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RIGHTS CLAIMS THROUGH MUSIC a Study on Collective Identity and Social Movements
RIGHTS CLAIMS THROUGH MUSIC A study on collective identity and social movements Dzeneta Sadikovic Department of Global and Political Studies Human Rights III (MR106S) Bachelor thesis, 15hp 15 ETC, Fall/2019 Supervisor: Dimosthenis Chatzoglakis Abstract This study is an analysis of musical lyrics which express oppression and discrimination of the African American community and encourage potential action for individuals to make a claim on their rights. This analysis will be done methodologically as a content analysis. Song texts are examined in the context of oppression and discrimination and how they relate to social movements. This study will examine different social movements occurring during a timeline stretching from the era of slavery to present day, and how music gives frame to collective identities as well as potential action. The material consisting of song lyrics will be theoretically approached from different sociological and musicological perspectives. This study aims to examine what interpretative frame for social change is offered by music. Conclusively, this study will show that music functions as an informative tool which can spread awareness and encourage people to pressure authorities and make a claim on their Human Rights. Keywords: music, politics, human rights, freedom of speech, oppression, discrimination, racism, culture, protest, social movements, sociology, musicology, slavery, civil rights, African Americans, collective identity List of Contents 1. Introduction p.2 1.1 Topic p.2 1.2 Aim & Purpose p.2 1.3 Human Rights & Music p.3 1.4 Research Question(s) p.3 1.5 Research Area & Delimitations p.3 1.6 Chapter Outline p.5 2. Theory & Previous Research p.6 2.1 Music As A Tool p.6 2.2 Social Movements & Collective Behavior p.8 2.2.1 Civil Rights Movement p.10 3. -
UNDERSTANDING PORTRAYALS of LAW ENFORCEMENT OFFICERS in HIP-HOP LYRICS SINCE 2009 By
ON THE BEAT: UNDERSTANDING PORTRAYALS OF LAW ENFORCEMENT OFFICERS IN HIP-HOP LYRICS SINCE 2009 by Francesca A. Keesee A Thesis Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degrees of Master of Science Conflict Analysis and Resolution Master of Arts Conflict Resolution and Mediterranean Security Committee: ___________________________________________ Chair of Committee ___________________________________________ ___________________________________________ ___________________________________________ Graduate Program Director ___________________________________________ Dean, School for Conflict Analysis and Resolution Date: _____________________________________ Fall Semester 2017 George Mason University Fairfax, VA University of Malta Valletta, Malta On the Beat: Understanding Portrayals of Law Enforcement Officers in Hip-hop Lyrics Since 2009 A Thesis submitted in partial fulfillment of the requirements for the degrees of Master of Science at George Mason University and Master of Arts at the University of Malta by Francesca A. Keesee Bachelor of Arts University of Virginia, 2015 Director: Juliette Shedd, Professor School for Conflict Analysis and Resolution Fall Semester 2017 George Mason University Fairfax, Virginia University of Malta Valletta, Malta Copyright 2016 Francesca A. Keesee All Rights Reserved ii DEDICATION This is dedicated to all victims of police brutality. iii ACKNOWLEDGEMENTS I am forever grateful to my best friend, partner in crime, and husband, Patrick. -
Hou Het Echt! Authenticity in the Dutch Hip-‐Hop Scene from the Point Of
Hou het echt! Authenticity in the Dutch hip-hop scene from the point of view of A&R-personnel Tim van Meurs Erasmus School of History, Culture and Communication Erasmus University Rotterdam 362905 [email protected] Supervisor: Dr. Laura Braden Second reader: Prof.dr. Koen van Eijck June 8th, 2015 Foreword “You are trying to apply science to something that isn’t!” With those words, interviewee and godfather of Nederhop Kees de Koning summarized quite well what I have been doing for the last couple of months. Ambitious as I was at the start of the master thesis process, I figured I could interview some key behind-the-scenes figures of the Dutch hip-hop scene without too much trouble. At times, I wished I had listened to those who told me to pick another topic because people from the music industry are generally too busy to conduct a, for them, uninteresting interview. But this thesis now lies in front of you, finished and well, and ready to be read. But it did not become what it is now without any problems. Problems that I did not solve by myself. So for that, I would like to thank the people who guided me through my breakdowns, helped me get further in the process, and supplied me with all sorts of resources to go on; from encouragement, to food, to the opportunity for interviews. First I want to thank my interviewees, for without them I literally would not have been able to make this thesis. So thanks Farid, for being my first interviewee and referring me to others, and thanks Angelo, Jimmy, Pim, Gaétan, Tim, Amier, Jaap, Casper, Vincent and Kees for giving me some of your precious time. -
How Avid Fans Determine and Value Authenticity in Rap Music
THE RELEVANCE OF REAL: HOW AVID FANS DETERMINE AND VALUE AUTHENTICITY IN RAP MUSIC _______________ A Thesis Presented to The Faculty of the Department of Sociology University of Houston _______________ In Partial Fulfillment Of the Requirements for the Master’s Degree _______________ By Erian J. Aquil May 2018 THE RELEVANCE OF REAL: HOW AVID FANS DETERMINE AND VALUE AUTHENTICITY IN RAP MUSIC _______________ An Abstract of a Thesis Presented to The Faculty of the Department of Sociology University of Houston _______________ In Partial Fulfillment Of the Requirements for the Master’s Degree _______________ By Erian J. Aquil May 2018 ABSTRACT Authenticity in rap music holds historical importance in hip hop culture. Low-income blacks in New York City used rap music to express their feelings about and bring awareness to issues in their communities. Rap music is no longer as closely tied to its origins, but authenticity remains a valuable part of these expressions. Though researchers acknowledge rap music has changed, they use historical markers to identify what is authentic in rap music and rarely investigate how fans understand authenticity today. In-depth interviews with eighteen avid rap fans illustrate new ways fans determine authenticity in rap music. Borrowing from Swidler’s (1986) “cultural tool kit,” this study shows how fans draw from their personal toolkits to determine authenticity. Specifically, fans determine authenticity based on whether they believe an artist is telling stories about personal lived experiences, whether they can relate to an artist’s lyrics, and/or whether an artist shows vulnerability in some way. Conversely, fans consider lyrics inauthentic when a rapper tells exaggerated stories that do not seem plausible. -
DANNY WATTS Black Boy Meets World
DANNY WATTS Black Boy Meets World LP COMING SOON KEY SELLING POINTS • Entirely produced by Jonwayne • Guest contributions and features include Ray Wright of Warm Brew, DIBIA$E, Leaving Records’ Kiefer, Dr. Octagon collaborator Juan Alderete de la Pena, Zeroh, and many others • The release of Black Boy Meets World will coincide with the Jonwyne’s Rap Album Two US Tour, beginning in October and running for an extended stretch of over 40 dates from coast to coast DESCRIPTION ARTIST: Danny Watts This fall, Danny Watts will release his debut album Black Boy Meets World TITLE: Black Boy Meets World on Jonwayne’s imprint Authors Recording Company. Beats were supplied CATALOG: cd-ARC003 in full by Jonwayne, creating the environments that mesh to Danny Watts’ LABEL: Authors Recording Company introspective lyricism and soulful cadences on the mic. The Houston based GENRE: Hip-Hop/Rap rapper has created a body of work that details his life experiences with an BARCODE: 669158533466 honest and uncompromising lens, jumping out of the Authors Recording FORMAT: CD Company gates as the first release after the critically acclaimed Rap Album HOME MARKET: Texas / Los Angeles Two. Before the release of Black Boy Meets World, Danny Watts is offering RELEASE: 10/6/2017 up the album’s lead single “Young & Reckless” feat. Aye Mitch! today. LIST PRICE: $11.98 / AK Danny Watts and Jonwayne recently captured Black Boy Meets World TRACKLISTING (Click Tracks In Blue To Preview Audio) in the span of only a week, recording the 11-track LP at the Los Angeles recording facility Cosmic Zoo. -
Songs by Title
16,341 (11-2020) (Title-Artist) Songs by Title 16,341 (11-2020) (Title-Artist) Title Artist Title Artist (I Wanna Be) Your Adams, Bryan (Medley) Little Ole Cuddy, Shawn Underwear Wine Drinker Me & (Medley) 70's Estefan, Gloria Welcome Home & 'Moment' (Part 3) Walk Right Back (Medley) Abba 2017 De Toppers, The (Medley) Maggie May Stewart, Rod (Medley) Are You Jackson, Alan & Hot Legs & Da Ya Washed In The Blood Think I'm Sexy & I'll Fly Away (Medley) Pure Love De Toppers, The (Medley) Beatles Darin, Bobby (Medley) Queen (Part De Toppers, The (Live Remix) 2) (Medley) Bohemian Queen (Medley) Rhythm Is Estefan, Gloria & Rhapsody & Killer Gonna Get You & 1- Miami Sound Queen & The March 2-3 Machine Of The Black Queen (Medley) Rick Astley De Toppers, The (Live) (Medley) Secrets Mud (Medley) Burning Survivor That You Keep & Cat Heart & Eye Of The Crept In & Tiger Feet Tiger (Down 3 (Medley) Stand By Wynette, Tammy Semitones) Your Man & D-I-V-O- (Medley) Charley English, Michael R-C-E Pride (Medley) Stars Stars On 45 (Medley) Elton John De Toppers, The Sisters (Andrews (Medley) Full Monty (Duets) Williams, Sisters) Robbie & Tom Jones (Medley) Tainted Pussycat Dolls (Medley) Generation Dalida Love + Where Did 78 (French) Our Love Go (Medley) George De Toppers, The (Medley) Teddy Bear Richard, Cliff Michael, Wham (Live) & Too Much (Medley) Give Me Benson, George (Medley) Trini Lopez De Toppers, The The Night & Never (Live) Give Up On A Good (Medley) We Love De Toppers, The Thing The 90 S (Medley) Gold & Only Spandau Ballet (Medley) Y.M.C.A. -
CHUCK STRANGERS Consumers Park
CHUCK STRANGERS Consumers Park LP COMING SOON KEY SELLING POINTS • Contributed production to the Joey Bada$$ studio albums B4.DA.$$ and All-Amerikkkan Bada$$ and has also produced tracks for Casey Veggies, Mick Jenkins, Nitty Scott, Hus Kingpin, and more • Music video for first single “Fresh” premiered on BET and was covered by top outlets like XXL, Mass Appeal, HypeBeast, Impose, NahRight, 2DopeBoyz, OnSmash • Just finished a European tour opening up for Joey Bada$$ and will be joining Joey and Pro Era on a U.S. tour this summer • Music videos currently in production for upcoming singles “Style Wars” (ft. Joey Bada$$), “Backwood Falls”, and “Thoro Hall” (ft. Kirk Knight) DESCRIPTION ARTIST: Chuck Strangers Since bursting onto the scene in 2012, Brooklyn hip-hop collective Pro TITLE: Consumers Park Era has sent shockwaves through the culture. Crew leader Joey Bada$$ CATALOG: CD-NSD169 has become one of rap’s biggest stars, and Pro Era artists like Kirk LABEL: Nature Sounds Knight, Nyck Caution, and CJ Fly have launched their own successful GENRE: Hip-Hop solo careers. Chuck Strangers has been a key member of Pro Era from BARCODE: 822720716920 the start, producing classic Joey Bada$$ tracks like “Daily Routine”, FORMAT: CD “FromdaTomb$” (which he was also featured on), “Summer Knights”, “My HOME MARKET: Brooklyn, New York City Yout”, “Escape 120”, “Rockabye Baby”, and more. A true double-threat RELEASE: 3/16/2018 who’s just as skilled on the mic as he is behind the boards, Chuck is LIST PRICE: $12.98 / AL poised as the next breakout star from the Era. -
Playlist Du 27-07-2021
Heure Titre Artiste 00:00:00 JINGLE D'N BALISTIQ GWI 00:00:14 COLA FT ELDERBROOK CAMELPHAT 00:04:00 FAIRYTALE OF NEW YORK THE POGUES 00:08:24 NERVOUS BREAKDOWN JOHN CANOE 00:11:20 PECHE BALISTIQ ELECTRO ROCK 1 DIMITRI 00:11:26 GIMME THAT LOVIN JOSH HOYER AND SOUL COLOSSAL 00:14:40 WHERE IS MY MIRACLE THE KEYS 00:21:20 ALL I KNOW THE POSTERZ 00:26:51 PECHE COURT VOCODER 4 FELIXFELIX 00:26:53 ETERNAL QUESTION BEAT BRONCO ORGAN TRIO 00:30:33 ONE FOR PETRU OLIVIER KER OURIO 00:36:09 WANG DANG BOB DESTINITY 00:40:45 PECHE INFO DYNAMITE FELIXFELIX 00:40:55 ITS LIKE THAT GUTS 00:44:22 BUCHANAN HAMMER LOS TONES 00:47:40 I WANT TO BE THE LAST SONG YOU THE FEELING OF LOVE 00:50:29 VIRGULE TRY AGAIN GWI 00:50:38 ARCADINE CASSIUS 00:53:52 DON T LET ME DOWN 71 CHARLOTTE DADA 00:58:12 WEDNESDUB LAZARPERRY 01:01:45 JINGLE LA NUIT SUR BAL ISTIQ RANDO 01:01:53 IT S A SHAME FIRST AID KIT 01:05:47 GELIN HALAY ALTIN GUN 01:09:01 GOLDEN LADY JOSE FELICIANO 01:13:19 PECHE R.BALISTIQ CANDY 3 FELIXFELIX 01:13:23 L HEURE DENSE FEU CHATTERTON 01:17:30 HOLY JOE KRANTZ CARLOCK LEFEBVRE 01:20:18 FEELIN ALRIGHT LOU RAWLS 01:23:08 JINGLE LA NUIT SUR BAL ISTIQ RANDO 01:23:17 I V BEEN LOOSING CHRISSY ZEBBY TEMBO 01:26:30 MUDER AMEN ANDREWS 01:29:46 TON OF BRICKS TOM VEK 01:35:19 IDE GOOD NIGHT GWI 01:35:31 DAISY WAVVES 01:38:00 THIS THAT & THA 3RD AMIRI & SPECTAC 01:42:10 I CAN T GET NEXT TO YO U THE TEMPTATIONS 01:45:01 PECHE SIMPLE R. -
3 Rap Subgenres
Jazyk černého britského a černého amerického rapu Bakalářská práce Studijní program: B7507 – Specializace v pedagogice Studijní obory: 7504R300 – Španělský jazyk se zaměřením na vzdělávání 7507R036 – Anglický jazyk se zaměřením na vzdělávání Autor práce: Jan Wolf Vedoucí práce: Christopher Muffett, M.A. Liberec 2019 The Language of Black British and Black American Rap Bachelor thesis Study programme: B7507 – Specialization in Pedagogy Study branches: 7504R300 – Spanish for Education 7507R036 – English for Education Author: Jan Wolf Supervisor: Christopher Muffett, M.A. Liberec 2019 Prohlášení Byl jsem seznámen s tím, že na mou bakalářskou práci se plně vzta- huje zákon č. 121/2000 Sb., o právu autorském, zejména § 60 – školní dílo. Beru na vědomí, že Technická univerzita v Liberci (TUL) nezasahuje do mých autorských práv užitím mé bakalářské práce pro vnitřní potřebu TUL. Užiji-li bakalářskou práci nebo poskytnu-li licenci k jejímu využití, jsem si vědom povinnosti informovat o této skutečnosti TUL; v tomto pří- padě má TUL právo ode mne požadovat úhradu nákladů, které vyna- ložila na vytvoření díla, až do jejich skutečné výše. Bakalářskou práci jsem vypracoval samostatně s použitím uvedené literatury a na základě konzultací s vedoucím mé bakalářské práce a konzultantem. Současně čestně prohlašuji, že texty tištěné verze práce a elektronické verze práce vložené do IS STAG se shodují. 23. 6. 2019 Jan Wolf Acknowledgements First of all, I would like to thank my supervisor, Christopher Muffett, M.A. for his advice, guidance and support. Also, I want to give thanks to my family for supporting me druing my studies. Lastly, I would like to show my appreciation to all the teachers at the English Department at the Faculty of Science, Humanities and Education of the Technical University in Liberec for allowing me to improve the level of my English. -
El Videoclip Musical De Hip Hop En Los Noventa: Análisis De Vídeos De La Costa Este De Estados Unidos
ARTÍCULOS Pensar la Publicidad ISSN: 1887-8598 http://dx.doi.org/10.5209/PEPU.53774 El videoclip musical de hip hop en los noventa: análisis de vídeos de la costa este de Estados Unidos Ana Balbuena Morilla; Ana Sedeño Valdellos1 Recibido: 13/01/2016 / Aceptado: 14/03/2016 Resumen. Al igual que ocurre en el spot, cuando se promocionan los beneficios de un producto o marca para conseguir provocar el deseo de éste y su posterior adquisición, en el videoclip musical se promociona el producto de música popular y su emisor/productor, el cantante, a través de mecanismos en los que actúan ciertos códigos audiovisuales de seducción. Por otro lado, criterios relacionados con el género musical se disponen para situar el mensaje en el contexto y como parte de la construcción de un texto-estrella para el artista determinado. Este artículo recoge un análisis sobre los videoclips dentro de la cultura hip hop, concretamente durante la época de los noventa dada su repercusión, ya que fue a principios de ésta cuando se categorizó como género musical. Se muestra un recorrido desde su gestación hasta su época álgida o dorada para entender su complejidad como género musical, seguido de un análisis de la realización y el lenguaje audiovisual de cinco vídeos musicales elaborados entre 1990 y 1999, y representados por artistas de la costa este de EE.UU. Con todo esto se pretende describir tanto técnica como artísticamente cuáles son los arquetipos audiovisuales que rodean a los vídeos musicales de hip hop en ese periodo de tiempo. Hay que destacar que, aunque no se trate de un estudio taxativo, este análisis revela una serie de características y estilemas que se repiten, estableciéndose así una estética audiovisual. -
TOUR NOTES JANUARY 2019 Styles of Resistance
TOUR NOTES JANUARY 2019 Styles of Resistance Styles of Resistance: From the Corner to the Catwalk On View: January 18-February 24, 2019 Curated by: Amy Andrieux, Richard Bryan and Mariama Jalloh FEATURED DESIGNERS coup d’etat BROOKLYN, Frank William Miller, Jr., FUBU, Johnny Nelson!, Karl Kani, Melody Ehsani, Maurice Malone, Moshood, Philadelphia Print Works, PNB Nation, Sean John, Spike’s Joint, Studio 189, Shirt King Phade, The Peralta Project, Walker Wear, Willi Wear LTD, Xuly Bet, and more. FEATURED ARTISTS Alex Blaise, Anthony Akinbola, Aurelia Durand, Barry Johnson, Benji Reid, Dr. Fahamu Pecou, Hassan Hajjaj, Jamel Shabazz, Janette Beckman, Kendall Carter, Lakela Brown, Marc Baptiste, Michael Miller, Righteous Jones (Run P.), Ronnie Rob, TTK, and Victoria Ford. Themes: ● 70s and 80s ○ Police Brutality in the United States and the Black Panther Party ■ How did “self-actualization”and police brutality inspire groups like the Black Panther Party to build the foundation for the birth of hip-hop and streetwear fashion? ○ Graffiti and Social Movements ■ How did black and brown communities respond to continued police brutality and poverty globally? What art was produced as a response to these grievances while also building community? ■ How did graffiti play a role in advancing the hip-hop movement? ● 90s ○ Michael Jordan and Sneakers ■ Jordans quickly became incorporated into streetwear, so they were always in high demand. Because Jordans were vastly consumed by Black people, Jordans quickly became associated with crime and violence. ● Spike Lee commercial ○ Streetwear, Urbanwear and Luxury Brands ■ Luxury Designers, and NY Fashion week had a disdain for urban fashion. Not only was the word “urban” synonymous to “ghetto”, but this label was used to exclude black designers, and people from big media platforms, fashion shows and stores. -
Billboard Magazine
Lamar photographed Dec. 30, 2015, in downtown Los Angeles. GRAMMYPREVIEW2016 KENDRICK’S February 13, 2016 SWEET | billboard.com REVENGE No, Lamar doesn’t care about those past snubs. Because the Compton rapper with 11 nominations knows this is his best work ever: ‘I want to win them all’ ‘IT’S STILL TOO WHITE, TOO MALE AND TOO OLD’ Grammy voters speak out! ‘THE SECRET IS… TALENT’ How Chris Stapleton conquered country WE PROUDLY CONGRATULATE OUR GRAMMY® THE RECORDING ACADEMY® SONG OF THE YEAR BEST DANCE/ELECTRONIC ALBUM LIFETIME ACHIEVEMENT AWARD ED SHEERAN CARIBOU HERBIE HANCOCK “THINKING OUT LOUD” OUR LOVE RECORD OF THE YEAR BEST NEW ARTIST BEST DANCE/ELECTRONIC ALBUM ED SHEERAN COURTNEY BARNETT DISCLOSURE “THINKING OUT LOUD” CARACAL BEST POP SOLO PERFORMANCE RECORD OF THE YEAR ED SHEERAN BEST DANCE/ELECTRONIC ALBUM MARK RONSON* “THINKING OUT LOUD” SKRILLEX & DIPLO “UPTOWN FUNK” SKRILLEX AND DIPLO PRESENT JACK Ü BEST POP SOLO PERFORMANCE ALBUM OF THE YEAR ELLIE GOULDING* BEST DANCE/ELECTRONIC ALBUM ED SHEERAN “LOVE ME LIKE YOU DO” JAMIE XX BEAUTY BEHIND THE MADNESS IN COLOUR BY THE WEEKND BEST POP DUO/GROUP PERFORMANCE (featured artist) MARK RONSON* BEST ROCK PERFORMANCE ALBUM OF THE YEAR “UPTOWN FUNK” ELLE KING “EX’S & OH’S” FLYING LOTUS BEST POP VOCAL ALBUM TO PIMP A BUTTERFLY MARK RONSON* BEST ROCK PERFORMANCE BY KENDRICK LAMAR UPTOWN SPECIAL WOLF ALICE (producer) “MOANING LISA SMILE” BEST DANCE RECORDING ALBUM OF THE YEAR BEST ROCK SONG JACK ANTONOFF ABOVE & BEYOND “WE’RE ALL WE NEED” ELLE KING (OF FUN. AND BLEACHERS) “EX’S & OH’S”