Matt Altstiel
23/4/06
Prof. Benito
Mini-teatro examen final
Ana: Hay carino, has oiste que Carmen y Marcos por fin van a casar. Y mas, nosotros fuimos invitados a la boda!
Luis: No me digas! Aunque ella es tan sosa[1] y Marcos es un grunon con ganas[2]?
Ana: Ya lo veo, tu describas a ellos con pelos y senales[3].
Luis: Pues, por nada, sabes cuales otras personas asistiran?
Ana: Dejeme ver, muchas amigos nuestros….cuando tendremos una boda…. quisieras un celebracion grande o pequena?
Luis: Joder chica! Vas a arguir esa tema otra vez[4]? Mira a ellos, no es oro todo lo que reluce[5]. Si que nos salimos juntos hace…pues ahora…cinco anos, pero no es tiempo para pensar en bodas y en matrimonio…
Ana: Estar asi ahora mismo[6]! Que duro actuas[7]!
Luis: Vaya tonterias que esta diciendo[8]! A veces eres mas tonto que abundio[9].
Ana: Anda ya! Que dices! Mira quien habla[10]! Tu eres mas orguloso que un pavo real[11]. Es que te amo mucho, y que tengo ganas de empezar una vida juntos que no veas[12]!
Luis: Que si[13], que si lo sabia. Acaso vamos a casar cuando no tenemos una casa[14]? Es que cuidaremos hijos sin empleos seguros[15]? Tu no puedes comerme a mi coco[16] sobre esa tema.
Ana: Por que siempre seras tan pesimista[17]? Conoces a Paco y Maria?
Luis: Y tanto[18]. Como si los conozco[19]?
Ana: Bueno. Ellos son mas pobres que una rata[20], pero ellos estan tan contentos y felices que para que[21].
Luis: Ah, si, ya. Menudo lio[22]! Tengo mala sombra[23] de todo esto. No estamos en el mismo puesto que ellos! Paco tenia su licensa de derecho y Maria terminara sus estudios este semestre.
Ana: Cuando el rio suena, agua lleva…[24]
Luis: Solo faltaria[25]! A mi me lo vas a decir[26]! Cono, ellos son mas aburridos que una ostra[27]. Por que voy a debatir[28]?
Ana: Dichoso tu[29]! Lo cortes no quita lo valiente[30].Pero, tu ves que yo tenia razon[31]? Quieres escucharme[32]? No es una demanda, es un consejo amor.
Luis: Un consejo cada dos por tres[33]. !Buena la hemos hecho[34]! A que te voy a pedir su mano ahora mismo[35]?
Ana: No tomes mi pelo[36]. Vas al grano[37].
Luis: Mujer, aunque obras son amores, que no buenas razones[38], mira…las cosas son complicadas, que cuando nosotros dos estamos listos, seguimos. Pero, no piensas que es preferible para dejar este tema por la noche y salimos a la fiesta de Juanito?
Ana: Si, senor, si. Es un idea mas bueno que el pan[39]…
Luis: Ala! Vamos de marcha.
[1] Enunciado intensificador: es muy sosa
[2] Enunciado intensificador: es muy grunon
[3] Expression coloquial: es buen descripcion
[4] Mandato coloquial: no vas a arguer
[5] Refran: aparecencias no siempre son verdaderos
[6] Enunciado enfatico: reproche, critica
[7] Enunciado intensificador: actuas muy duro
[8] Enunciado enfatico: rechazo
[9] Expression humoristica: eres muy estupido
[10] Enunciado enfatico: reproche
[11] Expression humoristica: eres muy orgulloso
[12] Enunciado intensificador: tengo muchas ganas
[13] Affirmacion coloquial
[14] Interrogacion retorica: no vamos a casar
[15] No cuidaremos hijos
[16] Expression coloquial: no vas a cambiar mi mente
[17] Interrogacion retorica: critica, nunca vas a cambiar
[18] Affirmacion coloquial
[19] Interrogacion retorica: si, los conozco
[20] Expression humoristica: muy pobres
[21] Enunciado intensificador: muy contentos
[22] Expression ironica: gran lio
[23] Expression coloquial: mal idea
[24] Refran: si hay ganas, hay un modo
[25] Affirmacion
[26] Expression ironica
[27] Expression humoristica: muy aburridos
[28] Interrogacion retorica: no voy a debatir
[29] Expression ironica
[30] Refran: No me ofendes
[31] Interrogacion retorica: si que tengo razon
[32] Mandato colloquial
[33] Expression coloquial: mucho
[34] Expression ironica
[35] Interrogacion retorica
[36] Expression coloquial: no me burlas
[37] Expression coloquial: dices que quieres decir
[38] Refran: el hecho es mas que el dicho
[39] Expression humoristica: es muy bueno
Monday, April 30, 2007
LA Guerra Civil ESPANOLA
Matt Altstiel
20/4/06
La guerra en Castilla La Mancha y sus repercusiones
La Guerra Civil Española ha sido una de las experiencias más traumáticas para el país de España en toda su larga historia. La violencia de guerra y las condiciones casi imposibles de vida se extendieron en todos partes de España. No hubo una región que no fue tocado por batallas militares, secuestraciones, y una falta de bienes básicos. Después de la guerra, las zonas que pertenece a los Republicanos y el gobierno anterior fueron reprimidas y castigado por el nuevo gobierno de Franco. Uno de esas zonas, la autonomía de Castilla La Mancha sentía el muerde de guerra y una vida duro debajo del Franquismo. Sin embargo, la vida cotidiana pasa, pero no siguen sin grandes cambios que influyan a todos aspectos.
Castilla La Mancha, con su grande superficie es unos de Autonomías más grandes de toda España. En cambio de otras zonas grandes como Castilla León y Andalucía, poca gente vive aquí comparativamente. Entonces, ahora como el pasado, Castilla La Mancha pertenece a una zona más rural, sin grandes recursos industriales y sin una clase fuerte de obreros. Los campesinos y minifundistas por lo general estaban de acuerdo con la reformas de la Segunda Republica Española. Reformas agrarias que el gobierno se ponían en marcha, ayudaron mucha a la gente de una zona sumamente rural, pobre, maleducado, y sin recursos necesarios para cambiar su moda vida. Castilla La Mancha se convertía en una zona fuerte para los Republicanos, y su proximidad cerca el centro Republicano, Madrid afecto su estancia en la guerra también.
Antes y al principio del conflicto, hubo una fiebre Republicano para castigar y expulsar cualquier elemento contra el Republicanismo y sus ideales. Toledo, el capital y centro religioso del país sigue su importancia religiosa pero con un costa de vida humano. Los curas que estaban a favor a los Falangistas, que eran adherentes católicas, en muchos casos oponían los cambios que mugieron los Republicanos. Por su desobediencia, fueron castigados y en algunos casos fusilados. Muchos otros huyeron Castilla La Mancha por medio de sus vidas, y entraron zonas más amables a su causa.
El ejercito Falangista intento a forzar a Madrid para rendir y para terminar la guerra. Con el apoyo de los italianos, los alemanes, y los Portugales, el ejército Falangista gradualmente controlaba la mayoría del país. En una campaña militar sostenida, el ejército entro a Castilla La Mancha y encontró resistencia feroz. El ejercito Republicano y los Brigadas Internacionales compuesto de facciones comunistas, trataron a defender su territorio. Algunos pueblos, como unos en provincia de Guadalajara fueron conquistados por los fuerzas Falangistas, pero reconquistados por el ejercito Republicano. En casos como así, algunos pueblos le dejaron completamente destruidos y inútiles. Además de batallas definidas, hubo muchas luchas en las calles entre las fuerzas opuestas, entre vecinos y entre familias.
Castilla La Mancha era un sitio de unas batallas y conflictos mas clave de la guerra. El Alcázar de Toledo fuera controlado por el los rebeldes Falangistas que se separo del ejercito local. Los Republicanos enviaron un regimenté a Toledo para reconquistar esa fortaleza, pero los Falangistas no fueron derrotado. En mas que tres meses, el Alcázar fue atacado diariamente y fue bombardeo veinte siete veces. Aunque, Toledo y el Alcázar no presentan ninguna ventaja militar a ambos lados, era un edificio muy representante para cada uno. Por fin, los Falangistas ganaron cuando el Ejercito de África invado a Toledo y expulso el ejercito y las Milicias de los Republicanos. Los vencedores declaran esa victoria, una victoria clave para el moral de su causa. Más importante, es que, después de esa batalla, Francisco Franco fue nombrado generalísimo y la cabeza del ejército militar.
El ano próximo, hubo una batalla importante entre el ejercito del Frente Popular (una rama del ejercito Republicano) y el Corp. Truppe Volontaire de Italia en Guadalajara. Esa batalla fue unos de los batallas mas exitosos para los Republicanos en toda la guerra. Aunque los italianos y Fascistas tuvieron muchos mas soldados, la estrategia de los Republicanos fuera superior. Los contraataques ha sido una derrota completa a los italianos. Esa victoria provenía la circunvalación Madrid y prolongo la guerra para dos anos más.
Las fuerzas extranjeras como el Legión Cóndor y soldados Italianos hicieron mucho daño a unos sitios republicanos como Alcázar de San Juan. En este pueblo, la legión Cóndor llego con aviones y bombas que derribó la catedral y muchos hogares. Alfredo Pérez Merilla recuerda <>. Alcázar fuera ocupado por el ejército como otros sitios y ciudades en toda la autonomía.
Debajo de una ocupación cruel y sin leyes, los Falangistas empezaron una búsqueda para Republicanos y soldados que apoyan a esa causa. Como una medida de la severidad del régimen que impuso, muchísima gente fueron detenidos y fusilado. Muchas más, fueron nombrados enemigos del estado y luego se enviaron a esa gente a campos de concertación. Una nieta de un prisionero en un campo de concentración dijo, <>.
Al final de la guerra, Franco empezó a ordenar todo al país en su imagen. Las voces en oposición frente al nuevo gobierno fueron silenciado. Las reformas que han cambiado la sociedad de España volvieron al pasado con una política demasiada conservadora. La religión Católica supercedio todo, y los derechos para mujeres y grupos minorías fueron rechazados. Castilla La Mancha como otras regiones contra Franquismo sufro más que otras regiones que apoyaron a Franco. Ya demasiado atrasado económicamente, la gente de Castilla La Mancha vivía debajo de un estado reprimido con pocos recursos para arreglar su situación.
20/4/06
La guerra en Castilla La Mancha y sus repercusiones
La Guerra Civil Española ha sido una de las experiencias más traumáticas para el país de España en toda su larga historia. La violencia de guerra y las condiciones casi imposibles de vida se extendieron en todos partes de España. No hubo una región que no fue tocado por batallas militares, secuestraciones, y una falta de bienes básicos. Después de la guerra, las zonas que pertenece a los Republicanos y el gobierno anterior fueron reprimidas y castigado por el nuevo gobierno de Franco. Uno de esas zonas, la autonomía de Castilla La Mancha sentía el muerde de guerra y una vida duro debajo del Franquismo. Sin embargo, la vida cotidiana pasa, pero no siguen sin grandes cambios que influyan a todos aspectos.
Castilla La Mancha, con su grande superficie es unos de Autonomías más grandes de toda España. En cambio de otras zonas grandes como Castilla León y Andalucía, poca gente vive aquí comparativamente. Entonces, ahora como el pasado, Castilla La Mancha pertenece a una zona más rural, sin grandes recursos industriales y sin una clase fuerte de obreros. Los campesinos y minifundistas por lo general estaban de acuerdo con la reformas de la Segunda Republica Española. Reformas agrarias que el gobierno se ponían en marcha, ayudaron mucha a la gente de una zona sumamente rural, pobre, maleducado, y sin recursos necesarios para cambiar su moda vida. Castilla La Mancha se convertía en una zona fuerte para los Republicanos, y su proximidad cerca el centro Republicano, Madrid afecto su estancia en la guerra también.
Antes y al principio del conflicto, hubo una fiebre Republicano para castigar y expulsar cualquier elemento contra el Republicanismo y sus ideales. Toledo, el capital y centro religioso del país sigue su importancia religiosa pero con un costa de vida humano. Los curas que estaban a favor a los Falangistas, que eran adherentes católicas, en muchos casos oponían los cambios que mugieron los Republicanos. Por su desobediencia, fueron castigados y en algunos casos fusilados. Muchos otros huyeron Castilla La Mancha por medio de sus vidas, y entraron zonas más amables a su causa.
El ejercito Falangista intento a forzar a Madrid para rendir y para terminar la guerra. Con el apoyo de los italianos, los alemanes, y los Portugales, el ejército Falangista gradualmente controlaba la mayoría del país. En una campaña militar sostenida, el ejército entro a Castilla La Mancha y encontró resistencia feroz. El ejercito Republicano y los Brigadas Internacionales compuesto de facciones comunistas, trataron a defender su territorio. Algunos pueblos, como unos en provincia de Guadalajara fueron conquistados por los fuerzas Falangistas, pero reconquistados por el ejercito Republicano. En casos como así, algunos pueblos le dejaron completamente destruidos y inútiles. Además de batallas definidas, hubo muchas luchas en las calles entre las fuerzas opuestas, entre vecinos y entre familias.
Castilla La Mancha era un sitio de unas batallas y conflictos mas clave de la guerra. El Alcázar de Toledo fuera controlado por el los rebeldes Falangistas que se separo del ejercito local. Los Republicanos enviaron un regimenté a Toledo para reconquistar esa fortaleza, pero los Falangistas no fueron derrotado. En mas que tres meses, el Alcázar fue atacado diariamente y fue bombardeo veinte siete veces. Aunque, Toledo y el Alcázar no presentan ninguna ventaja militar a ambos lados, era un edificio muy representante para cada uno. Por fin, los Falangistas ganaron cuando el Ejercito de África invado a Toledo y expulso el ejercito y las Milicias de los Republicanos. Los vencedores declaran esa victoria, una victoria clave para el moral de su causa. Más importante, es que, después de esa batalla, Francisco Franco fue nombrado generalísimo y la cabeza del ejército militar.
El ano próximo, hubo una batalla importante entre el ejercito del Frente Popular (una rama del ejercito Republicano) y el Corp. Truppe Volontaire de Italia en Guadalajara. Esa batalla fue unos de los batallas mas exitosos para los Republicanos en toda la guerra. Aunque los italianos y Fascistas tuvieron muchos mas soldados, la estrategia de los Republicanos fuera superior. Los contraataques ha sido una derrota completa a los italianos. Esa victoria provenía la circunvalación Madrid y prolongo la guerra para dos anos más.
Las fuerzas extranjeras como el Legión Cóndor y soldados Italianos hicieron mucho daño a unos sitios republicanos como Alcázar de San Juan. En este pueblo, la legión Cóndor llego con aviones y bombas que derribó la catedral y muchos hogares. Alfredo Pérez Merilla recuerda <
Debajo de una ocupación cruel y sin leyes, los Falangistas empezaron una búsqueda para Republicanos y soldados que apoyan a esa causa. Como una medida de la severidad del régimen que impuso, muchísima gente fueron detenidos y fusilado. Muchas más, fueron nombrados enemigos del estado y luego se enviaron a esa gente a campos de concertación. Una nieta de un prisionero en un campo de concentración dijo, <
Al final de la guerra, Franco empezó a ordenar todo al país en su imagen. Las voces en oposición frente al nuevo gobierno fueron silenciado. Las reformas que han cambiado la sociedad de España volvieron al pasado con una política demasiada conservadora. La religión Católica supercedio todo, y los derechos para mujeres y grupos minorías fueron rechazados. Castilla La Mancha como otras regiones contra Franquismo sufro más que otras regiones que apoyaron a Franco. Ya demasiado atrasado económicamente, la gente de Castilla La Mancha vivía debajo de un estado reprimido con pocos recursos para arreglar su situación.
Hip Hop Final
Matt Altstiel
GLOS 3900
12/19/06
In search of Hip Hop…
In the song “Keep It Movin” rapper Q-Tip explains, “Hip Hop can never be a way of life. It doesn’t tell how to raise a child or treat your wife.”[1] Quite differently, MC Zion I tells the listener, “On the real though, there’s so many things you could say about Hip Hop. Hip Hop is life.”[2] Obviously, even between highly respected MCs, there exists a broad variance in opinions as to what exactly Hip Hop means. This paper seeks to answer the nebulous questions: What exactly is Hip Hop? What is included within Hip Hop and what lies outside of it? And finally, is Hip Hop even a culture?
This paper will confront these questions by elaborating on each of Hip Hop’s four elements: Rap Music (MCing), Turntablism (Djing), B-Boying (Breakdancing) and Aerosol Art (Graffiti). Also worth addressing are exponential elements of Hip Hop such as: journalism, scholarship, audio-visual production, theatre and fashion. While not specifically relating to the four elements, the exponential elements nevertheless complement and add to Hip Hop. This paper will explore Hip Hop as a catalyst for social change from its inception up to the present. Furthermore, as a socio-cultural movement, Hip Hop maintains a very special relationship with government and government structures. Finally, this paper attempts to answer the above questions through the political lens of race, gender and class.
What is Hip Hop?
Hip Hop is the popularized term for a street culture originating in the South Bronx of New York City. Hip Hop definitely has a place of origin and a history of cultural diffusion; however its elements in general originated quite independently. Only after prolonged interaction and convergence of elements, could one claim that culture of Hip Hop was born. Indeed, Raquel Rivera contends, “main expressive elements were not developed by the same people at the same time, nor do they all share common antecedents.”[3] Although commonly referenced within the media, Hip Hop did not emerge suddenly as the “Big Bang Theory” suggests.[4] Rather, only when the media recognized the marketing potential of Hip Hop, did it “explode” onto the nation’s conscious.
To answer the third question directly, Hip Hop is a transnational culture, the product of globalization and diffusion. At the same time, Hip Hop, perhaps more than any other musical form stresses precise localities and regionalism. One can find manifestations of Hip Hop practically in every region of the world, be it here in Minneapolis or over in Nairobi, Kenya. While global in nature, Hip Hop prioritizes local issues, lifestyles and identities. For instance, major Hip Hop localities can be said to produce a particular style, sound and expression of Hip Hop. When describing Hip Hop, one should not use the term, “Hip Hop Nation.” Instead, the term “Hip Hop Zone” comes closer to the true nature and spirit of this cultural form. Interestingly, “authenticity”, regarding the convergence of the four elements, often appears most strikingly in emerging Hip Hop Zones.[5] Both inclusive and exclusive at the same time Hip Hop presents a unique cultural dichotomy unlike nearly any other mass-mediated culture. Therefore, as Hip Hop has grown on the global scale, it has constantly changed in order to reflect local realities and cultural priorities.
While Afrika Bambaataa added the fifth element, knowledge, as core tenement of Hip Hop, most scholars, practitioners and fans recognize the four element model. Graffiti, the visual and written form of Hip Hop arguably originated first, and unlike the other three elements, originated outside of New York. B-boying coincided with the rise of the party DJ, as dancers would try to out do one another in competition during the break section of records. In a reciprocal relationship, DJing as a Hip Hop form, arose from DJs extending the popular break sections in order to compel partygoers to dance. Finally, MCing emerged when Djs recognized the need of a rapper to help direct crowds and drive songs beyond the simple break beats. Through Hip Hop pioneers, early elements gained their modern form.
The Four Elements
Graffiti, or aerosol art, represents the ultimate post-modern art form. Choosing a train, building or billboard as the canvas, the writing, in the worlds of Joe Austin, “is not a cultural aberration, but rather a long standing aesthetic tradition connected with social trends and cultural innovations.”[6] Although originating in Philadelphia by 1959, Graffiti took on its present forms and meanings primarily in New York. For writers, much like many disaffected youth of the so called “Hip Hop generation” graffiti mirrored the “fractured and disjunctive identities of the modern urban self.”[7] Simple tags became more and more complex as writer’s sought to increase their visibility. Often writer’s sought to enhance their reputation and visibility “getting up” in the middle of the night, “bombing” subway cars in order to go “all city.”[8] Equally loved and loathed at the same time, Graffiti perhaps unlike any other form within Hip Hop went through periods of repression and celebration. Chang describes Graffiti as both “moving violations, mini riots” and “an art so strong it hurt people.”[9] Graffiti, at first represented the most commercially accessible, public form of Hip Hop culture.
B-boying, dance form of Hip Hop, like Graffiti attained its peak popularity relatively early within Hip Hop’s history as a unified culture.[10] Also similar to graffiti, the form allowed for greater convergence of differing racial and ethnic groups.[11] However, unlike Graffiti, B-Boying was a distinctly phenomenon of the “Boogie Down Bronx”. Channeling the energy of the music, B-Boy and B-Girls incorporated flashy, gravity defying moves in a freeform competition. Dancing ciphers allowed Bronx youth to showcase individual style and earn the respect and admiration of their peers. Certain crews made up of talented young b-boys formed crews. The most famous of these crews, The Rock Steady Crew headed by b-boy Crazy legs went on to achieve international fame and helped bring Hip Hop into a national media spotlight. Like all four elements, b-boying traveled to other places such as Los Angeles, which added additional styles like popping and locking.[12] Breakdancing, above all, was a means of creative expression, a way to earn recognition on one’s own terms.
DJing and Turntablism showcase both performance ability and comprise one of two auditory forms of Hip Hop culture. Chang refers to Djing as “Style as Science.” Indeed, the holy trinity of Hip Hop: Grandmaster Flash, Afrika Bambaataa, and DJ Kool Herc, all achieved initial or principal fame as DJs. Djing allowed the musical genre of rap to emerge as Grandmaster Flash, among other introduced turntable techniques such as: “the Quick Mix Theory and the Clock Theory. These techniques changed DJ’s from passive to active actors upon the music.”[13] Allowed to manipulate music, DJ’s invented their own style, developing the looping break sequences essential to rap music. Furthermore, these pioneering DJs introduced a music that made breakdancing and MCing possible. DJs honed their craft adding performance aspects, releasing DJing albums and competing in global competitions giving rise to a unique sub-culture within Hip Hop. “Digging” through stacks of old records and creating wholly new music, DJs have changed the turntable into a verifiable instrument.[14]
For the average Hip Hop fan, rap music represents the most easily identifiable and tangible element of the culture. Like all other elements of Hip Hop, MCing can be perceived as a competitive art form. Following traditional African American and Latino oral traditions such as: toasting, the dozens and Te Lo Presento; MCs weave words around the confines of beats to display lyrical talent and wit.[15] The origin of MCing tied directly into DJing, as pioneers like Grandmaster Flash originally used the MC to complement his sonic arrangements.[16] However, MCing and rap music has evolved into its own very distinct element and has had the most enduring success as the elemental form most synonymous with Hip Hop.
Arguably, Hip Hop, conceived as the intersection of the four previously mentioned elements finally coalesced in 1982 with the film, Wild Style.[17] Capturing all of the elements, the film captured all four distinct elements operating within the same scene as compatible components.[18] The legacy of creation and intersection left no doubt of Hip Hop’s emergence of a complete culture; replete with history, and sense of location and a mechanism for growth.
Exponential Elements
As any culture grows, it incorporates additional peripheral elements into its fold. The Anthropology of Hip Hop, and the discursive literature associated with the coarse add legitimacy to Hip Hop as a verifiable culture, one capable of producing its own scholars. Similarly, Hip Hop has produced it own unique styles and clothing companies seek to articulate these cultural realities into fashion. Well known magazines such as Vibe and XXL capitalize and project Hip Hop’s mass cultural appeal to a wide audience. Hip Hop has produced its own methods of consumption. For example, Rap music labels export the message of rap recording artists across the globe; aspiring DJs buy Nu-mark turntables and suburban kids, in the words of Hip Hop journalist Wimsatt, “Bomb the Suburbs.”[19] Hip Hop, in large part to the consumption of rap music, is a multi-billion dollar cultural industry. Clearly, the scope of Hip Hop contains wide variance, allowing much to enter into its inclusive realm. The point to be made is this: Hip Hop has greatly expanded from its original cultural frontiers.
Hip Hop as a Social Catalyst
As a culture born out of urban frustration, poverty and cultural invisibility, it should be little wonder that Hip Hop has the ability to challenge social conditions. Rose comments, “A large and significant element in Hip Hop’s discursive territory is engaged in symbolic and ideological warfare with institutions and group’s that oppress.”[20] Rose further comments that rap music in particular, combats oppressive forces by stressing the power of African American alternatives. Indeed, Chang, Rivera, Riviere, and Flores all articulate the gap between lived experience and ideological forces of traditional power structures.[21] Course materials highlight the cultural form’s ability to traverse racial and ethnic boundaries and unite disparate groups of people into a common cause. Therefore, Hip Hop is a cultural force capable of engaging and addressing inequality regardless of its ethno/social/cultural origin.
Hip Hop’s unique timing as a cultural movement originating in the 1970’s, marked by steady growth in the 1980’s positioned it at the end of the American Civil Rights Era, and right in the middle of the Anti-Apartheid struggle. Chang comments that Hip Hop allowed, “The post-civil rights children a desegregation battle to call their own.”[22] Hip Hop artists and youths within the generation urged and succeeded in convincing governmental and corporate apparatuses to divest from South Africa. The song, “Sun City” featured a coalition of artists and entertainers united in prioritizing the plight of Black South Africans under an oppressive system.[23]
Similarly, many rap artists and activates emboldened by the success of the anti-apartheid movement would turn towards a politicized, Black-nationalist agenda in protest of institutional American racism. Given a framework and mission statement, rap’s “prophets of rage with a difference, retained the mass mediated spotlight on the popular cultural stage while functioning as a voice of social critique and criticism.”[24] Late 1980’s, early 1990’s rap and Hip Hop took on a decidedly confrontational stance, more willing to question the authority that had led the New York City financial crisis, the L.A. Riots and growing economic inequality.
More recently, Hip Hop’s second so called “Golden Age” (the very late 1990’s and early 2000’s) marked a shift to “conscious” Hip Hop.[25] Mos Def, Common, Talib Kweli, Black Thought, Dead Prez among other sought reinsert intelligent, highly politicized dialogue back into Hip Hop. Decidedly pro-Black in lyrical content, these rappers continued in the lyrical tradition of Public Enemy and Brand Nubian. However, the term itself, “Conscious” rap carried with it loaded connotations that caution overtly political Hip Hop messages.
Hip Hop and Authority
Hip Hop’s origins as a largely African American and Latino cultural form have necessarily put it odds with the United States government, and local governmental apparatuses. Although in an unequal struggle with brutality unfair governmental practices, Hip Hop serves as a medium of dialogue between two very different sets of social groups. American branches of government have tried to censor Hip Hop through legal means such as prior restraint. Civil suit court action directed at 2Live Crew and Tupac, as well as law enforcement reaction towards Ice T and N.W.A affirm this antagonistic relationship.[26] While the speech present within Hip Hop lyrics is no more subversive than other musical genre’s, rap music has consistently been accused of violating first amendment rights.
Rather than seeking to address the problems rap music diagnosed, the legal establishment suppressed its articulation, preventing the viability of social change.[27] Put another way, “the relationship between listening to and committing subsequent acts of violence appears to more closely resemble a statistical accident than a causal equation.”[28] The unwillingness or inability of legal authority to understand the reality of urban African American life further entrenched the politics of racism.[29] Each branch of the federal, and in many cases local government has tried to systematically hinder the development of Hip Hop, especially in regard to rap music. The establishment of New York City’s “Rap Binder” and uneasy relationship between “The Hip Hop Cop” and rap artists well illustrates Hip Hop’s distrust of legal authority.[30]
Race, Gender and Class within Hip Hop
While it cannot be argued that Hip Hop’s origins and inspiration draw heavily from African American culture, Rose’s overly Afro-centric portrayal of Hip Hop underscores on going issues of race and class within Hip Hop. Rose correctly asserts that rap follows a long line of “African American social criticism”, but ignores Hip Hop’s potential to represent other cultural realities.[31] Rivera brings up an important point, echoed by Juan Flores that, “the myth that Hip Hop being an African American realm and representing a rupture in Puerto Rican tradition has served to weaken Puerto Ricans’ perceived entitlement to Hip Hop.”[32] Indeed, Hip Hop emerged from the South Bronx, a place home to African Americans, but also many Latinos, poor European Americans and other ethnicities. Furthermore, such an Afro-centric view of Hip Hop neglects the significant contributions of non-African Americans in the more diversified realms of Breakdancing (b-boys and b-girls), Graffiti and Turntablism.
In part to Hip Hop’s cultural tradition and in part to the commercialization of Hip Hop culture, African Americans represent the paramount for Hip Hop authenticity. The stories of inner city life rather than tell messages and spread truth have been comodified, sensationalized and sold to mainly white, suburban youths. Chang asserts, “Media monopolies favored artists who did not merely produce hits, but synergies of goods.”[33] The current state of Hip Hop through mass media has marginalized other racial/ethnic groups while reinforcing negative social stereotypes of the poorest ethnic/class demographic. In essence, this mass media driven shift has blurred the realities of race and class, merging the two into one.
Rose, Rivera and Rivere help articulate the role of women within Hip Hop. Rap and Hip Hop as a culture is a highly gendered space prioritizing male viewpoints over females through female objectification. Often while the media has recognized the growing influence of social dynamic of certain non-European populations, it has come at the expense of the “butter pecan mami” or exotic cultural other.[34] Often lost in translation, female viewpoints “construct women’s independence and male and female co-dependence as compatible forces.”[35] Drawing from the Lyricism workshop, Hip Hop artists Desdamona affirms, “I hear from men, ‘you’re really good, for a female rapper.’ Why can’t I just hear I’m a good rapper, period.”[36]
Conclusion
Through this paper the reader can clearly answer the questions posed in the beginning of the paper. Hip Hop is a global movement originating form a unique spatio-temporal region that has managed to accommodate and connect a wide variety of ethnicities and social classes while emphasizing local desires. Incorporating new influences, new styles and a larger audience, global Hip Hop has morphed its parameters even at home (the South Bronx).[37] Hip Hop is the four elements. Hip Hop is mode of reproduction and consumption. Hip Hop is a method for achieving social justice , and yet at the same time can be an objectifying, ethnocentric way of viewing the world. Indeed, Hip Hop is paradoxical since no one person can truly say what Hip Hop includes, and what Hip Hop cannot. Above all, however; Hip Hop is a culture, and perhaps its greatest strength is its capacity for growth and change.
Works Cited
Altstiel, Matt. “First Is Forever.” Anthropology of Hip Hop in a Global Perspective 10 Oct. 2006: 2.
Altstiel, Matt. “The New Revolution of Rap and The Law.” Anthropology of Hip Hop in a Global Perspective 20 Nov. 2006: 3-4.
Altstiel, Matt. “Viva La Revolucion.” Anthropology of Hip Hop in a Global Perspective 17 Oct. 2006: 1.
Austin, Joe. Taking the Train: How Graffiti Art Became an Urban Crisis in New York City. New York: Columbia University Press, 2001.
A Tribe Called Quest. “Keep It Movin.” Anthology. Jive Records, 1999.
Black and Blue: Legends of a Hip Hop Co. Dir. QD3. Perf. Derrick Parker. 2006. DVD. Image Entertainment, 2006.
Chang, Jeff. Can’t Stop, Won’t Stop: A History of the Hip Hop Generation. New York: Picador Press, 2005.
Ferrell, Jeff and Hamm, Mark S. “Raps, Cops and Crime: Clarifying the ‘Cop Killer' Controversy.” Rapping about Cop Killing. 2004. Institute for Jewish Policy Research. 20 Nov. 2006. <http://www.axt.org.uk/HateMusic/Rappin.htm>
Flores, Juan. From Bomba to Hip Hop. New York: Columbia University Press, 2000.
Freshest Kids, The: A History of the B-Boy. Dir. Israel. Perf. Crazy Legs, Ken Swift, Frost Freeze, Afrika Bambaataa. 2002. DVD. California, Brotherhood Films, 2002.
Ill Chemistry. Lyricism and the Lyricist. Carlson School of Business Management, University of Minnesota – Twin Cities, Minneapolis, MN. 7 Nov. 2006.
Rivera, Raquel Z. New York Ricans From the Hip Hop Zone. New York: Palgrave Macmillan, 2003.
Riviere, Melisa. The New Revolution of Rap. Anthropology of Hip Hop in a Global Perspective. Blegan Hall, University of Minnesota: Twin Cities, Minneapolis, MN. 19 Oct. 2006.
Riviera, Melisa. Course Materials and Course Notes. Anthropology of Hip Hop in a Global Perspective. Blegan Hall, University of Minnesota: Twin Cities, Minneapolis, MN. 7 Sept. 2006 – 13 Dec. 2006.
Rose, Tricia. Black Noise: Rap Music and Black Culture in Contemporary America. Middletown, CT: Wesleyan University Press, 1994.
Scratch. Dir. Mike Prey. Perf. DJ Mix Master Mike, DJ Q-Bert, DJ Shadow, Frank Cuevas. 2001. DVD. Palm Pictures, 2002.
Style Wars. Dir. Henry Chalfant and Tony Silver. Perf. Graffiti Writers. 1984. DVD. New York: Plexifilms, 2005.
Wild Style, Dir. Charlie Ahearn. Perf. Easy A.D., Patty Astor, Busy Bee. 1984. DVD. Rhino/Wea, 2002.
Wimsatt, William Upski. Bomb the Suburbs. Chicago: The Subway and Elevated Press Company, 1994.
Zion I. “Bird’s Eye View.” True & Livin’. Live Up, 2005.
[1] A Tribe Called Quest, Anthology
[2] Zion I, True & Livin’
[3] Rivera, pg. 51
[4] Rivera, pg. 51
[5] Rivera, pg. 15-16
[6] Austin, pg. 38-39
[7] Austin, pg. 43
[8] Austin, pg. 51, Style Wars, 1984
[9] Chang, pg. 122, 153
[10] The Freshest Kids, 2001
[11] Rivera, pg. 59
[12] The Freshest Kids, 2001
[13] Matt Altstiel, “First Is Forever”
[14] Scratch, 2001
[15] Rose, Black Noise; and Rivera, New York Ricans From the Hip Hop Zone
[16] Chang, pg. 113
[17] Chang, pg. 187
[18] Wildstyle, 1984
[19] Wimsatt, Bomb the Suburbs
[20] Rose, pg. 101
[21] Course materials, et al, and Rose, pg. 102
[22] Chang, pg. 216
[23] Riviere, Lecture 19 Oct. 2006
[24] Rose, pg. 101
[25] Chang, pg. 447-448
[26] Riviere, Lecture 19 Oct. 2006
[27] Hamm and Farrell “Raps, Cops and Crime”
[28] Hamm and Farrell “Raps, Cops and Crime”
[29] Matt Altstiel, “The New Revolution of Rap and the Law”
[30] Black and Blue: Legends of a Hip Hop Cop, 2006
[31] Rose, pg. 123
[32] Rivera, pg. 10 and Flores, From Bomba to Hip Hop
[33] Chang, pg. 447
[34] Rivera, pg. 142-143
[35] Rose, pg. 176
[36] Ill Chemistry, Lyricism and the Lyricist workshop
[37] Matt Altstiel, “Viva La Revolucion”
GLOS 3900
12/19/06
In search of Hip Hop…
In the song “Keep It Movin” rapper Q-Tip explains, “Hip Hop can never be a way of life. It doesn’t tell how to raise a child or treat your wife.”[1] Quite differently, MC Zion I tells the listener, “On the real though, there’s so many things you could say about Hip Hop. Hip Hop is life.”[2] Obviously, even between highly respected MCs, there exists a broad variance in opinions as to what exactly Hip Hop means. This paper seeks to answer the nebulous questions: What exactly is Hip Hop? What is included within Hip Hop and what lies outside of it? And finally, is Hip Hop even a culture?
This paper will confront these questions by elaborating on each of Hip Hop’s four elements: Rap Music (MCing), Turntablism (Djing), B-Boying (Breakdancing) and Aerosol Art (Graffiti). Also worth addressing are exponential elements of Hip Hop such as: journalism, scholarship, audio-visual production, theatre and fashion. While not specifically relating to the four elements, the exponential elements nevertheless complement and add to Hip Hop. This paper will explore Hip Hop as a catalyst for social change from its inception up to the present. Furthermore, as a socio-cultural movement, Hip Hop maintains a very special relationship with government and government structures. Finally, this paper attempts to answer the above questions through the political lens of race, gender and class.
What is Hip Hop?
Hip Hop is the popularized term for a street culture originating in the South Bronx of New York City. Hip Hop definitely has a place of origin and a history of cultural diffusion; however its elements in general originated quite independently. Only after prolonged interaction and convergence of elements, could one claim that culture of Hip Hop was born. Indeed, Raquel Rivera contends, “main expressive elements were not developed by the same people at the same time, nor do they all share common antecedents.”[3] Although commonly referenced within the media, Hip Hop did not emerge suddenly as the “Big Bang Theory” suggests.[4] Rather, only when the media recognized the marketing potential of Hip Hop, did it “explode” onto the nation’s conscious.
To answer the third question directly, Hip Hop is a transnational culture, the product of globalization and diffusion. At the same time, Hip Hop, perhaps more than any other musical form stresses precise localities and regionalism. One can find manifestations of Hip Hop practically in every region of the world, be it here in Minneapolis or over in Nairobi, Kenya. While global in nature, Hip Hop prioritizes local issues, lifestyles and identities. For instance, major Hip Hop localities can be said to produce a particular style, sound and expression of Hip Hop. When describing Hip Hop, one should not use the term, “Hip Hop Nation.” Instead, the term “Hip Hop Zone” comes closer to the true nature and spirit of this cultural form. Interestingly, “authenticity”, regarding the convergence of the four elements, often appears most strikingly in emerging Hip Hop Zones.[5] Both inclusive and exclusive at the same time Hip Hop presents a unique cultural dichotomy unlike nearly any other mass-mediated culture. Therefore, as Hip Hop has grown on the global scale, it has constantly changed in order to reflect local realities and cultural priorities.
While Afrika Bambaataa added the fifth element, knowledge, as core tenement of Hip Hop, most scholars, practitioners and fans recognize the four element model. Graffiti, the visual and written form of Hip Hop arguably originated first, and unlike the other three elements, originated outside of New York. B-boying coincided with the rise of the party DJ, as dancers would try to out do one another in competition during the break section of records. In a reciprocal relationship, DJing as a Hip Hop form, arose from DJs extending the popular break sections in order to compel partygoers to dance. Finally, MCing emerged when Djs recognized the need of a rapper to help direct crowds and drive songs beyond the simple break beats. Through Hip Hop pioneers, early elements gained their modern form.
The Four Elements
Graffiti, or aerosol art, represents the ultimate post-modern art form. Choosing a train, building or billboard as the canvas, the writing, in the worlds of Joe Austin, “is not a cultural aberration, but rather a long standing aesthetic tradition connected with social trends and cultural innovations.”[6] Although originating in Philadelphia by 1959, Graffiti took on its present forms and meanings primarily in New York. For writers, much like many disaffected youth of the so called “Hip Hop generation” graffiti mirrored the “fractured and disjunctive identities of the modern urban self.”[7] Simple tags became more and more complex as writer’s sought to increase their visibility. Often writer’s sought to enhance their reputation and visibility “getting up” in the middle of the night, “bombing” subway cars in order to go “all city.”[8] Equally loved and loathed at the same time, Graffiti perhaps unlike any other form within Hip Hop went through periods of repression and celebration. Chang describes Graffiti as both “moving violations, mini riots” and “an art so strong it hurt people.”[9] Graffiti, at first represented the most commercially accessible, public form of Hip Hop culture.
B-boying, dance form of Hip Hop, like Graffiti attained its peak popularity relatively early within Hip Hop’s history as a unified culture.[10] Also similar to graffiti, the form allowed for greater convergence of differing racial and ethnic groups.[11] However, unlike Graffiti, B-Boying was a distinctly phenomenon of the “Boogie Down Bronx”. Channeling the energy of the music, B-Boy and B-Girls incorporated flashy, gravity defying moves in a freeform competition. Dancing ciphers allowed Bronx youth to showcase individual style and earn the respect and admiration of their peers. Certain crews made up of talented young b-boys formed crews. The most famous of these crews, The Rock Steady Crew headed by b-boy Crazy legs went on to achieve international fame and helped bring Hip Hop into a national media spotlight. Like all four elements, b-boying traveled to other places such as Los Angeles, which added additional styles like popping and locking.[12] Breakdancing, above all, was a means of creative expression, a way to earn recognition on one’s own terms.
DJing and Turntablism showcase both performance ability and comprise one of two auditory forms of Hip Hop culture. Chang refers to Djing as “Style as Science.” Indeed, the holy trinity of Hip Hop: Grandmaster Flash, Afrika Bambaataa, and DJ Kool Herc, all achieved initial or principal fame as DJs. Djing allowed the musical genre of rap to emerge as Grandmaster Flash, among other introduced turntable techniques such as: “the Quick Mix Theory and the Clock Theory. These techniques changed DJ’s from passive to active actors upon the music.”[13] Allowed to manipulate music, DJ’s invented their own style, developing the looping break sequences essential to rap music. Furthermore, these pioneering DJs introduced a music that made breakdancing and MCing possible. DJs honed their craft adding performance aspects, releasing DJing albums and competing in global competitions giving rise to a unique sub-culture within Hip Hop. “Digging” through stacks of old records and creating wholly new music, DJs have changed the turntable into a verifiable instrument.[14]
For the average Hip Hop fan, rap music represents the most easily identifiable and tangible element of the culture. Like all other elements of Hip Hop, MCing can be perceived as a competitive art form. Following traditional African American and Latino oral traditions such as: toasting, the dozens and Te Lo Presento; MCs weave words around the confines of beats to display lyrical talent and wit.[15] The origin of MCing tied directly into DJing, as pioneers like Grandmaster Flash originally used the MC to complement his sonic arrangements.[16] However, MCing and rap music has evolved into its own very distinct element and has had the most enduring success as the elemental form most synonymous with Hip Hop.
Arguably, Hip Hop, conceived as the intersection of the four previously mentioned elements finally coalesced in 1982 with the film, Wild Style.[17] Capturing all of the elements, the film captured all four distinct elements operating within the same scene as compatible components.[18] The legacy of creation and intersection left no doubt of Hip Hop’s emergence of a complete culture; replete with history, and sense of location and a mechanism for growth.
Exponential Elements
As any culture grows, it incorporates additional peripheral elements into its fold. The Anthropology of Hip Hop, and the discursive literature associated with the coarse add legitimacy to Hip Hop as a verifiable culture, one capable of producing its own scholars. Similarly, Hip Hop has produced it own unique styles and clothing companies seek to articulate these cultural realities into fashion. Well known magazines such as Vibe and XXL capitalize and project Hip Hop’s mass cultural appeal to a wide audience. Hip Hop has produced its own methods of consumption. For example, Rap music labels export the message of rap recording artists across the globe; aspiring DJs buy Nu-mark turntables and suburban kids, in the words of Hip Hop journalist Wimsatt, “Bomb the Suburbs.”[19] Hip Hop, in large part to the consumption of rap music, is a multi-billion dollar cultural industry. Clearly, the scope of Hip Hop contains wide variance, allowing much to enter into its inclusive realm. The point to be made is this: Hip Hop has greatly expanded from its original cultural frontiers.
Hip Hop as a Social Catalyst
As a culture born out of urban frustration, poverty and cultural invisibility, it should be little wonder that Hip Hop has the ability to challenge social conditions. Rose comments, “A large and significant element in Hip Hop’s discursive territory is engaged in symbolic and ideological warfare with institutions and group’s that oppress.”[20] Rose further comments that rap music in particular, combats oppressive forces by stressing the power of African American alternatives. Indeed, Chang, Rivera, Riviere, and Flores all articulate the gap between lived experience and ideological forces of traditional power structures.[21] Course materials highlight the cultural form’s ability to traverse racial and ethnic boundaries and unite disparate groups of people into a common cause. Therefore, Hip Hop is a cultural force capable of engaging and addressing inequality regardless of its ethno/social/cultural origin.
Hip Hop’s unique timing as a cultural movement originating in the 1970’s, marked by steady growth in the 1980’s positioned it at the end of the American Civil Rights Era, and right in the middle of the Anti-Apartheid struggle. Chang comments that Hip Hop allowed, “The post-civil rights children a desegregation battle to call their own.”[22] Hip Hop artists and youths within the generation urged and succeeded in convincing governmental and corporate apparatuses to divest from South Africa. The song, “Sun City” featured a coalition of artists and entertainers united in prioritizing the plight of Black South Africans under an oppressive system.[23]
Similarly, many rap artists and activates emboldened by the success of the anti-apartheid movement would turn towards a politicized, Black-nationalist agenda in protest of institutional American racism. Given a framework and mission statement, rap’s “prophets of rage with a difference, retained the mass mediated spotlight on the popular cultural stage while functioning as a voice of social critique and criticism.”[24] Late 1980’s, early 1990’s rap and Hip Hop took on a decidedly confrontational stance, more willing to question the authority that had led the New York City financial crisis, the L.A. Riots and growing economic inequality.
More recently, Hip Hop’s second so called “Golden Age” (the very late 1990’s and early 2000’s) marked a shift to “conscious” Hip Hop.[25] Mos Def, Common, Talib Kweli, Black Thought, Dead Prez among other sought reinsert intelligent, highly politicized dialogue back into Hip Hop. Decidedly pro-Black in lyrical content, these rappers continued in the lyrical tradition of Public Enemy and Brand Nubian. However, the term itself, “Conscious” rap carried with it loaded connotations that caution overtly political Hip Hop messages.
Hip Hop and Authority
Hip Hop’s origins as a largely African American and Latino cultural form have necessarily put it odds with the United States government, and local governmental apparatuses. Although in an unequal struggle with brutality unfair governmental practices, Hip Hop serves as a medium of dialogue between two very different sets of social groups. American branches of government have tried to censor Hip Hop through legal means such as prior restraint. Civil suit court action directed at 2Live Crew and Tupac, as well as law enforcement reaction towards Ice T and N.W.A affirm this antagonistic relationship.[26] While the speech present within Hip Hop lyrics is no more subversive than other musical genre’s, rap music has consistently been accused of violating first amendment rights.
Rather than seeking to address the problems rap music diagnosed, the legal establishment suppressed its articulation, preventing the viability of social change.[27] Put another way, “the relationship between listening to and committing subsequent acts of violence appears to more closely resemble a statistical accident than a causal equation.”[28] The unwillingness or inability of legal authority to understand the reality of urban African American life further entrenched the politics of racism.[29] Each branch of the federal, and in many cases local government has tried to systematically hinder the development of Hip Hop, especially in regard to rap music. The establishment of New York City’s “Rap Binder” and uneasy relationship between “The Hip Hop Cop” and rap artists well illustrates Hip Hop’s distrust of legal authority.[30]
Race, Gender and Class within Hip Hop
While it cannot be argued that Hip Hop’s origins and inspiration draw heavily from African American culture, Rose’s overly Afro-centric portrayal of Hip Hop underscores on going issues of race and class within Hip Hop. Rose correctly asserts that rap follows a long line of “African American social criticism”, but ignores Hip Hop’s potential to represent other cultural realities.[31] Rivera brings up an important point, echoed by Juan Flores that, “the myth that Hip Hop being an African American realm and representing a rupture in Puerto Rican tradition has served to weaken Puerto Ricans’ perceived entitlement to Hip Hop.”[32] Indeed, Hip Hop emerged from the South Bronx, a place home to African Americans, but also many Latinos, poor European Americans and other ethnicities. Furthermore, such an Afro-centric view of Hip Hop neglects the significant contributions of non-African Americans in the more diversified realms of Breakdancing (b-boys and b-girls), Graffiti and Turntablism.
In part to Hip Hop’s cultural tradition and in part to the commercialization of Hip Hop culture, African Americans represent the paramount for Hip Hop authenticity. The stories of inner city life rather than tell messages and spread truth have been comodified, sensationalized and sold to mainly white, suburban youths. Chang asserts, “Media monopolies favored artists who did not merely produce hits, but synergies of goods.”[33] The current state of Hip Hop through mass media has marginalized other racial/ethnic groups while reinforcing negative social stereotypes of the poorest ethnic/class demographic. In essence, this mass media driven shift has blurred the realities of race and class, merging the two into one.
Rose, Rivera and Rivere help articulate the role of women within Hip Hop. Rap and Hip Hop as a culture is a highly gendered space prioritizing male viewpoints over females through female objectification. Often while the media has recognized the growing influence of social dynamic of certain non-European populations, it has come at the expense of the “butter pecan mami” or exotic cultural other.[34] Often lost in translation, female viewpoints “construct women’s independence and male and female co-dependence as compatible forces.”[35] Drawing from the Lyricism workshop, Hip Hop artists Desdamona affirms, “I hear from men, ‘you’re really good, for a female rapper.’ Why can’t I just hear I’m a good rapper, period.”[36]
Conclusion
Through this paper the reader can clearly answer the questions posed in the beginning of the paper. Hip Hop is a global movement originating form a unique spatio-temporal region that has managed to accommodate and connect a wide variety of ethnicities and social classes while emphasizing local desires. Incorporating new influences, new styles and a larger audience, global Hip Hop has morphed its parameters even at home (the South Bronx).[37] Hip Hop is the four elements. Hip Hop is mode of reproduction and consumption. Hip Hop is a method for achieving social justice , and yet at the same time can be an objectifying, ethnocentric way of viewing the world. Indeed, Hip Hop is paradoxical since no one person can truly say what Hip Hop includes, and what Hip Hop cannot. Above all, however; Hip Hop is a culture, and perhaps its greatest strength is its capacity for growth and change.
Works Cited
Altstiel, Matt. “First Is Forever.” Anthropology of Hip Hop in a Global Perspective 10 Oct. 2006: 2.
Altstiel, Matt. “The New Revolution of Rap and The Law.” Anthropology of Hip Hop in a Global Perspective 20 Nov. 2006: 3-4.
Altstiel, Matt. “Viva La Revolucion.” Anthropology of Hip Hop in a Global Perspective 17 Oct. 2006: 1.
Austin, Joe. Taking the Train: How Graffiti Art Became an Urban Crisis in New York City. New York: Columbia University Press, 2001.
A Tribe Called Quest. “Keep It Movin.” Anthology. Jive Records, 1999.
Black and Blue: Legends of a Hip Hop Co. Dir. QD3. Perf. Derrick Parker. 2006. DVD. Image Entertainment, 2006.
Chang, Jeff. Can’t Stop, Won’t Stop: A History of the Hip Hop Generation. New York: Picador Press, 2005.
Ferrell, Jeff and Hamm, Mark S. “Raps, Cops and Crime: Clarifying the ‘Cop Killer' Controversy.” Rapping about Cop Killing. 2004. Institute for Jewish Policy Research. 20 Nov. 2006. <http://www.axt.org.uk/HateMusic/Rappin.htm>
Flores, Juan. From Bomba to Hip Hop. New York: Columbia University Press, 2000.
Freshest Kids, The: A History of the B-Boy. Dir. Israel. Perf. Crazy Legs, Ken Swift, Frost Freeze, Afrika Bambaataa. 2002. DVD. California, Brotherhood Films, 2002.
Ill Chemistry. Lyricism and the Lyricist. Carlson School of Business Management, University of Minnesota – Twin Cities, Minneapolis, MN. 7 Nov. 2006.
Rivera, Raquel Z. New York Ricans From the Hip Hop Zone. New York: Palgrave Macmillan, 2003.
Riviere, Melisa. The New Revolution of Rap. Anthropology of Hip Hop in a Global Perspective. Blegan Hall, University of Minnesota: Twin Cities, Minneapolis, MN. 19 Oct. 2006.
Riviera, Melisa. Course Materials and Course Notes. Anthropology of Hip Hop in a Global Perspective. Blegan Hall, University of Minnesota: Twin Cities, Minneapolis, MN. 7 Sept. 2006 – 13 Dec. 2006.
Rose, Tricia. Black Noise: Rap Music and Black Culture in Contemporary America. Middletown, CT: Wesleyan University Press, 1994.
Scratch. Dir. Mike Prey. Perf. DJ Mix Master Mike, DJ Q-Bert, DJ Shadow, Frank Cuevas. 2001. DVD. Palm Pictures, 2002.
Style Wars. Dir. Henry Chalfant and Tony Silver. Perf. Graffiti Writers. 1984. DVD. New York: Plexifilms, 2005.
Wild Style, Dir. Charlie Ahearn. Perf. Easy A.D., Patty Astor, Busy Bee. 1984. DVD. Rhino/Wea, 2002.
Wimsatt, William Upski. Bomb the Suburbs. Chicago: The Subway and Elevated Press Company, 1994.
Zion I. “Bird’s Eye View.” True & Livin’. Live Up, 2005.
[1] A Tribe Called Quest, Anthology
[2] Zion I, True & Livin’
[3] Rivera, pg. 51
[4] Rivera, pg. 51
[5] Rivera, pg. 15-16
[6] Austin, pg. 38-39
[7] Austin, pg. 43
[8] Austin, pg. 51, Style Wars, 1984
[9] Chang, pg. 122, 153
[10] The Freshest Kids, 2001
[11] Rivera, pg. 59
[12] The Freshest Kids, 2001
[13] Matt Altstiel, “First Is Forever”
[14] Scratch, 2001
[15] Rose, Black Noise; and Rivera, New York Ricans From the Hip Hop Zone
[16] Chang, pg. 113
[17] Chang, pg. 187
[18] Wildstyle, 1984
[19] Wimsatt, Bomb the Suburbs
[20] Rose, pg. 101
[21] Course materials, et al, and Rose, pg. 102
[22] Chang, pg. 216
[23] Riviere, Lecture 19 Oct. 2006
[24] Rose, pg. 101
[25] Chang, pg. 447-448
[26] Riviere, Lecture 19 Oct. 2006
[27] Hamm and Farrell “Raps, Cops and Crime”
[28] Hamm and Farrell “Raps, Cops and Crime”
[29] Matt Altstiel, “The New Revolution of Rap and the Law”
[30] Black and Blue: Legends of a Hip Hop Cop, 2006
[31] Rose, pg. 123
[32] Rivera, pg. 10 and Flores, From Bomba to Hip Hop
[33] Chang, pg. 447
[34] Rivera, pg. 142-143
[35] Rose, pg. 176
[36] Ill Chemistry, Lyricism and the Lyricist workshop
[37] Matt Altstiel, “Viva La Revolucion”
RITUAL DE MIS PIERNAS
Matt Altstiel
2/12/07
SPAN 3930
Observaciones sobre “Ritual de mis piernas” y de Confieso que he vivido
Lo que me llama atención en el poema fue el punto de vista anarquista. El cuerpo, el templo que ahogan la mente, sus órganos y lo todo, es el parte más esencial en la vida. El mundo externo empieza debajo de sus pies con el suelo. La ropa también no pertenece al cuerpo propio y por eso solamente para complicar la vida y para segregar la muchedumbre en clases económicos. Entonces hay que amar los partes más sencillos, pero más fundamentales. Somos nuestras mentes, corazones y almas, no nuestras posesiones y cosas. Todo el tiempo, estábamos tratando de encontrar algo para llenar nuestra alma, pero buscamos en lugares incorrectos. Podemos lograr lo que necesitamos dentro de nosotros. Hay que dejar todo que separa y causa conflicto.
En Confieso que he vivido, el autor menciona la timidez. Es interesante que una persona tan exitosa, con numerosas amantes también vivía una vida oculta y aislada. Realmente, me encanta el parte en que compara la timidez como si tendría dos epidermis (dos niveles de piel) que se irrita. A veces, sentía igual. En ciertas ocasiones, cada persona sentía la muerde de inquietud, el sentido profundo de aislamiento y angustia. La amistad a través a la timidez es como remedio, recurso necesario para derrocar la timidez. Con amor, y con sabidadura de nuestros almas podemos luchar contra de pavor y inquietud.
El mundo externo en <> aparece como amenaza y enemigo para el lector. Por mi parte, estoy de acuerdo con este sentamiento. La vida interna suele ser seguro, calmado y lejano. A veces, no hay nada mejor de quedar en nuestros camas reposando y pensado en si mismos. En mundo externo es frió, el mundo externo es demasiado calor. El mundo externo es lleno odio, de temor y de angustia. Pero, en cambio, una vida solitaria no tiene razón y raíz. Hay que vivir, viajar y conocer todo que pueda. Hay que vivir una vida doble: una vida interna que profundiza lo que encontraba; y otro siempre, buscando en el mundo externo por las respuestas que necesitamos.
2/12/07
SPAN 3930
Observaciones sobre “Ritual de mis piernas” y de Confieso que he vivido
Lo que me llama atención en el poema fue el punto de vista anarquista. El cuerpo, el templo que ahogan la mente, sus órganos y lo todo, es el parte más esencial en la vida. El mundo externo empieza debajo de sus pies con el suelo. La ropa también no pertenece al cuerpo propio y por eso solamente para complicar la vida y para segregar la muchedumbre en clases económicos. Entonces hay que amar los partes más sencillos, pero más fundamentales. Somos nuestras mentes, corazones y almas, no nuestras posesiones y cosas. Todo el tiempo, estábamos tratando de encontrar algo para llenar nuestra alma, pero buscamos en lugares incorrectos. Podemos lograr lo que necesitamos dentro de nosotros. Hay que dejar todo que separa y causa conflicto.
En Confieso que he vivido, el autor menciona la timidez. Es interesante que una persona tan exitosa, con numerosas amantes también vivía una vida oculta y aislada. Realmente, me encanta el parte en que compara la timidez como si tendría dos epidermis (dos niveles de piel) que se irrita. A veces, sentía igual. En ciertas ocasiones, cada persona sentía la muerde de inquietud, el sentido profundo de aislamiento y angustia. La amistad a través a la timidez es como remedio, recurso necesario para derrocar la timidez. Con amor, y con sabidadura de nuestros almas podemos luchar contra de pavor y inquietud.
El mundo externo en <
VUELVE EL OTOÑO
Matt Altstiel
2/21/07
SPAN 3930
VUELVE EL OTOÑO
1) Para mi, aunque este poema es mas sencillo, existía en el territorio de la memoria. El otoño es una estación melancólico y lastímale porque todo el mundo sabia que algo va terminar, y naturalmente, no es fácil para aguantar esta verdad. En este poema hay muchos símbolos del perdido y podemos ver los recuerdos en cada lugar que miramos. Como un ejemplo, la línea <> caracteriza la dulzura de verano que se acabo, y una separación final con su fuente de vida, su árbol. Las hojas cayendo, los pájaros huyendo; hay cambios ocurriendo en cualquier lugar.
2) Neruda emplea a muchas metáforas para añadir significancia. Las imágenes no señalan cosas definidos, sino conceptos para llevar el sentido de finalidad. También, hay que recordar que el otoño, como una estación representa una zona gris entre la muerte y la vida. Produce una melancolía profunda, no cabe duda, pero es una melancolía en que esperanza podría superar eventualmente. La metáfora del caballo es algo magnifico. Fijase como el caballo muestra la noción de fuerza, con su galope del ritmo poético. Este caballo (el viento) tira las hojas fuera de sus árboles y causa una tempestad de rojos y amarillos en el ambiento como si fuera en fuego. Este caballo hace una transformación corriente, es seguro que nada quedan el mismo para siempre.
3) Las hojas, originalmente verdes y llena de vida, por fin se vuelvan marrones y rojas. La ultima etapa, el invierno (la muerte) llegara. Las hojas, y todos las cosas hasta al final se pasan por la inexistencia. El olvido, por edades mas mayores, cambia como funciona nuestros memorias. Nuestros vidas son marcados por las suenas de la campanas. Por cada minuto que pasa, había un tiempo perdido, un rechazo de una posibilidad. Este poema muestra este sentido en una manera profunda.
2/21/07
SPAN 3930
VUELVE EL OTOÑO
1) Para mi, aunque este poema es mas sencillo, existía en el territorio de la memoria. El otoño es una estación melancólico y lastímale porque todo el mundo sabia que algo va terminar, y naturalmente, no es fácil para aguantar esta verdad. En este poema hay muchos símbolos del perdido y podemos ver los recuerdos en cada lugar que miramos. Como un ejemplo, la línea <
2) Neruda emplea a muchas metáforas para añadir significancia. Las imágenes no señalan cosas definidos, sino conceptos para llevar el sentido de finalidad. También, hay que recordar que el otoño, como una estación representa una zona gris entre la muerte y la vida. Produce una melancolía profunda, no cabe duda, pero es una melancolía en que esperanza podría superar eventualmente. La metáfora del caballo es algo magnifico. Fijase como el caballo muestra la noción de fuerza, con su galope del ritmo poético. Este caballo (el viento) tira las hojas fuera de sus árboles y causa una tempestad de rojos y amarillos en el ambiento como si fuera en fuego. Este caballo hace una transformación corriente, es seguro que nada quedan el mismo para siempre.
3) Las hojas, originalmente verdes y llena de vida, por fin se vuelvan marrones y rojas. La ultima etapa, el invierno (la muerte) llegara. Las hojas, y todos las cosas hasta al final se pasan por la inexistencia. El olvido, por edades mas mayores, cambia como funciona nuestros memorias. Nuestros vidas son marcados por las suenas de la campanas. Por cada minuto que pasa, había un tiempo perdido, un rechazo de una posibilidad. Este poema muestra este sentido en una manera profunda.
EXPLICO ALGUNAS COSAS
Matt Altstiel
2/21/07
SPAN 3930
EXPLICO ALGUNAS COSAS
1) En <> Neruda empleaba un tono mas serio y mas verdadero que sus otros poemas. Su tema todavía es profundo, pero es algo real, algo que paso. Aunque podría manifestar la Guerra Civil Española en fragmentos como Picaso en su <> invocaba todos los sentidos humanos. Me gusta la manera en que intercambian su casa real, con su hogar durante este tiempo, el país de España.
2) El lenguaje en este poema funciona perfectamente para mostrar enojo y nostalgia al mismo tiempo. Cuando la poema dice, <> hay un sentido profundo de perdido, porque no solo destruyeron su casa, pero mataron algunos de sus mejores amigos. Acordar, también, es una palabra mucho más fuerte que recordar. Tu puedes recordar sin emoción, pero no hay acordar sin imagines fuertes en su mente, ni un sentido profundo de cariño en tu corazón.
3) Repetía> en este poema. Es la primera vez, en la poesía de Neruda en lo cual he encontrado un frase tan largo usado tres vez en seguida sin pausa. En una otra estrofa empezaba sus líneas con > para describir la transformación grueso que le sufrió España durante y depuse de la Guerra. En la pagina 56, comenzaba tres líneas en seguida con la palabra <>.
2/21/07
SPAN 3930
EXPLICO ALGUNAS COSAS
1) En <
2) El lenguaje en este poema funciona perfectamente para mostrar enojo y nostalgia al mismo tiempo. Cuando la poema dice, <
3) Repetía
ALTURAS DE MACCHU PICCHU
Matt Altstiel
3/5/07
SPAN 3930
ALTURAS DE MACCHU PICCHU
Este poema es una canción, o sea, una oda a un lugar tan misterioso e increíble. Para Neruda, Macchu Picchu es como una joya hundida, enterrado en la tierra. Menciona palabras como <> y <> como metáforas en las primeras dos estrofas. Para el narrador, Macchu Picchu es como un sueno, existía entre la realidad y la fantasía. El narrador dice, <> para señalar este sentido del surrealismo. Continuaba usando la palabra <> para mostrar la abundancia de emociones creado en este lugar. Para el, con la ausencia de la muchedumbre, es un lugar natural, puro y sobre todo, único.
Con referencia a <>, le sigue con el mismo tema. El expresa angustia que se olvidaban esta cultura y esta cuidad hasta la actualidad. Con palabras descriptivas, el narrador describe la destreza e inteligencia de los creadores de Macchu Picchu. No hay ningún habitante original en este lugar, por eso, aunque el espíritu de la aldea vivía en las paredes de los edificios, la cultura original fue enterrada y olvidada. El sentía una conexión fuerte con la gente que construyo esta ciudad. Es claro que estaba orgulloso para ver su herencia, como un hijo del mismo continente. Para el, es una búsqueda de auto descubierto y una reclamación cultural. No hay negar y olvidar las tradiciones y historias en nuestros lugares pátriales.
Este poema representa el poema mas largo que ya hemos leído. Los partes diferentes podemos segregar como poemas independientes. Es fácil para imaginar el autor, Neruda, sentado entre la tierra y las nubes admirando la naturaleza acerca de el. Con sus detalles y visión poética su experiencia se vuelve real para el lector. Me nota un cambio de voz para Neruda. Aunque todavía emplea metáforas, su lenguaje es más sencillo y urgente. Había pensamientos y emoción, pero hay una claridad y punto de vista firme.
3/5/07
SPAN 3930
ALTURAS DE MACCHU PICCHU
Este poema es una canción, o sea, una oda a un lugar tan misterioso e increíble. Para Neruda, Macchu Picchu es como una joya hundida, enterrado en la tierra. Menciona palabras como <
Con referencia a <
Este poema representa el poema mas largo que ya hemos leído. Los partes diferentes podemos segregar como poemas independientes. Es fácil para imaginar el autor, Neruda, sentado entre la tierra y las nubes admirando la naturaleza acerca de el. Con sus detalles y visión poética su experiencia se vuelve real para el lector. Me nota un cambio de voz para Neruda. Aunque todavía emplea metáforas, su lenguaje es más sencillo y urgente. Había pensamientos y emoción, pero hay una claridad y punto de vista firme.
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