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In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998). -
Williams, Hipness, Hybridity, and Neo-Bohemian Hip-Hop
HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Maxwell Lewis Williams August 2020 © 2020 Maxwell Lewis Williams HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA Maxwell Lewis Williams Cornell University 2020 This dissertation theorizes a contemporary hip-hop genre that I call “neo-bohemian,” typified by rapper Kendrick Lamar and his collective, Black Hippy. I argue that, by reclaiming the origins of hipness as a set of hybridizing Black cultural responses to the experience of modernity, neo- bohemian rappers imagine and live out liberating ways of being beyond the West’s objectification and dehumanization of Blackness. In turn, I situate neo-bohemian hip-hop within a history of Black musical expression in the United States, Senegal, Mali, and South Africa to locate an “aesthetics of existence” in the African diaspora. By centering this aesthetics as a unifying component of these musical practices, I challenge top-down models of essential diasporic interconnection. Instead, I present diaspora as emerging primarily through comparable responses to experiences of paradigmatic racial violence, through which to imagine radical alternatives to our anti-Black global society. Overall, by rethinking the heuristic value of hipness as a musical and lived Black aesthetic, the project develops an innovative method for connecting the aesthetic and the social in music studies and Black studies, while offering original historical and musicological insights into Black metaphysics and studies of the African diaspora. -
ENG 350 Summer12
ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog. -
Hip-Hop's Diversity and Misperceptions
The University of Maine DigitalCommons@UMaine Honors College Summer 8-2020 Hip-Hop's Diversity and Misperceptions Andrew Cashman Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Music Commons, and the Social and Cultural Anthropology Commons This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. HIP-HOP’S DIVERSITY AND MISPERCEPTIONS by Andrew Cashman A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Anthropology) The Honors College University of Maine August 2020 Advisory Committee: Joline Blais, Associate Professor of New Media, Advisor Kreg Ettenger, Associate Professor of Anthropology Christine Beitl, Associate Professor of Anthropology Sharon Tisher, Lecturer, School of Economics and Honors Stuart Marrs, Professor of Music 2020 Andrew Cashman All Rights Reserved ABSTRACT The misperception that hip-hop is a single entity that glorifies wealth and the selling of drugs, and promotes misogynistic attitudes towards women, as well as advocating gang violence is one that supports a mainstream perspective towards the marginalized.1 The prevalence of drug dealing and drug use is not a picture of inherent actions of members in the hip-hop community, but a reflection of economic opportunities that those in poverty see as a means towards living well. Some artists may glorify that, but other artists either decry it or offer it as a tragic reality. In hip-hop trends build off of music and music builds off of trends in a cyclical manner. -
Article on Conscious Hip Hop
Article on Conscious Hip Hop Excerpt From De La Soul Article By Sheryl Garret, Sunday Times (London), July 1996 In 1989, De La Soul's debut album Three Feet High And Rising was hailed by New York's Village Voice as "the Sergeant Pepper of hip hop". The 24 short but sweet tracks rapped about everything from dandruff to their so-called Daisy Age philosophy, but the quirky humour and catchy hooks hid a more serious intent that may have got lost in the face of the album's massive commercial success. Along with the Jungle Brothers and A Tribe Called Quest, De La Soul were part of a loose organisation called Native Tongues, a hip hop collective based around zany humour, eclectic samples and, most of all, positive vibes. Hip hop meanwhile became dominated by the West Coast sound known as gangsta rap – a verbal cocktail of violence, sexism, guns, drugs and money. On the phone from the US, De La Soul's main spokesman Pos (Kelvin Mercer) says they're reluctant to be seen as a kind of "hip hop police", but admits they took a back-to-basics approach this time because "there are a lot of messages that we wanted to put across to the people, and if you want to teach something, you can't present eleventh- or twelfth-grade material to ninth-grade students". The problem, [Pos] points out, is that … one man's poetry is another's obscenity. If it were left to politicians, many would favour silencing all rap as an inconvenient articulation of black experience. -
Hip-Hop Timeline 1973 – Kool Herc Deejays His First Party in the Bronx
Hip-hop Timeline ➢ 1973 – Kool Herc deejays his first party in the Bronx, where his blending of breaks is first exhibited. The break dancers in attendance began to discover their style and form. ➢ 1975 – Grandmaster Flash begins the early forms of Turntabilism by blending and mixing, while Grandwizard Theodore invents what we now know as scratching. The first Emcee crews are formed. ➢ 1979 – The Sugarhill Gang, under the guidance of record label owner and former vocalist Sylvia Robinson, release Rapper’s Delight, the first commercially recognized rap song. *There is much debate over the first recorded rap song, but it’s widely believed to have been done sometime in 1977 or 1978. ➢ 1980 – Kurtis Blow releases the first best selling hip-hop album, The Breaks, and becomes the first star in hip-hop music. ➢ 1983 – Herbie Hancock, in collaboration with pioneer DeeJay GrandMixer DST (now known as GrandMixer DXT), creates the Grammy Award-winning song Rockit, which is the first time the public ever hears a DeeJay scratching on record. Pioneer hip-hop duo Run DMC releases their first single Sucker Emcee’s. ➢ 1988 – This year is considered the first golden year in hip-hop music with releases such as Public Enemy’s It Takes A Nation of Millions to Hold Us Back, Big Daddy Kane’s Long Live The Kane, Slick Rick’s The Great Adventures of Slick Rick, Boogie Down Production’s By All Means Necessary, Eric B And Rakim’s Follow the Leader and the first highly regarded non-New York hip-hop record, N.W.A.’s Straight Outta Compton. -
A Tribe Called Quest Midnight Marauders Zip
A Tribe Called Quest Midnight Marauders Zip 1 / 4 A Tribe Called Quest Midnight Marauders Zip 2 / 4 3 / 4 1. Midnight Marauders Tour Guide 2. Hello, this is your Midnight Marauder program.. A Tribe Called Quest - Midnight Marauders ().zip. A Tribe .... Midnight Marauders Tour Guide 2. Steve Biko (Stir It Up) 3. Award Tour Featuring - Trugoy The Dove 4. 8 Million Stories 5. Sucka Nigga 6.. Midnight Marauders | A Tribe Called Quest to stream in hi-fi, or to download in True CD Quality on Qobuz.com.. A tribe called quest various designs t shirt new s m l xl xxl authentic ebay. A tribe called quest midnight marauders. a tribe called quest midnight marauders.. Marauding At Midnight: A Tribute To The Sounds Of A Tribe Called Quest by Funky DL, released 13 January 2017 1. Midnight Marauders Tour Guide 2.. Liner Notes: A Tribe Called Quest, The Low End Theory (1991)by Mark Anthony ... People's Instinctive Travels and the Paths of Rhythm · Midnight Marauders .... November, 17A Tribe Called Quest “We The People” Video. Read more. November, 15Malik Izaak Taylor p/k/a Phife Dawg Street Naming Ceremony.. Midnight Marauders is the third studio album by American hip hop group A Tribe Called Quest, released on November 9, 1993, by Jive Records. Recording ... Tracklist A Tribe Called Quest – Midnight Marauders. 1. Midnight Marauders Tour Guide 2. ... “Hello, this is your Midnight Marauder program.. Explore the largest community of artists, bands, podcasters and creators of music & audio.. A Tribe Called Quest - Midnight Marauders (1993). 1. Midnight Marauders Tour Guide. -
Tedeschi Rucks Band in Perfect Harmony
Download The 2016 International Blues Challenge Finalist CD Sampler - Page 64 Featuring: • Dion • Royal Southern Brotherhood • Nick Moss Band • The Nighthawks • Moreland & Arbuckle • Chris James & Patrick Rynn EDESCHI TRUCKS BAND IN PERFECT HARMONY JULY 2016 - #10 US $7.99 Canada $9.99 UK £ 6.99 Australia A $15.95 RUF RECORDS HONEY ISLAND SWAMP BAND ALBERT CASTIGLIA DEMOLITION DAY RUF 1230 BIG DOG RUF 1233 JANE LEE HOOKER ROYAL SOUTHERN BROTHERHOOD NO B! RUF 1229 THE ROYAL GOSPEL RUF 1232 BLUES 2016 CARAVAN RUF 1223 July 16 ROCKLAND, ME North Atlantic Blues Festival Aug 13 WAUKESHAU, WI Blues Festival RUF 1225 Aug 14 DULUTH, MN Bayfront Blues Festival Aug 17 KANSAS CITY, MO Knuckleheads BLUE SISTERS Aug 18 DENVER, CO Soiled Dove Aug 20 COLORADO SPRINGS, CO INA TASHA LAYLA Stargazers MORE DATES TO BE ANNOUNCED SOON! FORSMAN TAYLOR ZOE WWW.BLUESCARAVAN.COM RUF 1228 ARTWORK: QUEENS-DESIGN.DE ARTWORK: BLUESCARAVAN.COM SALES & MARKETING USA: IRA LESLIE | [email protected] PUBLICITIY USA: JILL KETTLES | [email protected] RUFRECORDS.DE FEATURES DEPARTMENTS CONTENTS 6 TEDESCHI TRUCKS BAND 5 RIFF & GROOVES JULY 2016 Perfect Harmony From The Editor-In-Chief by Brian M. Owens by Art Tipaldi 12 ROYAL SOUTHERN 26 DELTA JOURNEYS BROTHERHOOD 14 Years Of Cat Head Passing Of The Torch by Roger Stolle by Art Tipaldi 28 AROUND THE WORLD 16 THE NIGHTHAWKS The Last Waltzes 44 Years On The Road by Bob Margolin by Don Wilcock 30 BLUES MUSIC STORE 18 NICK MOSS BAND CD, DVD, and Box Sets Brothers In Blues by Blues Music Magazine by Matt MacDonald 38 REVIEWS 20 MORELAND & ARBUCKLE CDs and DVD Reviews Fire & Energy by M. -
Fascicule S4E5 Mai/Juin 2015 (Pdf, 7095Ko)
à découper et à mettre sur son frigo son sur à mettre et à découper AGENDA DE FRIGO AU DOS AU FRIGO DE AGENDA SOMMAIRE Agenda de Frigo................. 2 Edito.................................... 3 Le programme.................... 5 Le poster de Terreur Graphique............... 32 Les actions culturelles........ 34 Le centre ressource............ 37 Le coin des studios.................38 L’instant scientifique...............40 La fiche utile du Docteur Fred.................. 42 Rewind................................. 51 Chez les copains................; 63 Les infos très pratiques du Temps Machine................64 AGENDA DE FRIGO LE TEMPS MACHINE CooRdonnées EDITO Le Temps Machine Parvis Miles Davis BP 134 37301 JOUÉ-LÈS-TOURS CEDEX Tel : 02 47 48 90 60 Courriel : [email protected] www.letempsmachine.com www.facebook.com/letempsmachine DANS LES FAITS ! Horaires Les Bureaux Du lundi au vendredi : Le Temps Machine - l’Espace Musiques murs l’actualité musicale et l’avant-garde, nous 10h00 / 12h30 & 14h00 / 18h00 LE Centre Actuelles de l’Agglomération de Tours - s’inscrit changerons d’atmosphère. Du mardi au vendredi : 10h00 / 13h00 et 14h00 / 18h00 dans le réseau d’une ville, d’un territoire. Il Samedi (uniquement quand concert le soir) : 14h00 / 17h00 Dans les faits ! En juin. Place à un laboratoire ; est destiné au plus grand nombre, ouvert à Et les soirs de concerts de 20h30 à 21h30 à ciel ouvert. Quand les beaux jours arrivent, Les soirs de concerts tous, s’adresse à tous, se construit et s’alimente Ouverture du bar : 20h30 comme vous, Le Temps Machine a des envies Ouverture de la billetterie : 20h30 par l’action de tous. Nos missions d’intérêt d’évasion. -
The United Eras of Hip-Hop (1984-2008)
qwertyuiopasdfghjklzxcvbnmqwertyui opasdfghjklzxcvbnmqwertyuiopasdfgh jklzxcvbnmqwertyuiopasdfghjklzxcvb nmqwertyuiopasdfghjklzxcvbnmqwer The United Eras of Hip-Hop tyuiopasdfghjklzxcvbnmqwertyuiopas Examining the perception of hip-hop over the last quarter century dfghjklzxcvbnmqwertyuiopasdfghjklzx 5/1/2009 cvbnmqwertyuiopasdfghjklzxcvbnmqLawrence Murray wertyuiopasdfghjklzxc vbnmqwertyuio pasdfghjklzxcvbnmqwertyuiopasdfghj klzxcvbnmqwertyuiopasdfghjklzxcvbn mqwertyuiopasdfghjklzxcvbnmqwerty uiopasdfghjklzxcvbnmqwertyuiopasdf ghjklzxcvbnmqwertyuiopasdfghjklzxc vbnmqwertyuiopasdfghjklzxcvbnmrty uiopasdfghjklzxcvbnmqwertyuiopasdf ghjklzxcvbnmqwertyuiopasdfghjklzxc vbnmqwertyuiopasdfghjklzxcvbnmqw The United Eras of Hip-Hop ACKNOWLEDGMENTS There are so many people I need to acknowledge. Dr. Kelton Edmonds was my advisor for this project and I appreciate him helping me to study hip- hop. Dr. Susan Jasko was my advisor at California University of Pennsylvania since 2005 and encouraged me to stay in the Honors Program. Dr. Drew McGukin had the initiative to bring me to the Honors Program in the first place. I wanted to acknowledge everybody in the Honors Department (Dr. Ed Chute, Dr. Erin Mountz, Mrs. Kim Orslene, and Dr. Don Lawson). Doing a Red Hot Chili Peppers project in 2008 for Mr. Max Gonano was also very important. I would be remiss if I left out the encouragement of my family and my friends, who kept assuring me things would work out when I was never certain. Hip-Hop: 2009 Page 1 The United Eras of Hip-Hop TABLE OF CONTENTS ACKNOWLEDGMENTS -
Downbeat.Com December 2020 U.K. £6.99
DECEMBER 2020 U.K. £6.99 DOWNBEAT.COM DECEMBER 2020 VOLUME 87 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow. -
Goldmine Magazine
SPIN CYCLE: OUR PICKS FOR THE BEST NEW VINYL RECORD RELEASES The Music Collector’s Magazine March Issue 2016 U.S. $4.95 PLUS! NILS LOFGREN SAM PHILLIPS EVERCLEAR SAXON THE YOUNGBLOODS GARY NUMAN RECORD STORE RECON SCOTT FAG A N RAITT Bonnie Raitt delivers the right stuff with new album, GTR “Dig In Deep” REISSUED ON! www.goldminemag.com US $4.95 Guitarist Steve CAN $6.95 Hackett on 03 supergroup’s special appeal 0 FnL1 04 0120 01 JUYrVyBQdWJsaWNhdGlvbnMsIEluYyAo 02 SW9sYSBkaXZpc2lvbikPR3JlZ29yeSBL 03 cnVlZ2VyAFaOf7AEMTAuNAI4MAExBVVQ Qy1BDDA3NDQ3MDUwMjYyMwA= 74470 50262 3 Display until March 1, 2016 8865Cover.indd65Cover.indd 1 11/13/16/13/16 99:01:01 AAMM As Bonnie Raitt digs in deep with a new album, she has not forgotten her roots and is forever grate- ful to those who've helped her get to the very top. By Carol Anne Szel BONNNIE RAITT SAYS what I can’t say, yet tour a lot of the time when a record comes out. You know, feels the way I feel. She’s like the friend you were telling between the press and the videos, all the different cable all your secrets to, and she kept them, then sang about channels and all the different countries in the world that her feelings that paralleled yours. She’s won 10 Grammys carry it at the same time, two or three morning network and got inducted into the Rock and Roll Hall of Fame shows and a couple of nighttime shows ... and now it’s doing the “dirty work” of spilling out her emotions in her endless terrestrial and satellite radio.