scholarly journals O ÁLBUM SANDINISTA!: AGENCIAMENTOS E FRONTEIRAS MUSICAIS DO GRUPO THE CLASH // THE SANDINISTA! ALBUM: AGENCEMENTS AND MUSICAL BOUNDARIES OF THE BAND THE CLASH

2017 ◽  
Vol 15 (2) ◽  
pp. 511
Author(s):  
Herom Vargas ◽  
Nilton Carvalho
Keyword(s):  
Hip Hop ◽  
Punk Rock

O movimento punk inglês produziu rompimentos com o rock mainstream da indústria fonográfica, mas após algum tempo, sua estética se estabeleceu como fórmula cristalizada. No álbum Sandinista! (1980), a banda inglesa The Clash se afasta dessa rigidez musical ao movimentar-se para as fronteiras, em contato com outras culturas e seus agenciamentos textuais. Essa mudança é um aspecto fundamental na construção da linguagem híbrida do disco que difere dos moldes identitários do punk rock. Com base nos Estudos Culturais e na Semiótica da Cultura, este artigo visa demonstrar como o grupo propôs uma arte de fronteira musical e política com o chamado Terceiro Mundo, usando textos (dub, jazz, soul, hip hop, calypso) geradores de uma semiótica que difere do regime significante (DELEUZE; GUATTARI, 1995) do punk britânico.

scholarly journals Tripping with Allah

2014 ◽  
Vol 31 (1) ◽  
pp. 124-127
Author(s):  
Vernon James Schubel
Keyword(s):  
New York ◽  
Hip Hop ◽  
Pop Culture ◽  
Religious Community ◽  
Punk Rock ◽  
First Year ◽  
Entire Body ◽  
Wide Range ◽  
Eminent Scholar ◽  
Great Writer

I should begin by confessing that I have been a fan of Michael MuhammadKnight’s work ever since I first read his novel, The Taqwacores, and his travelmemoir, Blue-Eyed Devi: A Road Odyssey through Islamic America, back in2007. I have since read all of his books and have taught several of them in mycourses on contemporary Islam and Islam in North America. I regularly teachhis account of the hajj from Journey to the End of Islam in my first-year “Introductionto Religion” course. I consider his book on the Five-Percent Nation,The Five Percenters: Islam, Hip Hop, and the Gods of New York, to be one ofthe finest ethnographies of a religious community ever penned. I was thereforepleased to find I have a blurb on the back of Tripping with Allah in which Ipraise him for his talent, his authenticity, and his passion. I consider the authora great writer. I envy his skill with language, his creative intellect, and, mostof all, his formidable work ethic. After all, this is his ninth book since the publicationof The Taqwacores (Soft Skull Press: 2004). However, I sometimeswonder exactly for whom he is writing because his books assume a sophisticatedaudience with backgrounds in a wide range of topics from the historyof Islam to American popular culture.In the final pages of Tripping with Allah, Knight sums up his career sofar with this remarkable paragraph.I’ve spent roughly twenty years as a Muslim of some form or other, a crazyconvert and then an ex-Muslim, progressive Muslim, ghulat Shi’a, Nimatullahidervish, Azrael Wisdom, Mikail El, Islamic Gonzo, “godfather ofMuslim punk rock,” Seal of Muslim Pseudo and now Pharmakon Allah,Muhammadus Prine, Quetzalcoatl Farrakhan who trips and says FatimaKubra but has this goofy idea of taking up the way of the salaf, and Dr. BruceLawrence just called me a malamatiyyah at a lecture in Vancouver. (p. 248)This paragraph is striking because it assumes so much of its reader, includinga rather encyclopedic knowledge of Islam, African-American religioustraditions, pop-culture, and what Frank Zappa might have called the “conceptualcontinuity” of the author’s entire body of work. The line that grabbed memost powerfully was the image of Bruce Lawrence, the eminent scholar ofIslam and Sufism, referring to Michael Knight as a malāmatīyah. This term, ...

scholarly journals CONNECTION BETWEEN PERSONAL VALUES AND MUSIC PREFERENCES

2020 ◽  
pp. 52-56
Author(s):  
Anton Kurapov ◽  
Mykhailo Kandykin
Keyword(s):  
Hip Hop ◽  
Personal Values ◽  
Punk Rock ◽  
Pop Music ◽  
Music Preferences ◽  
Age And Gender ◽  
Music Festivals ◽  
Aged People ◽  
And Gender ◽  
The Relationship

This article describes the main correlations that were obtained between music preferences and personal values. It has been discovered that personal values play a significant role in people’s music preferences and they are at the forefront in proposing a map that links personal values to music preferences. According to the results, music preferences can be defined by personal values since people tend to listen to a specific type of music if corresponding values are projected such as conservatism and openness. In this case, music is broken into four preference dimensions which include reflective and complex for folk, jazz, and classical, rebellious and intense comprising of punk, rock, and alternate, conventional and upbeat comprising of pop, country, and soundtracks, and lastly rhythmic and energetic including funk, electronica, hip-hop, and soul. Besides, preferences may be defined by socio-demographic characteristics such as age and gender such that the young people tend to prefer music because of what the other peers listen to and enjoy music in social places such as bars, restaurants, and music festivals, middle-aged people listen to the music of their preferences and at the time of their choosing at homes or while carrying out activities, the aged tend to have less music preference but some cannot do anything without listening to music and therefore have to keep their preference music always. Males tend to focus on certain genres of music such as heavy metal and rock which are associated with cognitive listening and demonstrates a negatively conservative nature of music while females prefer listening to pop music more than males. This article discloses the main results that were obtained in the empirical study of different articles concerning the topic of the relationship between personal values and music preferences. No such research was conducted on Ukrainian-speaking samples before.

scholarly journals Graphic hybridization of modern French vocabulary

2019 ◽  
pp. 82-89
Author(s):  
H. H. Kriuchkov
Keyword(s):  
Hip Hop ◽  
Fast Food ◽  
Crack Cocaine ◽  
American English ◽  
Punk Rock ◽  
Loan Words ◽  
Crash Failure ◽  
Cultural Sphere ◽  
Rock N Roll ◽  
Hot Dog

The article is devoted to the analysis of American borrowings in French of the 21st century. Americanisms in French keep their graphic form and change French orthography, its principles and system. All spheres of social being are borrowing from American English. In the field of food the French vocabulary has borrowed from American English snack-bar, brunch, fast-food, pop-corn, hot-dog, cocktail, coca-cola. In some words the orthography is simple, based on phonetical principles. In the case of bar, fast, pop, corn, dog, coca, cola there is no problems to write or to read these words. But other substantives have brought specific orthograms (ck, un, op, h, ail) and modify the French graphic inventory: snack, brunch, food, hot, cocktail. The cultural sphere has received many units from American English: hip-hop, rock-and-roll, rock`n`roll, hard rock, heavy metal, jazz rock, punk rock, grunge. Some americanisms enrich French graphic with digrams ck, ea, zz, un or aphonograms (h), apostrophe (rock`n`roll) etc. Borrowed americanisms with English orthography can create homophone series in french: crack (cocaine) – crac! (crac!) – crack (crack) – crack (favorite trotter) – craque, craques, craquent (verb "to crack") – craque (fib) – krach (crash failure) – krak (castle). Barrowed orthograms complicate French graphic. They have no new phonems but add superfluous graphems in French inventory. Etymological orthograms reproduce the linguocultural traditions of language. They shape the high graphostyle of language and please young people who loves to use Anglicisms and Americanisms with authentic orthography. Graphic features of English loan-words result into hybridization of French vocabulary, complicate orthography, extend the linguocultural domain and insure the ethnosociolinguistical loyalty of both languages and cultures.

Where in the world is the hip hop nation?

Popular Music ◽  
2003 ◽  
Vol 22 (2) ◽  
pp. 241-245
Author(s):  
Inez H. Templeton
Keyword(s):  
Hip Hop ◽  
The World

Creating a Theoretical Framework for Hip Hop Therapy

2009 ◽  
Author(s):  
Debangshu Roychoudhury ◽  
Aaron B. Ross
Keyword(s):  
Hip Hop ◽  
Theoretical Framework

Exploring the Drugs-Crime Connection within the Electronic Dance Music and Hip-Hop Nightclub Scenes

2007 ◽  
Author(s):  
Tammy L. Anderson ◽  
Philip R. Kavanaugh ◽  
Ronet Bachman ◽  
Lana D. Harrison
Keyword(s):  
Hip Hop ◽  
Dance Music ◽  
Electronic Dance Music

Friendship, Love, and Hip Hop

2015 ◽  
Author(s):  
Katie Rose Hejtmanek
Keyword(s):  
Hip Hop

Intersections

2020 ◽  
Vol 22 ◽  
Author(s):  
Chadwick Auriol Gaspard
Keyword(s):  
Hip Hop ◽  
Contemporary Dance ◽  
Skill Sets ◽  
Cultural Phenomenon ◽  
Dance Company ◽  
Short Time ◽  
Artistic Director ◽  
New System

Hip Hop is a cultural phenomenon that is constantly evolving and has made a worldwide impact in a short time. While it continues to change Hip Hop at its core remains the same. Victor Quijada artistic director of the Rubberband Dance company posed the question of “What more could Hip Hop be”. With those words in mind the focus of my research is to examine the movement and concepts/ideologies of the breakdancing subculture of Hip Hop; to create a fusion with contemporary dance. As such a brand-new system of movement with its own concepts and life could be created. The dance world is continuously shifting, and different skill sets, as well as ideologies, have been valued at different times and places. This exploration will challenge the mainstream ideals of what is currently considered “technique” and “foundation”

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