When air masses meet do they mixtape

Dee-1 Pumps Faith Into A Generation With 'Slingshot David' Mixtape | The Source

when air masses meet do they mixtape

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Ball International Journal of Communication 5 solidarities. A mere category of persons say, occupants of a given territory, or speakers of a given language, for example becomes a nation if and when the members of the category firmly recognize certain mutual rights and duties to each other in virtue of their shared membership of it. And in this sense, whether or not these terms perfectly apply, it is the audacious, self-determining, and self-identification as a nation that is both essential to note and then build on.

And though today they are just as often distributed via compact disc CD or the internet as digital MP3 or AAC files, the conditions from which they extend and the important communicative roles they play are often ignored, just as is their role historically as an inspiring source for communication studies research.

Today, they can be found being distributed by artists and street vendors, distributed online, and used as underground journalism Ball,a; Maher, However, a creeping co-optation of mixtapes by the music industry, which now seeks to use them as low-cost unofficial pre-release street promotion and credibility, has made this illegality mostly ambiguous and unevenly applied.

Particularly when placed within the context of global nationalist, anti-colonial movements, the mixtape becomes a far more exciting analytical or methodological tool for interpreting the realities and conditions of the communities that produce and consume them. This resulted in the specific conditions faced by those at the dawn of hip hop and, when compared to the contemporary analysis of Bell and Cone Moyers, among many others ,5 show stark similarities.

when air masses meet do they mixtape

This was a particular development within the United States that was also part of an international trend of developing anti-colonial nationalisms. Throughout Africa, Asia, Latin America, and Eastern Europe, struggles for national identity, independence, and culture were in high gear as groups of varying disparateness were looking to claim power within the nationalisms they been forced to assume after the onslaught of Western European imperialism. Just as Zulu and Xhosa had been thrust into a colonized nationhood as South Africans, so, too, had African and Latin Americans been forced into an internally colonized nationhood.

Huey Newton, for instance, extending a lineage of domestic U. Just as the West had been struggling with groups internally, now the entire world would have to be dealt with on similar bases.

Audio available at http: Ball International Journal of Communication 5 The anti-colonial struggle was indeed global. Hip hop had emerged as one cultural expression, itself born out of these global crises in an equally globalizing community of New York City, and consciously or not, was part of nationalist, anti-colonial struggles.

As James Spady put it: Think of how many wars, conflicts, disturbances racial, ethnic, religious, territorial occurred between — Is it unreasonable to witness domestic violence when so much international violence is occurring, not to mention the proliferation of bloodshed on the domestic front?

DJ-ing, dance, graffiti, and rap. Each formed with international influences and as mechanisms of subcounter-cultural, even anti-colonial communicative expressions Downing, ; Lipsitz English it may be in some of its lexical features. But, in its contours, its rhythm and timbre, its sound explosions, it is not English.

It is what I call, as I say, Nation Language. Colonized Communication and Recreation of a Black Public Sphere or Counterpublic A study of mixtapes as national media internally bound within a more dominant and hostile nation helps to reveal these conditions of internal colonialityand it also demonstrates the function of media within such a setting, as well as offering alternative uses and potential for the mixtape as part of an International Journal of Communication 5 I Mix What I Like!

In Defense and Appreciation organized response. In this sense, mixtapes can be seen as developing along similar lines as the telegraph, radio, Internet, or other national or international mass media.

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The mixtape played a role akin to that of the post office in that it helped expand the reach of a new cultural expression and establish—communicatively—a territorial expansion of hip hop. However, here, because of the anti-colonial design or origins of the cultural expression, the cohesive element of mixtape distribution was not about control over distance and people as a tactic of a conquering empire. It was through mixtapes that a black and Latin American nation, itself in a process if perhaps unconsciously of developing a national medium, was developing an alternative—a medium of resistance—to a colonizing dominant media environment.

Rap music is the voice of black people. And speaking out against that.

when air masses meet do they mixtape

Hip hop developed in this context, where DJs plugged turntables into public streetlights, turning their neighborhoods into spaces whose purpose was the circumvention of nightclubs or other exclusive, but sanctioned venues. There was no rap, radio or video. As rap music emerged, it found little welcome space.

Radio station play lists were trimmed, the cost or payola pay-for-play involved in placing music on those lists for heavy spin rotation increased, and with the increased consolidation in industry ownership, meant a greater ability for a tiny minority to determine which forms of colonized cultural expression would become popular, and that which would—by omission—disappear Ball,; Chang, ; Watkins, The mixtape emerged into this preexisting context as a necessary only?

That expression was initially banned from dominant media radio, television, etc. However, a year or so decline in these institutions, which included corporate takeovers, theoretical desegregation, and class-based flight have left a void to be filled.

Appearances of progress have masked an actual economic and political weakening of black and brown communities. Into this void, the mixtape continues to step. In fact, the repression faced by mixtape DJs and vendors alike speak to this fear. In a situation often mirroring that of the illicit drug, trade mixtapes today are often the result of corporate leaks intended for promotion of their artists or product and then also targeted as illicit contraband by those same entities.

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EMI, unless in a shared-artist relationship with another major, never has its artists in the top Most important—and regarding the need to determine or manage popularity— absolutely never are independent artists and unsigned or non-major-label artists on the top 20 spins list. But it is the fear that mixtapes might genuinely assist in the evolution of that missing, but necessary counterpublic that can be said to be unconsciously behind this criminalization.

The founding mothers and fathers of mixtapes were clear that theirs was a mission of developing space for their art, space that had been initially denied them. DJs Hollywood, Brucie B, Jazzy Joyce, and later Capri10 and Ron G all have described a concern of theirs that the mixtape, which had initially been such a liberated zone for their art, had become increasingly co-opted and turned against itself.

They lament a shift in focus from mixtapes being DJ-centered, where their name was all that was needed on a tape, to the present, where so many mixtapes promote the prerelease industry exclusives as opposed to their own talents. In fact, this echoed voice shouting over the music has itself become considered a trademark promotional tool Bell, ; Faison, This corporate influence of mixtapes has been best documented in a number of documentaries made by those closest to the phenomenon Bell, ; Faison, The simplicity of the method of co- optation described in these documentaries via interviews with DJ legends and industry insiders, belies the damage caused.

This allows 10 Capri has acknowledged that the police repression of his selling of mixtapes in the early s led to his retirement from the practice, something much lamented by mixtape enthusiasts Faison, They also argue that it distorts the very function of the mixtape. This encourages and results often in the commercial industry retaining, even increasing, its ability to determine popularity, as artists without massive budgets or those lacking promotional or duplication abilities or both cannot compete.

Many artists who apply various art and politics to mixtapes are often pushed further to the margins—from turntablists to politically progressive artists, many of whom genuinely need the mixtape for access to an audience. What this means is that the emancipatory potential—the value of the mixtape as national or anti-colonial communication—is weakened. Mixtapes such as those described in previous work on FreeMix Radio: Most of these issues are encapsulated in a simple research project currently underway in one of my classes on media criticism.

Using the new mixtape release from Dead Prez and featuring DJ DramaRevolutionary But Gangsta Grillzwhich consists exclusively of new lyrics added to existing popular commercial rap music tracks, students are exposed to the stark variation in content offered by the group as opposed to that of the original tracks with which most are more familiar.

Sick of these crooked police, sick of these politicians, sick of the school and the church, sick of they whole system. Instead of education they building new prisons, generation fed up seeking a new vision, waiting on health care, dying on a stretcher, taking away the welfare no food, clothes or shelter. The idea, Jared A. Ball International Journal of Communication 5 as explicitly stated by group member M-1, is that mixtapes and other forms of outreach must be employed due to the lack of access to mainstream radio and video.

Instead of continuing in vain to gain access to those venues, the group argues that they be turned off in favor of these kinds of alternatives U- Saviour, The character allowed him to express his anger with lyrics about drugs, rape, and murder.

Iovine played the tape for record producer Dr.

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Drefounder of Aftermath Entertainment and founding member of hip-hop group N. Dre recalled, "In my entire career in the music industry, I have never found anything from a demo tape or a CD.

When Jimmy played this, I said, 'Find him. Although his associates criticized him for hiring a white rapper, he was confident in his decision: I'm just a little white boy from Detroit. I had never seen stars let alone Dr. Although it was one of the year's most popular albums certified triple platinum by the end of the year[31] he was accused of imitating the style and subject matter of underground rapper Cage.

The label-mates later collaborated on a number of hit songs " Forgot About Dre " and "What's the Difference" while also providing uncredited vocals on "The Watcher"" from Dr. Baby One More Time for fastest-selling solo album. Although Eminem parodied shock rocker Marilyn Manson in the music video for "My Name Is", they are reportedly on good terms; Manson is mentioned in "The Way I Am", appeared in its music video and has performed a live remix of the song with Eminem.

Eminem, under fire for homophobic lyrics, shared the stage with a gay icon for a performance of "Stan" that would have been memorable in any context. The Eminem Show was released in May It was another success, reaching number one on the charts and selling over 1. The Eminem Show certified Diamond by the RIAA examines the effects of Eminem's rise to fame, his relationship with his wife and daughter and his status in the hip-hop community, addressing an assault charge brought by a bouncer he saw kissing his wife in Its sales were partially driven by the first single, " Just Lose It ", which contained slurs about Michael Jackson.

On October 12,a week after the release of "Just Lose It", Jackson phoned the Los Angeles-based Steve Harvey radio show to report his displeasure with its video which parodies Jackson's child molestation trial, plastic surgery and the incident when Jackson's hair caught fire during the filming of a commercial.

Many of Jackson's friends and supporters spoke out against the video, including Stevie Wonder who described it as "kicking a man while he's down" and "bullshit" [56] and Steve Harvey who said, "Eminem has lost his ghetto pass. We want the pass back". So the irony of this situation with Michael is not lost on me. The song criticized President George W. Bush as "This weapon of mass destruction that we call our president", with lyrics including "Fuck Bush".

When they break in, it is learned that they are there to register to vote; the video ends with "VOTE Tuesday November 2".

After Bush's reelection, the video's ending was changed to Eminem and the protesters invading the White House during a speech by the president. Rumors began early in the year about a double album to be released late that year, entitled The Funeral; [66] the greatest hits albumentitled Curtain Call: The Hitswas released in December. In July the Detroit Free Press reported a possible final bow for Eminem as a solo performer, quoting members of his inner circle as saying that he would embrace the roles of producer and label executive.

The day of Curtain Call: Denying that he was retiring, he suggested he would take a break as an artist: This is the reason that we called it 'Curtain Call', because this could be the final thing. The Re-Up on Shady Records.

I think it's not just on artists or philanthropists to make the change; it is everybody's job to make it a conversation. I know y'all pay taxes, and I definitely pay my taxes because I know they waiting for me to slip, you know what I'm saying?

Some of that money could be just [for] making education fair. On how having a child has changed his work I definitely try and be more deliberate: Everything I say has more intent, and I'm rapping as if I know she's going to listen to it. I've come to understand that art is awesome and beautiful because it's a reflection of life — but it's just a reflection, and the real thing is my daughter.

when air masses meet do they mixtape

I'm more conscious of my time and what's most important now. Web intern Jenna Li contributed to this story.