Literal Paraphrase Cyber-Assignment
2 October 2012 11-11:50 AM
Today we completed another MLA exercise 53:3; students also got the Dyson/Hurt interview to start reading.
I will give you the writing assignment, which is in two-parts re: the film: Hip Hop Beyond Beats and Rhymes, directed by Byron Hurt. The video is on YouTube I have been told in 7 or so posts. It is easier to just come to class and watch it with us (smile).
Post the literal paraphrase here along with the original citation. Include a works cited section. In the heading, put both student names on the post if completed together.
Today we completed another MLA exercise 53:3; students also got the Dyson/Hurt interview to start reading.
I will give you the writing assignment, which is in two-parts re: the film: Hip Hop Beyond Beats and Rhymes, directed by Byron Hurt. The video is on YouTube I have been told in 7 or so posts. It is easier to just come to class and watch it with us (smile).
Post the literal paraphrase here along with the original citation. Include a works cited section. In the heading, put both student names on the post if completed together.
posted by Professor Wanda's Posse at 1:22 PM
17 Comments:
Jared Iulio
Professor Sabir
English 1A 1100-1150
10/03/2012
Paraphrase, Holler, Chapter 4
Tupac related rap music to a "...Barometer of what ails black you." (Dyson, 110). He uses this as this analogy as a way of explaining that all youth created music is despised by adults. Tupac goes on to say that "Whether it's Mozart of Louis Armstrong, if it's yound, it always has to fight."(Dyson, 110). This was his explanation as to why rap music was so "dismissed and denigrated, even by blacks." (Dyson, 110)
Works cited:
Dyson, Eric Dyson. Holler If You Head Me. New York, NY: Basic Civitas, 2001
This comment has been removed by the author.
Keelan Sunglao-Valdez
Professor Sabir
English 1A
11:00-11:50
October 2, 2012
Literal Paraphrase: Chapter 4: "Give me a Paper and a Pen"(109-110)
To be sure, there are more serious criticisms of hip-hop. It is easy to understand the elements of rap that provoke consternation: its violence, its sexual saturation, its recycling of vicious stereotypes, its color-coded preference for light or non-black women, its failure to engage politics, its selling out to corporate capitalism, and its downright ugly hatred of women. Tupac has come to symbolize the blights on hip-hop’s troubled soul. His self-destructive behavior and premature death inspired a great deal of hand-wringing over hip-hop’s influence on black youth. Unfortunately, many critics divide the wheat from the chaff in hip-hop by separating rap into its positive and negative expressions.
Certainly, there are plenty of grievous judgments of Hip-hop. It is common to find the factors of rap that create such alarm: its brutality, its eroticism, its heavy use of racial and sexual slandering, its lack of political involvement. Its exploitation, and its undermining of females. Tupac has become an icon for the negative aesthetic people carry about hip-hop. His baneful demeanor and early fatality created distress over hip-hop’s effects on African American’s younger population. Sadly, a number of people selectively accept hip-hop by what they adopt as good or bad.
Works cited:
Dyson, Eric Dyson. Holler If You Head Me. New York, NY: Basic Civitas, 2001
Luchanda Williams
Professor Sabir
English 1A 11-11:50am
October 2 2012
Literal paraphrase
Currently rap is overflowing along stimulating attributes of why the alliance of the allege conversation to music has changed black practice. Celebrities corresponding Lauryn Hill, Common, Mos Def, Talib Kweli, and Bahamadia cause black commotion to advance explosion of general conscience. Ingenious wordsmiths equivalent to Jay-Z, Nas, DMX, and the different rappers of Wu-Tang Clan take advantage of poetry to explore urban essence in exciting analyzation. However there is still drastic assessment of rap musical vampirism and it’s decline continuity. These people assert the ability of equipment through achievement of original music is the exclusive impression of absolute accomplishment which attempts early appraisal. Corresponding purists avoid the intensely exhausted financing of arts in community academy from the late 1970s, a crucial advancement that constrained many inner-city apprentice from perusing musical equipments.(Dyson pg108 last paragraph)
Works cited:
Dyson, Eric Dyson. Holler If You Head Me. New York, NY: Basic Civitas, 2001
Emily Lam
Eric Mason
Professor Sabir
English 1A 11-11:50
2 October 2012
" Holler If You Hear Me " Paraphrase
Hip-hop culture has come a long way since its fledging start in the late 1970s. Early hip-hoppers were largely anonymous and could barely afford the sound systems on which the genre is built. By contrast, contemporary artists reap lucrative contracts, designer clothing lines, glossy magazine soreads, fashionable awarda, global recognition, and often the resentment of their hip-hop elders. If there is a hip-hop's purists, it is that they have squandered the franchise by being obsessed with shaking derrieres, platinum jewelry, fine alchohol, premium weed, pimp culture, gangster rituals, and thug life. Although hip-hop has succeeded far beyond the bronx of its birth, it has, in the minds of some ingenious storyteller whose haunting tales elevated and examined the poor-Charles Dickens-these are for hip-hop the best of times and the worst of times. In his embattled soul, Tupac embodied both.
Paraphrase:
Hip-Hop has progresssd since the 1970s. Early artists were hard to identify and they couldn't buy the materials they needed. Many artists signed huge contracts, wore expensive clothes, were featured on magazines, won awards, was world renound, but didn't get respect from early artists. If you were to get the opinion of early artists, they would say todays artists have demeaned the art by boasting about jewelery, liquor, drugs, pimping and being a gangster. Today, hip-hop is being known by its early artists as a diminished art form.
Messi Chaib
Professor Wanda
English 1A
2 October 2012
Origine:
A considerable measure of Topac's cultural's heft was certainly extramusical, especialy his well-publicized clashes with the law and his shamanistic thespian efforts. Above all, Tupac was a transcendent force of creative fury who relentlessly articulated a generation's defining moods-its confusion and pain, its nobility and courage, its loves and hates, its hoplessness and self-destruction. He was the zeigeist in sagging jeans.
Paraphraze:
The evaluation of the educational raise of Tupac was assurdly additional to music, his conflict with legeslation and his dramatic power in particular. Tupac tirelessly cleared the defining of a generation's homur such as desordre, bravery, lack of hope and self-devastation. He has a predation power and he was a jean sugger(Dyson,106).
Works cited:
Dyson, Eric Dyson. Holler If You Head Me. New York, NY: Basic Civitas, 2001
Michelle Chen
Thany Ouk
Professor Sabir
Eng1A 11-11:50
2, Oct 2012
Pg 111-112
"Burns and Crouch make powerful arguments about the lethal consequences of flooding the airwaves and video screen with self-defeating visions of black life. There is a little doubt that the effect is exactly as they describe it, with the caveat, however, that the global portrayal.."
Burns and Crouch creates a strong debate concerning deadly outcomes about over flowing the media and clips that contains low self-esteem thoughts of living as an African American. Having no confidence that proclaims how it was thought to be along with warning letting down would wide.
Tatiana Johnson
Professor Sabir
English 1A 11-11:50
2 October 2012
Literal Paraphrase
"A considerable measure of Tupac's cultural heft was certainly extramusical , especially his well-publicized clashes with the law and his shamanistic thespian efforts. Above all, Tupac was a transcendant force of creative fury who relentlessly articulated a generation's defining moods-its confusion and pain, its nobility and courage, its loves and hates, its hopelessness and self-destruction. He was the zeitgeist in sagging jeans" (Dyson, 106-107)
Tupac intellectual and artistic activities are beyond music. His music was based off his mood rather it was about love , hate, street life or courage, Tupac had the taste and outlook characteristics for his generation.
Works Cited:
Dyson, Eric Dyson. Holler If You Head Me. New York, NY: Basic Civitas, 2001
Ian Bailey
Keelan Sunglao-Valdez
Professor Sabir
English 1A 11-11:50
October 2nd, 2012
Literal Paraphrase
Certainly, some people find more pertinent fault with hip-hop. One would not be hard-pressed to identify the characteristics of rap that incite feelings of anxiety: its brutality, its heavy eroticism, its abundant presence of racial and sexual profiling and preference for women of lighter skin, its lack of political involvement, its tendency to compromise itself for monetary gain, and its misogynistic tendencies. Tupac has come to be a tragic example of the detriments of hip-hop's shortcomings. His withering way of life and untimely death provoked much distress regarding hip-hop's effects on black youth (109).
Works Cited:
Dyson, Eric Dyson. Holler If You Head Me. New York, NY: Basic Civitas, 2001
Pablo Hernandez
Bianca Hsueh
Professor Sabir
English 1A 11-11:50
2 October 2012
Literal Paraphrase
Dee’s thoughts signify an important contradictory point. Tupac’s music as a hip-hop leader served as a norm in the hip hop brands ideals, although crowds honored him through massive record sales and Tupac grew multinational recognition as an icon of rap’s future and idiocy. Tupac was not the genre’s most blessed performer by any standard that depict the form’s artistic ideal. For example, Tupac did not have Snoop Dogg’s flowing beats, K.R.S. ONE’s daunting timing of beats and breathing, Rakim’s odic passion, Chuck D’s intense fury for the political system, M.C. Lyte’s powerful pronunciation, or the immense imagery and smooth tempos of Notorious B.I.G., who hip-hop legend Mos Def named the “mathematician of flow”. (Dyson 106)
Works Cited
Dyson, Eric Dyson. Holler If You Head Me. New York, NY: Basic Civitas, 2001
The assignment is to compose a literal paraphrase. First post the original document.
If you are unclear what a paraphrase is, see Hacker 57c 466-467.
There are no direct quotes in a paraphrase.
If you posted the literal paraphrase without the original passage included, re: post correctly.
Use the MLA worksheet handouts as an example.
Comments:
Tatiana (Citation missing, too short), Michelle & Thany (not cited correctly. Who are Burns and Crouch?), Messi (rewrite more clearly; post the original), Emily & Eric (left out important references), Luchanda (post original as well), Nafi and Tabari (post original), Jared (not a paraphrase), Keelan (great) & Ian (combined the original is missing), Pablo & Bianca (post original as well).
Re-post with the original text and any corrections. Remember, the paraphrase is almost the same length as the original. Also, the paraphrase expresses the intention and meaning of the writer. You have to chose the right words. Not any word(s) will do.
If Dyson writes: "sound system," in reference to early rap artists who used creativity to produce their work, the word "materials" does not convey this. "Equipment" would be a more precise word choice.
In paraphrasing you are translating the author's work. This is hard work. In the literary world, translations get awards; that's how valuable the craft or art form is. Similarly, you are translating Dyson's words and feelings as precisely as you can.
Pablo Hernandez
Bianca Hsueh
Professor Sabir
English 1A 11-11:50
2 October 2012
Literal Paraphrase:Chapter 4 "Give Me a Paper and a Pen"
“Dee’s comments underscore a crucial paradox: Tupac’s art as a hip-hop emcee was an acquired taste among the genre’s cognoscente, even as the masses embraced him through huge record sales and he gained international notoriety as a symbol of rap’s fortunes and follies. Tupac was not hip-hop’s most gifted emcee by any of the criteria that define the form’s artistic apotheosis. He did not, for instance, possess the effortless rhythmic patterns of Snoop Dogg, the formidable timing and breath control of the incomparable K.R.S. ONE, the poetic intensity of Rakim, the deft political rage of Chuck D, the forceful enunciation of M.C. Lyte, or the novelistic descriptions and sly cadences of Notorious B.I.G. – the “mathematician of flow,” according to hip-hop luminary Mos Def” (Dyson 106).
Dee’s thoughts signify an important contradictory point. Tupac’s music as a hip-hop leader served as a norm in the hip hop brands ideals, although crowds honored him through massive record sales and Tupac grew multinational recognition as an icon of rap’s future and idiocy. Tupac was not the genre’s most blessed performer by any standard that depict the form’s artistic ideal. For example, Tupac did not have Snoop Dogg’s flowing beats, K.R.S. ONE’s daunting timing of beats and breathing, Rakim’s odic passion, Chuck D’s intense fury for the political system, M.C. Lyte’s powerful pronunciation, or the immense imagery and smooth tempos of Notorious B.I.G., who hip-hop legend Mos Def named the “mathematician of flow”. (Dyson 106)
Works Cited
Dyson, Eric Dyson. Holler If You Head Me. New York, NY: Basic Civitas, 2001
Pablo Hernandez
Bianca Hsueh
Professor Sabir
English 1A 11-11:50
2 October 2012
Literal Paraphrase
“Dee’s comments underscore a crucial paradox: Tupac’s art as a hip-hop emcee was an acquired taste among the genre’s cognoscente, even as the masses embraced him through huge record sales and he gained international notoriety as a symbol of rap’s fortunes and follies. Tupac was not hip-hop’s most gifted emcee by any of the criteria that define the form’s artistic apotheosis. He did not, for instance, possess the effortless rhythmic patterns of Snoop Dogg, the formidable timing and breath control of the incomparable K.R.S. ONE, the poetic intensity of Rakim, the deft political rage of Chuck D, the forceful enunciation of M.C. Lyte, or the novelistic descriptions and sly cadences of Notorious B.I.G. – the “mathematician of flow,” according to hip-hop luminary Mos Def” (Dyson 106).
Big Tray Dee’s thoughts signify an important contradictory point. Tupac’s music as a hip-hop leader served as a norm in the hip hop brands ideals, although crowds honored him through massive record sales and Tupac grew multinational recognition as an icon of rap’s future and idiocy. Tupac was not the genre’s most blessed performer by any standard that depict the form’s artistic ideal. For example, Tupac did not have Snoop Dogg’s flowing beats, K.R.S. ONE’s daunting timing of beats and breathing, Rakim’s odic passion, Chuck D’s intense fury for the political system, M.C. Lyte’s powerful pronunciation, or the immense imagery and smooth tempos of Notorious B.I.G., who hip-hop legend Mos Def named the “mathematician of flow”. (Dyson 106)
Works Cited
Dyson, Eric Dyson. Holler If You Hear Me. New York, NY: Basic Civitas, 2001
Pablo Hernandez
Bianca Hsueh
Professor Sabir
English 1A 11-11:50
2 October 2012
Literal Paraphrase
“Dee’s comments underscore a crucial paradox: Tupac’s art as a hip-hop emcee was an acquired taste among the genre’s cognoscente, even as the masses embraced him through huge record sales and he gained international notoriety as a symbol of rap’s fortunes and follies. Tupac was not hip-hop’s most gifted emcee by any of the criteria that define the form’s artistic apotheosis. He did not, for instance, possess the effortless rhythmic patterns of Snoop Dogg, the formidable timing and breath control of the incomparable K.R.S. ONE, the poetic intensity of Rakim, the deft political rage of Chuck D, the forceful enunciation of M.C. Lyte, or the novelistic descriptions and sly cadences of Notorious B.I.G. – the “mathematician of flow,” according to hip-hop luminary Mos Def” (Dyson 106).
Big Tray Dee’s thoughts signify an important contradictory point. Tupac’s music as a hip-hop leader served as a norm in the hip hop brands ideals, although crowds honored him through massive record sales and Tupac grew multinational recognition as an icon of rap’s future and idiocy. Tupac was not the genre’s most blessed performer by any standard that depict the form’s artistic ideal. For example, Tupac did not have Snoop Dogg’s flowing beats, K.R.S. ONE’s daunting timing of beats and breathing, Rakim’s odic passion, Chuck D’s intense fury for the political system, M.C. Lyte’s powerful pronunciation, or the immense imagery and smooth tempos of Notorious B.I.G., who hip-hop legend Mos Def named the “mathematician of flow”. (Dyson 106)
Works Cited
Dyson, Michael Eric. “Holler If You Hear Me.” New York, NY: Basic Civitas, 2001.
I am reposting this because my works cited from my previous post is wrong.
Pablo Hernandez
Bianca Hsueh
Professor Sabir
English 1A 11-11:50
3 October 2012
Free Paraphrase
“Long before his tragic death from gunshot wounds, Tupac had become part of the folklore of black popular culture by glorifying guns, gangs, and the ghetto. The scene from "Clockers" captures the bitter contradictions that dogged Tupac’s short but hard life. His hard-core image was known widely enough to bleed through the frames of Lee’s film” (Dyson 142).
According to Michael Eric Dyson, Tupac promoted violence and sympathized with the impoverished, which is a common trait of urban black culture. Spike Lee’s film, "Clockers", exhibits scenes that exemplify Tupac’s effort to maintain an image of masculinity. (142)
Works Cited
Dyson, Michael Eric. "Holler If You Hear Me." New York, NY: Basic Civitas, 2001.
Nafi Watson
Tabari Davis
Professor Sabir
English 1A
10/02/2012
Paraphrase: Holler Chapter 4
“Early seeds of suspicion have often bloomed into outright rejection of hip-hop as a vital source of art and imagination for black youth. That is why black wags of every stripe have stepped up to denounce the music as misguided, poisonous, and inauthentic, since music that gyrates into the spotlight has little truck with the revolutionary thrust of, say, Gil-Scott Heron or the Last Poets. In other words, hip-hop is not really black music. On such a view, hip-hop is but the seductive corporate packaging of the vicious stereotypes black folk have tried to defeat since our ancestors were uprooted and brought to America in chains. Except now, critics of hip-hop claim, the chains that bind us are more mental and psychological than physical. And the great-great-great-grandchildren of slaves who fought to be free and who hoped that their seed would escape rather than embrace enslavement create the images that destroy our standing in society” (Dyson 110-111).
The first roots of suspicion grew into complete dismissal of rap as a necessary cause of creativity for black youth. This would be why black wags of all sorts have prominently given effort to condemn hip-hop as foolish, toxic, and illegitimate, since music that circles into the limelight has feeble truck with the radical purpose of, say, Gil-Scott Heron or the Last Pets. Essentially, hip-hop is not in truth black music. Proceeding such an opinion, hip-hop is but the alluring commercial wrapping of the malicious typecasts black folk have strained to thrash since our forerunners were displaced and taken to America in shackles. However currently, evaluators of rap music say, the cuffs that retain us are chiefly cerebral and spiritual than corporeal. And the great-great-great-grandchild of captives who struggled to be unrestricted and who expected that their kin would avoid sooner than cling to entrapment fashion the metaphors that put an end to our upright in the social order (Dyson 110-111).
Works Cited:
Dyson, Eric Dyson. Holler If You Head Me. New York, NY: Basic Civitas, 2001
Messi Chaib
Professor Wanda
English 1A
10 October 2012
Original:
A considerable measure of Topac's cultural heft was certainly extramusical, especialy his well-publicized clashes with the law and his shamanistic thespian efforts. Above all, Tupac was a transcendent force of creative fury who relentlessly articulated a generation's defining moods-its confusion and pain, its nobility and courage, its loves and hates, its hoplessness and self-destruction. He was the zeigeist in sagging jeans.
Paraphraze:
the evaluation of the educational raise of Tupac was assuredly additional to music, his conflict with legislation and his dramatic power in particular. Tupac tirelessly showed the defining of a generation's humor such as disorder, bravery, lack of hope, and self-devastation and feeling such as hates and loves. He has a predation power and he was a jean sager (Dyson,106).
Works cited:
Dyson, Eric Dyson. Holler If You Head Me. New York, NY: Basic Civitas, 2001
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