110,481 research outputs found
Funk carioca, voz feminina e o caso Tati Quebra-Barraco
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2015.Este estudo investiga a relação entre raça, democracia racial no Brasil e a ascensão do funk carioca. Além disto, o trabalho analisa a representação da mulher negra e a autorrepresentação feminina exposta na performance de Tati Quebra-Barraco, avaliando a apropriação de discursos do feminino ressignificados no contexto pós-colonial. O funk carioca surge como gênero em 1989 e dialoga com a crise nas escolas de samba e com o mito da democracia racial no Brasil. Nesse sentido, ele reporta-se às questões relacionadas à subalternidade da juventude negra, de maneira geral, e da mulher negra, de maneira específica. A pesquisa é realizada a partir das perspectivas de raça e de representação e autorrepresentação da mulher subalterna, entendidas, no último capítulo desta dissertação, como paródia de discursos vastamente reproduzidos sobre o feminino. Ela também apresenta algumas questões referentes às apropriações da música estrangeira, nomeadamente a soul music e o hip-hop, e ao contradiscurso presente na autorrepresentação feminina de Tati Quebra-Barraco.Abstract : This study researches the relationship among race, racial democracy in Brazil and the rise of Rio de Janeiro s funk (carioca funk). In addition, the paper analyses the representation of black women and the female self-representation present in Tati Quebra-Barraco s music by evaluating the appropriation of hegemonic discourses that have been reinterpreted in the postcolonial context. The carioca funk emerges as a gender in 1989 and establishes a dialogue with the decadence of the samba schools and with the myth of the racial democracy in Brazil. In this sense, it refers to the issues related to the black youth subordination in general and to the black woman subordination specifically. The research is carried out from the race perspective as well as from the subordinate representation and self-representation perspective, which are understood as a parody of hegemonic discourses. It also presents some issues related to the appropriation of foreign music, specifically soul music and hip-hop, and to the counter-discourse in Tati Quebra-Barraco s female self- representation
Wickett Crickett and Houston G-Funk
No full textBy the early 1990’s gangsta rap music had saturated American airwaves, television, film and fashion. During this period G-funk, a fusion genre of gangsta rap music and funk music, also made headway throughout the U.S. By the mid-1990s, musicians and record labels outside of California began producing their own regionally influenced G-funk works. Houston’s own MC Wickett Crickett (Darrell Veal, 1959-2015) released his only record, “Where U from/Can I hit it,” in 1996. This EP features a G-funk remix of Crickett’s H-town anthem, “Where U from,” featuring a Parliament Funkadelic inspired bassline from studio bass guitarist Dirtt. The DJ Screw Sound Recordings Collection at the University of Houston contains a transcription disc of Crickett’s 1996 albums’ A-side. This lightning talk provides a brief background of Houston hip-hop in the 1990s, gangsta rap and G-funk influence on hip-hop culture, and insight on describing/cataloging transcription discs and remixed works.Librarie
Marriage record of Hilley, Charles G. and Funk, Lydia T.
No full textMarriage license for Charles G. Hilley and Lydia T. Funk. Claude W. Duke was the officiant
Funk\u27s G strain catalog, Funk\u27s G hybrid : strains for South Central and Southern Iowa
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