Paige in Full: a B-Girls Visual Mixtape

Total Page:16

File Type:pdf, Size:1020Kb

Paige in Full: a B-Girls Visual Mixtape Paige in Full: A B-Girls Visual Mixtape OnStage Resource Guide 2018 19 overture.org /onstage Overture Center for the Arts fills a city block in downtown Madison with ABOUT world-class venues for the performing and visual arts. Made possible by an OVERTURE CENTER extraordinary gift from Madison businessman W. Jerome Frautschi, the center presents the highest-quality arts and entertainment programming in FOR THE ARTS a wide variety of disciplines for diverse audiences. Offerings include performances by acclaimed classical, jazz, pop, and folk performers; touring Broadway musicals; quality children’s entertainment; and world-class ballet, modern and jazz dance. Overture Center’s extensive outreach and educational programs serve thousands of Madison-area residents annually, including youth, older adults, people with limited financial resources and people with disabilities. The center is also home to ten independent resident organizations. Internationally renowned architect Cesar Pelli designed the center to RESIDENT provide the best possible environment for artists and audiences, as well as ORGANIZATIONS to complement Madison’s urban environment. Performance spaces range Bach Dancing and Dynamite Society from the spectacular 2,250-seat Overture Hall to the casual and intimate Children's Theater of Madison Rotunda Stage. The renovated Capitol Theater seats approximately 1,110, Forward Theater Company and The Playhouse seats 350. In addition, three multi-purpose spaces Kanopy Dance Company provide flexible performance, meeting and rehearsal facilities. Overture Li Chiao-Ping Dance Company Center also features several art exhibit spaces. Overture Galleries I, II and Madison Ballet III display works by Dane County artists. The Playhouse Gallery features Madison Opera regional artists with an emphasis on collaborations with local organizations. Madison Symphony Orchestra The Wisconsin Academy of Sciences, Arts and Letters’ Watrous Gallery Wisconsin Academy’s James Watrous Gallery displays works by Wisconsin artists, and the Madison Museum of Wisconsin Chamber Orchestra Contemporary Art offers works by national and international artists. RESOURCE GUIDE CREDITS Executive Editor Meri Rose Ekberg Writer/Designer Danielle Dresden Paige in Full Overture Centerfor the Arts – OnStage 1 Dear Teachers, In this resource guide you will find valuable information to help you apply academic goals to your students’ performance experience. We have included suggestions for activities which can help you prepare students to see this performance, ideas for follow-up activities, and additional resources you can access on the web. Along with these activities and resources, we’ve also included the applicable Wisconsin Academic Standards in order to help you align the experience with your curriculum requirements. This Educator’s Resource Guide is designed to: • Extend the scholastic impact of the performance by providing discussion ideas, activities and reading to promote learning across the curriculum; • Promote arts literacy by expanding students’ knowledge of music, science, storytelling and theatre; • Illustrate that the arts are a legacy reflecting the values, customs, beliefs, expressions and reflections of a culture; • Use the arts to teach about the cultures of other people and to celebrate students’ own heritage through self-reflection; Table of Contents • Maximize students’ enjoyment and appreciation of the About Paige in Full .................................2 performance. About Hip Hop & the Creative Team .........3 We hope the performance and this resource guide will provide you and your students with opportunities to integrate art learning in Elements of Hip Hop & Vocabulary ............4 your curricula, expanding it in new and enriching ways. Bullying & More Vocabulary ......................5 Enjoy the Show! Haiku & Discussion Questions ...................6 Resources ...............................................7 Curriculum Categories Learning Activity ..................................8-9 Language Arts Social Emotional Social Studies Academic Standards .............................. 10 About Live Performance .........................11 We want your feedback! OnStage performances can be evaluated online! Evaluations are vital to the funding of this program. Your feedback educates us about the ways the program is utilized and we often implement your suggestions. Survey: https://www.surveygizmo.com/s3/4318898/OnStage-Post-Show-Survey Paige in Full Overture Centerfor the Arts – OnStage 2 About Paige in Full Paige Hernandez Paige in Full: a B-girl’s Visual Mixtape is a hip-hop About the Creative Team coming-of-age story, told through theater, dance, poetry, the visual arts and music. It deals with questions of love, Paige Hernandez (writer/performer/choreographer) – A identity, popular culture, and trying to fit in as a person of multi-cultural and multi-talented artist, Paige went to mixed race background. high school at the Baltimore School for the Arts and received a BA in theater and broadcast journalism from To tell the story of her life, Paige Hernandez collaborated the University of Maryland, College Park. An actor with her brother, Nick tha 1 da, a musician. She says his and choreographer throughout the Washington DC beats “inspired 20+ characters, 18 poems, 7 live music area, her one-woman shows, Havana Hop and Paige (DJ) sets and 8 dance routines.” in Full, have been seen around the country. She mixes entertainment and education just as effectively as she The one hour show includes multimedia projections, mixes artistic disciplines. To date, she has reached approx. graffiti-inspired sets, and a call and response set. 10,000 students, from Pre-K through college, in over 100 This is how the author describes the production, “I residencies, workshops and performances. wanted a story that would help to reclaim the positive Nick tha 1 da (live beats/sound design) – Along with energy that hip hop was once known to create. I wanted being Hernandez’ brother, Nick tha 1 da is an award- a story that was all at once international, and ‘around winning musician. His samples and drums form the the way.’ Lastly, I wanted a story for little girls of color. I soundtracks for several independent films and he has want them to know that no matter where they fall in the produced for other hip hop artists, such as Wes Fulton, rainbow, their voice is interesting, unique and needs to be Asheru, and Raheem DeVaughn. heard.” Paige in Full Overture Centerfor the Arts – OnStage 3 About Hip Hop & the Creative Team Hip hop was born in the schoolyards, parks, and subways of New York City, specifically the Bronx and Harlem. It is street culture created in a world of high unemployment, violence, repression, and unstoppable creativity. Even though it is now used to sell everything from sneakers to phone plans, hip hop began as an independent, non- commercial cultural movement, all about making things your own and taking control of the means of artistic production. The title of the play, Paige in Full, is a reference to “Paid in Full,” a hip hop tune recorded by Eric B. and Rakim in 1987. The album of the same title is considered a hip hop classic and was ranked as #227 on Rolling Stone Magazine’s top 500 greatest albums of all time. Clive Campbell, better known as DJ Kool Herc and one of the originators of hip hop, kicked off what would grow into a cultural phenomenon when he noticed that dancers went crazy for the percussion-only breaks in popular songs, because it gave them a chance to show off their dance moves. DJ Kool Herc then figured out how to use two turntables to cut back and forth between the same song to extend the breaks, added MCs, Masters of Ceremony or rappers, and a movement was born. Other innovators would follow, like Joseph Saddler, or Grandmaster Flash, who improved cuing, added DJ Kool Herc choreographed moves, a drum machine, and scratching with an elbow. More About the Creative Team Danielle Drakes (director/producer) – A graduate of Goucher College with an MFA from The Catholic University of America. Drakes has performed with Ford’s Theatre, The Kennedy Center, Arena Stage, and many other theaters. She is a member of Actors’ Equity Association and the Society of Stage Directors and Choreographers. Tewodross Melchishua (video/projections) – The creative director for Visual Jazz Media Group, and an Associate Professor in visual communication at Bowie State University, Melchishua. He has a BA in Art/Photographic Media from Morgan State University, and an MFA in Imaging & Digital Arts from UMBC. He has produced work in video/ film, animation, traditional and digital art; music videos and video installation. Paige in Full Overture Centerfor the Arts – OnStage 4 Hip Hop Elements & Vocabulary Hip Hop Montage The Five Elements of Selected Show Vocabulary Hip Hop • B-Girl – A B-Girl is a female breakdancer, or As hip hop grew and expanded it became more than a fun new general fan of hip hop culture. music and dance style seen at parties. The following are the • Fly girl – Now a general term for an attractive, 5 key elements of hip hop, as described by hip hop pioneer, proud young woman, the “Fly Girls” were DJAfrika Bambaataa, of the hip hop collective, Zulu Nation: the high-energy female dance troupe • DJing – Manipulating recordings and other sound sources featured on In Living Color, a sketch comedy to make music, emphasizing the beat. television show highlighting African-American performers. J Lo was a member of the troupe, • MCing, or Rapping
Recommended publications
  • Consent Motion to Modify the Settlement
    UNITED STATES DISTRICT COURT FOR THE SOUTHERN DISTRICT OF NEW YORK ----------------------------------------------------------------------- x : : : In re SONY BMG CD Technologies Litigation : No. 05 CV 9575 (NRB) : : : ----------------------------------------------------------------------- x DEFENDANT SONY BMG MUSIC ENTERTAINMENT’S AND CLASS COUNSEL’S AGREED MOTION TO MODIFY THE SETTLEMENT AGREEMENT AND NOTICE FORMS Jeffrey S. Jacobson (JJ-8872) Daniel C. Girard (Pro Hac Vice) DEBEVOISE & PLIMPTON LLP GIRARD GIBBS & 919 Third Avenue & DeBARTOLOMEO LLP New York, New York 10022 601 California Street (212) 909-6000 San Francisco, California 94108 (415) 981-4800 Counsel for Defendant Sony BMG Music Entertainment Scott A. Kamber (SK-5794) KAMBER & ASSOCIATES LLC 19 Fulton Street, Suite 400 New York, New York 10038 (212) 571-2000 Class Counsel 22121933v1 At a hearing on January 6, 2006, the Court granted preliminary approval to a settlement of this consolidated class action matter, and ordered that notice be sent to members of the proposed Settlement Class by February 15, 2006. The parties advised the Court at that hearing that, prior to the notice date, they may seek to amend the Settlement Agreement in ways that would be favorable to the Settlement Class, and to make conforming amendments to the forms of notice that will be disseminated. Consistent with those representations, the parties respectfully request that the Court enter the attached Order, which provides: 1. The Settlement Agreement among the parties is amended to include, as a new
    [Show full text]
  • ARTIST INDEX(Continued)
    ChartARTIST Codes: CJ (Contemporary Jazz) INDEXINT (Internet) RBC (R&B/Hip-Hop Catalog) –SINGLES– DC (Dance Club Songs) LR (Latin Rhythm) RP (Rap Airplay) –ALBUMS– CL (Traditional Classical) JZ (Traditional Jazz) RBL (R&B Albums) A40 (Adult Top 40) DES (Dance/Electronic Songs) MO (Alternative) RS (Rap Songs) B200 (The Billboard 200) CX (Classical Crossover) LA (Latin Albums) RE (Reggae) AC (Adult Contemporary) H100 (Hot 100) ODS (On-Demand Songs) STS (Streaming Songs) BG (Bluegrass) EA (Dance/Electronic) LPA (Latin Pop Albums) RLP (Rap Albums) ARB (Adult R&B) HA (Hot 100 Airplay) RB (R&B Songs) TSS (Tropical Songs) BL (Blues) GA (Gospel) LRS (Latin Rhythm Albums) RMA (Regional Mexican Albums) CA (Christian AC) HD (Hot Digital Songs) RBH (R&B Hip-Hop) XAS (Holiday Airplay) JAN CA (Country) HOL (Holiday) NA (New Age) TSA (Tropical Albums) CS (Country) HSS (Hot 100 Singles Sales) RKA (Rock Airplay) XMS (Holiday Songs) CC (Christian) HS (Heatseekers) PCA (Catalog) WM (World) CST (Christian Songs) LPS (Latin Pop Songs) RMS (Regional Mexican Songs) 16 CCA (Country Catalog) IND (Independent) RBA (R&B/Hip-Hop) DA (Dance/Mix Show Airplay) LT (Hot Latin Songs) RO (Hot Rock Songs) 2021 $NOT HS 12, 17 JUSTIN BIEBER A40 2, 18, 19, 31; AC 8, 13; OLIVIA COLMAN CL 7 FLEETWOOD MAC B200 36, 109; BL 6; INT 17; I PREVAIL RKA 20 LIL DURK B200 2, 116; RBA 1; RLP 1; A40 37; 21 SAVAGE B200 40; RBA 20; RLP 20; H100 55; DA 33, 39; H100 4, 6, 18, 36; HA 4, 11, 50; HD JOHN COLTRANE JZ 14 PCA 2, 39; HD 47 THE IRISH CHAMBER ORCHESTRA CL 9 DA 26; H100 8, 59, 74, 84,
    [Show full text]
  • Directory P&E 2021X Copy with ADS.Indd
    Annual Directory of Producers & Engineers Looking for the right producer or engineer? Here is Music Connection’s 2020 exclusive, national list of professionals to help connect you to record producers, sound engineers, mixers and vocal production specialists. All information supplied by the listees. AGENCIES Notable Projects: Alejandro Sanz, Greg Fidelman Notable Projects: HBO seriesTrue Amaury Guitierrez (producer, engineer, mixer) Dectective, Plays Well With Others, A440 STUDIOS Notable Projects: Metallica, Johnny (duets with John Paul White, Shovels Minneapolis, MN JOE D’AMBROSIO Cash, Kid Rock, Reamonn, Gossip, and Rope, Dylan LeBlanc) 855-851-2440 MANAGEMENT, INC. Slayer, Marilyn Manson Contact: Steve Kahn Studio Manager 875 Mamaroneck Ave., Ste. 403 Tucker Martine Email: [email protected] Mamaroneck, NY 10543 Web: a440studios.com Ryan Freeland (producer, engineer, mixer) facebook.com/A440Studios 914-777-7677 (mixer, engineer) Notable Projects: Neko Case, First Aid Studio: Full Audio Recording with Email: [email protected] Notable Projects: Bonnie Raitt, Ray Kit, She & Him, The Decemberists, ProTools, API Neve. Full Equipment list Web: jdmanagement.com LaMontagne, Hugh Laurie, Aimee Modest Mouse, Sufjan Stevens, on website. Mann, Joe Henry, Grant-Lee Phillips, Edward Sharpe & The Magnetic Zeros, Promotional Videos (EPK) and concept Isaiah Aboln Ingrid Michaelson, Loudon Wainwright Mavis Staples for bands with up to 8 cameras and a Jay Dufour III, Rodney Crowell, Alana Davis, switcher. Live Webcasts for YouTube, Darryl Estrine Morrissey, Jonathan Brooke Thom Monahan Facebook, Vimeo, etc. Frank Filipetti (producer, engineer, mixer) Larry Gold Noah Georgeson Notable Projects: Vetiver, Devendra AAM Nic Hard (composer, producer, mixer) Banhart, Mary Epworth, EDJ Advanced Alternative Media Phiil Joly Notable Projects: the Strokes, the 270 Lafayette St., Ste.
    [Show full text]
  • 2018 BAM Next Wave Festival #Bamnextwave
    2018 BAM Next Wave Festival #BAMNextWave Brooklyn Academy of Music Adam E. Max, Katy Clark, Chairman of the Board President William I. Campbell, Joseph V. Melillo, Vice Chairman of the Board Executive Producer Place BAM Harvey Theater Oct 11—13 at 7:30pm; Oct 13 at 2pm Running time: approx. one hour 15 minutes, no intermission Created by Ted Hearne, Patricia McGregor, and Saul Williams Music by Ted Hearne Libretto by Saul Williams and Ted Hearne Directed by Patricia McGregor Conducted by Ted Hearne Scenic design by Tim Brown and Sanford Biggers Video design by Tim Brown Lighting design by Pablo Santiago Costume design by Rachel Myers and E.B. Brooks Sound design by Jody Elff Assistant director Jennifer Newman Co-produced by Beth Morrison Projects and LA Phil Season Sponsor: Leadership support for music programs at BAM provided by the Baisley Powell Elebash Fund Major support for Place provided by Agnes Gund Place FEATURING Steven Bradshaw Sophia Byrd Josephine Lee Isaiah Robinson Sol Ruiz Ayanna Woods INSTRUMENTAL ENSEMBLE Rachel Drehmann French Horn Diana Wade Viola Jacob Garchik Trombone Nathan Schram Viola Matt Wright Trombone Erin Wight Viola Clara Warnaar Percussion Ashley Bathgate Cello Ron Wiltrout Drum Set Melody Giron Cello Taylor Levine Electric Guitar John Popham Cello Braylon Lacy Electric Bass Eileen Mack Bass Clarinet/Clarinet RC Williams Keyboard Christa Van Alstine Bass Clarinet/Contrabass Philip White Electronics Clarinet James Johnston Rehearsal pianist Gareth Flowers Trumpet ADDITIONAL PRODUCTION CREDITS Carolina Ortiz Herrera Lighting Associate Lindsey Turteltaub Stage Manager Shayna Penn Assistant Stage Manager Co-commissioned by the Los Angeles Phil, Beth Morrison Projects, Barbican Centre, Lynn Loacker and Elizabeth & Justus Schlichting with additional commissioning support from Sue Bienkowski, Nancy & Barry Sanders, and the Francis Goelet Charitable Lead Trusts.
    [Show full text]
  • MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
    MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division
    [Show full text]
  • Turntablism and Audio Art Study 2009
    TURNTABLISM AND AUDIO ART STUDY 2009 May 2009 Radio Policy Broadcasting Directorate CRTC Catalogue No. BC92-71/2009E-PDF ISBN # 978-1-100-13186-3 Contents SUMMARY 1 HISTORY 1.1-Defintion: Turntablism 1.2-A Brief History of DJ Mixing 1.3-Evolution to Turntablism 1.4-Definition: Audio Art 1.5-Continuum: Overlapping definitions for DJs, Turntablists, and Audio Artists 1.6-Popularity of Turntablism and Audio Art 2 BACKGROUND: Campus Radio Policy Reviews, 1999-2000 3 SURVEY 2008 3.1-Method 3.2-Results: Patterns/Trends 3.3-Examples: Pre-recorded music 3.4-Examples: Live performance 4 SCOPE OF THE PROBLEM 4.1-Difficulty with using MAPL System to determine Canadian status 4.2- Canadian Content Regulations and turntablism/audio art CONCLUSION SUMMARY Turntablism and audio art are becoming more common forms of expression on community and campus stations. Turntablism refers to the use of turntables as musical instruments, essentially to alter and manipulate the sound of recorded music. Audio art refers to the arrangement of excerpts of musical selections, fragments of recorded speech, and ‘found sounds’ in unusual and original ways. The following paper outlines past and current difficulties in regulating these newer genres of music. It reports on an examination of programs from 22 community and campus stations across Canada. Given the abstract, experimental, and diverse nature of these programs, it may be difficult to incorporate them into the CRTC’s current music categories and the current MAPL system for Canadian Content. Nonetheless, turntablism and audio art reflect the diversity of Canada’s artistic community.
    [Show full text]
  • Apollo Theater Announces 85Th Anniversary Programming for Spring 2019
    Apollo Theater Announces 85th Anniversary Programming 2019 Season Includes the New York Premiere of Twisted Melodies, a play that pays homage to soul legend Donny Hathaway; Kamasi Washington, Alice Smith, Dance Theatre of Harlem and the Return of Audience Favorites Amateur Night at the Apollo, Apollo Music Café, and Apollo Comedy Club; Cultural Festivals Africa Now! and WOW - Women of the World Festival in Partnership with the WOW Foundation Harlem, NY – (January 23, 2019) To mark the Apollo Theater’s 85th anniversary, the Theater today announced additional programming in its Winter/Spring season, celebrating the iconic theater’s legacy as the epicenter of Black culture and expanding its role as a partner, commissioner, and co-producer of new and important works. Season highlights include a family show with Dance Theater of Harlem; the annual Africa Now!; WOW – Women of the World Festival; Kamasi Washington, in conjunction with AFROPUNK; the signature Amateur Night at the Apollo, with special $8.50 tickets; Apollo Music Café; and Apollo Comedy Club; the spring season culminates with the New York premiere of Twisted Melodies, a soulful play that pays homage to the late singer Donny Hathaway in May. Apollo Theater’s programming continues to advance the nonprofit theater’s commitment to articulating and projecting the African American narrative through arts and culture, creating a 21st century performing arts cannon, and tackling important social issues for Harlem, New York, and the nation. To celebrate the 85th anniversary season, the Apollo Theater will present an Open House on Saturday, February 2 at 2:00 p.m. Apollo Open House, free and open to the public, will be hosted by Billy “Mr.
    [Show full text]
  • Scratching Resources
    AAFP CLAW FRIENDLY EDUCATIONAL TOOLKIT SCRATCHING RESOURCES The best method to advance feline welfare is through education. Many cat caregivers are unaware that scratching is a natu- ral behavior for cats. The AAFP has created the educational resources below to assist your team in educating cat caregivers about why cats need to scratch, ideal scratching surfaces, troubleshooting inappropriate scratching, training cats to scratch appropriately in the home, and alternatives to declawing. Veterinary Professionals Claw Counseling: Helping Clients Live Alongside Cats with Claws (In-depth Article) This comprehensive article provides more detailed information to help you counsel clients on why and how to live with a clawed cat. It provides information about why clients declaw, short and long-term complications, what causes cats to scratch excessively and on unfavorable locations, and how to work through inappropriate scratching situations. See next 7 pages for full size print version. American Association of Feline Practitioners Claw Friendly Educational Toolkit CLAW COUNSELING: Helping clients live alongside cats with claws Submitted by Kelly A. St. Denis, MSc, DVM, DABVP (feline practice) Onychectomy has always been a controversial topic, but over offers onychectomy, open dialogue about this is strongly the last decade, a large push to end this practice has been encouraged. Team members should be mindful that these brought forward by many groups, including major veterinary discussions should be approached with care and respect, for organizations, such as the American Association of Feline themselves and their employer. It is also extremely important Practitioners. As veterinary professionals, we may be asked to include front offce staff in these discussions, as they may about declawing, nail care, and normal scratching behavior in receive direct questions by phone.
    [Show full text]
  • The Mixtape: a Case Study in Emancipatory Journalism
    ABSTRACT Title of Dissertation: THE MIXTAPE: A CASE STUDY IN EMANCIPATORY JOURNALISM Jared A. Ball, Doctor of Philosophy, 2005 Directed By: Dr. Katherine McAdams Associate Professor Philip Merrill College of Journalism Associate Dean, Undergraduate Studies During the 1970s the rap music mixtape developed alongside hip-hop as an underground method of mass communication. Initially created by disc-jockeys in an era prior to popular “urban” radio and video formats, these mixtapes represented an alternative, circumventing traditional mass medium. However, as hip-hop has come under increasing corporate control within a larger consolidated media ownership environment, so too has the mixtape had to face the challenge of maintaining its autonomy. This media ownership consolidation, vertically and horizontally integrated, has facilitated further colonial control over African America and has exposed as myth notions of democratizing media in an undemocratic society. Acknowledging a colonial relationship the writer created FreeMix Radio: The Original Mixtape Radio Show where the mixtape becomes both a source of free cultural expression and an anti-colonial emancipatory journalism developed as a “Third World” response to the needs of postcolonial nation-building. This dissertation explores the contemporary colonizing effects of media consolidation, cultural industry function, and copyright ownership, concluding that the development of an underground press that recognizes the tremendous disparities in advanced technological access (the “digital divide”) appears to be the only viable alternative. The potential of the mixtape to serve as a source of emancipatory journalism is studied via a three-pronged methodological approach: 1) An explication of literature and theory related to the history of and contemporary need for resistance media, 2) an analysis of the mixtape as a potential underground mass press and 3) three focus group reactions to the mixtape as resistance media, specifically, the case study of the writer’s own FreeMix Radio: The Original Mixtape Radio Show.
    [Show full text]
  • Confessions of a Black Female Rapper: an Autoethnographic Study on Navigating Selfhood and the Music Industry
    Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-8-2020 Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry Chinwe Salisa Maponya-Cook Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation Maponya-Cook, Chinwe Salisa, "Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry." Thesis, Georgia State University, 2020. https://scholarworks.gsu.edu/aas_theses/66 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CONFESSIONS OF A BLACK FEMALE RAPPER: AN AUTOETHNOGRAPHIC STUDY ON NAVIGATING SELFHOOD AND THE MUSIC INDUSTRY by CHINWE MAPONYA-COOK Under the DireCtion of Jonathan Gayles, PhD ABSTRACT The following research explores the ways in whiCh a BlaCk female rapper navigates her selfhood and traditional expeCtations of the musiC industry. By examining four overarching themes in the literature review - Hip-Hop, raCe, gender and agency - the author used observations of prominent BlaCk female rappers spanning over five deCades, as well as personal experiences, to detail an autoethnographiC aCCount of self-development alongside pursuing a musiC career. MethodologiCally, the author wrote journal entries to detail her experiences, as well as wrote and performed an aCCompanying original mixtape entitled The Thesis (available on all streaming platforms), as a creative addition to the research.
    [Show full text]
  • Cats: Destructive Scratching
    CATS: DESTRUCTIVE SCRATCHING Why Do Cats Scratch? It’s normal for cats to scratch objects in their environment for many reasons: To remove the dead outer layers of their claws. To mark their territory by leaving both a visual mark and a scent - they have scent glands on their paws. To stretch their bodies and flex their feet and claws. To work off energy. Because scratching is a normal behavior, the goal in resolving scratching problems is to direct the scratching onto acceptable objects and provide appropriate outlets. Training Your Cat to Scratch Acceptable Objects 1. You must provide objects for scratching that are appealing, attractive, and convenient from your cat’s point of view. Start by observing the physical features of the objects your cat is scratching. The answers to the following questions will help you understand your cat’s scratching preferences: o Where are the objects located? Prominent objects, objects close to sleeping areas, and areas near the entrance to a room are often chosen. o What texture do they have – are they soft or coarse? Carpeted? o What shape do they have – are they horizontal or vertical? o How tall are they? At what height does your cat scratch? 2. Now, considering your cat’s demonstrated preferences, substitute similar objects for her to scratch (rope – wrapped posts, corrugated cardboard, or even a log). Place the acceptable object(s) near the inappropriate object(s) that she’s already using. Make sure the objects are stable and won’t fall over or move around when she uses them. 3.
    [Show full text]
  • The Freesound Loop Dataset and Annotation Tool
    THE FREESOUND LOOP DATASET AND ANNOTATION TOOL António Ramires1 Frederic Font1 Dmitry Bogdanov1 Jordan B. L. Smith2 Yi-Hsuan Yang3 Joann Ching3 Bo-Yu Chen3 Yueh-Kao Wu3 Hsu Wei-Han3 Xavier Serra1 1 Music Technology Group, Universitat Pompeu Fabra, Barcelona, Spain 2 TikTok, Lodon, United Kingdom 3 Research Center for IT Innovation, Academia Sinica, Taipei, Taiwan [email protected] ABSTRACT tronic music. Currently, large-scale databases of audio of- fer huge collections of audio material for users to work Music loops are essential ingredients in electronic mu- with. Some databases, like Freesound 1 and Looperman 2 , sic production, and there is a high demand for pre-recorded are community-oriented: people upload their sounds so loops in a variety of styles. Several commercial and com- that other users can employ them in their works. More munity databases have been created to meet this demand, commonly, these collections are commercially oriented: but most are not suitable for research due to their strict li- loops are available to paying costumers, either through a censing. We present the Freesound Loop Dataset (FSLD), subscription service (e.g. Sounds.com, 3 Splice 4 ) or by a new large-scale dataset of music loops annotated by ex- allowing customers to buy packs of loops (e.g. Loopmas- perts. The loops originate from Freesound, a community ters, 5 and Prime Loops 6 ). database of audio recordings released under Creative Com- Despite the number of loops available on these mons licenses, so the audio in our dataset may be redis- databases, the technologies used to analyse and navigate tributed.
    [Show full text]