東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

"You Understand Me Now": Sampling Ni...

Modell, Amanda R.

Linked to FindBook

Google Book

Amazon

博客來

"You Understand Me Now": Sampling Nina Simone in Hip Hop.

Record Type:	Electronic resources : Monograph/item
Title/Author:	"You Understand Me Now": Sampling Nina Simone in Hip Hop./
Author:	Modell, Amanda R.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2012,
Description:	108 p.
Notes:	Source: Masters Abstracts International, Volume: 50-05, page: 2847.
Contained By:	Masters Abstracts International50-05.
Subject:	African American studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1509621
ISBN:	9781267312006

"You Understand Me Now": Sampling Nina Simone in Hip Hop.
Modell, Amanda R.

"You Understand Me Now": Sampling Nina Simone in Hip Hop. - Ann Arbor : ProQuest Dissertations & Theses, 2012 - 108 p.

Source: Masters Abstracts International, Volume: 50-05, page: 2847.

Thesis (M.A.)--University of South Florida, 2012.

The overarching goal of this research is to explicate the implications of hip hop artists sampling Nina Simone's music in their work. By regarding Simone as a critical social theorist in her own right, one can hear the ways that hip hop artists are mobilizing her tradition of socially active self-definition from the Civil Rights/Black Power era(s) in the post-2000 United States. By examining both the lyrics and the instrumental compositions of Lil Wayne, Juelz Santana, Common, Tony Moon, Talib Kweli, Mary J. Blige and Will.I.Am, G-Unit and Timbaland, and bearing in mind the intersecting oppressions of race, class, gender, and sexuality, this study concludes that the way that these artists employ Simone's recorded voice in their works oftentimes corresponds to the degree to which they retain her figurative message. While many would assume that these tendencies would correspond with the subgenres of "mainstream" and "conscious" hip hop, in fact the fluidity and complexity of these artists' positions in subgenre refutes this essentialist notion. By engaging in an intersectional analysis of the political and personal implications of hip hop sampling, this essay provides a critical interpretation of the ways the cultural products of the "Civil Rights era" still operate in contemporary U.S. society. These operations are integral to the human rights struggle in which we are all still very much engaged.

ISBN: 9781267312006Subjects--Topical Terms:

2122686
African American studies.

"You Understand Me Now": Sampling Nina Simone in Hip Hop.
LDR:02332nmm a2200313 4500 001 2127786
005 20180105074621.5
008 180830s2012 ||||||||||||||||| ||eng d
020 $a 9781267312006
035 $a (MiAaPQ)AAI1509621
035 $a AAI1509621
040 $a MiAaPQ $c MiAaPQ
100 1 $a Modell, Amanda R. $3 3289956
245 1 0 $a "You Understand Me Now": Sampling Nina Simone in Hip Hop.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2012
300 $a 108 p.
500 $a Source: Masters Abstracts International, Volume: 50-05, page: 2847.
500 $a Adviser: Andrew Berish.
502 $a Thesis (M.A.)--University of South Florida, 2012.
520 $a The overarching goal of this research is to explicate the implications of hip hop artists sampling Nina Simone's music in their work. By regarding Simone as a critical social theorist in her own right, one can hear the ways that hip hop artists are mobilizing her tradition of socially active self-definition from the Civil Rights/Black Power era(s) in the post-2000 United States. By examining both the lyrics and the instrumental compositions of Lil Wayne, Juelz Santana, Common, Tony Moon, Talib Kweli, Mary J. Blige and Will.I.Am, G-Unit and Timbaland, and bearing in mind the intersecting oppressions of race, class, gender, and sexuality, this study concludes that the way that these artists employ Simone's recorded voice in their works oftentimes corresponds to the degree to which they retain her figurative message. While many would assume that these tendencies would correspond with the subgenres of "mainstream" and "conscious" hip hop, in fact the fluidity and complexity of these artists' positions in subgenre refutes this essentialist notion. By engaging in an intersectional analysis of the political and personal implications of hip hop sampling, this essay provides a critical interpretation of the ways the cultural products of the "Civil Rights era" still operate in contemporary U.S. society. These operations are integral to the human rights struggle in which we are all still very much engaged.
590 $a School code: 0206.
650 4 $a African American studies. $3 2122686
650 4 $a Music. $3 516178
650 4 $a Gender studies. $3 2122708
650 4 $a Black studies. $3 2122689
690 $a 0296
690 $a 0413
690 $a 0733
690 $a 0325
710 2 $a University of South Florida. $b Humanities and Cultural Studies. $3 2094291
773 0 $t Masters Abstracts International $g 50-05.
790 $a 0206
791 $a M.A.
792 $a 2012
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1509621