...Dec 6 2001 Exchanging the Currency of Authenticity: Live Performance and Mediatization in Hiphop Culture Baba Brinkman 0135748 Welcome to the wonderful World of entertainment Where art imitates life And people get famous Welcome to the world Of show-biz arrangements Where "lights, camera, action" Is the language. -Jurrasic 5 Performance studies in the last few years has begun to reject essentialist notions of live performance as ontologically distinct from the influence of recorded media, or mediatization. Philip Auslander deconstructs the traditional binary of live versus mediatized forms in his recent study, Liveness: Live Performance in a Mediatized Culture. Since hiphop culture and rap music originated in a post-industrial urban setting, they have always been inherently mediatized to some degree. However, if there is no unmediatized performance in hiphop culture, a huge premium is still placed on immediacy. Since the appearance of rap records in the late seventies and MTV rap music videos in the mid-eighties it has become increasingly easier for rap artists to achieve success without having to first build a local following. In response to this phenomenon, music critic Nelson George has made a political analogy: recorded media "has made rap more democratic--but is democracy good for art? Hiphop was, at one point, a true meritocracy"(George 113).i Hiphop culture struggles between its status as meritocracy and its status as democracy, and this dichotomy...
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...the Kool Moe Dee, DJ Kool Herc and so on , I would like to also mention some other great artists that brought hiphop to the peak of its Fame. These artists include Tupac Shakur, NWA, Notorious B.I.G, Lauryn Hill , Ahmad, and the similar styles of J.Cole and Kendrick Lamar. The reason why I chose these particular artists is to represent the face of Hip Hop in my research project is because through their work, they have represented what the creation of hiphop was meant to symbolize. They use Styles similar to The Jive talkin South African American and storytelling from African descent with rhythmic beats over the music to help people understand their storyline and the struggles they were facing. As mentioned before, Hip Hop started in New York as a way for the Youth to have a non-violent way to settle their disputes. Just like when hiphop first again with the activist in the 1960s bringing awareness to social and political Topix, these artists have also address social and political topics to their listeners. They are one of the main reasons why Hip Hop was at its prime and people were starting to be aware of what was going on and the music was a way to bring everyone together since we're all pretty much going through the same thing and we can feel the emotions of the artist speaking to us. Now with the list of names I presented for the artists who have influenced hiphop the most of the names of J.Cole and Kendrick Lamar. So they've only been artist for a short time, their messages...
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...How do I Connect to Hip Hop\ Rap music? The way I connect to hip hop music is not the same as the author article opinion of hip hop music and black females, Its a positive tool to me. This paper will explain my point of view as a black female that have lived and learned much of what the rappers are raping about, in this generation. The rhythm of the beat in Rap music is what I enjoy the most; When I began to feel the beat I become one with the music ; and notice that my body began to rock unconsciously. Some people many not enjoy the lyrics of rap music because they don't understand the message or the language that rappers speak. when people don't understand rap/ hiphop music they should not downgrade the artist or their music, before they educate themselves about the music, style and history of the artist....
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...Eugene, Oregon Hip hop is a form of musical expression and artistic subculture that originated in African-American and Hispanic-American communities during the 1970s in New York City, specifically the Bronx.[1][2][3] DJ Afrika Bambaataa outlined the four pillars of hip hop culture: MCing, DJing, B-boying and graffiti writing.[4][5][6][7] [8] Since its emergence in the South Bronx, hip hop culture has spread to both urban and suburban communities throughout the world.[9] Hip hop music first emerged with disc jockeys creating rhythmic beats by looping breaks (small portions of songs emphasizing a percussive pattern) on two turntables, more commonly referred to as sampling. This was later accompanied by "rap", a rhythmic style of chanting or poetry presented in 16 bar measures or time frames, and beatboxing, a vocal technique mainly used to imitate percussive elements of the music and various technical effects of hip hop DJ's. An original form of dancing and particular styles of dress arose among fans of this new music. These elements experienced considerable refinement and development over the course of the history of the culture. The relationship between graffiti and hip hop culture arises from the appearance of new and increasingly elaborate and pervasive forms of the practice in areas where other elements of hip hop were evolving as art forms, with a heavy overlap between those who wrote graffiti and those who practiced other elements of the culture. Today, graffiti remains part...
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...|How Hip-Hop Holds Blacks Back | | | | | | | | | | | | | | | | | Not long ago, I was having lunch in a KFC in Harlem, sitting near eight African-American boys, aged about 14. Since 1) it was 1:30 on a school day, 2) they were carrying book bags, and 3) they seemed to be in no hurry, I assumed they were skipping school. They were extremely loud and unruly, tossing food at one another and leaving it on the floor. Black people ran the restaurant and made up the bulk of the customers, but it was hard to see much healthy “black community” here. After repeatedly warning the boys to stop throwing food and keep quiet, the manager finally told them to leave. The kids ignored her. Only after she called a male security guard did they start slowly making their way out, tauntingly...
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...“A STUDY ON THE MOST INFLUENTIAL MALE RAP ARTIST AMONG 50 HIGH SCHOOL STUDENTS IN NEWLAND CENTER FOR EDUCATION S.Y. 2011-2012” A Thesis Presented To the Faculty and Staff of Newland Center for Education In Partial Fulfillment For The Secondary Education By: Meinard Albert D. Retoran 4th Year – Gold 2013 – 2014 APPROVAL SHEET The thesis entitled “A STUDY ON A STUDY ON THE MOST INFLUENTIAL MALE RAP ARTIST AMONG 50 HIGH SCHOOL STUDENTS IN NEWLAND CENTER FOR EDUCATION, S.Y. 2013-2014” presented and submitted by RETORAN, MEINARD ALBERT D., in partial fulfillment for requirements in Secondary Education has been examined and is recommended for acceptance and approval for ORAL EXAMINATION. Mrs. Michelle D. Retoran Adviser PANEL OF EXAMINERS As approved by the COMMITTEE ON ORAL EXAMINATION with a grades of ___________ on _____________________. DR. ROSARIO C. CRUZ Director DR. GELARIO C. CRUZ __________________ Principal DepEd Representative MRS. SEGUNDINA BANZON __________________ Member Member Accepted and approved in partial fulfillment of the requirements in Secondary Education Date: ______________ ACKNOWLEDGEMENT I would like to dedicate this thesis entitled “A STUDY ON A STUDY ON THE MOST INFLUENTIAL MALE RAP ARTIST AMONG 50 HIGH SCHOOL STUDENTS IN NEWLAND CENTER FOR EDUCATION, S.Y. 2013-2014” to...
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...English-E11-12 7/27/07 2:24 PM Page 1 Ministry of Education The Ontario Curriculum Grades 11 and 12 English Printed on recycled paper 07-003 ISBN 978-1-4249-4741-6 (Print) ISBN 978-1-4249-4742-3 (PDF) ISBN 978-1-4249-4743-0 (TXT) © Queen’s Printer for Ontario, 2007 2007 REVISED CONTENTS INTRODUCTION 3 Secondary Schools for the Twenty-first Century . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Importance of Literacy, Language, and the English Curriculum . . . . . . . . . . . . . . . . . . . Principles Underlying the English Curriculum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Roles and Responsibilities in English Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . THE PROGRAM IN ENGLISH 3 3 4 5 9 Overview of the Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Curriculum Expectations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Strands in the English Curriculum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 ASSESSMENT AND EVALUATION OF STUDENT ACHIEVEMENT Basic Considerations . . . . . . . . . . . ....
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