DOCSLIB.ORG

A Vibrant and Affective Ecology of Sound by Megan Wurster BA

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Vibrant and Affective Ecology of Sound by Megan Wurster BA i Town All Day: A Vibrant and Affective Ecology of Sound By Megan Wurster B.A., Seattle Pacific University, 2009 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Arts Department of Communication 2013 ii This thesis entitled: Town All Day: A Vibrant and Affective Ecology of Sound written by Megan Wurster has been approved for the Department of Communication _______________________________ John Ackerman, PhD _______________________________ David Boromisza-Habashi, PhD _______________________________ Kenneth Foote, PhD Date ____________ The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. iii Wurster, Megan (M.A. Communication) Town All Day: A Vibrant and Affective Ecology of Sound Thesis directed by Associate Professor John Ackerman This thesis presents an urban ecology as a semi-bounded and permeable way of conceptualizing cities that encompasses the symbolic, material, and embodied while embracing vibrancy and affectiveness. By taking a communicative approach, and drawing on theories of publics and counter-publics, culture, sound, place, and the everyday, I argue that it is imperative that we understand the interplay between human and non-human agents. Using Seattle hip hop as a case study to demonstrate a sonic urban ecology, this project also forwards that sound is woven throughout urban ecologies as a tie that binds them together, holding fast in its many forms. It is not simply music, but the intrinsic rhythms, resonances, and intensities of sound that enable it to act as a uniting force amongst the human and nonhuman. iv CONTENTS CHAPTER I. THEORETICAL FRAMEWORK AND METHODOLOGY……………………1 II. THE GEOGRAPHY OF SEATTLE HIP HOP………………………………….38 III. DISCURSIVITY IN THE CONTEXT OF AN URBAN ECOLOGY…………..56 IV. AN ETHNO-RHETORICAL RETURN AND THE TRANSFERABILITY OF A SONIC URBAN ECOLOGY…………………………...……………………….81 REFERENCES…………………………………………………………………………………109 v FIGURES Figure 1. Locational mentions in Seattle hip hop songs…………………………………………...43 2. Live music venues in Seattle, WA………………………………………………………47 3. Fieldwork conducted during December 2012…………………………………………...51 4. Fieldwork conducted during December 2012, larger scale………………………...……52 1 CHAPTER 1 THEORETICAL FRAMEWORK AND METHODOLOGY Introduction The first day of my career as a graduate teaching assistant, I stepped into my first class of the day and anxiously began introducing myself to the students. Feeling out of place, both geographically and professionally, I found myself rambling a bit out of nervousness. Unsure of how much to tell them, I mentioned that I was from Seattle, and that I had spent time after college working in the music industry. Hardly expecting a response to these brief comments, I was startled when a student immediately yelled out, “Do you know Macklemore!?” I certainly knew who Macklemore was (a Seattle rapper), and I had in fact worked indirectly with him while living in Seattle, but I did not know him on any level that would warrant answering yes to that question. Moreover, I was surprised by the fact that I had managed to move nearly 1,500 miles from the place I had lived and worked in, only to be immediately reminded of what I had left behind. I had no idea that Macklemore was so well-known outside of the Northwest (a funny thought now, given his platinum status and recent Grammy nomination), nor did I think for a second that my students would be fans of his work. Upon reflection, I said that I was aware of who Macklemore was, and in fact we shared many friends. Without elaborating much, I mentioned that many of my friends were deeply involved in the Seattle hip hop community, and that they represented a place I missed very much. When I had time to think for a moment after class, I smiled at the thought that something I was so fond of, even proud of, had managed to make its way halfway across the country. The place I 2 came from felt so connected, so tied together by music. My life had, in many very literal ways, been orchestrated by the symbolic, material, and embodied nature of music (Endres & Senda- Cook 2011), and it was all very specifically located in Seattle. The triad of the symbolic, material, and embodied is used by Endres and Senda-Cook to explicate a theory of place, and will be used as a framework for this project, as it is able to encompass the theoretical framework behind the three-fold methodology to follow in this project. The more I thought about it, the more I realized that my support for local music was place-based in social, cultural, and sonic ways. The idea that my sense of place was, and continues to be, symbolic, material, and embodied will carry on throughout this project. In the symbolic sense, the music I associated with Seattle was not contained to Seattle and traveled to Boulder as a means of identification, appreciation, and shared meaning. Materially, the city of Seattle is used as an artifact for this project- a place I lived in, remember, and visit. Though it is gestured to through images, art, and maps, it still stands in its own right with elements like buildings, roads, and parks. This fusing of the human and nonhuman, of language and matter, will appear throughout this project, and is explained further in this chapter. For the purposes of this project, the embodiment can be found in my body, those who remain in Seattle, and the researching body that revisits the city and connects with other bodies. This project reflects on my own history and how my experiences might translate to other cities and neighborhoods, and what it might look like to see cities as ecologies constituted by sound. There are social implications of the binding properties of sound that are applicable to other places. The goal of this project is to consider an ecology of sound that speaks to the cohesiveness of an urban community, drawing on theories of publics and counter-publics, culture, place, and the everyday. In using the term ecology, as opposed to simply importing 3 theories of place, publics and counter-publics, culture, and the everyday, this project will emphasize the overlapping and interplay between the human and the non-human, as well as the vibrancy and affect that are integral to an understanding of sound as constitutive of an urban ecology. Though the term has not been used much by communication scholars, especially as anything other than a reference to its biological meaning, I hope to explicate the rhetorical potential of an urban ecology premised on sound, which will be articulated throughout this chapter. Urban ecologies have been theorized by an interdisciplinary confederation that includes, but is not limited to, urban planners, designers, geographers, land use experts, and ecologists. Ecologists have defined the field writ large as, “The scientific study of the processes influencing the distribution and abundance of organisms, the interactions among organisms, and the interactions between organisms and the transformation and flux of energy and matter” (Likens 1992, p. 8). This type of study is not limited to any particular scale, though until recently the idea of an “urban ecology” was largely rejected by ecologists because of the dominant role that humans played in it (McDonnell 2011). Currently, ecologists and others accept the study of the development of cities as a legitimate topic of ecological study, since the human impact on ecosystems is now undeniable. As ecologist McDonnell says, “…human actions have altered the distribution of organisms as well as the transformation and flux of energy and matter at global scales” (McDonnell et al. 2009, p. 8). The scientific approach to an urban ecology is applicable to this study so far as it provides a tangible, embodied understanding of the interplay between living organisms, and incorporates humans and nonhumans into the same ecosystems. What it does not include, however, is space for object agency, as its nonhuman actants are still living organisms. McDonnell offers the following definition of urban ecology, “Urban ecology 4 integrates both basic (i.e. fundamental) and applied (i.e. problem oriented), natural and social science research to explore and elucidate the multiple dimensions of urban ecosystems” (McDonnell 2011, p. 9). This project aims to incorporate not only living organisms, as urban ecologists do, but material objects as nonhuman agents as well. Where urban ecologists have focused on the importance of bodies, though perhaps not framing it that way themselves, this project will also include the material objects of an urban environment, as well as the symbolic ways in which urban ecologies are represented. This thesis will argue that one way that cities are symbolically represented is through sound. The role of nonhuman agency (of both the living and non-living) will be explained throughout this chapter. Political scientist Jane Bennett offers a helpful way to think about the composition, implications, and complexity of political ecologies premised on vibrancy in matter, bodies, and symbols. In her book Vibrant Matter, as well as her larger project, Bennett emphasizes the importance of intersections where the human and nonhuman interact, overlap, and coexist. She compares political systems to natural ecosystems, and uses the term political ecologies to consider loosening “the tie between participation and human language use, encountering the world as a swarm of vibrant materials entering and leaving agentic assemblages” (Bennett 2010, p. 107). In the following passage she explains the importance of considering nonhuman agency within the larger context of political ecologies. Where Bennett’s focus is on the political implications of this perspective, my focus is on sound as the vibrant element that unites the ecology of a city.
Load more

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]
  • California State University, Northridge
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE THE SPATIAL PRACTICES OF SOUL REBEL RADIO IN LOS ANGELES’ THIRD WORLD LEFT A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts Chicano and Chicana Studies By Miguel Paredes August 2012 The thesis of Miguel Paredes is approved: _________________________ ______________________ Professor Yreina D. Cervántez Date _________________________ ______________________ Dr. Gabriel Gutierrez Date _________________________ _______________________ Dr. David Rodriguez, Chair Date ii Dedication To the young people in Los Angeles, to the working class communities in the Third World Left throughout Southern California especially Elysian Valley aka “Frogtown” in Northeast LA, to the over 50 members of the Soul Rebel Radio collective especially the founding members Eduardo, Laura, Javier, Jose, Tito, Teresa, Hasmik, Jorge, XL, Travis, Oriel, and Lex, to the KPFK staff and audience, to the staff of the CSUN Chican@ Studies Department especially Dr. Rudy Acuña, Dr. Alberto Garcia, Harry Gamboa, Fermin Herrera, Dr. Mary Pardo, Dr. Gabriel Gutierrez, Yreina D. Cervántez, Dr. Jorge Garcia, Ruben Mendoza, and posthumously dedicated to Roberto Sifuentes , Dr. Shirlene Soto, and “Toppy” Flores. To my family especially my mother Lucila Paredes, my father Miguel Paredes Sr., my brother Adrian Paredes, my sister Gabriela Paredes and her daughter Dahlila and son Ivan, my brother Daniel Paredes, and his son Diego, to my best friends Mike and Guzman, to my godchildren Juliette, Justin, Isaac, Elia, and Ehecatl, and to the Fe@s including Pascual, Mixpe, and Chris, but particularly to Ixya Herrera for giving me the motivation and support to complete my Master’s Degree in Chican@ Studies.
    [Show full text]
  • November 1915) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 11-1-1915 Volume 33, Number 11 (November 1915) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 33, Number 11 (November 1915)." , (1915). https://digitalcommons.gardner-webb.edu/etude/619 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDE November 1915 Founded 1883 Edward Mac Dowell PRICE 15 CENTS Pressers Musical Magazine 773 THE ETUDE The Young Folks find that A MONTHLY JOURNAL FOR THE MUSICIAN, THE THE EMERSON 1 MUSIC STUDENT, AND ALL MUSIC LOVERS. Edited by James Francis Cooke Automatic Player Piano ,premiu^t^rre*,,owedfor CONTENTS NOVEMBER, 1915 furnishes good fun for impromptu entertainment or it may be used equally as well for formal dances. Music in the special tempo and with the “dancing accent’’ — the kind that must be played right—is rendered perfectly m by the Emerson Automatic. W&MSajggi A popular feature of the Emerson Automatic: it will re-roll and play over again automatically when you wish.
    [Show full text]
  • Was Foucault a Plagiarist? Hip-Hop Sampling and Academic Citation Mickey Hess
    Computers and Composition 23 (2006) 280–295 Was Foucault a plagiarist? Hip-hop sampling and academic citation Mickey Hess Department of English, Rider University, Lawrenceville, NJ 08648, United States Abstract This article argues that comparing academic citation and hip-hop sampling can help students become better users of sourcework. I contend that sampling and academic writing share a goal of building new work in response to existing sources and that this goal is obscured by lawsuits that reduce sampling to theft by applying to sound a copyright regulation system designed for print. Both sampling and citing seek to build new compositions by working from sources, yet academic citation systems preserve textual ownership through attribution while sampling often guards or disguises its sources. These different stances in regard to authorship and ownership belie the values shared by the two systems. © 2006 Elsevier Inc. All rights reserved. Keywords: Sampling; Hip-hop; Intellectual property; Citation; Plagiarism Sometimes I quote someone without using quotation marks or a footnote to give the name of the source. It seems like I’m just supposed to prove I’ve read this famous scholar, and I say why should I have to put quotes around it if you can’t even recognize who it comes from? The passage above seems to undermine so much of what we teach about academic writing. It is paraphrased, not from a conversation with a student, but from an interview with Michel Foucault (1980) where he described his citation practices in regard to Marx and Marxism: I often quote concepts, texts and phrases from Marx, but without feeling obliged to add the authenticating label of a footnote with a laudatory phrase to accompany the quotation.
    [Show full text]
  • Cultural Remix: Polish Hip-Hop and the Sampling of Heritage by Alena
    Cultural Remix: Polish Hip-Hop and the Sampling of Heritage by Alena Gray Aniskiewicz A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Slavic Languages and Literatures) in the University of Michigan 2019 Doctoral Committee: Associate Professor Benjamin Paloff, Chair Associate Professor Herbert J. Eagle Professor Charles Hiroshi Garrett Visiting Assistant Professor Jodi C. Greig, University of Wisconsin-Madison Alena Gray Aniskiewicz [email protected] ORCID iD: 0000-0002-1922-291X © Alena Gray Aniskiewicz 2019 To my parents, for everything. (Except hip-hop. For that, thank you, DH.) ii Acknowledgements To Herb Eagle, whose comments and support over the years have been invaluable. To Jodi Greig, whose reputation preceded her, but didn’t do her justice as a friend or scholar. To Charles Hiroshi Garrett, who was my introduction to musicology fourteen years ago and has been a generous reader and advisor ever since. And to Benjamin Paloff, who gave me the space to figure out what I wanted and then was there to help me figure out how to get it. I couldn’t have asked for a better committee. To my peers, who became friends along the way. To my friends, who indulged all the Poland talk. To Culture.pl, who gave me a community in Warsaw and kept Poland fun. To the Department of Slavic Languages and Literatures, the Copernicus Program in Polish Studies, the Rackham Graduate School, and the Sweetland Writing Center, whose generous funding made this dissertation possible. I’m thankful to have had you all in my corner.
    [Show full text]
  • Stardigio チャンネル:４６６ 放送日：２０１２／７／９～２０１２／７／１５ 開始時間：4:00～8:00～12:00～16:00～20:00～24:00～
    STARdigio チャンネル:４６６ 放送日：２０１２／７／９～２０１２／７／１５ 開始時間：4:00～8:00～12:00～16:00～20:00～24:00～ 楽曲タイトル ■TIGHT CREW presents DELICIOUS SOUNDS mixed by DJ SHIGEKI MAKE IT BETTER FEAT...CAPPO "P" IS STILL FREE SOUTH BRONX LIVING IN THE WORLD OF HIP HOP THE BRIDGE REAL HIP-HOP (PETE ROCK REMIX) INSTRUMENTAL THE WORLD IS YOURS DEFINITION WE RUN THINGS (IT'S LIKE DAT) CHECK THE RHIME PROPS OVER HERE HIP 2 DA GAME HANDS, IN THE AIR, MOUTH SHUT FAKIN JAX GIVE ME A LITTLE MORE TIME FEAT...O.C. ELECTRIC RELAXATION DISTORTION TO STATIC (AT EASE MICROPHONE CHECK MIX) LITTLE GHETTO BOY (J.PERIOD REMIX) FEAT...Q-TIP ■WE NOD selection：『Rhymesayersレーベル特集Pt.2』 Felt Chewed Up Take Me Home Just For Show Dirty Girl Glorious Living Slightly Larger Now Cats Van Bags Rejuvenation The Truth Neutralize Hoe Cakes Scared All I Know ■KEMURI PRODUCTIONS presents DELICIOUS SOUNDS mixed by DJ YAS ［再］ Jingle stunts rmx Thunder Get Dollaz (24-7) Souls Brother The Dragon Unorganised Protest You Been Shot litany#4 Lord Gnarlon ft. Down Town James Brown Subsong Bitter Sweet feat. Domonic Dean Breaux New Bombay Live From Paris (remix) The Proxy Fever Where Have They Gone Breathing Pleasure ft. Rico Perverted Undertone Edo Crossing Over Metro-No-Man's Land 光路 Serpent`s Fruit ■煙屋新八 selection：『NEW RELEASE』 ［再］ ROMAN HOLIDAY HELLO WORLD CARELESS WORLD Proletarian Dreams DOUBLE HELIX RIGGS & MURTAUGH GRIS TWO UP ROOFTOP STUPID HOE FAR AWAY ALL NITE El Dorado GET GOT OPEN CAN'T KEEP RUNNING IN PLACE *著作権法上、番組の録音は個人的に楽しむ場合を除き禁じられています。 ヒップホップ、ラップ ｢番組案内 （４時間サイクル）｣ 演奏者名 P-BROTHERS KRS-ONE BOOGIE DOWN PRODUCTION MC SHAN MC SHAN DAS-EFX NAS BLACKSTAR DA BUSH-BABEES A TRIBE CALLED QUEST THE BEATNUTS LORD FINESSE LORD FINESSE INI GABRIELLE A TRIBE CALLED QUEST THE ROOTS THE ROOTS & JOHN LEGEND FELT BROTHER ALI Atmosphere FELT The Micranots P.O.S.
    [Show full text]
  • Razorcake Issue #84 As A
    RIP THIS PAGE OUT WHO WE ARE... Razorcake exists because of you. Whether you contributed If you wish to donate through the mail, any content that was printed in this issue, placed an ad, or are a reader: without your involvement, this magazine would not exist. We are a please rip this page out and send it to: community that defi es geographical boundaries or easy answers. Much Razorcake/Gorsky Press, Inc. of what you will fi nd here is open to interpretation, and that’s how we PO Box 42129 like it. Los Angeles, CA 90042 In mainstream culture the bottom line is profi t. In DIY punk the NAME: bottom line is a personal decision. We operate in an economy of favors amongst ethical, life-long enthusiasts. And we’re fucking serious about it. Profi tless and proud. ADDRESS: Th ere’s nothing more laughable than the general public’s perception of punk. Endlessly misrepresented and misunderstood. Exploited and patronized. Let the squares worry about “fi tting in.” We know who we are. Within these pages you’ll fi nd unwavering beliefs rooted in a EMAIL: culture that values growth and exploration over tired predictability. Th ere is a rumbling dissonance reverberating within the inner DONATION walls of our collective skull. Th ank you for contributing to it. AMOUNT: Razorcake/Gorsky Press, Inc., a California non-profit corporation, is registered as a charitable organization with the State of California’s COMPUTER STUFF: Secretary of State, and has been granted official tax exempt status (section 501(c)(3) of the Internal Revenue Code) from the United razorcake.org/donate States IRS.
    [Show full text]
  • The Sensory Environments of Civil War Prisons
    University of South Carolina Scholar Commons Theses and Dissertations 2015 The eS nsory Environments of Civil War Prisons Evan A. Kutzler University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the History Commons Recommended Citation Kutzler, E. A.(2015). The Sensory Environments of Civil War Prisons. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3572 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. THE SENSORY ENVIRONMENTS OF CIVIL WAR PRISONS by Evan A. Kutzler Bachelor of Arts Centre College, 2010 Master of Arts University of South Carolina, 2012 _____________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy in History College of Arts and Sciences University of South Carolina 2015 Accepted by: Mark M. Smith, Major Professor Don Doyle, Committee Member Lacy K. Ford, Committee Member Stephen Berry, Committee Member Lacy K. Ford, Vice Provost and Dean of Graduate Studies © Copyright by Evan A. Kutzler, 2015 All Rights Reserved ii ACKNOWLEDGEMENTS Neither the sound of bells, nor the smell of privies, nor the feeling of lice factored into my imagined dissertation when I matriculated at the University of South Carolina in 2010. The Civil War, however, had always loomed large. As a child, my mother often took me metal detecting in the woods, fields, and streams of middle Tennessee in what became our shared hobby. An early lesson in sensory history occurred one summer in a cow pasture (with owner’s permission) along the Nashville and Decatur Railroad.
    [Show full text]
  • DCR 5003 BIG TWINS the Project Kid CD
    1. Man In The Mirror 2. Black Or White 3. Human Nature 4. The Way You Make Me Feel 5. Smooth Criminal 6. Billie Jean 7. Wanna Be Starting Something 8. Bad 9. Beat It 10. I Want You Back My Baby Loves... Michael Jackson is the first in a Upcoming My Baby Loves... releases include: brand new series of lullaby renditions of material made My Baby Loves... Madonna, The 80s, Motown, famous by some of the biggest stars Mom and Dad and even My Baby Loves... Hip-Hop. grew up on. Increasingly the trend is towards parents and children listening to music as a shared experience. KEY SELLING POINTS: This series will serve as a touchstone towards parents • Ten Michael Jackson favorites recorded as and their children enjoying their favorites together. soothing lullabies all while being easy on adult ears My Baby Loves... Michael Jackson features ten of The • Banner ads and awareness campaign on King Of Pop's biggest hits, including smashes from Parenting.com, Coolmompicks.com, Parents.com and Babyuniverse.com Thriller, Bad, the Jackson 5 days and more guaranteed • Reviews and write ups targeted in popular to make you wanna be startin' something at bed time. parenting publications including Parents Magazine, Family Fun Magazine and Parenting All selections are full length and orchestrated as gentle • Similar to the Rockabye Baby series lullaby versions that are satisfying for the little ones which has sold through over 200,000 to date while being easy on adult ears. ORDER CUT OFF DATE FOR THIS ITEM: JULY 28th Format: CD Cat.
    [Show full text]
  • Rsxgld Rsxgld
    RSXGLD RSXGLD KEY SELLING POINTS • Debut release for Detroit veterans 14KT & Ro Spit, forming RSXGLD (Pronounced Rose Gold) • 14KT has produced and collaborated with numerous artists including Roc Marciano, Danny Brown, Black Milk, Bun B, eLZhi, Oddisee, Skyzoo, Jay Electronica & Mayer Hawthorne • Ro Spit has amassed a career spanning across 3 albums, 2 mixtapes, and countless of features • Album features include Royce Da 5’9”, Denaun Porter, Elzhi, Ronnie McNeir and more DESCRIPTION ARTIST: RSXGLD For Ro Spit and 14KT, they’ve built a small empire on their own as solo TITLE: RSXGLD artists. Ro Spit has amassed a career spanning across 3 albums, 2 CATALOG: l-FB5183 / cd-FB5183 mixtapes, and countless of features including Royce Da 5’9”, Denaun LABEL: Fat Beats Records Porter, Bun B, Freeway and Raheem DeVaughn just to name a few. Not GENRE: Hip-Hop/Rap to mention a reality TV show centered around his world famous brand BARCODE: 659123518314 / 659123518321 Burn Rubber that was produced by Eminem. The production arm of FORMAT: 2XLP Gold Vinyl / CD RSXGLD, 14KT, is 8 albums deep into his career. KT has paired with HOME MARKET: Detroit, Micigan some of the best in the game, having worked with a who’s who of today’s RELEASE: 11/3/2017 artists such as Roc Marciano, Danny Brown, Black Milk, Bun B, eLZhi, LIST PRICE: $24.98 / CT / $11.98 / AK Oddisee, Skyzoo, Jay Electronica, and even a collaboration album with his fellow Ann Arbor compadré Mayer Hawthorne as they formed the duo TRACKLISTING (Click Tracks In Blue To Preview Audio) Jaded Inc.
    [Show full text]
  • Capturing-Sound-How-Technology-Has-Changed-Music.Pdf
    ROTH FAMILY FOUNDATION Music in America Imprint Michael P. Roth and Sukey Garcetti have endowed this imprint to honor the memory of their parents, Julia and Harry Roth, whose deep love of music they wish to share with others. This publication has been supported by a subvention from the Gustave Reese Publication Endowment Fund of the American Musicological Society. The publisher gratefully acknowledges the generous contribution to this book provided by the Music in America Endowment Fund of the University of California Press Associates, which is supported by a major gift from Sukey and Gil Garcetti, Michael Roth, and the Roth Family Foundation. CAPTURING SOUND H O W CAPT T U E C R H N I O N L O G G Y S UNIVERSITY OF CALIFORNIA PRESS H A S O C H U A N N G E D D M BERKELEY LOS ANGELES LONDON U S I C tz mark ka University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England “The Entertainer” written by Billy Joel © 1974, JoelSongs [ASCAP]. All rights reserved. Used by permission. © 2004 by the Regents of the University of California Library of Congress Cataloging-in-Publication Data Katz, Mark, 1970–. Capturing sound : how technology has changed music / Mark Katz. p. cm. Includes bibliographical references and index. ISBN 0-520-24196-7 (cloth : alk. paper)— ISBN 0-520-24380-3 (pbk. : alk. paper) 1. Sound recording industry. 2. Music and technology. I. Title. ml3790.k277 2005 781.49—dc22 2004011383 Manufactured in the United States of America 13 12 11 10 09 08 07 06 05 04 10987654 321 The paper used in this publication is both acid-free and totally chlorine-free (TCF).
    [Show full text]
  • Istanbul Technical University Graduate School of Arts
    ISTANBUL TECHNICAL UNIVERSITY « GRADUATE SCHOOL OF ARTS AND SOCIAL SCIENCES RELATIONSHIP BETWEEN SAMPLE SELECTION AND TECHNOLOGICAL DEVELOPMENTS OF SAMPLERS IN SAMPLE BASED HIP-HOP M.A. THESIS Kerem ERGENER Department of Music Music Programme JUNE, 2019 ISTANBUL TECHNICAL UNIVERSITY « GRADUATE SCHOOL OF ARTS AND SOCIAL SCIENCES RELATIONSHIP BETWEEN SAMPLE SELECTION AND TECHNOLOGICAL DEVELOPMENTS OF SAMPLERS IN SAMPLE BASED HIP-HOP M.A. THESIS Kerem ERGENER (409161110) Department of Music Music Programme Thesis Advisor: Assist. Prof. Gökhan Deneç JUNE, 2019 İSTANBUL TEKNİK ÜNİVERSİTESİ « SOSYAL BİLİMLER ENSTİTÜSÜ ÖRNEKLEMEYE DAYALI HIP-HOP MÜZİKTE ÖRNEK SEÇİMİ VE ÖRNEKLEYİCİLERİN TEKNOLOJİK GELİŞİMİ ARASINDAKİ İLİŞKİ YÜKSEK LİSANS TEZİ Kerem ERGENER (40916110) MüZik Anabilim Dalı MüZik Programı TeZ Danışmanı: Dr. Öğr. Üyesi Gökhan Deneç HAZİRAN, 2019 Kerem Ergener, a M.A. student of ITU Graduate School of Arts and Social Sciences student ID 409161110, successfully defended the thesis/dissertation entitled “The Relationship Between Sample Selection and Technological Developments of Samples in Sample-Based Hip-Hop”, which he prepared after fulfilling the requirements specified in the associated legislations, before the jury whose signatures are below. Thesis Advisor : Assist. Prof. Gökhan DENEÇ ............................. Istanbul Technical University Jury Members : Assoc. Prof. Cevdet EREK ............................. Istanbul Technical University Assoc. Prof. Yahya Burak TAMER .............................. Bahçeşehir University Date of Submission : 03 May 2019 Date of Defense : 13 June 2019 v vi To my grandparents, Keriman and Ahmet Erdoğan Sakarya, vii viii FOREWORD In my childhood, the vinyl record was in its silent period. I bought my first vinyl record in 2010 and it was a reissue of Pink Floyd’s “Dark Side of The Moon”. I didn’t have a turntable, but I bought it anyways.
    [Show full text]