The BG News March 31, 2003
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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). -
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. -
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. -
DJ Honda HII Mp3, Flac, Wma
DJ Honda HII mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: HII Country: US Released: 1998 MP3 version RAR size: 1376 mb FLAC version RAR size: 1944 mb WMA version RAR size: 1986 mb Rating: 4.8 Votes: 863 Other Formats: RA AA AIFF MP1 VQF TTA ASF Tracklist Hide Credits Roc Raida Intro 1 1:10 Producer – Roc RaidaScratches – Roc Raida Trouble In The Water 2 3:45 Featuring – De La Soul 5 Seconds 3 3:58 Featuring – Black Attack Hai! 4 3:25 Featuring – 50 Grand, Keith Murray Every Now & Then 5 2:21 Featuring – Syndicate* Mista Sinista Interlude 6 1:04 Producer – Mista SinistaScratches – Mista Sinista Team Players 7 4:42 Featuring – KRS-One, Doe-V* On The Mic 8 3:45 Featuring – A.L., Cuban Link, Juju , Missin' LinxProducer – Vic* For Every Day That Goes By 9 3:31 Featuring – Rawcotiks WKCR Interlude 10 0:51 Featuring – Lord Sear, Stretch Armstrong Who The Trifest? 11 3:37 Featuring – The Beatnuts Talk About It 12 3:12 Featuring – Al' Tariq Blaze It Up 13 4:09 Featuring – Black Attack 14 DJ Ev Interlude 0:30 Go Crazy 15 2:52 Featuring – S-On Around The Clock 16 3:37 Featuring – Problemz When You Hot You Hot 17 4:12 Featuring – Dug Infinite, No I.D. Interlude 18 1:04 Featuring – Fat Lip Travellin´ Man 19 5:16 Featuring – Mos Def Companies, etc. Phonographic Copyright (p) – Relativity Copyright (c) – Relativity Manufactured By – Sony Music Entertainment (Canada) Inc. Distributed By – Sony Music Entertainment (Canada) Inc. Mastered At – Sterling Sound Credits Mastered By – Tom Coyne Producer – DJ Honda (tracks: 2 to 5, 7 to 19) -
3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (Guest Post)*
“3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (guest post)* De La Soul For hip-hop, the late 1980’s was a tinderbox of possibility. The music had already raised its voice over tensions stemming from the “crack epidemic,” from Reagan-era politics, and an inner city community hit hard by failing policies of policing and an underfunded education system--a general energy rife with tension and desperation. From coast to coast, groundbreaking albums from Public Enemy’s “It Takes a Nation of Millions to Hold Us Back” to N.W.A.’s “Straight Outta Compton” were expressing an unprecedented line of fire into American musical and political norms. The line was drawn and now the stage was set for an unparalleled time of creativity, righteousness and possibility in hip-hop. Enter De La Soul. De La Soul didn’t just open the door to the possibility of being different. They kicked it in. If the preceding generation took hip-hop from the park jams and revolutionary commentary to lay the foundation of a burgeoning hip-hop music industry, De La Soul was going to take that foundation and flip it. The kids on the outside who were a little different, dressed different and had a sense of humor and experimentation for days. In 1987, a trio from Long Island, NY--Kelvin “Posdnous” Mercer, Dave “Trugoy the Dove” Jolicoeur, and Vincent “Maseo, P.A. Pasemaster Mase and Plug Three” Mason—were classmates at Amityville Memorial High in the “black belt” enclave of Long Island were dusting off their parents’ record collections and digging into the possibilities of rhyming over breaks like the Honey Drippers’ “Impeach the President” all the while immersing themselves in the imperfections and dust-laden loops and interludes of early funk and soul albums. -
Mill Valley Oral History Program a Collaboration Between the Mill Valley Historical Society and the Mill Valley Public Library
Mill Valley Oral History Program A collaboration between the Mill Valley Historical Society and the Mill Valley Public Library David Getz An Oral History Interview Conducted by Debra Schwartz in 2020 © 2020 by the Mill Valley Public Library TITLE: Oral History of David Getz INTERVIEWER: Debra Schwartz DESCRIPTION: Transcript, 60 pages INTERVIEW DATE: January 9, 2020 In this oral history, musician and artist David Getz discusses his life and musical career. Born in New York City in 1940, David grew up in a Jewish family in Brooklyn. David recounts how an interest in Native American cultures originally brought him to the drums and tells the story of how he acquired his first drum kit at the age of 15. David explains that as an adolescent he aspired to be an artist and consequently attended Cooper Union after graduating from high school. David recounts his decision to leave New York in 1960 and drive out to California, where he immediately enrolled at the San Francisco Art Institute and soon after started playing music with fellow artists. David explains how he became the drummer for Big Brother and the Holding Company in 1966 and reminisces about the legendary Monterey Pop Festival they performed at the following year. He shares numerous stories about Janis Joplin and speaks movingly about his grief upon hearing the news of her death. David discusses the various bands he played in after the dissolution of Big Brother and the Holding Company, as well as the many places he performed over the years in Marin County. He concludes his oral history with a discussion of his family: his daughters Alarza and Liz, both of whom are singer- songwriters, and his wife Joan Payne, an actress and singer. -
Pacific Pride At
April 9, 2003 Photo Page Rampage Rampage Pacific Pride at Photo by Lenetta Huxley Clovis Heiwa Taiko Group performs catching the rhythmic galloping of horses, and the Photo by Lenetta Huxley illustration of a dragon mirrored by the sticks and arm movements of the taiko drummers. Steve Chang and Alisa Vang model the Chinese Mongolian outfits. Kumbia Kings are back Photo by Keith Kountz A student of John Cho’s Kung-fu School, demonstrates with production No. ‘4’ a sword fight at the Asian American village. On Wednesday, April 2, Noy Sisomphon, Sokheng Hien and Sreyna Chourn entertain the audience at celebration night for Asian American week at FCC’s Theatre. Photo by Lenetta Huxley Photo byKeith Kountz Top: Tony Phoeun and Ginger Staley, a brother and sister duo, perform the Lion Dance at FCC’s Asian Cultural Village, on Sunday, March 30th. Photo by Keith Kountz Left: Dr. Loretta Teng, left, models XingQuan Chen, started practicing one of the 11 Taiwan Tribes calligraphy at the age of 9. He is now costume alongside Somphone 74, and a master of his craft. Onmavong during the Asian Fashion Show. Photo by Lenetta Huxley Rampage Entertainment April 9, 2003 Velásquez shines in her first film By Veronica Rodriguez Rampage reporter Young, 23-year-old Christian pop artist Jaci Ve- lásquez proceeds with two projects. After 16 No. 1 top radio hits, 38 television appearances, being fea- tured on 50 magazine covers, as well as performing before President Bush and the first lady for National Hispanic Heritage Month in October. Velásquez presents her eighth album titled “Unspoken,” and will also be starring in her first film titled “Chasing Papi” which will be showing in theaters on April 16. -
Murder?" in Custody of CPD Amistad Hugh A
Vol. 10, No. 10 The People Paper July 26—August 7, 2003 ADJarrell Communications inc. All rights Reserved 500 Reviles the Black Policy racket, Tke Economic engine of tke Black community of yesterday Once upon a time in the Black com- Black America." Policy Kings. munity, the men and woman owned the For all of the prosperity associated Nathan Thompson, spent ten years businesses, today it is owned by other with this historic migration of Black peo- documenting, interviewing, writing and ethnics for the most part. ple to the Bronzeville neighborhood, its researching the era during the 1930s and Once upon a time in the Black com- legacy is deeply rooted in Policy, the 40s. "There was a National Brotherhood munity was an economic engine in the 'numbers game' known today as the Illi- of Policy Kings that permeated nearly Black community, that financed the little nois State Lottery, but the Lottery is not every Black community in America." league baseball games to the major Ne- financing the community as it was during Explains Thompson. "Then known as the gro League. that time of the Numbers racket of Pol- nation's Black Belts. Chicago's Bron- The economic engine behind it all was icy zeville neighborhood was the "Policy the policy racket. In the 1930s, Time r The African American businessmen Capital of the World." Magazine dubbed Chicago's Bronzeville who founded and controlled this game In Kings, it sends the readers on a jour neighborhood the "Business Capital of for half a century, however, were called (Continued on page 6) Murder?" in Custody of CPD Amistad Hugh A. -
Media Ecologies: Materialist Energies in Art and Technoculture, Matthew Fuller, 2005 Media Ecologies
M796883front.qxd 8/1/05 11:15 AM Page 1 Media Ecologies Media Ecologies Materialist Energies in Art and Technoculture Matthew Fuller In Media Ecologies, Matthew Fuller asks what happens when media systems interact. Complex objects such as media systems—understood here as processes, or ele- ments in a composition as much as “things”—have become informational as much as physical, but without losing any of their fundamental materiality. Fuller looks at this multi- plicitous materiality—how it can be sensed, made use of, and how it makes other possibilities tangible. He investi- gates the ways the different qualities in media systems can be said to mix and interrelate, and, as he writes, “to produce patterns, dangers, and potentials.” Fuller draws on texts by Félix Guattari and Gilles Deleuze, as well as writings by Friedrich Nietzsche, Marshall McLuhan, Donna Haraway, Friedrich Kittler, and others, to define and extend the idea of “media ecology.” Arguing that the only way to find out about what happens new media/technology when media systems interact is to carry out such interac- tions, Fuller traces a series of media ecologies—“taking every path in a labyrinth simultaneously,” as he describes one chapter. He looks at contemporary London-based pirate radio and its interweaving of high- and low-tech “Media Ecologies offers an exciting first map of the mutational body of media systems; the “medial will to power” illustrated by analog and digital media technologies. Fuller rethinks the generation and “the camera that ate itself”; how, as seen in a range of interaction of media by connecting the ethical and aesthetic dimensions compelling interpretations of new media works, the capac- of perception.” ities and behaviors of media objects are affected when —Luciana Parisi, Leader, MA Program in Cybernetic Culture, University of they are in “abnormal” relationships with other objects; East London and each step in a sequence of Web pages, Cctv—world wide watch, that encourages viewers to report crimes seen Media Ecologies via webcams. -
8 Nothin` NORE Def Jam/UNIVERSAL 1 2 Cleanin
KW 39/40/2002 Plz LW WoC Title Artist Distribution PP 1 ▲ 9 8 Nothin` N.O.R.E. Def Jam/UNIVERSAL 1 2 ➔ 2 2 Cleanin´Out My Closet EMINEM Interscope/UNIVERSAL 2 3 ▲ 5 10 I’m Gonna Be Alright JENNIFER LOPEZ FT. NAS Epic/SONY MUSIC 1 4 ▲ 22 8 The Magnificent EP DJ JAZZY JEFF BBE/ZOMBA 4 5 ▲ NEW 0 Tainted SLUM VILLAGE FEAT. DWELE Capitol/VIRGIN/EMI 5 6 ▲ 24 6 Gangsta Lovin EVE FT. ALICIA KEYS Interscope/UNIVERSAL 6 7 ▲ 11 2 Good To You / Put It In The Air TALIB KWELI Rawkus/UNIVERSAL 7 8 ▲ NEW 0 Games/Tear Shit Up BIZ MARKIE Superrappin/Groove Attack 8 9 ▲ 19 6 Know My Name (Mixes) NIGHTMARES ON WAX Warp/ZOMBA 9 10 ▼ 6 4 Rock The Beat EDO G Overlooked/Groove Attack 6 11 ▼ 4 8 Feels Good (Don’t Worry Bout A Thing ) NAUGHTY BY NATURE FEAT. 3LW TVT/UNIVERSAL 4 12 ▼ 3 2 Ova Here KRS ONE In The Paint/KOCH 3 13 ▲ 16 4 Harlem Brothers MARK THE 45 KING FT. BIG POOH Blazin Records/n.a. 10 14 ▲ 39 6 War DJ DESUE FT. AG & PARTY ARTY Rah Rah Ent./UNIVERSAL 5 15 ▲ NEW 0 Luv You Better LL COOL J Def Jam/UNIVERSAL 15 16 ▲ NEW 0 Brown Sugar MOS DEF FT. FAITH EVANS MCA/UNIVERSAL 16 17 ➔ RE 6 Don´t Mess With My Man NIVEA FEAT BRIAN & BRANDON CASEY OF JAGGED EDGE Jive/ZOMBA 4 18 ▲ NEW 0 Are You Ready DJ JAZZY JEFF BBE/ZOMBA 18 19 ▲ 27 8 Call Me TWEET Elektra/WARNER 19 20 ▼ 7 6 Smack Ya Face DEFARI ABB Records/GROOVE ATTACK 7 21 ▲ 30 4 Grindin THE CLIPSE Star Trak Ent./BMG ARIOLA 21 22 ▲ NEW 0 Multiply XZIBIT FT. -
TUNECODE WORK TITLE Value Range 289693DR
TUNECODE WORK_TITLE Value Range 289693DR It S Everyday Bro ££££ 329418BM Boys Are So Ugh ££££ 060461CU Sex On Fire ££££ 258202LN Liar Liar ££££ 2680048Z Willy Can You Hear Me? ££££ 128318GR The Way ££££ 217278AV Better When I'm Dancing ££££ 223575FM I Ll Show You ££££ 188659KN Do It Again ££££ 136476HS Courtesy Call ££££ 224684HN Purpose ££££ 017788KU Police Escape ££££ 065640KQ Android Porn (Si Begg Remix) ££££ 189362ET Nyanyanyanyanyanyanya! ££££ 191745LU Be Right There ££££ 236174HW All Night ££££ 271523CQ Harlem Spartans - (Blanco Zico Bis Tg Millian Mizormac) ££££ 237567AM Baby Ko Bass Pasand Hai ££££ 099044DP Friday ££££ 5416917H The Big Chop ££££ 263572FQ Nasty ££££ 065810AV Dispatches ££££ 258985BW Angels ££££ 031243LQ Cha-Cha Slide ££££ 250248GN Friend Zone ££££ 235513CW Money Longer ££££ 231933KN Gold Slugs ££££ 221237KT Feel Invincible ££££ 237537FQ Friends With Benefits (Fwb) ££££ 228372EW Election 2016 ££££ 177322AR Dancing In The Sky ££££ 006520KS I Wish I Knew How It Would Feel To Be Free ££££ 153086KV Centuries ££££ 241982EN I Love The 90s ££££ 187217FT Pony (Jump On It) ££££ 134531BS My Nigga ££££ 015785EM Regulate ££££ 186800KT Nasty Freestyle ££££ 251426BW M.I.L.F. $ ££££ 238296BU Blessings Pt. 1 ££££ 238847KQ Lovers Medley ££££ 003981ER Anthem ££££ 037965FQ She Hates Me ££££ 216680GW Without You ££££ 079929CR Let's Do It Again ££££ 052042GM Before He Cheats ££££ 132883KT Baraka Allahu Lakuma ££££ 231618AW Believe In Your Barber ££££ 261745CM Ooouuu ££££ 220830ET Funny ££££ 268463EQ 16 ££££ 043343KV Couldn't Be The Girl -
Pentecostal Spirituality As Lived Experience
Pentecostal Spirituality as Lived Experience: An Empirical Study of Women in the British Black Pentecostal Church By Marcia Clarke A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY School of Philosophy, Theology and Religion College of Arts and Law University of Birmingham September 1, 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This study’s central thesis is based upon a qualitative research project which captured and analysed the focus group conversations of fifty-two Black British Pentecostal women of African - Caribbean heritage as they discuss their lived experience in terms of Christian spirituality. Practical Theology as a theologically normative discipline provides the lens through which to study spirituality as experience. This thesis states that the lived experience of Black British Pentecostal women develops and informs Pentecostal spirituality as lived experience as part of a conscious and integrated lifestyle and further facilitates growth in a woman’s relationship with God. The translation of the Hebrew term yāda῾ meaning ‘to know’ is relevant to this understanding, as it is interpreted as to know by experience.