From Niche to Movement to Mainstream
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Baker Eastman School of Music [email protected] I
A Cyclic Approach to Harmony in Robert Glasper’s Music Society for Music Theory Columbus, OH November 7, 2019 Ben Baker Eastman School of Music [email protected] I. Introduction Robert Glasper hip-hop R&B jazz neo-soul gospel I. Introduction Robert Glasper Blue Note releases: Canvas (2005) piano trio In My Element (2007) piano trio + R.G. Experiment Double-Booked (2009) Black Radio (2012) R.G. Experiment Black Radio 2 (2013) piano trio Covered (2015) R.G. Experiment ArtScience (2016) I. Introduction Robert Glasper “…probably the most prominent jazz musician of his generation. He’s gotten there by playing within and without jazz, and pushing the music to reconsider its boundaries.” -Russonello (NYT, 2018) I. Introduction Glasper’s Harmonic Language diatonic collections clear tonal centers tertian harmonies root motion by: 3rd (ex. Imaj7 - vi7 - IVmaj7 - ii7) descending 5th (ii7 - V7 - Imaj7) two primary chord qualities: major 7th chords + upper extensions minor 7th chords I. Introduction “Rise and Shine” (Canvas, 2005) Fmaj9 Dbmaj9 Bbm9 Gm11 ™ ™ C œ œ œ bœ œ œ œ j œ œ &b œ J bœ œ œ ˙ ˙ œ Dmaj9 Gm11 D/F# Fmaj9 ™ ™ b œ œ œ j Œ & ˙ J œ œ œ œw ˙ œ œ Dbmaj9 C7 F Bbm11 Gm11 ™ ™ b œ œ œ œ œ œ œ b˙ œw w & bœ œ œ œ œ œ œ J œ 1. Gm11 Dm11 ™ j ™ &b w œ œ œ œw w w 2. Gbmaj9 C7alt F7sus4 ™ b˙ bwœ w ˙ &b ˙ œ œ œ œ œ œ &b∑ ∑ ∑ ∑ ∑ ∑ ∑ I. Introduction “Rise and Shine” (Canvas, 2005) Fmaj9 Dbmaj9 Bbm9 Gm11 ™ ™ C œ œ œ bœ œ œ œ j œ œ &b œ J bœ œ œ ˙ ˙ œ Dmaj9 Gm11 D/F# Fmaj9 ™ ™ b œ œ œ j Œ & ˙ J œ œ œ œw ˙ œ œ Dbmaj9 C7 F Bbm11 Gm11 ™ ™ b œ œ œ œ œ œ œ b˙ œw w & bœ œ œ œ œ œ œ J œ 1. -
'Black Radio Is Like No Station You've Ever Heard, and That's Precisely Its
JANUARY/FEBRUARY 2012 ISSUE MMUSICMAG.COM REVIEWS HOLE RNobody’sOBERT GLASPER Daughter EXPERIMENT [Universal] Black Radio [Blue Note] The first album released under the Hole moniker since 1998’s Celebrity Skin is really frontwoman Courtney Love’sTo Robert Glasper, there’s no reason for traditional jazz, contemporary hip- second solo album—co-founder,hop and R&B not to be best friends. Glasper fuses those elements expertly songwriter and lead guitarist Eric Erlandson isn’t involved,on Black Radio; the keyboards include synths, Rhodes and piano, and nor is any other previous Hole member. So it’s Love andan three array of guests adds to the mix, from Meshell Ndegeocello and Musiq ringers on 11 new songs—10 of which Love wroteSoulchild with to rapper Lupe Fiasco. Glasper and collaborators offer a continually collaborators like Billy Corgan,shifting Linda sonic Perry landscape, and new from the smooth soul of “Afro Blue,” the Mongo guitarist Micko Larkin. (Perry gets full credit on one tune, “Letter to God.”) Santamaria-penned jazz classic sung here by Erykah Badu, to the harder, Much of the riveting intensity of the group’s 1990s heyday appears to havebeat-centric left along with pastiche her former that comprisesDaniel Jackson Mos Def’s title track. But the final two bandmates, but there are fl ashes here of the snarling Too often, though, the slower songs trip her up. While once fury Love deployed to suchtracks devastating are arguably effect back Black in the day.Radio they’s mostwere showcases intriguing: for harrowingcovers ofdisplays David of nakedBowie’s emotion, She spits out her vocals semi-obscurewith vengeful disdain “Letter on “Skinny to Hermione,” Little Love drivensounds bymore Bilal’s dispassionate sensual these vocal days. -
Breakfast Menu
BREAKFAST MENU Available 6:30 AM – 11 AM. Please call “In-Room Dining” to place your order. A hospitality fee of 23% and $6 delivery charge will be added to your check. OJAI VALLEY BREAKFAST ..............................................33 Two eggs any style with valley style breakfast potatoes, choice of country ham, sausage or applewood smoked bacon, choice of toast, fresh juice or milk, and coffee or tea HEALTHY START BREAKFAST .........................................30 Egg whites with sautéed greens, sliced hass avocado, sprouts, heirloom tomato, cottage cheese, fresh juice or milk, and coffee or tea CONTINENTAL BREAKFAST ............................................28 Assorted baked breakfast pastries with fruit preserves, seasonal sliced fruit, fresh juice or milk, and coffee or tea WAFFLES, PANCAKES & FRENCH TOAST CHALLAH BREAD FRENCH TOAST ...................................20 House made preserves, lemon whipped mascarpone, warm maple syrup MALT AND VANILLA WAFFLE ..........................................18 Honey pecan butter, fresh berries, whipped cream, warm maple syrup BUTTERMILK PANCAKES ...............................................18 Choice of strawberry, blueberry or chocolate chip, warm maple syrup SPECIALTIES SMOKED SALMON AND TOASTED BAGEL ..........................19 Toasted everything bagel, cream cheese, capers, sliced red onions, tomatoes, hard boiled egg THREE EGG OR EGG WHITE OMELET ...............................22 Choice of three items: ham, bacon, chorizo, spinach, bell pepper, onion, tomato, mushroom, cheddar -
The Twenty Greatest Music Concerts I've Ever Seen
THE TWENTY GREATEST MUSIC CONCERTS I'VE EVER SEEN Whew, I'm done. Let me remind everyone how this worked. I would go through my Ipod in that weird Ipod alphabetical order and when I would come upon an artist that I have seen live, I would replay that concert in my head. (BTW, since this segment started I no longer even have an ipod. All my music is on my laptop and phone now.) The number you see at the end of the concert description is the number of times I have seen that artist live. If it was multiple times, I would do my best to describe the one concert that I considered to be their best. If no number appears, it means I only saw that artist once. Mind you, I have seen many artists live that I do not have a song by on my Ipod. That artist is not represented here. So although the final number of concerts I have seen came to 828 concerts (wow, 828!), the number is actually higher. And there are "bar" bands and artists (like LeCompt and Sam Butera, for example) where I have seen them perform hundreds of sets, but I counted those as "one," although I have seen Lecompt in "concert" also. Any show you see with the four stars (****) means they came damn close to being one of the Top Twenty, but they fell just short. So here's the Twenty. Enjoy and thanks so much for all of your input. And don't sue me if I have a date wrong here and there. -
The Portrayal of African American Women in Hip-Hop Videos
Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 6-2005 The Portrayal of African American Women in Hip-Hop Videos Ladel Lewis Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Sociology Commons Recommended Citation Lewis, Ladel, "The Portrayal of African American Women in Hip-Hop Videos" (2005). Master's Theses. 4192. https://scholarworks.wmich.edu/masters_theses/4192 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. THE PORTRAYAL OF AFRICAN AMERICAN WOMEN IN HIP-HOP VIDEOS By Ladel Lewis A Thesis Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Master of Arts Department of Sociology Western Michigan University Kalamazoo, Michigan June 2005 Copyright by Ladel Lewis 2005 ACKNOWLEDGEMENTS I wish to thankmy advisor, Dr. Zoann Snyder, forthe guidance and the patience she has rendered. Although she had a course reduction forthe Spring 2005 semester, and incurred some minor setbacks, she put in overtime in assisting me get my thesis finished. I appreciate the immediate feedback, interest and sincere dedication to my project. You are the best Dr. Snyder! I would also like to thank my committee members, Dr. Douglas Davison, Dr. Charles Crawford and honorary committee member Dr. David Hartman fortheir insightful suggestions. They always lent me an ear, whether it was fora new joke or about anything. -
The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities
The Miseducation of Hip-Hop dance: Authenticity, and the commodification of cultural identities. E. Moncell Durden., Assistant Professor of Practice University of Southern California Glorya Kaufman School of Dance Introduction Hip-hop dance has become one of the most popular forms of dance expression in the world. The explosion of hip-hop movement and culture in the 1980s provided unprecedented opportunities to inner-city youth to gain a different access to the “American” dream; some companies saw the value in using this new art form to market their products for commercial and consumer growth. This explosion also aided in an early downfall of hip-hop’s first dance form, breaking. The form would rise again a decade later with a vengeance, bringing older breakers out of retirement and pushing new generations to develop the technical acuity to extraordinary levels of artistic corporeal genius. We will begin with hip-hop’s arduous beginnings. Born and raised on the sidewalks and playgrounds of New York’s asphalt jungle, this youthful energy that became known as hip-hop emerged from aspects of cultural expressions that survived political abandonment, economic struggles, environmental turmoil and gang activity. These living conditions can be attributed to high unemployment, exceptionally organized drug distribution, corrupt police departments, a failed fire department response system, and Robert Moses’ building of the Cross-Bronx Expressway, which caused middle and upper-class residents to migrate North. The South Bronx lost 600,000 jobs and displaced more than 5,000 families. Between 1973 and 1977, and more than 30,000 fires were set in the South Bronx, which gave rise to the phrase “The Bronx is Burning.” This marginalized the black and Latino communities and left the youth feeling unrepresented, and hip-hop gave restless inner-city kids a voice. -
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. -
Innovation Diffusion: Marketing Drivers of Hip-Hop Success
Innovation Diffusion: Marketing Drivers of Hip-Hop Success Chuck Tomkovick, University of Wisconsin-Eau Claire Justin Eder, Hip-Hop Event Organizer & Artist hen Clive Campbell, aka DJ Kool Herc, organized an after-school party in 1971 at his sister’s request, he had little idea he was inventing hip-hop, and even less of an idea Wthat his South Bronx style would spark music and fashion innovation for generations to come.1 By hopping back and forth between two turntables using duplicate copies of the same record, Kool Herc was able to extend the percussion breakdown (“the breaks”) of songs, enabling break-dancers and emcees to show and prove their skills.2 From this eclectic collage of deejaying, break-dancing, graffiti expression, and emceeing, hip-hop culture was born.3 Fast-forwarding to today, hip-hop has been an amazing commercial success. With over $12 billion in estimated annual sales4 (comprised of CDs, DVDs, digital downloads, clothing, books, magazines, ringtones, beverages, and other assorted products), the size and scope of hip-hop merchandise, and its widespread adoption, is the envy of many in the world of pop culture. Curious onlookers and those appreciative of marketing’s role in innovation diffusion wonder how this culture has spread so pervasively. Where is hip-hop in its product life cycle? Why are people of such diverse geographic and ethnic backgrounds so willing to embrace a culture that was spawned primarily by minorities in the South Bronx? Answering these and other related questions provided the motivation for this marketing module. 1 # # ʯ%ÿ৺ %# ʯ6ʯÿ6ʯ֊8ӹӹޱ״ȶʯϻ% $ÿ״ʯÿ8# ÿ6״6৺ϻ$ÿ6״״7 2 Marketing Drivers of Hip-Hop Success The diffusion of hip-hop culture, from its earliest days to its powerful world stage presence today, can be attributed to four major market- ing forces: rhythmic market visionaries with a penchant for fashion and branding, innate consumer attraction to underdogs and rebels, the merging of media and modern technology, and unabashed corpo- rate co-optation. -
Green the Green Book
Book # 1 THE GREEN BOOK Universal Zulu Nation Infinity Lessons Archive 1973 - 2000 FOR THE MASSES Compiled By : King Mark Luv & Malika Saphire Table of Contents Myths and Misconceptions ..................................................................................................................................................... 2 Laws and Regulations of the Universal Zulu Nation Part 1 (1 – 20) ........................................................................................ 4 Laws and Regulations of the Universal Zulu Nation Part 2 (21 – 46) ...................................................................................... 5 INFINITY LESSON ONE ............................................................................................................................................................. 6 ABOUT ZULU NATION ......................................................................................................................................................... 6 Message to the People........................................................................................................................................................ 7 INFINITY LESSON TWO ............................................................................................................................................................ 8 THE HISTORY OF AFRIKA BAMBAATAA ............................................................................................................................... 8 INFINITY LESSON THREE ....................................................................................................................................................... -
The Role Identity Plays in B-Ball Players' and Gangsta Rappers
Vassar College Digital Window @ Vassar Senior Capstone Projects 2016 Playin’ tha game: the role identity plays in b-ball players’ and gangsta rappers’ public stances on black sociopolitical issues Kelsey Cox Vassar College Follow this and additional works at: https://digitalwindow.vassar.edu/senior_capstone Recommended Citation Cox, Kelsey, "Playin’ tha game: the role identity plays in b-ball players’ and gangsta rappers’ public stances on black sociopolitical issues" (2016). Senior Capstone Projects. 527. https://digitalwindow.vassar.edu/senior_capstone/527 This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. Cox playin’ tha Game: The role identity plays in b-ball players’ and gangsta rappers’ public stances on black sociopolitical issues A Senior thesis by kelsey cox Advised by bill hoynes and Justin patch Vassar College Media Studies April 22, 2016 !1 Cox acknowledgments I would first like to thank my family for helping me through this process. I know it wasn’t easy hearing me complain over school breaks about the amount of work I had to do. Mom – thank you for all of the help and guidance you have provided. There aren’t enough words to express how grateful I am to you for helping me navigate this thesis. Dad – thank you for helping me find my love of basketball, without you I would have never found my passion. Jon – although your constant reminders about my thesis over winter break were annoying you really helped me keep on track, so thank you for that. -
Jazz and Radio in the United States: Mediation, Genre, and Patronage
Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition. -
IPG Spring 2020 Rock Pop and Jazz Titles
Rock, Pop, and Jazz Titles Spring 2020 {IPG} That Thin, Wild Mercury Sound Dylan, Nashville, and the Making of Blonde on Blonde Daryl Sanders Summary That Thin, Wild Mercury Sound is the definitive treatment of Bob Dylan’s magnum opus, Blonde on Blonde , not only providing the most extensive account of the sessions that produced the trailblazing album, but also setting the record straight on much of the misinformation that has surrounded the story of how the masterpiece came to be made. Including many new details and eyewitness accounts never before published, as well as keen insight into the Nashville cats who helped Dylan reach rare artistic heights, it explores the lasting impact of rock’s first double album. Based on exhaustive research and in-depth interviews with the producer, the session musicians, studio personnel, management personnel, and others, Daryl Sanders Chicago Review Press chronicles the road that took Dylan from New York to Nashville in search of “that thin, wild mercury sound.” 9781641602730 As Dylan told Playboy in 1978, the closest he ever came to capturing that sound was during the Blonde on Pub Date: 5/5/20 On Sale Date: 5/5/20 Blonde sessions, where the voice of a generation was backed by musicians of the highest order. $18.99 USD Discount Code: LON Contributor Bio Trade Paperback Daryl Sanders is a music journalist who has worked for music publications covering Nashville since 1976, 256 Pages including Hank , the Metro, Bone and the Nashville Musician . He has written about music for the Tennessean , 15 B&W Photos Insert Nashville Scene , City Paper (Nashville), and the East Nashvillian .