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2 episodes with ownership hip hop aesthetics
2 episodes with ownership hip hop aesthetics
2 episodes with ownership hip hop aesthetics
2 episodes with ownership hip hop aesthetics
The 1990s gave way to a vibrant literary outpouring of African American novels that offered myriad representational possibilities freeing readers and writers alike. Episode by Richard Schur -- Professor of English at Drury University. He is the author of Parodies of Ownership: Hip-Hop Aesthetics and Intellectual Property Law and co-editor (with Lovalerie King) of Justice Unveiled: African American Culture and the Law.Episode read by Kassandra Timm
Sometimes a novel proves controversial, and the writer finds herself in a courtroom.Episode by Richard SchurThe script was read by Kassandra Timm.Richard Schur is Professor of English Program at Drury University. He is the author of Parodies of Ownership: Hip-Hop Aesthetics and Intellectual Property Law and co-editor (with Lovalerie King) of Justice Unveiled: African American Culture and the Law.
Music is frequently connected to leftist politics and seen as the soundtrack to social protest movements, most notably the civil rights movement. But the far right groups use music too. Benjamin Teitelbaum‘s Lions of the North: Sounds of the New Nordic Radical Nationalism (Oxford University Press, 2017) explores how Swedish and Nordic far right parties deployed music in the 2000’s to expand the reach of their ideas. Consciously rejecting the sounds of White Power music and the image of skinheads in favor of pop music, hip-hop, and reggae, leaders of Sweden’s far right parties used the change in music to make in-roads into mainstream political discourse. In this podcast Teitelbaum discusses the shifting theoretical landscape that undergirds the radical nationalism and how this led to a variety of approaches toward music by far right parties. We explore how far right musicians and audiences came to use African-inspired musical forms in their effort to spread their ideas about Swedish nationalism. In addition to exploring questions of race, the conversation also examines the changing role of women in far right music and the vexed position of folk music. The podcast concludes with drawing some comparisons and contrasts between far right movements in the United States and Sweden. Benjamin R. Teitelbaum is Assistant Professor of Ethnomusicology at the University of Colorado. Teitelbaum’s commentary on music and politics has appeared in major European and American media outlets, in addition to scholarly venues. He has contributed as an expert for NPR, Swedish Radio, Norwegian Radio, the BBC, Aftonbladet, Dagens Nyheter, Helsinge Sanomat and Berlingske, and he has authored op-eds in the New York Times, Foreign Policy, Dagbladet and the Wall Street Journal. Teitelbaum is also a musician who specializes in Swedish folk music and Sweden’s unofficial national instrument, the nyckelharpa. More information about him can be found on his website. The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse. Learn more about your ad choices. Visit megaphone.fm/adchoices
Music is frequently connected to leftist politics and seen as the soundtrack to social protest movements, most notably the civil rights movement. But the far right groups use music too. Benjamin Teitelbaum‘s Lions of the North: Sounds of the New Nordic Radical Nationalism (Oxford University Press, 2017) explores how Swedish and Nordic far right parties deployed music in the 2000’s to expand the reach of their ideas. Consciously rejecting the sounds of White Power music and the image of skinheads in favor of pop music, hip-hop, and reggae, leaders of Sweden’s far right parties used the change in music to make in-roads into mainstream political discourse. In this podcast Teitelbaum discusses the shifting theoretical landscape that undergirds the radical nationalism and how this led to a variety of approaches toward music by far right parties. We explore how far right musicians and audiences came to use African-inspired musical forms in their effort to spread their ideas about Swedish nationalism. In addition to exploring questions of race, the conversation also examines the changing role of women in far right music and the vexed position of folk music. The podcast concludes with drawing some comparisons and contrasts between far right movements in the United States and Sweden. Benjamin R. Teitelbaum is Assistant Professor of Ethnomusicology at the University of Colorado. Teitelbaum’s commentary on music and politics has appeared in major European and American media outlets, in addition to scholarly venues. He has contributed as an expert for NPR, Swedish Radio, Norwegian Radio, the BBC, Aftonbladet, Dagens Nyheter, Helsinge Sanomat and Berlingske, and he has authored op-eds in the New York Times, Foreign Policy, Dagbladet and the Wall Street Journal. Teitelbaum is also a musician who specializes in Swedish folk music and Sweden’s unofficial national instrument, the nyckelharpa. More information about him can be found on his website. The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse. Learn more about your ad choices. Visit megaphone.fm/adchoices
Music is frequently connected to leftist politics and seen as the soundtrack to social protest movements, most notably the civil rights movement. But the far right groups use music too. Benjamin Teitelbaum‘s Lions of the North: Sounds of the New Nordic Radical Nationalism (Oxford University Press, 2017) explores how Swedish and Nordic far right parties deployed music in the 2000’s to expand the reach of their ideas. Consciously rejecting the sounds of White Power music and the image of skinheads in favor of pop music, hip-hop, and reggae, leaders of Sweden’s far right parties used the change in music to make in-roads into mainstream political discourse. In this podcast Teitelbaum discusses the shifting theoretical landscape that undergirds the radical nationalism and how this led to a variety of approaches toward music by far right parties. We explore how far right musicians and audiences came to use African-inspired musical forms in their effort to spread their ideas about Swedish nationalism. In addition to exploring questions of race, the conversation also examines the changing role of women in far right music and the vexed position of folk music. The podcast concludes with drawing some comparisons and contrasts between far right movements in the United States and Sweden. Benjamin R. Teitelbaum is Assistant Professor of Ethnomusicology at the University of Colorado. Teitelbaum’s commentary on music and politics has appeared in major European and American media outlets, in addition to scholarly venues. He has contributed as an expert for NPR, Swedish Radio, Norwegian Radio, the BBC, Aftonbladet, Dagens Nyheter, Helsinge Sanomat and Berlingske, and he has authored op-eds in the New York Times, Foreign Policy, Dagbladet and the Wall Street Journal. Teitelbaum is also a musician who specializes in Swedish folk music and Sweden’s unofficial national instrument, the nyckelharpa. More information about him can be found on his website. The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse. Learn more about your ad choices. Visit megaphone.fm/adchoices
Music is frequently connected to leftist politics and seen as the soundtrack to social protest movements, most notably the civil rights movement. But the far right groups use music too. Benjamin Teitelbaum‘s Lions of the North: Sounds of the New Nordic Radical Nationalism (Oxford University Press, 2017) explores how Swedish and Nordic far right parties deployed music in the 2000’s to expand the reach of their ideas. Consciously rejecting the sounds of White Power music and the image of skinheads in favor of pop music, hip-hop, and reggae, leaders of Sweden’s far right parties used the change in music to make in-roads into mainstream political discourse. In this podcast Teitelbaum discusses the shifting theoretical landscape that undergirds the radical nationalism and how this led to a variety of approaches toward music by far right parties. We explore how far right musicians and audiences came to use African-inspired musical forms in their effort to spread their ideas about Swedish nationalism. In addition to exploring questions of race, the conversation also examines the changing role of women in far right music and the vexed position of folk music. The podcast concludes with drawing some comparisons and contrasts between far right movements in the United States and Sweden. Benjamin R. Teitelbaum is Assistant Professor of Ethnomusicology at the University of Colorado. Teitelbaum’s commentary on music and politics has appeared in major European and American media outlets, in addition to scholarly venues. He has contributed as an expert for NPR, Swedish Radio, Norwegian Radio, the BBC, Aftonbladet, Dagens Nyheter, Helsinge Sanomat and Berlingske, and he has authored op-eds in the New York Times, Foreign Policy, Dagbladet and the Wall Street Journal. Teitelbaum is also a musician who specializes in Swedish folk music and Sweden’s unofficial national instrument, the nyckelharpa. More information about him can be found on his website. The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse. Learn more about your ad choices. Visit megaphone.fm/adchoices
Music is frequently connected to leftist politics and seen as the soundtrack to social protest movements, most notably the civil rights movement. But the far right groups use music too. Benjamin Teitelbaum‘s Lions of the North: Sounds of the New Nordic Radical Nationalism (Oxford University Press, 2017) explores how Swedish and Nordic far right parties deployed music in the 2000's to expand the reach of their ideas. Consciously rejecting the sounds of White Power music and the image of skinheads in favor of pop music, hip-hop, and reggae, leaders of Sweden's far right parties used the change in music to make in-roads into mainstream political discourse. In this podcast Teitelbaum discusses the shifting theoretical landscape that undergirds the radical nationalism and how this led to a variety of approaches toward music by far right parties. We explore how far right musicians and audiences came to use African-inspired musical forms in their effort to spread their ideas about Swedish nationalism. In addition to exploring questions of race, the conversation also examines the changing role of women in far right music and the vexed position of folk music. The podcast concludes with drawing some comparisons and contrasts between far right movements in the United States and Sweden. Benjamin R. Teitelbaum is Assistant Professor of Ethnomusicology at the University of Colorado. Teitelbaum's commentary on music and politics has appeared in major European and American media outlets, in addition to scholarly venues. He has contributed as an expert for NPR, Swedish Radio, Norwegian Radio, the BBC, Aftonbladet, Dagens Nyheter, Helsinge Sanomat and Berlingske, and he has authored op-eds in the New York Times, Foreign Policy, Dagbladet and the Wall Street Journal. Teitelbaum is also a musician who specializes in Swedish folk music and Sweden's unofficial national instrument, the nyckelharpa. More information about him can be found on his website. The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse.
Music is frequently connected to leftist politics and seen as the soundtrack to social protest movements, most notably the civil rights movement. But the far right groups use music too. Benjamin Teitelbaum‘s Lions of the North: Sounds of the New Nordic Radical Nationalism (Oxford University Press, 2017) explores how Swedish and Nordic far right parties deployed music in the 2000's to expand the reach of their ideas. Consciously rejecting the sounds of White Power music and the image of skinheads in favor of pop music, hip-hop, and reggae, leaders of Sweden's far right parties used the change in music to make in-roads into mainstream political discourse. In this podcast Teitelbaum discusses the shifting theoretical landscape that undergirds the radical nationalism and how this led to a variety of approaches toward music by far right parties. We explore how far right musicians and audiences came to use African-inspired musical forms in their effort to spread their ideas about Swedish nationalism. In addition to exploring questions of race, the conversation also examines the changing role of women in far right music and the vexed position of folk music. The podcast concludes with drawing some comparisons and contrasts between far right movements in the United States and Sweden. Benjamin R. Teitelbaum is Assistant Professor of Ethnomusicology at the University of Colorado. Teitelbaum's commentary on music and politics has appeared in major European and American media outlets, in addition to scholarly venues. He has contributed as an expert for NPR, Swedish Radio, Norwegian Radio, the BBC, Aftonbladet, Dagens Nyheter, Helsinge Sanomat and Berlingske, and he has authored op-eds in the New York Times, Foreign Policy, Dagbladet and the Wall Street Journal. Teitelbaum is also a musician who specializes in Swedish folk music and Sweden's unofficial national instrument, the nyckelharpa. More information about him can be found on his website. The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse. Learn more about your ad choices. Visit megaphone.fm/adchoices
Often, poetry and punk rock are seen as distinct activities that occur in different locations with separate audiences. Many would also ascribe to them varying levels of cultural and political capital. Daniel Kane, the author of Do You Have a Band?: Poetry and Punk Rock in New York City (Columbia University Press, 2017) challenges these notions and explores the interaction between the New York Schools of Poetry and early punk music. In this podcast, we discuss how poets, such as Frank O'Hara, Ted Berrigan, and Anne Waldman, affected the writing and careers of Lou Reed, Patti Smith, and Richard Hell. We also explore how punk rock, in turn, shaped the work of Elaine Myles and Dennis Cooper. Kane's work helps re-map the relationships between poetry and punk rock. Daniel Kane is Professor in English and American literature at the University of Sussex in Brighton. His books include We Saw the Light: Conversations Between the New American Cinema and Poetry (2009) and All Poets Welcome: The Lower East Side Poetry Scene in the 1960s (2003). The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse.
Often, poetry and punk rock are seen as distinct activities that occur in different locations with separate audiences. Many would also ascribe to them varying levels of cultural and political capital. Daniel Kane, the author of Do You Have a Band?: Poetry and Punk Rock in New York City (Columbia University Press, 2017) challenges these notions and explores the interaction between the New York Schools of Poetry and early punk music. In this podcast, we discuss how poets, such as Frank O’Hara, Ted Berrigan, and Anne Waldman, affected the writing and careers of Lou Reed, Patti Smith, and Richard Hell. We also explore how punk rock, in turn, shaped the work of Elaine Myles and Dennis Cooper. Kane’s work helps re-map the relationships between poetry and punk rock. Daniel Kane is Professor in English and American literature at the University of Sussex in Brighton. His books include We Saw the Light: Conversations Between the New American Cinema and Poetry (2009) and All Poets Welcome: The Lower East Side Poetry Scene in the 1960s (2003). The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse. Learn more about your ad choices. Visit megaphone.fm/adchoices
Often, poetry and punk rock are seen as distinct activities that occur in different locations with separate audiences. Many would also ascribe to them varying levels of cultural and political capital. Daniel Kane, the author of Do You Have a Band?: Poetry and Punk Rock in New York City (Columbia University Press, 2017) challenges these notions and explores the interaction between the New York Schools of Poetry and early punk music. In this podcast, we discuss how poets, such as Frank O’Hara, Ted Berrigan, and Anne Waldman, affected the writing and careers of Lou Reed, Patti Smith, and Richard Hell. We also explore how punk rock, in turn, shaped the work of Elaine Myles and Dennis Cooper. Kane’s work helps re-map the relationships between poetry and punk rock. Daniel Kane is Professor in English and American literature at the University of Sussex in Brighton. His books include We Saw the Light: Conversations Between the New American Cinema and Poetry (2009) and All Poets Welcome: The Lower East Side Poetry Scene in the 1960s (2003). The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse. Learn more about your ad choices. Visit megaphone.fm/adchoices
Often, poetry and punk rock are seen as distinct activities that occur in different locations with separate audiences. Many would also ascribe to them varying levels of cultural and political capital. Daniel Kane, the author of Do You Have a Band?: Poetry and Punk Rock in New York City (Columbia University Press, 2017) challenges these notions and explores the interaction between the New York Schools of Poetry and early punk music. In this podcast, we discuss how poets, such as Frank O’Hara, Ted Berrigan, and Anne Waldman, affected the writing and careers of Lou Reed, Patti Smith, and Richard Hell. We also explore how punk rock, in turn, shaped the work of Elaine Myles and Dennis Cooper. Kane’s work helps re-map the relationships between poetry and punk rock. Daniel Kane is Professor in English and American literature at the University of Sussex in Brighton. His books include We Saw the Light: Conversations Between the New American Cinema and Poetry (2009) and All Poets Welcome: The Lower East Side Poetry Scene in the 1960s (2003). The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse. Learn more about your ad choices. Visit megaphone.fm/adchoices
Often, poetry and punk rock are seen as distinct activities that occur in different locations with separate audiences. Many would also ascribe to them varying levels of cultural and political capital. Daniel Kane, the author of Do You Have a Band?: Poetry and Punk Rock in New York City (Columbia University Press, 2017) challenges these notions and explores the interaction between the New York Schools of Poetry and early punk music. In this podcast, we discuss how poets, such as Frank O’Hara, Ted Berrigan, and Anne Waldman, affected the writing and careers of Lou Reed, Patti Smith, and Richard Hell. We also explore how punk rock, in turn, shaped the work of Elaine Myles and Dennis Cooper. Kane’s work helps re-map the relationships between poetry and punk rock. Daniel Kane is Professor in English and American literature at the University of Sussex in Brighton. His books include We Saw the Light: Conversations Between the New American Cinema and Poetry (2009) and All Poets Welcome: The Lower East Side Poetry Scene in the 1960s (2003). The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse. Learn more about your ad choices. Visit megaphone.fm/adchoices
Often, poetry and punk rock are seen as distinct activities that occur in different locations with separate audiences. Many would also ascribe to them varying levels of cultural and political capital. Daniel Kane, the author of Do You Have a Band?: Poetry and Punk Rock in New York City (Columbia University Press, 2017) challenges these notions and explores the interaction between the New York Schools of Poetry and early punk music. In this podcast, we discuss how poets, such as Frank O’Hara, Ted Berrigan, and Anne Waldman, affected the writing and careers of Lou Reed, Patti Smith, and Richard Hell. We also explore how punk rock, in turn, shaped the work of Elaine Myles and Dennis Cooper. Kane’s work helps re-map the relationships between poetry and punk rock. Daniel Kane is Professor in English and American literature at the University of Sussex in Brighton. His books include We Saw the Light: Conversations Between the New American Cinema and Poetry (2009) and All Poets Welcome: The Lower East Side Poetry Scene in the 1960s (2003). The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse. Learn more about your ad choices. Visit megaphone.fm/adchoices
Often, poetry and punk rock are seen as distinct activities that occur in different locations with separate audiences. Many would also ascribe to them varying levels of cultural and political capital. Daniel Kane, the author of Do You Have a Band?: Poetry and Punk Rock in New York City (Columbia University Press, 2017) challenges these notions and explores the interaction between the New York Schools of Poetry and early punk music. In this podcast, we discuss how poets, such as Frank O’Hara, Ted Berrigan, and Anne Waldman, affected the writing and careers of Lou Reed, Patti Smith, and Richard Hell. We also explore how punk rock, in turn, shaped the work of Elaine Myles and Dennis Cooper. Kane’s work helps re-map the relationships between poetry and punk rock. Daniel Kane is Professor in English and American literature at the University of Sussex in Brighton. His books include We Saw the Light: Conversations Between the New American Cinema and Poetry (2009) and All Poets Welcome: The Lower East Side Poetry Scene in the 1960s (2003). The host for this episode is Richard Schur, Professor of English at Drury University. He is the author of Parodies of Ownership: Hip Hop Aesthetics and Intellectual Property Law and the co-editor of African American Culture and Legal Discourse. Learn more about your ad choices. Visit megaphone.fm/adchoices
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