#jhent

[asculalive]

GO CHECK THE REMIX OUT #JUNGLEHABITATENT #ONEFLAG

[nirwess-blog]

LINK IN BIO. #Summer by @nir_wess feat. @onemike_habitat and @napalmshane7. #NIR #JhENT #JH

[nirwess-blog]

LINK TO SONG IN BIO. Video shoot May 21st. #Summer by @nir_wess feat. @onemike_habitat and @napalmshane7. #NIR #JhENT #JH

[nirwess-blog]

LINK IN BIO. Video shoot May 21st. #Summer by @nir_wess feat. @onemike_habitat and @napalmshane7. #NIR #JH #JhENT

[dopexdom93-blog]

Annotation #5

For my last annotation I would like to discuss Tupac Shakur’s political views on not only Hip-Hop but also his society, his lifestyle, and his California culture. As I was researching to conclude a voice for the West-Coast people, I ran across an article titled “Keepin’ It Real in Hip-Hop politics”. I felt as if this article would give me a clear insight on what exactly Tupac was rapping about? Besides talking about all the money he had, all the women, cars, clothes and jewlry. Tupac was discussing racism in his community, poverty, and the overall term for War on Drugs. Here is a brief summary from the article “ Outside of his most incendiary critics, Tupac Shakur is generally perceived as a socially conscious artist whose political credibility is located in his lyrical critiques of racism and his mother's membership in the Black Panther Party. Popular and academic writers have failed to examineTupac's distinct political ideas and identifiable activism. This article serves as a prolegomenon to the necessary dialogue on the politics ofTupac Shakur. Drawing from interviews, public statements, and lyrical analyses, the author expands the discourse on Shakur's contribution to the African American fight against racism and injustice.  Tupac shared the experiences of many young Black men during Ronald Reagan’s presidency and the administrations of President George Bush, Sr., and Bill Clinton, elected, respectively, in 1988 and 1992. Through lyrics, he spoke directly to the office of the presidency (Shakur, 1999a): Uhh . . . dear Mr. President Whas happening? . . . Ain’t nothin changed All the promises you made, before you got elected . . . . . . they ain’t came true . . . Everybody’s doped up, ni*ga what you smoking on? Figure if we high they can’t rain us Downloaded from jbs.sagepub.com at OLD DOMINION UNIV LIBRARY on April 23, 2016 12 Journal of Black Studies 42(1) But then America f**ked up and blamed up I guess it’s cause we black that we targets . . . I know you feel me cause you too near me not to hear me So why don’t you help a ni*ga out? Saying you cutting welfare That got us ni*gaz on the street, thinkin who in the hell care?  Tupac incorporated Revolutionary Nationalism in his lyrics and writings. In “Words of Wisdom” from the 2Pacalypse Now album, Tupac (Shakur, 1991) raps, This is for the masses the lower classes The ones you left out, jobs were givin’, better livin’ But we were kept out Made to feel inferior, but we’re the superior Break the Chains in our brains that made us fear yah Pledge allegiance to a flag that neglects us Honor a man that who refuses to respect us Emancipation, Proclamation, Please! Ni*ga just said that to save the nation These are lies and we all accepted . . . The war on drugs is a war on you and me And yet they say this is the Home of the Free But if you ask me its all about hypocrisy The constitution, yo, it don’t apply to me Lady Liberty still the bi**h lied to me”

APA Citation:  Stanford, K. L. (2011). Keepin' It Real in Hip Hop Politics: A Political Perspective of Tupac Shakur. Journal of Black Studies, (1). 3.

[dopexdom93-blog]

Annotation #4

How could I talk about East Coast and West Coast Hip-Hop without mentioning one of the greatest that ever changed the sound of Hip-Hop? In case you were wondering who exactly I’m talking about, maybe the name Notorious BIG should ring a bell. As I was doing my research it was so hard trying to find a peer reviewed article on the two celebrities, until I found a perfect biography on both of the artists, which of course was on the Old Dominion University database. This biography had a brief summary that discussed some of the goals that Notorious BIG had accomplished. These goals were, “ By the early 1990s, rap had migrated from its native East Coast to the West. The hyperbolically violent street narratives of N.W.A.’s “Gangsta” rap, along with its slightly more subtle offspring (at least in terms of tone), Dr. Dre and Snoop Dogg’s “G-Funk,” had wrested the rap world’s national focus from its roots in New York and placed it firmly in California. Not to be outdone, though, New York fired back with the 1993 album, Enter the Wu-Tang: 36 Chambers, by the rap ensemble the Wu-Tang Clan. It was not until the 1994 album, Ready to Die, by the Notorious B.I.G., however, that the East Coast could again legitimately claim itself as the epicenter of the rap world. Also known as Biggie Smalls (a moniker taken from the film Let’s Do it Again), Christopher Wallace matched the stylized violence of popular rap with gritty realism, and countered anger-infused end rhyme with highly structured and layered lyrics delivered with his trademark laid-back and often lisped grumble. Despite recording 668 Book Reviews only two albums over his short career (notably titled Ready to Die and Life after Death), Wallace, almost single-handedly, brought rap music back East and to its New York home. This feat did not come without fallout however. Wallace’s popularity led to a grand-scale coastal rivalry in rap music that divided its culture and fans and eventually claimed his life, along with that of his friend-turned-bitter-rival Tupac Shakur” ( Kishbaugh,)

APA Citation: Kishbaugh, J. R. (2009). The Notorious B.I.G.: A Biography. Popular Music & Society, 32(5), 668-670. doi:10.1080/03007760902786157

[dopexdom93-blog]

Annotation #3

Since I’m discussing the Authenticity between the East Coast and West Coast sounds of Hip-Hop, I decided to find an article that gave the West Coast a reason to create the term “gangsta rap” . Police brutality was one of the main reason’s that aggravated many of the blacks in the community. The police in the urban areas of Los Angles would repeatedly beat and assault the blacks only because, of the color of their skin, and the clothes that they wear. Most police officers would also beat them because, they feel as if all the blacks are constantly involved with negative activity such as, gang violence, selling drugs, or being on the wrong side of town. After awhile it gets aggravating, from dealing with the same situations over and over again. As I was stating before, I could really find an article based on this information but I did find an example due to this physical and mental abuse that the blacks faced from the cops. From the Old Dominion University library database, I found an article titled “1992 Los Angles Riot”. This article was a perfect example for me to use. The article discussed that, “In Los Angeles, California, four Los Angeles police officers that had been caught beating an unarmed African-American motorist in an amateur video are acquitted of any wrongdoing in the arrest. Hours after the verdicts were announced, outrage and protest turned to violence, as rioters in south-central Los Angeles blocked freeway traffic and beat motorists, wrecked and looted numerous downtown stores and buildings, and set more than 100 fires.On March 3, 1991, paroled felon Rodney King led police on a high-speed chase through the streets of Los Angeles County before eventually surrendering. Intoxicated and uncooperative, King resisted arrest and was brutally beaten by police officers Laurence Powell, Theodore Briseno, and Timothy Wind. Unbeknownst to the police, a citizen with a personal video camera was filming the arrest, and the 89-second video caught the police beating King with their batons and kicking him long after he was capable of resistance. The video, released to the press, caused outrage around the country and triggered a national debate on police brutality.Rodney King was released without charges, and on March 15 Sergeant Stacey Koon and officers Powell, Wind, and Briseno were indicted by a Los Angeles grand jury in connection with the beating. All four were charged with assault with a deadly weapon and excessive use of force. Though Koon did not actively participate in the beating, as the commanding officer present at the scene he was charged with aiding and abetting. Powell and Koon were also charged with filing false reports.Because of the uproar in Los Angeles surrounding the incident, the judge, Stanley Weisberg, was persuaded to move the trial outside Los Angeles County to Simi Valley in Ventura County. On April 29, 1992, the 12-person jury, which included 10 whites and no African-Americans, issued its verdicts: not guilty on all counts, except for one assault charge against Powell that ended in a hung jury. The acquittals touched off rioting and looting in Los Angeles that grew into the most destructive U.S. civil disturbance of the 20th century.Violence first erupted at the intersection of Florence Boulevard and Normandie Avenue in south-central Los Angeles. Traffic was blocked, and rioters beat dozens of motorists, including Reginald Denny, a white truck driver who was dragged out of his truck and nearly beaten to death by three African-American men. A news helicopter, hovering over the street, recorded the gruesome event. Los Angeles police were slow to respond, and the violence radiated to areas throughout the city. California Governor Pete Wilson deployed the National Guard at the request of Mayor Tom Bradley, and a curfew was declared. By the morning, hundreds of fires were burning across the city, more than a dozen people had been killed, and hundreds were injured.” (Nopper) As you can tell this article gives you a more broader detail of why the people couldn’t take the police brutality anymore.

APA Citation: Nopper, T. K. (2006). The 1992 Los Angeles Riots and the Asian American Abandonment Narrative as Political Fiction. CR: The New Centennial Review, (2), 73.

[dopexdom93-blog]

Annotation #2

Another annotation that I decided to use is one that is very similar to my previous article “Hip-Hop in the United States”. Except this particular article focuses mainly on the culture aspect of Hip-Hop. The name of this article is titled “Hip-Hop Culture” I decided to use bits and pieces from this article for my final paper. As I was reading, I noticed that after it discussed the New York rap culture, the author took a turn and began discussing culture towards different countries. Don’t get me wrong the article had a lot of useful information but I’m focusing on mainly culture within the United States. This article gives me a more broader approach to the overall term Hip-Hop and the culture involved behind it. Here is a quick summary from the article, “In the 1990S, numerous American scholars started to write seriously about hiphop.1 It is a complex culture, even though it is depicted in a one-dimensional way through the mass media. It is widely accepted that hip-hop culture first manifested itself in the early 1970s throughout the five boroughs of New York City, but first in the urban wasteland known as the South Bronx. It emerged from the African-American, Latino and Caribbean-American communities. According to Tricia Rose, “It is to be perceived as the reaction of marginalised youths in postindustrial urban America. Hip-hop music and culture rely on a variety of Afro-Caribbean and Afro-American musical, oral, visual and dance forms and practices.”2 Hip-hop includes four main branches of expression: “deejaying” (the art of combining sounds and songs using two or three turntables); “b-boying” (dancing); aerosol art or graffiti writing; and the emerging part of the iceberg, “emceeing” (rapping). Hip-hop is a way of life that conditions the way its participants are looking at the world, or at society, and the way they interact with other individuals. It also participates in the making of their social identity. According to pioneer Kris Lawrence Parker, also known as KRS-One, “Hip-hop is something you live and rap is something you do.’h The music industry and the media have helped to make the words hip-hop and rap synonymous, leaving out the other elements of the culture.” (Gadet)

APA Citation: GADET, S. (2015). Hip-hop Culture. Caribbean Quarterly, 61(1), 75-97.