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Adult Contemporary Radio at the End of the Twentieth Century
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
The Symbolic Annihilation of the Black Woman in Rap Videos: a Content Analysis
The Symbolic Annihilation of the Black Woman in Rap Videos: A Content Analysis Item Type text; Electronic Thesis Authors Manriquez, Candace Lynn Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 03:10:19 Link to Item http://hdl.handle.net/10150/624121 THE SYMBOLIC ANNIHILATION OF THE BLACK WOMAN IN RAP VIDEOS: A CONTENT ANALYSIS by Candace L. Manriquez ____________________________ Copyright © Candace L. Manriquez 2017 A Thesis Submitted to the Faculty of the DEPARTMENT OF COMMUNICATION In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2017 Running head: THE SYMBOLIC ANNIHILATION OF THE BLACK WOMAN 2 STATEMENT BY AUTHOR The thesis titled The Symbolic Annihilation of the Black Woman: A Content Analysis prepared by Candace Manriquez has been submitted in partial fulfillment of requirements for a master’s degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. -
Loading up up Loading
U-HIGH Volume 76, Number 4 • University High School, 1362 East 59th Street, Chicago, Illinois 60637 • Tuesday , Dec . 12, 2000 Loading up to the max Li-Highers forego open periods as they fill schedules to free up senior year !JyNatalie Hoy ___________ _ Associate editor or years, open periods have represented a badge of honor for U -High. While other F schools plunk kids into faculty-supervised study halls, U-High has considered perio~ when students don't have classes and make their own de cisions about how to best use their time part of the educational program. And that's the irony of it. More and more U-Highers are using those open periods for more classes . At least for the three lower grade levels, open periods may represent an endangered species. The coming win ter break, in fact, for many U-Highers will repre sent their first "open" break since school began. A check of schedules indicates that 137 U-Highers out of 463 pack their schedules to course capacity. ''This is the story," said Principal Jack Knapp. ne ofmy "There are two threads ''o that I see at Lab. One is goals is to the A.P.-driven thread create a well which seeks the best pos rounded sible scores for students so they can get into the education for best colleges; I see a lot of students ... ,, this. The other thread uses more of the Dewey theory of learning and doing . These students seek a more hands-on experi mental experience. "These two threads seem to be frequently in competition for the school's soul, but it doesn't need to be this way. -
The Outkast Class
R. Bradley OutKast Class Syllabus OutKast Course Description and Objectives Pre-requisite: ENGL1102 Preferred Pre-requisites: ENGL2300, AADS1102 In 1995, Atlanta, GA duo OutKast attended the Source Hip Hop Awards where they won the award for Best New Duo. Mostly attended by bi-coastal rappers and hip hop enthusiasts, OutKast was booed off the stage. OutKast member Andre Benjamin, clearly frustrated, emphatically declared what is now known as the rallying cry for young black southerners: “the south got something to say.” For this course, we will use OutKast’s body of work as a case study questioning how we recognize race and identity in the American south after the Civil Rights Movement. Using a variety of post-Civil Rights era texts including film, fiction, criticism, and music, students will interrogate OutKast’s music as the foundation of what the instructor theorizes as “the hip hop south,” the southern black social-cultural landscape in place over the last 25 years. Objectives 1. To develop and utilize a multidisciplinary critical framework to successfully engage with conversations revolving around contemporary identity politics and (southern) popular culture 2. To challenge students to engage with unfamiliar texts, cultural expressions, and language in order to learn how to be socially and culturally sensitive and aware of modes of expression outside of their own experiences. 3. To develop research and writing skills to create and/or improve one’s scholarly voice and others via the following assignments: • Critical Listening Journals • Creative or Critical Final Project **Explicit Content Statement (courtesy of Dr. Treva B. Lindsey)** Over the course of the semester students will Be introduced to texts that may Be explicit in nature (i.e. -
R&B/ -NOP Timbaland Makes a `Proposal'
R&B/ -NOP Timbaland Makes A `Proposal' Rapper Says Duo's Second Project On Blackground Is His Last As An Artist BY RASHAUN HALL Timbaland says the CD will be his understanding how it works and NEW YORK- Timing is everything last as an artist. how the money is made." when it comes to releasing a record. For Magoo, who found himself Working with renewed focus, the Just ask Timbaland & Magoo, whose grappling with newfound fame after duo crafted Indecent Proposal, a 15- and The Blues,. BlackgroundNirgin sophomore proj- track set featuring guest appear- ect, Indecent Proposal, is now set for ances by Aaliyah, Ludacris, Jay -Z, SNOOP'S NEW HOME: Snoop Dogg is Backstage after the Atlanta show, a Nov. 20 release after a long delay. and Tweet, among others. Magoo setting up shop at MCA Records. But Wright commented on her desire for "I turned [the album] in a year - credits Timbaland with matching the former No Limit/Priority rapper onstage spontaneity. "I'm just being and -a -half ago, and it's just [now] artists to its tracks. still has one more studio album under me," she says. "It's easy. I wrote a coming out," a frustrated Timbaland "He has an idea of what direction that contract before he can exit. The bunch of songs that I really like, and I says. "And now we're in a recession - each song should go in," Magoo says. MCA deal also includes Snoop Dogg's have some very capable musicians and it doesn't make sense." "It has a lot to do with the concept Doggy Style Records, formerly distrib- vocalists helping me create the colors The delay was partially due to and who can come up with a good uted by TVT, and the production of and the pictures that I want onstage. -
A Hip-Hop Copying Paradigm for All of Us
Pace University DigitalCommons@Pace Pace Law Faculty Publications School of Law 2011 No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson Jr. Elisabeth Haub School of Law at Pace University Follow this and additional works at: https://digitalcommons.pace.edu/lawfaculty Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Horace E. Anderson, Jr., No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us, 20 Tex. Intell. Prop. L.J. 115 (2011), http://digitalcommons.pace.edu/lawfaculty/818/. This Article is brought to you for free and open access by the School of Law at DigitalCommons@Pace. It has been accepted for inclusion in Pace Law Faculty Publications by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. No Bitin' Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson, Jr: I. History and Purpose of Copyright Act's Regulation of Copying ..................................................................................... 119 II. Impact of Technology ................................................................... 126 A. The Act of Copying and Attitudes Toward Copying ........... 126 B. Suggestions from the Literature for Bridging the Gap ......... 127 III. Potential Influence of Norms-Based Approaches to Regulation of Copying ................................................................. 129 IV. The Hip-Hop Imitation Paradigm ............................................... -
Bradley Syllabus for South
Special Topics in African American Literature: OutKast and the Rise of the Hip Hop South Regina N. Bradley, Ph.D. Course Description In 1995, Atlanta, GA, duo OutKast attended the Source Hip Hop Awards, where they won the award for best new duo. Mostly attended by bicoastal rappers and hip hop enthusiasts, OutKast was booed off the stage. OutKast member Andre Benjamin, clearly frustrated, emphatically declared what is now known as the rallying cry for young black southerners: “the South got something to say.” For this course, we will use OutKast’s body of work as a case study questioning how we recognize race and identity in the American South after the civil rights movement. Using a variety of post–civil rights era texts including film, fiction, criticism, and music, students will interrogate OutKast’s music as the foundation of what the instructor theorizes as “the hip hop South,” the southern black social-cultural landscape in place over the last twenty-five years. Course Objectives 1. To develop and utilize a multidisciplinary critical framework to successfully engage with conversations revolving around contemporary identity politics and (southern) popular culture 2. To challenge students to engage with unfamiliar texts, cultural expressions, and language in order to learn how to be socially and culturally sensitive and aware of modes of expression outside of their own experiences. 3. To develop research and writing skills to create and/or improve one’s scholarly voice and others via the following assignments: • Critical listening journal • Nerdy hip hop review **Explicit Content Statement** (courtesy: Dr. Treva B. Lindsey) Over the course of the semester students will be introduced to texts that may be explicit in nature (i.e., cursing, sexual content). -
Identifying Atlanta: John Portman, Postmodernism, and Pop-Culture" (2017)
Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Identifying Atlanta: John Portman, Postmodernism, and Pop- Culture August McIntyre Dine Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Architectural History and Criticism Commons, and the Urban, Community and Regional Planning Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Dine, August McIntyre, "Identifying Atlanta: John Portman, Postmodernism, and Pop-Culture" (2017). Senior Projects Spring 2017. 128. https://digitalcommons.bard.edu/senproj_s2017/128 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Identifying Atlanta: John Portman, Postmodernism, and Pop Culture Senior Project Submitted to The Division of Social Studies of Bard College by August Dine Annandale-on-Hudson, New York May 2016 Acknowledgements Thanks to my advisor, Pete L’Official; my friends; and my family. Table of Contents Introduction…………………………………………………………………….…………………1 Chapter 1: Two Atlantas………………………………………………………….………………4 Chapter 2: The Peachtree Center…..…………………………...………………………………..23 Chapter 3: Pop Culture…………………………..……………………………………………....33 1 Introduction In his 1995 text “Atlanta,” architect, theorist, and notorious provocateur1 Rem Koolhaas claims, “Atlanta has culture, or at least it has a Richard Meier Museum.”2 Koolhaas is implying that the collection at Atlanta’s High Museum of Art is a cultural veneer. -
Dr-4455 Platterlog(A
Monday 13 th February 2006 … Over 55,000 music fans packed Sydney's Olympic Park for the 14th annual Big Day Out festival (January 26). The sold-out crowd watched sets from bands including Franz Ferdinand , The Magic Numbers , Kings of Leon , The Subways , Soulwax and MIA , as well as Aussie newcomers Cut Copy , Wolfmother , The Grates , Wolf & Cub and The Presets . Artist: Various Artists Title: Big Boi Presents…Got Purp? Vol II Distributor: EMI Records Australia (EMI) Release Date: 22/01/06 Catalogue # 3122072 … Jet have revealed they are considering 27 songs for their second album. The band, are currently working on the Big Boi, one half of the legendary Outkast record with first album producer and Oasis collaborator Dave delivers an im pressive release with "Got Sardy. Songs have been written in Barbados, Brookfield Purp? Vol. 2". While Andre has hit the acting Massachusetts and Los Angeles since December 2004 and are scene, Big Boi has created a label with a dedicated to the father of Nic and Chris Cester, who died of roster full of talent. cancer two years ago.The record will be recorded in L.A.,though there are no definite release plans. "The release date will depend The lead single "Kryptonite" (I'm On It) is off on exactly when we are satisfied that the record is far superior to the hook, Big Boi, C-Bone, Rock D and Killer 'Get Born' ," the band explained. Mike provide a track to remember. Singer Sleepy Brown shines on solo delivering the … REM frontman Michael Stipe is to make a guest smooth "Me, My Baby And My Cadillac" appearance on his pals Placebo 's new album. -
Just the Right Song at Just the Right Time Music Ideas for Your Celebration Chart Toppin
JUST THE RIGHT SONG AT CHART TOPPIN‟ 1, 2 Step ....................................................................... Ciara JUST THE RIGHT TIME 24K Magic ........................................................... Bruno Mars You know that the music at your party will have a Baby ................................................................ Justin Bieber tremendous impact on the success of your event. We Bad Romance ..................................................... Lady Gaga know that it is so much more than just playing the Bang Bang ............................................................... Jessie J right songs. It‟s playing the right songs at the right Blurred Lines .................................................... Robin Thicke time. That skill will take a party from good to great Break Your Heart .................................. Taio Cruz & Ludacris every single time. That‟s what we want for you and Cake By The Ocean ................................................... DNCE California Girls ..................................................... Katie Perry your once in a lifetime celebration. Call Me Maybe .......................................... Carly Rae Jepson Can‟t Feel My Face .......................................... The Weeknd We succeed in this by taking the time to get to know Can‟t Stop The Feeling! ............................. Justin Timberlake you and your musical tastes. By the time your big day Cheap Thrills ................................................ Sia & Sean Paul arrives, we will completely -
Pop Music with a Purpose: the Organization Of
Pop Music with a Purpose: The Organization of Contemporary Religious Music in the United States by Adrienne Michelle Krone Department of Religion Duke University Date: __________________________ Approved: _______________________________ David Morgan, Supervisor _______________________________ Yaakov Ariel _______________________________ miriam cooke Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Religion in the Graduate School of Duke University 2011 Copyright by Adrienne Michelle Krone 2011 ABSTRACT Pop Music with a Purpose: The Organization of Contemporary Religious Music in the United States by Adrienne Michelle Krone Department of Religion Duke University Date:_______________________ Approved: ___________________________ David Morgan, Supervisor ___________________________ Yaakov Ariel ___________________________ miriam cooke An abstract of a thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Religion in the Graduate School of Duke University 2011 Abstract Contemporary Religious Music is a growing subsection of the music industry in the United States. Talented artists representing a vast array of religious groups in America express their religion through popular music styles. Christian Rock, Jewish Reggae and Muslim Hip-Hop are not anomalies; rather they are indicative of a larger subculture of radio-ready religious music. This pop music has a purpose but it is not a singular purpose. This music might enhance the worship experience, provide a wholesome alternative to the unsavory choices provided by secular artists, infiltrate the mainstream culture with a positive message, raise the level of musicianship in the religious subculture or appeal to a religious audience despite origins in the secular world. -
The Songs of Bob Dylan
The Songwriting of Bob Dylan Contents Dylan Albums of the Sixties (1960s)............................................................................................ 9 The Freewheelin’ Bob Dylan (1963) ...................................................................................................... 9 1. Blowin' In The Wind ...................................................................................................................... 9 2. Girl From The North Country ....................................................................................................... 10 3. Masters of War ............................................................................................................................ 10 4. Down The Highway ...................................................................................................................... 12 5. Bob Dylan's Blues ........................................................................................................................ 13 6. A Hard Rain's A-Gonna Fall .......................................................................................................... 13 7. Don't Think Twice, It's All Right ................................................................................................... 15 8. Bob Dylan's Dream ...................................................................................................................... 15 9. Oxford Town ...............................................................................................................................