewood, New Jersey Brooklyn Recorded with Sugar Hill Records (the first hip-hop record label) from 1980 to 1984 Staten Island Grandmaster Flash and the Furious Five: Two Essential Songs “Superappin’” “The Message” • Released in 1982 on Sugar Hill • Released in 1979 on Records Enjoy Records • Features Melle Mel and guest • One of the earliest rapper Duke Bootee rap records ever sold • Conveys the difficulties of life in the • Mimics the “hip-hop South Bronx, with lyrics about jam,” a live performance poverty, violence, and with audience interaction drug use • Hip-hop was originally heard • Early example of at lengthy dance parties, so a “conscious rap,” where 12-minute song seemed very lyrics convey a serious, short! often political message Grandmaster Flash’s Turntable Innovations • Grandmaster Flash developed turntable techniques and special effects that gave DJs more musical freedom.
    [Show full text]
  • DJ Skills the Rise of the Hip-Hop DJ 3
    The Rise of the Hip-Hop DJ 1 74 The Rise of The Hip-hop DJ DJs were Hip-hop’s original architects, and remain crucial to its contin- ued development. Hip-hop is more than a style of music; it’s a culture. As with any culture, there are various artistic expressions of Hip-hop, the four principal expressions being: • visual art (graffiti) • dance (breaking, rocking, locking, and popping, collectively known in the media as “break dancing”) • literature (rap lyrics and slam poetry) • music (DJing and turntablism) Unlike the European Renaissance or the Ming Dynasty, Hip-hop is a culture that is very much alive and still evolving. Some argue that Hip-hop is the most influential cultural movement in history, point- ing to the globalization of Hip-hop music, fashion, and other forms of expression. Style has always been at the forefront of Hip-hop. Improvisation is called free styling, whether in rap, turntablism, breaking, or graf- fiti writing. Since everyone is using the essentially same tools (spray paint for graffiti writers, microphones for rappers and beat boxers, their bodies for dancers, and two turntables with a mixer for DJs), it’s the artists’ personal styles that set them apart. It’s no coincidence that two of the most authentic movies about the genesis of the move- ment are titled Wild Style and Style Wars. There are also many styles of writing the word “Hip-hop.” The mainstream media most often oscillates between “hip-hop” and “hip hop.” The Hiphop Archive at Harvard writes “Hiphop” as one word, 2 DJ Skills The Rise of the Hip-Hop DJ 3 with a capital H, embracing KRS-ONE’s line of reasoning that “Hiphop Kool DJ Herc is a culture with its own foundation narrative, history, natives, and 7 In 1955 in Jamaica, a young woman from the parish of Saint Mary mission.” After a great deal of input from many people in the Hip-hop community, I’ve decided to capitalize the word but keep the hyphen, gave birth to a son who would become the father of Hip-hop.
    [Show full text]
  • Chapter 6. the Voice of the Other America: African
    Chapter 6 Th e Voice of the Other America African-American Music and Political Protest in the German Democratic Republic Michael Rauhut African-American music represents a synthesis of African and European tradi- tions, its origins reaching as far back as the early sixteenth century to the begin- ning of the systematic importation of “black” slaves to the European colonies of the American continent.1 Out of a plethora of forms and styles, three basic pil- lars of African-American music came to prominence during the wave of indus- trialization that took place at the start of the twentieth century: blues, jazz, and gospel. Th ese forms laid the foundation for nearly all important developments in popular music up to the present—whether R&B, soul and funk, house music, or hip-hop. Th anks to its continual innovation and evolution, African-American music has become a constitutive presence in the daily life of several generations. In East Germany, as throughout European countries on both sides of the Iron Curtain, manifold directions and derivatives of these forms took root. Th ey were carried through the airwaves and seeped into cultural niches until, fi nally, this music landed on the political agenda. Both fans and functionaries discovered an enormous social potential beneath the melodious surface, even if their aims were for the most part in opposition. For the government, the implicit rejection of the communist social model represented by African-American music was seen as a security issue and a threat to the stability of the system. Even though the state’s reactions became weaker over time, the offi cial interaction with African-American music retained a political connotation for the life of the regime.
    [Show full text]
  • The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities
    The Miseducation of Hip-Hop dance: Authenticity, and the commodification of cultural identities. E. Moncell Durden., Assistant Professor of Practice University of Southern California Glorya Kaufman School of Dance Introduction Hip-hop dance has become one of the most popular forms of dance expression in the world. The explosion of hip-hop movement and culture in the 1980s provided unprecedented opportunities to inner-city youth to gain a different access to the “American” dream; some companies saw the value in using this new art form to market their products for commercial and consumer growth. This explosion also aided in an early downfall of hip-hop’s first dance form, breaking. The form would rise again a decade later with a vengeance, bringing older breakers out of retirement and pushing new generations to develop the technical acuity to extraordinary levels of artistic corporeal genius. We will begin with hip-hop’s arduous beginnings. Born and raised on the sidewalks and playgrounds of New York’s asphalt jungle, this youthful energy that became known as hip-hop emerged from aspects of cultural expressions that survived political abandonment, economic struggles, environmental turmoil and gang activity. These living conditions can be attributed to high unemployment, exceptionally organized drug distribution, corrupt police departments, a failed fire department response system, and Robert Moses’ building of the Cross-Bronx Expressway, which caused middle and upper-class residents to migrate North. The South Bronx lost 600,000 jobs and displaced more than 5,000 families. Between 1973 and 1977, and more than 30,000 fires were set in the South Bronx, which gave rise to the phrase “The Bronx is Burning.” This marginalized the black and Latino communities and left the youth feeling unrepresented, and hip-hop gave restless inner-city kids a voice.
    [Show full text]
  • Musikleben Im Diskurs
    63280 4/17 Musikleben im Diskurs Musik und „Deutsch“ Verlust oder Perspektive? | Lernaufgaben der Musical Natives – SFR 14,60 Fallbeispiel Anna-Lena Schnabel ı CH | Ein Rück- und Ausblick: der Brexit und die Musikindustrie € 8,80 ı A € 8,50 D Online-Tickets sichern, bis zu 25 % sparen: musikmesse.com 1 1 . – 1 4 . 4 . 2 0 1 8 Frankfurt am Main Music Education 4.0: Hier wird die Theorie zur Melodie. Neue Wege der Digitalisierung für das Lehren und Lernen von Musik. Impulse für musikalische Didaktik, Pädagogik und K u l t u r von heute und morgen. Eigenes Areal mit vielfältigen Angeboten. +++ Music Education Lounge (Halle 8) +++ Vorträge & Workshops +++ Netzwerken +++ Smart- phone: Erweiterung von Instrument & Klassenzimmer +++ Musikergesundheit & Musiktherapie +++ Neue Lehrmethoden +++ Noten & Fachliteratur – klassisch & digital +++ Discover Music: spielerisches Erleben von Instrumenten +++ Fachtagung „KlassenMusizieren“ +++ Vier Tage alle Facetten der Musik live erleben: Musikmesse Festival auf dem Gelände und in ganz Frankfurt. editorial 1 Es kennzeichnet die Deutschen, dass bei ihnen die Frage „Was ist deutsch?“ niemals ausstirbt. Friedrich Wilhelm Nietzsche Christian Höppner Chefredakteur Suchen – finden – vergewissern: ein Dreiklang als kontinuierlicher Prozess indivi- dueller und gruppenbezogener Erneuerung. Bei der Suche nach der je eigenen Iden - tität spielen Musik und Sprache eine herausragende Rolle. Ein kleiner Ausschnitt dieses breiten Themenfeldes findet sich in diesem Musikforum. Die Kraft der Sprache und die Kraft der Musik werden in ihren Wirkungen oft unter- schätzt. Nicht bei denen, die diese Kräfte bewusst aktivieren oder instrumentalisieren, sondern bei jenen, die mit diesem Kulturgut unbekümmert bis achtlos umgehen. Im digitalen Zeitalter der Ausdifferenzierung und der Echokammern geht nicht nur mehr und mehr der Blick für Zusammenhänge verloren, sondern auch zunehmend die indi- viduelle wie gesellschaftliche Wertzumessung für diese grundlegenden Elemente menschlichen Zusammenlebens.
    [Show full text]
  • Hip-Hop & the Global Imprint of a Black Cultural Form
    Hip-Hop & the Global Imprint of a Black Cultural Form Marcyliena Morgan & Dionne Bennett To me, hip-hop says, “Come as you are.” We are a family. Hip-hop is the voice of this generation. It has become a powerful force. Hip-hop binds all of these people, all of these nationalities, all over the world together. Hip-hop is a family so everybody has got to pitch in. East, west, north or south–we come MARCYLIENA MORGAN is from one coast and that coast was Africa. Professor of African and African –dj Kool Herc American Studies at Harvard Uni- versity. Her publications include Through hip-hop, we are trying to ½nd out who we Language, Discourse and Power in are, what we are. That’s what black people in Amer- African American Culture (2002), ica did. The Real Hiphop: Battling for Knowl- –mc Yan1 edge, Power, and Respect in the LA Underground (2009), and “Hip- hop and Race: Blackness, Lan- It is nearly impossible to travel the world without guage, and Creativity” (with encountering instances of hip-hop music and cul- Dawn-Elissa Fischer), in Doing Race: 21 Essays for the 21st Century ture. Hip-hop is the distinctive graf½ti lettering (ed. Hazel Rose Markus and styles that have materialized on walls worldwide. Paula M.L. Moya, 2010). It is the latest dance moves that young people per- form on streets and dirt roads. It is the bass beats DIONNE BENNETT is an Assis- mc tant Professor of African Ameri- and styles of dress at dance clubs. It is local s can Studies at Loyola Marymount on microphones with hands raised and moving to University.
    [Show full text]
  • Johnny, Be Good Tonight – the 100 Greatest Songs of All Time
    Johnny, Be Good Tonight – The 100 Greatest Songs of All Time Johnny, Be Good Tonight The 100 Greatest Songs of All Time 1st Edition by Eric Mack www.theattackzone.com © Copyright The Attack Zone. You may not copy this book. Johnny, Be Good Tonight – The 100 Greatest Songs of All Time Contents PREFACE........................................................................................................................4 INTRODUCTION.......................................................................................................... 5 CHAPTER 1: #100-91.............................................................................................................. #100: The Verve – “Bitter Sweet Symphony” (1997).........................................................8 #99: Buffalo Springfield – “For What It's Worth” (1967)................................................9 #98: James Taylor – “Fire and Rain” (1970)......................................................................10 #97: Adele – “Rolling in the Deep” (2010)..........................................................................11 #96: Bill Haley and His Comets – “(We're Gonna) Rock Around the Clock” (1954).....12 #95: DJ Shadow – “Midnight in a Perfect World” (1996)................................................13 #94: Dire Straits – “Sultans of Swing” (1978).................................................................... 14 #93: The Mamas and the Papas – “California Dreamin'” (1965)....................................15 #92: Eminem – “Lose Yourself” (2002)...............................................................................16
    [Show full text]
  • Sugar Hill Label Album Discography
    Sugar Hill Label Album Discography SH 245 - Rapper’s Delight – Sugar Hill Gang [1979] Here I Am/Rapper’s Reprise (Jam-Jam)/Bad News//Sugar Hill Groove/Passion Play/Rapper’s Delight SH 246 – The Great Rap Hits – Various Artists [1980] 12” Vinyl. Spoon’nin’ Rap – Spoonie gee/To the Beat (Ya’ll) – Lady B/Rapping and Rocking the House – Funky Four Plus One//Funk You Up – The Sequence/Super Wolf Can Do It – Super-Wolf/Rapper’s Delight – Sugarhill Gang SH 247 – Kisses – Jack McDuff [1980] Kisses/Say Sumpin’ Nice/Primavera/Night Fantasies//Pocket Change/Nasty/Tunisian Affair SH 248 Positive Force – Positive Force [1980] Especially for You/People Get on Up/You’re Welcome//Today It Snowed/We Got the Funk/Tell Me What You See SH 249 – The 8th Wonder – Sugar Hill Gang [1981] Funk Box/On the Money/8th Wonder//Apache/Showdown/Giggale/Hot Hot Summer Day SH 250 – Sugar Hill Presents the Sequence – Sequence [1980] Simon Says/The Times We’re Alone/We Don’t Rap the Rap//Funk a Doodle Rock Jam/And You Know That/Funky Sound/Come on Let’s Boogie 251 252 253 254 SH 255 – First Class – First Class [1980] Give Me, Lend Me/Let’s Make Love/Coming Back to You/No Room For Another//I Wasn’t There/Lucky Me/Going Out of My Head/Hypnotize 256 SH 257 – Hard and Heavy – Wood, Brass and Steel [1980] Re-Entry/Open Up Your Heart/Long Live Music/Love Incognito/Be Yourself//Are You Busy/Superstar/Welcome/Space Walk/Fly with the Music 258 SH 259 – Brother 2 Brother – Brother to Brother [1980] Backlash/I’ve Been Loving You/I Must’ve realized/Latin Me//Let Me Be for Real/Love
    [Show full text]
  • Baby Driver Soundtrack Download Zip Mediafire Download Various Artists - Baby Driver (Music from the Motion Picture) (2017) Album
    baby driver soundtrack download zip mediafire Download Various Artists - Baby Driver (Music from the Motion Picture) (2017) Album. 1. Bellbottoms 2. Easy 3. Debora 4. Debra 5. Bongolia 6. Baby Let Me Take You (In My Arms) 7. Early in the Morning 8. The Edge 9. Nowhere To Run 10. Tequila 11. When Something Is Wrong With My Baby 12. Harlem Shuffle 13. Every Little Bit Hurts 14. Intermission 15. Hocus Pocus 16. Radar Love 17. Never, Never Gonna Give Ya Up 18. Know How 19. Brighton Rock 20. Easy 21. Baby Driver 22. "Was He Slow?" 23. Egyptian Reggae 24. Chase Me (feat. Run The Jewels & Big Boi) 25. Smokey Joe's La La 26. Let's Go Away For Awhile 27. B-A- B-Y 28. Kashmere 29. Unsquare Dance 30. Neat Neat Neat. Producto Ilícito. A1 Grandmaster Melle Mel and The Furious Five -- Beat Street A2 The System -- Baptise The Beat A3 Jenny Burton and Patrick Jude -- Strangers In A Strange World (Love Theme From Beat Street) A4 Afrika Bambaataa and Soulsonic Force Feat. Shango -- Frantic Situation (Frantic Mix) B1 Juicy -- Beat Street Strut B2 Debbie D; Lisa Counts; Sharon Green -- Us Girls B3 Cindy Mizelle -- This Could Be The Night B4 Arthur Baker -- Breaker's Revenge B5 Rubeñ Blades -- Tu Cariño-Carmen's Theme. Beat Street (Original Motion Picture Soundtrack) - Volume 2 (1984) (320kbps) BoyZ N The Hood (Soundtrack) (1991) (320 kbps) 01. Ice Cube - How to Survive in South Central 02. Tevin Campbell - Just ask me to 03. Yo-Yo - Mama Don't Take No Mess 04.
    [Show full text]
  • B-Girl Like a B-Boy Marginalization of Women in Hip-Hop Dance a Thesis Submitted to the Graduate Division of the University of H
    B-GIRL LIKE A B-BOY MARGINALIZATION OF WOMEN IN HIP-HOP DANCE A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAII AT MANOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN DANCE DECEMBER 2014 By Jenny Sky Fung Thesis Committee: Kara Miller, Chairperson Gregg Lizenbery Judy Van Zile ACKNOWLEDGEMENTS I would like to give a big thanks to Jacquelyn Chappel, Desiree Seguritan, and Jill Dahlman for contributing their time and energy in helping me to edit my thesis. I’d also like to give a big mahalo to my thesis committee: Gregg Lizenbery, Judy Van Zile, and Kara Miller for all their help, support, and patience in pushing me to complete this thesis. TABLE OF CONTENTS Abstract…………………………………………………………………………… 1. Introduction………………………………………………………………………. 1 2. Literature Review………………………………………………………………… 6 3. Methodology……………………………………………………………………… 20 4. 4.1. Background History…………………………………………………………. 24 4.2. Tracing Female Dancers in Literature and Film……………………………... 37 4.3. Some History and Her-story About Hip-Hop Dance “Back in the Day”......... 42 4.4. Tracing Females Dancers in New York City………………………………... 49 4.5. B-Girl Like a B-Boy: What Makes Breaking Masculine and Male Dominant?....................................................................................................... 53 4.6. Generation 2000: The B-Boys, B-Girls, and Urban Street Dancers of Today………………...……………………………………………………… 59 5. Issues Women Experience…………………………………………………….… 66 5.1 The Physical Aspect of Breaking………………………………………….… 66 5.2. Women and the Cipher……………………………………………………… 73 5.3. The Token B-Girl…………………………………………………………… 80 6.1. Tackling Marginalization………………………………………………………… 86 6.2. Acknowledging Discrimination…………………………………………….. 86 6.3. Speaking Out and Establishing Presence…………………………………… 90 6.4. Working Around a Man’s World…………………………………………… 93 6.5.
    [Show full text]
  • "What Is an MC If He Can't Rap?"
    California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 5-2019 "What Is An MC If He Can't Rap?" Dominique Jimmerson California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Part of the Ethnomusicology Commons, Music Performance Commons, Music Practice Commons, and the Other Music Commons Recommended Citation Jimmerson, Dominique, ""What Is An MC If He Can't Rap?"" (2019). Capstone Projects and Master's Theses. 569. https://digitalcommons.csumb.edu/caps_thes_all/569 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Dominique Jimmerson Capstone Sammons 5-18 -19 “What Is an MC if He Can’t Rap?” Hip hop is a genre that has seen much attention in mainstream media in recent years. It is becoming one of the most dominant genres in the world and influencing popular culture more and more as the years go on. One of the main things that makes hip hop unique from other genres is the emphasis on the lyricist. While many other genres will have a drummer, guitarist, bassist, or keyboardist, hip hop is different because most songs are not crafted in the traditional way of a band putting music together. Because of this, the genre tends to focus on the lyrics.
    [Show full text]
  • To “Trauma”: Adverse Childhood Experiences and Hip Hop's
    University of Arkansas at Little Rock William H. Bowen School of Law Bowen Law Repository: Scholarship & Archives Faculty Scholarship 2020 From “Mind Playing Tricks On Me” to “Trauma”: Adverse Childhood Experiences and Hip Hop’s Prescription andré douglas pond cummings University of Arkansas at Little Rock William H. Bowen School of Law, [email protected] Caleb Gregory Conrad Follow this and additional works at: https://lawrepository.ualr.edu/faculty_scholarship Part of the Law and Society Commons Recommended Citation andré douglas pond cummings & Caleb Gregory Conrad, From "Mind Playing Tricks on Me" to "Trauma": Adverse Childhood Experiences and Hip Hop's Prescription, 59 Washburn L.J. 267 (2020). This Article is brought to you for free and open access by Bowen Law Repository: Scholarship & Archives. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Bowen Law Repository: Scholarship & Archives. For more information, please contact [email protected]. CUMMINGS CORRECTED.DOCX (DO NOT DELETE) 3/3/20 10:52 AM From “Mind Playing Tricks On Me”* to “Trauma”**: Adverse Childhood Experiences and Hip Hop’s Prescription andré douglas pond cummings† and Caleb Gregory Conrad†† INTRODUCTION Over the past two decades, research focused on the causes and the lasting impact of Adverse Childhood Experiences, or ACEs, has been changing the way researchers, healthcare providers, and advocates approach areas like mental health, risky behaviors, and chronic disease.1 Numerous studies have produced and solidified results that present three undeniable truths: (1) the vast majority of Americans have experienced some form of trauma in their childhood,2 (2) people with low income or educational attainment and people of color experience increased instances of childhood trauma and adversity,3 and (3) the more childhood trauma an individual *GETO BOYS, Mind Playing Tricks On Me, on WE CAN’T BE STOPPED (Rap-A-Lot/Priority Records 1991).
    [Show full text]