Rhymes Online V2.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Rhymes Online V2.Pdf Copyright © 2014 Ramon “Rugged” San Vicente All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form, or by any means, without the prior written permission of the publisher, or, in the case of photocopying or other reprographic copying, a licence from CANCOPY (Canadian Copyright Licensing Agency). 1 Yonge Street, Suite 800, Toronto, Ontario, Canada, M5E 1E5. A Different Publisher 746 Bathurst Street, Toronto, Ontario, Canada, M5S 2R6 www.adifferentpublisher.com ISBN 978-0-9811885-9-1 Library and Archives Canada Cataloguing in Publication Designed and illustrated by Riad Gazariha Morrison CREDITS Itah Sadu Janeel Marshall Kenny “Nii Soja” Adjetey PROJECT COORDINATOR AND LEAD WRITER Lashawn Murray Ramon “Rugged” San Vicente Luis “SPIN” Mejicano Moziah San Vicente CONSULTANTS Nigel Barriffe Itah Sadu Nigel Hunter Karen Murray Nyelah San Vicente Paul Green STEERING COMMITTEE Robin Phillips Amanda Parris Salima Kassam Karen Murray Sameena Eidoo Nigel Barriffe Sharron Rosen Ramon “Rugged” San Vicente Subliminal (Sean Mauricette) Sojourner San Vicente CONTRIBUTING WRITERS Teenat Khan Alison Gaymes San Vicente Trae Maxam Amanda Parris LEAD EDITORS Brandon Zoras Braxton “HiPPYxHop” Wignall Alison Gaymes San Vicente Chelsea Takalo Anneli Jarvel Dalton Higgins Jody Nyasha Warner Danielle “Yelly” Koehler Ramon “Rugged” San Vicente Duane “D.O.” Gibson CONTRIBUTING EDITORS Jelani “J Wyze” Nias Joseph “Joe G” Galiwango Antonino Giambrone Joseph “J Rebel” Hersco Huong Tong Roderick “RAHD” Brereton Karlo Cabrera Tesfai Mengesha Kristen McLoughlin Wendy Motion Brathwaite Michael Slechta Mx. Bradwell YOUTH WRITING TEAM Nicole Aloise Youth Coordinator: Luis “SPIN” Mejicano Prubjot Hoonjan Aaleem Mohammed FIELD TESTING AND WRITTEN FEEDBACK Cenzi Stilos Gazariah Morrison Ardavan Eizadirad Kenny “Nii Soja” Adjetey Catherine Draper Shukri Dualeh Christine MacKenzie Trae Maxam Claudette Goddard Darlene Jones DOCUMENTATION AND VIDEO PRODUCTION TEAM Jamea Zuberi Director: aka SuBLIMINAL (Sean Mauricette) Kisrene McKenzie Clairmont II Humphrey Nathan Goold Janeel Marshall Richie Dosanjh Trae Maxam Rose-Marie Henry-Blake Rownak Chowdhury CYPHER CONTRIBUTORS Sherri Talosi Abshir Hassan Stephanie Mackay Akir Brathwaite Susie Stamatopoulos Cade John Taara Julier Catherine Draper COVER , ILLUSTRATIONS AND INSIDE DESIGN CaveMan Clairmont II Humphrey riad LESSOn APPEnDiCES ABOUT THiS RESOURCE They Schools ABOUT THE CORE WRiTERS Appendix 13A: You Must Learn (lyrics by KRS 1) GEnERAL APPEnDiCES Appendix 13B: Graphs related to schooling Appendix 13C: Sample School Climate Survey The Core Four Elements Appendix A: The Art of Rapping Class is in Session Appendix A1: Bedtime Story (lyrics by UBAD) Appendix 14A: Class is in Session Survey Appendix B: The Art of Breakdancing Appendix 14B: The Old Prince Still Lives at Home (lyrics by Appendix C: The Art of Graffiti Writing Shad) Appendix D: The Art of Beat Production Appendix 14C: The Three Cities Maps Media Literacy Supports Capitalism and Hip Hop Appendix E: Questioning Framework for Teaching Media Appendix 15A: Open Your Eyes (lyrics by Immortal Tech - Appendix F: 10 Media Teaching Strategies nique) Appendix 15B: Open Your Eyes Student Hip Hop Teaching Strategies & Posters Appendix G: Hip Hop Doowutchyalike Response Sheet Appendix H: Battle Page Appendix 15C: Music Industry Diagram Appendix I: Hip Hop 4 Corners Posters Appendix 15D: Independent CD Production Diagram Graphic Organizers Expression or Marketing Appendix J: KWL Chart Appendix 16A: Air Force Ones (lyrics by Nelly) Appendix K: Question Matrix Appendix 16B: Changes (lyrics by 2Pac) Appendix L: Venn Diagram Appendix 16C: In the Hood (lyrics by Brisco featuring Lil Appendix M: Circles of Ourselves Wayne) Appendix N: Persuasive Letter Idea Web Appendix O: Persuasive Writing Review The Message Appendix 17A: The Message (lyrics by Grandmaster Flash Checklist and the Furious Five) Appendix P: 5 Paragraph Essay Graphic Stand Up for your Rights Organizer Appendix 18A: First Nations Stereotypes Appendix Q: Sample Elementary Rubric for Persuasive Let - Appendix 18B: Get Up Stand Up (lyrics by Bob Marley & ter Assignment Peter Tosh) Appendix R: Sample Middle Level Rubric for Persuasive Letter Assignment Homophobia and Pop Culture Appendix S: 5 Ws and an H worksheet Appendix 19A: Definitions (Teacher Version) Appendix 19B: Definitions (Student Version) LESSOn-SPECiFiC APPEnDiCES Appendix 19C: Terms (Student Version) Appendix 19D: 10 Ways Homophobia Affects Hip Hop 101 Appendix 1A: No Hip Hop (lyrics by D.O.) Straight People Appendix 1B: Hip Hop is… poem Appendix 19E: Video Response Sheet Appendix 1C: “Hip Hop” is Brainstorm Sheet Our Stories Love is... Appendix 20A: Unauthorized Biographies Appendix 2A: Love Is (lyrics by Common) Appendix 2B: Three Column Chart Debrief Sheet Art is... Appendix 12B: Getting the Facts about Females Appendix 12C: Bringing the Real B-Girl Back Appendix 12D: Who is the Real B-Girl? ABOUT THIS RESOURCE e goal of Rhymes to Re-Education: A Hip Hop Curriculum is to mobilize the power, popularity and potential of Hip Hop culture as a platform for transformative education and re-education. Intended as a resource for both school and community-based educators, it describes the what, why and how of using Hip Hop as critical pedagogy to engage and activate the hearts and minds of learners ages 7 and up. e strategies, lessons and activities that follow have been designed for learners to explore their own identities and those of others, along with issues of power and privilege, all while meeting Ontario Curriculum expectations for grades 2-12. ey have been shaped by the writers/contributors for whom Hip Hop culture has been a means of social, spiritual and educational empowerment. 5 ABOUT THE CORE WRITERS THE CORE WRiTERS AUTHORED THE TWEnTy- THREE LESSOnS inCLUDED in THiS RESOURCE. Dalton Higgins is a National Magazine Award- win - ning journalist, educator and former long-time contributor to e Source and Vibe Magazine and was Alison Gaymes San Vicente works to disrupt educa - a 2010 Hip Hop Scholar of the Year Award nominee tional practices that continue to disadvantage historically courtesy of Washington DC’s WBLINC . He has au - marginalized students. Her passion for equity and jus tice thored five books including Far From Over , the first has led to a secondment at York university, the comple - biography of platinum-selling Hip Hop artist Drake, tion of her M.Ed., author in Restacking the Deck: which is carried in the Rock n' Roll Hall of Fame & Mu - Streaming by class, race and gender in Ontario schools , and seum collection in Cleveland. her current position as an administrator with the Toronto District School Board. is passion has also Danielle “Yelly” Koehler is an educator and youth been the impetus for her leadership with girls’ mentor - worker who is currently completing her Master’s the - ship. sis on using Hip Hop to engage youth in Canadian class rooms. Danielle incorporates Hip Hop peda - Amanda Parris is an educator, student and artist. gogy throughout her teaching philosophy as an Co-founder of the alternative education organization, educator and is passionate about providing equitable Lost Lyrics , and founder of the multi-arts collective, opportunities for young people to succeed in oppres - T-Dot Renaissance , she is interested in spaces that chal - sive education systems. lenge, question and create ways of knowing. Recipient of the prestigious William Waters Scholarship , Amanda Duane “D.O.” Gibson is a Guinness World Record is currently pursuing her M.A. Degree in the Sociology setting rapper, published writer and author, and of Education at the Ontario Institute for Studies in motivational speaker who has inspired hundreds of Education (OISE). thousands of youth since 2001. Gibson has spoken at hundreds of schools addressing anti-bullying, Brandon Zoras is a science teacher with the Toronto racism and literacy. District School Board. He has recently completed his Masters degree in Education (M.Ed.) at OISE in the Jelani “J Wyze” Nias is a writer, poet, emcee and radio urban education cohort with a focus on urban boys host. J Wyze has distinguished himself as the dynamic and science education. force behind Flow 93.5 FM's Trauma Unit , a key mem - ber of the Soul Controllers crew, and a host of one of Braxton “HiPPYxHop” Wignall is an emcee, student, Canada's first Hip Hop radio shows ( e Masterplan and mentor. As a student in Lost Lyrics , Braxton found 89.5 FM ). You can check him out now as a solo artist his love for Hip Hop and writing, and now facilitates and a part of the groundbreaking Hip Hop collective, workshops for youth throughout the city of Toronto. Crown A' ornz . Chelsea Takalo has been an advocate for marginalized Joseph “Joe G” Galiwango is a high school teacher in youth and committed to fighting for social justice and the Toronto District School Board. Outside of his work equity for youth. She has worked in a counselling in education Joseph continues to contribute to Hip capacity with gang-involved youth for 8 years, and has Hop culture as a DJ, music producer and writer. He worked in the TDSB's Equitable and Inclusive Schools documents Toronto graffiti culture through his web - Department since 2010. site www.cleanlinez.com. 6 Joseph “J-Rebel” Hersco is a B-Boy, teacher and mentor. A member of the world-renowned breakdanc ing crew, Supernaturalz , J-Rebel has taught classes and worked in school boards as a community educator and youth worker. His program, called Don’t Believe the Hype , en - gages youth who are typically labeled “disengaged” or “at risk” in critical thinking by addressing complex so - cial issues through the art and culture of Hip Hop. Ramon “Rugged” San Vicente is an emcee, author and educator who has spent years writing, performing and living Hip Hop as a member of the group UBAD . As an educator he has brought Hip Hop to the classroom through core curriculum, aer school pro - gramming, and his M.Ed.
Recommended publications
  • Is Hip Hop Dead?
    IS HIP HOP DEAD? IS HIP HOP DEAD? THE PAST,PRESENT, AND FUTURE OF AMERICA’S MOST WANTED MUSIC Mickey Hess Library of Congress Cataloging-in-Publication Data Hess, Mickey, 1975- Is hip hop dead? : the past, present, and future of America’s most wanted music / Mickey Hess. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-275-99461-7 (alk. paper) 1. Rap (Music)—History and criticism. I. Title. ML3531H47 2007 782.421649—dc22 2007020658 British Library Cataloguing in Publication Data is available. Copyright C 2007 by Mickey Hess All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2007020658 ISBN-13: 978-0-275-99461-7 ISBN-10: 0-275-99461-9 First published in 2007 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 CONTENTS ACKNOWLEDGMENTS vii INTRODUCTION 1 1THE RAP CAREER 13 2THE RAP LIFE 43 3THE RAP PERSONA 69 4SAMPLING AND STEALING 89 5WHITE RAPPERS 109 6HIP HOP,WHITENESS, AND PARODY 135 CONCLUSION 159 NOTES 167 BIBLIOGRAPHY 179 INDEX 187 ACKNOWLEDGMENTS The support of a Rider University Summer Fellowship helped me com- plete this book. I want to thank my colleagues in the Rider University English Department for their support of my work.
    [Show full text]
  • Investigating Hip-Hop's Emergence in the Spaces of Late Capitalism
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2008 Re-Taking it to the Streets: Investigating Hip-Hop's Emergence in the Spaces of Late Capitalism Kevin Waide Kosanovich College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, American Studies Commons, and the Music Commons Recommended Citation Kosanovich, Kevin Waide, "Re-Taking it to the Streets: Investigating Hip-Hop's Emergence in the Spaces of Late Capitalism" (2008). Dissertations, Theses, and Masters Projects. Paper 1539626547. https://dx.doi.org/doi:10.21220/s2-zyvx-b686 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Re-Taking it to the Streets: Investigating Hip-Hop’s Emergence in the Spaces of Late Capitalism Kevin Waide Kosanovich Saginaw, Michigan Bachelor of Arts, University of Michigan, 2003 A Thesis presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Master of Arts American Studies Program The College of William and Mary August, 2008 APPROVAL PAGE This Thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts aide KosanovichKej Approved,by the Committee, May, 2008 imittee Chair Associate Pro rn, The College of William & Mary Associate Professor A lege of William & Mary Assistant P ressor John Gamber, The College of William & Mary ABSTRACT PAGE Much of the scholarship focusing on rap and hip-hop argues that these cultural forms represent instances of African American cultural resistance.
    [Show full text]
  • BRE CONFERENCE '90 UPDATE! Columbia " 01\ TENTS
    BRE CONFERENCE '90 UPDATE! Columbia " 01\ TENTS MAY 18. 1990 VOLUME XV. NUMBER 18 Publisher SIDNEY MILLER Assistant Publisher SUSAN MILLER Editor -in -Chief RUTH ADKINS ROBINSON Managing Editor JOSEPH ROLAND REYNOLDS FEATURES International Editor COVER STORY-BBD 14 DOTUN ADEBAYO STARTALK-The Winans 45 VP/Midwest Editor DOWNLINK 31 JEROME SIMMONS SECTIONS Art Department PUBLISHERS 5 LANCE VANTILE WHITFIELD art director NEWS 6 MARTIN BLACKWELL MUSIC REPORT 8 typography/computers MUSIC REVIEWS 11 Columnists RADIO NEWS 32 LARRIANN FLORES CONCERT REVIEW SPIDER HARRISON 42 JONATHAN KING JAZZ NOTES 43 ALAN LEIGH GRAPEVINE/PROPHET 46 NORMAN RICHMOND CHARTS & RESEARCH TIM SMITH NEW RELEASE CHART 17 ELAINE STEPTER RADIO REPORT 29 Concert/Record Reviews SINGLES CHART LARRIANN FLORES 34 ELAINE STEPTER THE NATIONAL ADDS 37 Reporters PROGRAMMER'S POLL 36 CORNELIUS GRANT JAZZ CHART 43 COY OAKES ALBUMS CHART 44 LANSING SEBASTIAN COLUMNS RACHEL WILLIAMS RAP, ROOTS & REGGAE 10 Production WHATEVER HAPPENED TO? 12 MAXINE CHONG-MORROW GOSPEL LYNETTE JONES 13 FAR EAST PERSPECTIVE Administration 18 ROXANNE POWELL. office mgr. BRITISH INVASION 19 FELIX WHYTE traffic CANADIAN REPORT 20 Media Relations MICHELE ELYZABETH ENT. (213) 276-1067 Printing PRINTING SERVICES. INC. BLACK RADIO EXCLUSIVE USPS 363-210 ISSN 0745-5992 is published by Black Radio Exclusive 6353 Hollywood Blvd.. Hollywood. CA 90028-6363 (2131469-7262 FAX# 213-469-4121 ' MODEM: 213-469-9172 BRE NEWSSTANDS-New York: Penn Book Store. (2121564-6033; Midwest: Ingram Periodicals; Los Angeles: World Book & News; Robertson News & Bookstore. Las Palmas Newsstand. Japan: Tower Records SUBSCRIPTION RATES: 3 Mos.-$90.6 Mos.-5120:9 Mos.-0150. 1 Yr.-S175: 1st Class -$250: Overseas -$250.
    [Show full text]
  • The Life & Rhymes of Jay-Z, an Historical Biography
    ABSTRACT Title of Dissertation: THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 Omékongo Dibinga, Doctor of Philosophy, 2015 Dissertation directed by: Dr. Barbara Finkelstein, Professor Emerita, University of Maryland College of Education. Department of Teaching and Learning, Policy and Leadership. The purpose of this dissertation is to explore the life and ideas of Jay-Z. It is an effort to illuminate the ways in which he managed the vicissitudes of life as they were inscribed in the political, economic cultural, social contexts and message systems of the worlds which he inhabited: the social ideas of class struggle, the fact of black youth disempowerment, educational disenfranchisement, entrepreneurial possibility, and the struggle of families to buffer their children from the horrors of life on the streets. Jay-Z was born into a society in flux in 1969. By the time Jay-Z reached his 20s, he saw the art form he came to love at the age of 9—hip hop— become a vehicle for upward mobility and the acquisition of great wealth through the sale of multiplatinum albums, massive record deal signings, and the omnipresence of hip-hop culture on radio and television. In short, Jay-Z lived at a time where, if he could survive his turbulent environment, he could take advantage of new terrains of possibility. This dissertation seeks to shed light on the life and development of Jay-Z during a time of great challenge and change in America and beyond. THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 An historical biography: 1969-2004 by Omékongo Dibinga Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2015 Advisory Committee: Professor Barbara Finkelstein, Chair Professor Steve Klees Professor Robert Croninger Professor Derrick Alridge Professor Hoda Mahmoudi © Copyright by Omékongo Dibinga 2015 Acknowledgments I would first like to thank God for making life possible and bringing me to this point in my life.
    [Show full text]
  • The Dead Prez It Is Important to Know and Try to Understand the Two Men That Produce Those Lyrics
    Whose School Is It? By Linda Millik Racism and violence in schools is a relevant and important topic that needs to be addressed by not only school faculty but also the community and the students as well. The Dead Prez, a rap duo, hoped to do just that with their song “They Schools” released in 2000. “They Schools” is full of powerful lyrics which challenge social institutions and the injustices of those institutions. Powerful implications can be drawn towards classrooms and schools across America as well as society and the larger social issues of America through examining and analyzing the lyrics of “They Schools.” Before analyzing the lyrics of the Dead Prez it is important to know and try to understand the two men that produce those lyrics. I was first exposed to the Dead Prez on HBO’s original series Def Poetry Jam. This show was created my Russell Simmons, the hip hop mogul and owner of the Def Jam record label, Phat Farm clothing and many other urban influenced businesses. I was impressed, to say the least, by the performance of Dead Prez. I had heard of them before and knew of their militant, Malcolm X inspired take on racial issues but never knew the depth of their political awareness. After listening to what they had to say I was an immediate fan. The group consists of two African American males who have changed their names to M- 1 and Stic.man. M-1 was born in Jamaica but grew up in Brooklyn while Stic.man was born and raised in Tallahassee, Florida.
    [Show full text]
  • Metric Ambiguity and Flow in Rap Music: a Corpus-Assisted Study of Outkast’S “Mainstream” (1996)
    Metric Ambiguity and Flow in Rap Music: A Corpus-Assisted Study of Outkast’s “Mainstream” (1996) MITCHELL OHRINER[1] University of Denver ABSTRACT: Recent years have seen the rise of musical corpus studies, primarily detailing harmonic tendencies of tonal music. This article extends this scholarship by addressing a new genre (rap music) and a new parameter of focus (rhythm). More specifically, I use corpus methods to investigate the relation between metric ambivalence in the instrumental parts of a rap track (i.e., the beat) and an emcee’s rap delivery (i.e., the flow). Unlike virtually every other rap track, the instrumental tracks of Outkast’s “Mainstream” (1996) simultaneously afford hearing both a four-beat and a three-beat metric cycle. Because three-beat durations between rhymes, phrase endings, and reiterated rhythmic patterns are rare in rap music, an abundance of them within a verse of “Mainstream” suggests that an emcee highlights the three-beat cycle, especially if that emcee is not prone to such durations more generally. Through the construction of three corpora, one representative of the genre as a whole, and two that are artist specific, I show how the emcee T-Mo Goodie’s expressive practice highlights the rare three-beat affordances of the track. Submitted 2015 July 15; accepted 2015 December 15. KEYWORDS: corpus studies, rap music, flow, T-Mo Goodie, Outkast THIS article uses methods of corpus studies to address questions of creative practice in rap music, specifically how the material of the rapping voice—what emcees, hip-hop heads, and scholars call “the flow”—relates to the material of the previously recorded instrumental tracks collectively known as the beat.
    [Show full text]
  • The Evolution of Commercial Rap Music Maurice L
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research.
    [Show full text]
  • Newspaper $D.Bu — — 6
    ApriL Newspaper $d.bU — — 6 Geffen Recordspromotion executive Marko THE DIVINE ONE JANE SAYS.. .GET Babineau has moved over to be general manager for the DIES Sarah Vaughan, one LOST: The former manager DGC label. In turn, Babineau an- of the greatest jazz singers of all of Jane's Addiction, Gary Kur- his promotional time, died of lung cancer last first, is suing the band. He nounced DGC team: Leavitt as Tuesday at the age of 66. "The claims that they fired him in Steve CHR Divine One," as she was aptly violation of a three-year con- promotion director, Hugh Surratt nicknamed, began her career in tract that does not expire until as AOR promotion director, and 1942, after winning an amateur August, 1991. Kurfirst alleges Mark Kates as alternative promo- contest at New York's Apollo at the time of the filing date tion director. DGC has also an- Theatre. For nearly 50 years, (January 25), lead singer Perry nounced thirteen regional her remarkable instrument Farrell was enrolled in a Bever- promotion managers: Mark which, amazingly, seemed to ly Hills drug rehab center, and Burger / Dallas, Lorren Cor- improve with age—has been lead guitarist Dave Navaro was nelius / St. Louis, Jim Gallis / heard on thousands of record- in a methadone program. He Midwest, Ed Green /Philadel- ings and in thousands of con- feels that the band members' phia, Angela Jones / Nashville, cert halls and jazz clubs. With alleged drug problems resulted Alek Maye/Cleveland, Sue O’- Billie Holiday and Ella in clouded judgement, result- Connell/New England, Zak Phil- Fitzgerald, she represented one ing in his dismissal.
    [Show full text]
  • {Dоwnlоаd/Rеаd PDF Bооk} Nass Illmatic
    NASS ILLMATIC PDF, EPUB, EBOOK Matthew Gasteier | 144 pages | 18 Jun 2009 | Bloomsbury Publishing PLC | 9780826429070 | English | London, United Kingdom Nass Illmatic PDF Book Retrieved August 19, There are many albums with higher highs than Illmatic, but none with fewer flaws. Genesis Selling England by the Pound. But Nas uses Illmatic as more than a vehicle to escape. Retrieved January 11, Encyclopedia of Popular Music. He was not ready. Since its initial reception, Illmatic has been recognized by writers and music critics as a landmark album in East Coast hip hop. Retrieved December 5, The sequencing is perfect down to "Halftime" ending as the cassette tape clicked. Washington Post. Retrieved December 8, The World Is Yours []. Throughout the s and early s, residents of Queensbridge experienced intense violence, as the housing development was overrun by the crack epidemic. Retrieved October 10, Album Rating: 5. Share on Facebook Share on Twitter Open share drawer. Retrieved on In the next sentence, he remembers dark streets and the noose. My rhymin' is a vitamin held without a capsule. Nass Illmatic Writer Retrieved January 17, Halftime []. Jones N. Over these sounds are two men arguing. All this may sound like melodrama, but it's not just me. I think of crime when I'm in a New York state of mind. Retrieved August 19, Complex Music. It Was Written Harris Publications, Inc. Adam Heimlich of The New York Press comments on the appeal of alternative hip-hop in New York City's music scene , and points out that, "In , there appeared likely to be more money and definitely more cultural rewards in working with Arrested Development or Digable Planets.
    [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]
  • Hip-Hop Realness and the White Performer Mickey Hess
    Critical Studies in Media Communication Vol. 22, No. 5, December 2005, pp. 372Á/389 Hip-hop Realness and the White Performer Mickey Hess Hip-hop’s imperatives of authenticity are tied to its representations of African-American identity, and white rap artists negotiate their place within hip-hop culture by responding to this African-American model of the authentic. This article examines the strategies used by white artists such as Vanilla Ice, Eminem, and the Beastie Boys to establish their hip- hop legitimacy and to confront rap music’s representations of whites as socially privileged and therefore not credible within a music form where credibility is often negotiated through an artist’s experiences of social struggle. The authenticating strategies of white artists involve cultural immersion, imitation, and inversion of the rags-to-riches success stories of black rap stars. Keywords: Hip-hop; Rap; Whiteness; Racial Identity; Authenticity; Eminem Although hip-hop music has become a global force, fans and artists continue to frame hip-hop as part of African-American culture. In his discussion of Canadian, Dutch, and French rap Adam Krims (2000) noted the prevailing image of African-American hip-hop as ‘‘real’’ hip-hop.1 African-American artists often extend this image of the authentic to frame hip-hop as a black expressive culture facing appropriation by a white-controlled record industry. This concept of whiteÁ/black interaction has led white artists either to imitate the rags-to-riches narratives of black artists, as Vanilla Ice did in the fabricated biography he released to the press in 1990, or to invert these narratives, as Eminem does to frame his whiteness as part of his struggle to succeed as a hip-hop artist.
    [Show full text]
  • HOP RELEASES by Brian A. Samson
    Retail Research Assistance: Ern Llamado Kelly Woo Brett Atwood 2WLWTW SINGLES 2W LW TW ALBUMS 1 1 1 N.W.A.- Niggaz4Life (Priority) 1 1 1 D.J. JAllY JEFF..: Summertime (Jive /RCA) 2 2 2 HEAVY D. & THE BOYZ - Peaceful Journey (MCA) 2 2 2 HEAVY D. & THE BOYZ- Now That We... (MCA) 3 3 D.J. Homebase (Jive /RCA) 6 5 3 DJ QUIK - Tonite (Profile) 3 JAllY JEFF..: 4 4 RICK - The Ruler's Back (Def Jam /RAUCoI.) 13 9 4 NAUGHTY BY NATURE - O.P.P. (Tommy Boy) 4 SLICK 6 5 5 3RD BASS - Derelicts Of Dialect (Def Jam /RAUCol.) 3 3 5 SLICK RICK - I Shouldn't Have... (Def Jam /RAUCol.) THE BOYS - We Can't Be Stopped (Rap -A -Lot) 5 6 6 CHUBB ROCK - The Chubbster (Select) 8 8 6 GETO N HOOD - (Qwest/W. Bros.) 7 7 7 L.L.COOL J - 6 Minutes Of... (Def Jam /RAUCol.) 10 9 7 BOYZ THE Soundtrack ROCK - The 4 4 8 3RD BASS - Pop Goes The... (Def Jam /RAUCol.) 7 7 8 CHUBB One (Select) 14 10 9 COMPTON'S...- Growin' Up... (Qwest/Warner Bros.) 5 6 9 KOOL MOE DEE - Funke, Funke Wisdom (Jive /RCA) 11 11 10 M.C. BREED & DFC- Ain't No... (SDEG /Ichiban) 9 10 10 DJ QUIK - Quik Is The Name (Profile) 8 8 11 KOOL MOE DEE - How Kool Can One... (Jive /RCA) 12 11 11 COMPTON'S...- Straight Checkn 'Em (Epic) 23 19 12 BIZ MARKIE - What... (Cold Chillin'/Warner Bros.) 16 13 12 LEADERS/NEW SCHOOL - Case Of The..
    [Show full text]