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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). -
Television Academy Awards
2019 Primetime Emmy® Awards Ballot Outstanding Comedy Series A.P. Bio Abby's After Life American Housewife American Vandal Arrested Development Atypical Ballers Barry Better Things The Big Bang Theory The Bisexual Black Monday black-ish Bless This Mess Boomerang Broad City Brockmire Brooklyn Nine-Nine Camping Casual Catastrophe Champaign ILL Cobra Kai The Conners The Cool Kids Corporate Crashing Crazy Ex-Girlfriend Dead To Me Detroiters Easy Fam Fleabag Forever Fresh Off The Boat Friends From College Future Man Get Shorty GLOW The Goldbergs The Good Place Grace And Frankie grown-ish The Guest Book Happy! High Maintenance Huge In France I’m Sorry Insatiable Insecure It's Always Sunny in Philadelphia Jane The Virgin Kidding The Kids Are Alright The Kominsky Method Last Man Standing The Last O.G. Life In Pieces Loudermilk Lunatics Man With A Plan The Marvelous Mrs. Maisel Modern Family Mom Mr Inbetween Murphy Brown The Neighborhood No Activity Now Apocalypse On My Block One Day At A Time The Other Two PEN15 Queen America Ramy The Ranch Rel Russian Doll Sally4Ever Santa Clarita Diet Schitt's Creek Schooled Shameless She's Gotta Have It Shrill Sideswiped Single Parents SMILF Speechless Splitting Up Together Stan Against Evil Superstore Tacoma FD The Tick Trial & Error Turn Up Charlie Unbreakable Kimmy Schmidt Veep Vida Wayne Weird City What We Do in the Shadows Will & Grace You Me Her You're the Worst Young Sheldon Younger End of Category Outstanding Drama Series The Affair All American American Gods American Horror Story: Apocalypse American Soul Arrow Berlin Station Better Call Saul Billions Black Lightning Black Summer The Blacklist Blindspot Blue Bloods Bodyguard The Bold Type Bosch Bull Chambers Charmed The Chi Chicago Fire Chicago Med Chicago P.D. -
Chance the Rapper's Creation of a New Community of Christian
Bates College SCARAB Honors Theses Capstone Projects 5-2020 “Your Favorite Rapper’s a Christian Rapper”: Chance the Rapper’s Creation of a New Community of Christian Hip Hop Through His Use of Religious Discourse on the 2016 Mixtape Coloring Book Samuel Patrick Glenn [email protected] Follow this and additional works at: https://scarab.bates.edu/honorstheses Recommended Citation Glenn, Samuel Patrick, "“Your Favorite Rapper’s a Christian Rapper”: Chance the Rapper’s Creation of a New Community of Christian Hip Hop Through His Use of Religious Discourse on the 2016 Mixtape Coloring Book" (2020). Honors Theses. 336. https://scarab.bates.edu/honorstheses/336 This Open Access is brought to you for free and open access by the Capstone Projects at SCARAB. It has been accepted for inclusion in Honors Theses by an authorized administrator of SCARAB. For more information, please contact [email protected]. “Your Favorite Rapper’s a Christian Rapper”: Chance the Rapper’s Creation of a New Community of Christian Hip Hop Through His Use of Religious Discourse on the 2016 Mixtape Coloring Book An Honors Thesis Presented to The Faculty of the Religious Studies Department Bates College in partial fulfillment of the requirements for the Degree of Bachelor of Arts By Samuel Patrick Glenn Lewiston, Maine March 30 2020 Acknowledgements I would first like to acknowledge my thesis advisor, Professor Marcus Bruce, for his never-ending support, interest, and positivity in this project. You have supported me through the lows and the highs. You have endlessly made sacrifices for myself and this project and I cannot express my thanks enough. -
Lust Demons (Feat. Jay Rock & Bj the Chicago Kid)
Lust Demons (feat. Jay Rock & Bj the Chicago Kid) Ab-Soul Your body's calling Your body's calling (Gimme some of that, gimme some of that that) Your body's calling Your body's calling (Me) Your body's calling Your body's calling (Gimme some of that, gimme some of that that) Your body's calling Your body's calling me Alright, I know what you like, I know what you want I know what you need, I know how to put you out your misery A-B (dash) S-o-u-l Infinity when it comes to the possibilities Anytime you're in my vicinity And I'll beat it, yeah I'll beat it up, yeah I'll beat it up Just like it's my enemy, all night I can't resist, I need it like my pancreas If you dismiss and no give me kiss kiss, it'll be hard digesting it Gimme some of that, gimme some of that That sweet, that nasty, that gushy stuff Back it up til a nigga say that's enough Mirror on the ceiling, everything looking up Sweetie, I'm trying to get it in like a suite key Your skin like sweet tea, I need thee Look sweet thing, you remind me of my jeep, your body's calling She got work but I think she finna call in, cause I'm all in that thang And she probably think I'm in love the way I'm falling in that thang Soulo This drank here got me leaning This reefer keep on steaming And I believe that everything happens for a reason And girl you got me fiending I don't care about your religion Cause I just can't resist you God damn lust demonsLemme know Lemme know Lemme know Lemme know Lemme know Lemme know Lemme know Lemme know Lemme know...Rock, Rock Leaning like a motherfucker, I -
Southwestern Mass Communication Journal
Southwestern Mass Communication Journal A journal of the Southwest Education Council for Journalism & Mass Communication ISSN 0891-9186 | Vol. 30, No. 1 | Fall 2014 Body Modification: The Case of Tattoo Copyright R. Brandon Rudyk and William R. Davie University of Louisiana at Lafayette This paper explores the now-dismissed case of Louisiana artist, Stephen Allen v. Electronic Arts, Inc., & Ricky Williams. This case, filed on December 31st 2012, went before the U.S. District Court for the Western District of Louisiana. No ruling was reached but the application of contradictory precedents indicates the need for clarification. Additionally, fairness requires that the 1976 Copyright Act be revised in order to allow for art that falls within a “gray” area of the artistic world. This paper argues that the 1989 Supreme Court landmark case of Community for Creative Non-Violence v. Reid demonstrates in its application of the balancing test for determining the relationship between “employee” and “work made for hire” status that athletes should be forewarned of the potential for litigation when it comes to their body artwork. Suggested citation: Rudyk, B. R., & Davie, W. R. (2014). Body modification: The case of tattoo copyright. Southwestern Mass Communication Journal, 30(1). Retrieved from http://swecjmc.wp.txstate.edu. Body Modification: The Case of Tattoo Copyright By R. Brandon Rudyk and William R. Davie, Ph.D. University of Louisiana at Lafayette Body Modification: The Case for Tattoo Copyright ABSTRACT This paper explores the now-dismissed case of Louisiana artist, Stephen Allen v. Electronic Arts, Inc., & Ricky Williams. This case, filed on December 31st 2012, went before the U.S. -
9781134588374.Pdf
Black Celebrity, Racial Politics, and the Press Shifting understandings and ongoing conversations about race, celebrity, and protest in the twenty-fi rst century call for a closer examination of the evolution of dissent by black celebrities and their reception in the public sphere. This book focuses on the way the mainstream and black press have covered cases of controversial political dissent by African American celeb- rities from Paul Robeson to Kanye West. Jackson considers the following questions: (1) What unique agency is available to celebrities with racialized identities to present critiques of American culture? (2) How have journalists in both the mainstream and black press limited or facilitated this agency through framing? What does this say about the varying role of journalism in American racial politics? (3) How have framing trends regarding these fi gures shifted from the mid-twentieth century to the twenty-fi rst century? Through a series of case studies that also includes Eartha Kitt, Tommie Smith and John Carlos, Sister Souljah, and Mahmoud Abdul-Rauf, Jackson illustrates the shifting public narratives and historical moments that both limit and enable African American celebrities in the wake of making public politicized statements that critique the accepted racial, economic, and mili- tary systems in the United States. Sarah J. Jackson is an Assistant Professor of Communication Studies at Northeastern University. Her research examines the construction of social identities in national debates about citizenship, inequality, and social change. Jackson’s research has appeared in The International Journal of Press Poli- tics and Feminist Media Studies. Routledge Transformations in Race and Media Series Editors: Robin R. -
Izabella Penier Culture-Bearing Women
Izabella Penier Culture-bearing Women: The Black Women Renaissance and Cultural Nationalism This monograph was written during Marie Curie-Sklodowska Fellowship 2016-2018 (European Union’s Horizon 2020 grant agreement No 706741) Izabella Penier Culture-bearing Women The Black Women Renaissance and Cultural Nationalism Managing Editor: Katarzyna Grzegorek Language Editor: Adam Leverton ISBN 978-83-956095-4-1 e-ISBN (PDF) 978-83-956095-5-8 e-ISBN (EPUB) 978-83-956095-6-5 This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 License. For details go 4o http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. © 2019 Izabella Penier Published by De Gruyter Poland Ltd, Warsaw/Berlin Part of Walter de Gruyter GmbH, Berlin/Boston The book is published with open access at www.degruyter.com. Managing Editor: Katarzyna Grzegorek Language Editor: Adam Leverton www.degruyter.com Cover illustration: https://unsplash.com/@jeka_fe by Jessica Felicio Contents Preface 1 1 Introduction: The Black Women Renaissance, Matrilineal Romances and the “Volkish Tradition” 16 1.1 African Americans as an “Imagined” Community and the Roots of the “Volkish” Tradition 32 1.2 Two Versions of the National “Family Plot”: Black National Theatre and the Historical /Heritage Writing of the Black Women’s Renaissance 40 1.3 The Black Women’s Renaissance and Black Cultural Nationalism: Can Nationalism and Feminism Merge? -
SXSW2016 Music Full Band List
P.O. Box 685289 | Austin, Texas | 78768 T: 512.467.7979 | F: 512.451.0754 sxsw.com PRESS RELEASE - FOR IMMEDIATE RELEASE SXSW Music - Where the Global Community Connects SXSW Music Announces Full Artist List and Artist Conversations March 10, 2016 - Austin, Texas - Every March the global music community descends on the South by Southwest® Music Conference and Festival (SXSW®) in Austin, Texas for six days and nights of music discovery, networking and the opportunity to share ideas. To help with this endeavor, SXSW is pleased to release the full list of over 2,100 artists scheduled to perform at the 30th edition of the SXSW Music Festival taking place Tuesday, March 15 - Sunday, March 20, 2016. In addition, many notable artists will be participating in the SXSW Music Conference. The Music Conference lineup is stacked with huge names and stellar latebreak announcements. Catch conversations with Talib Kweli, NOFX, T-Pain and Sway, Kelly Rowland, Mark Mothersbaugh, Richie Hawtin, John Doe & Mike Watt, Pat Benatar & Neil Giraldo, and more. All-star panels include Hired Guns: World's Greatest Backing Musicians (with Phil X, Ray Parker, Jr., Kenny Aranoff, and more), Smart Studios (with Butch Vig & Steve Marker), I Wrote That Song (stories & songs from Mac McCaughan, Matthew Caws, Dan Wilson, and more) and Organized Noize: Tales From the ATL. For more information on conference programming, please go here. Because this is such an enormous list of artists, we have asked over thirty influential music bloggers to flip through our confirmed artist list and contribute their thoughts on their favorites. The 2016 Music Preview: the Independent Bloggers Guide to SXSW highlights 100 bands that should be seen live and in person at the SXSW Music Festival. -
Youtube Brandcast [2012-Present]
goodsense.nyc CREATIVE & PRODUCTION SERVICES makes good sense. We love to create and execute events. We're all about big ideas, and creative collaboration. We create events that tell stories, market brands, position new products, and resonate with target audiences. GOOD SENSE & COMPANY is a creative and production agency that designs and manages live events for some We’re a full-service agency that provides whatever kind of service our of the biggest corporate and nonprofit entities in the clients need, from simple AV for a single event to a full-scale, world. multi-million dollar production. From the start, we've been tasked with large-scale, visionary projects, and we refined our craft, working on high-stakes, high-profile events: award shows, A-list concerts and GOOD SENSE & COMPANY is founded on the multi-venue festivals. complementary partnership of Jared Siegel and Joshua Cicerone. The company model is based on their own We love design that has meaning and purpose. We approach each archetypal dynamic: diplomat and agitator, dreamer and project as an exploration into the goals and aesthetics of the technician. For over a decade they have produced live company, brand, or product in need. We love new technology and events together, leading a team of talented individuals bring it in when and where it makes sense within a design. Our core that love to put on a good show. philosophy is focused on making our clients look good. We take one-off projects but where we truly thrive is in our long-term relationships. Regardless of project scope, we support all our clients with the same level of creativity, attention, and thought. -
Abstract Humanities Jordan Iii, Augustus W. B.S. Florida
ABSTRACT HUMANITIES JORDAN III, AUGUSTUS W. B.S. FLORIDA A&M UNIVERSITY, 1994 M.A. CLARK ATLANTA UNIVERSITY, 1998 THE IDEOLOGICAL AND NARRATIVE STRUCTURES OF HIP-HOP MUSIC: A STUDY OF SELECTED HIP-HOP ARTISTS Advisor: Dr. Viktor Osinubi Dissertation Dated May 2009 This study examined the discourse of selected Hip-Hop artists and the biographical aspects of the works. The study was based on the structuralist theory of Roland Barthes which claims that many times a performer’s life experiences with class struggle are directly reflected in his artistic works. Since rap music is a counter-culture invention which was started by minorities in the South Bronx borough ofNew York over dissatisfaction with their community, it is a cultural phenomenon that fits into the category of economic and political class struggle. The study recorded and interpreted the lyrics of New York artists Shawn Carter (Jay Z), Nasir Jones (Nas), and southern artists Clifford Harris II (T.I.) and Wesley Weston (Lii’ Flip). The artists were selected on the basis of geographical spread and diversity. Although Hip-Hop was again founded in New York City, it has now spread to other parts of the United States and worldwide. The study investigated the biography of the artists to illuminate their struggles with poverty, family dysfunction, aggression, and intimidation. 1 The artists were found to engage in lyrical battles; therefore, their competitive discourses were analyzed in specific Hip-Hop selections to investigate their claims of authorship, imitation, and authenticity, including their use of sexual discourse and artistic rivalry, to gain competitive advantage. -
A Rap Bibliography/Discography
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by KnowledgeBank at OSU Music Reference Services Quarterly. 1996, vol.4, no.4, p.17-57. ISSN: 1540-9503 (online) 1058-8167 (print) DOI: 10.1300/J116v04n04_02 http://www.tandfonline.com/toc/wmus20/current http://www.tandfonline.com/toc/wmus20/4/4 © 1996 The Haworth Press, Inc. All rights reserved. Getting Hip to the Hop: A Rap Bibliography/Discography Leta Hendricks ABSTRACT. This bibliographic/discographic essay examines works which may be used to develop a core collection on Rap music. A selected bibliography and discography is also provided. INTRODUCTION Research interest has recently emerged in the popular African-American musical idiom known as Rap and continues to grow as social and cultural scholars have embarked on a serious study of Rap music and culture. Therefore, the student, scholar, and general library patron may seek information on Rap and its relationship with the African-American community. During the 1970's, libraries rushed to include in their holdings culturally diverse materials, especially materials on African-American history, literature, and culture. Today, emphasis is placed on cultural diversity, Rap is sometimes deemed to be low art and may be overlooked in the collecting of diverse materials. However, Rap has already celebrated its sixteenth anniversary and, like Rock and Roll, Rap is here to stay. Rap music research is difficult because (1) the librarian or information provider generally lacks knowledge of the category,' and (2) primary/ephemeral materials are not widely accessible.2 This selective bibliographic and discographic essay examines a variety of Rap resources and materials including biographies, criticisms, discographies, histories, recordings, and serials to help fill the Rap knowledge and culture gap and assist in the development of a core collection on Rap music. -
SEP 1 8 2014 of the City of Los Angeles
ACCELERATED REVIEW PROCESS - E Office of the City Engineer Los Angeles, California To the Honorable Council SEP 1 8 2014 Of the City of Los Angeles Honorable Members: C. D. No. 13 SUBJECT: Hollywood Boulevard and Vine Street - Walk of Fame Additional Name in Terrazzo Sidewalk — NEW KIDS ON THE BLOCK RECOMMENDATIONS: A. That the City Council designate the unnumbered location situated one sidewalk square southerly of and between numbered locations 32 and 33 as shown on Sheet 19 of Plan D-30385 for the Hollywood Walk of Fame for the installation of the name of New Kids On The Block at 7072 Hollywood Boulevard. B. Inform the Hollywood Chamber of Commerce of the Council's action on this matter. C. That this report be adopted prior to the date of the ceremony on October 9, 2014. FISCAL IMPACT STATEMENT: No General Fund Impact. All cost paid by permittee. TRANSMITTALS: 1. Unnumbered communication dated September 8, 2014, from the Hollywood Historic Trust of the Hollywood Chamber of Commerce, biographical information and excerpts from the minutes of the Chamber's meeting with recommendations. City Council - 2 - C. D. No. 13 DISCUSSION: The Walk of Fame Committee of the Hollywood Chamber of Commerce has submitted a request for insertion into the Hollywood Walk of Fame the name of New Kids On The Block. The ceremony is scheduled for Thursday, October 9, 2014 at 11:30 a.m. The communicant's request is in accordance with City Council action of October 18, 1978, under Council File No. 78-3949. Following the Council's action of approval, and upon proper application and payment of the required fee, an installation permit can be secured at 201 N.