Made to accompany this shitpost: https://twitter.com/DX115FALCON/status/1369779391388151811

Original tracks:
"Ally Attack" - Yuka Tsujiyoko (Fire Emblem Seisen No Keifu OST)
"Hey Ya!" - Outkast (Speakerboxxx/The Love Below)

Hey Ya! (Fire Emblem: Genealogy Of The Holy War OST)

Float Low x Modest Mouse x Lil Jon & Ying Yang Twins mashup 
“Float On” Modest Mouse x “Get Low” Lil Jon & The East Side Boyz / Ying Yang Twins

Float Low

50 Cent_Disco Inferno(DaNuTz RMX)

This podcast was produced by MaryCate Most and Namrata Kalliath for the course Culture & Inequality at KU Leuven. In this podcast we analyze the way in which female artists within the genre of hip hop negotiate within the hypermasculine and hypersexualized norms of hip hop. The works cited in the podcast and used to inform our discussion are cited below:

Bibliography:
Foucault, M. (1980). Power/knowledge: Selected interviews and other writings, 1972-1977. New York, NY: Pantheon.
Gomes, Jade. 2019. “How Megan Thee Stallion Earned Her Confidence.” Rolling Stone, March 16, 2019. https://www.rollingstone.com/music/music-features/megan-thee-stallion-freestyle-808378/
Haynes, Jo (2010). In the blood: The racializing tones of music categorization. Cultural Sociology 4(1): 81-100
Hesmondhalgh, David, & Saha, A. (2013). “Race, ethnicity, and cultural production.” Popular Communication 11(3): 179-195.
Lorde, A. (1984). Sister outside: Essays and speeches. Trumansburg, NY: Crossing Press.
McNally, James. “Azealia Banks's ‘212’: Black Female Identity and the White Gaze in Contemporary Hip-Hop.” Journal of the Society for American Music 10, no. 1 (2016): 54–81. doi:10.1017/S1752196315000541
Mears, Ashley. "Girls as elite distinction: The appropriation of bodily capital." Poetics 53 (2015): 22-37.
Panuzzo, Barbara. "Covering Performers, Discovering Femininities: US Hip-Hop Journalism and Female Artists." IASPM@Journal 4.2 (2014): 43-54. Web.
Rose, Tricia. 1994. Black Noise: Rap Music and Black Culture in Contemporary America. Middletown: Wesleyan University Press.
Schaap, Julian, & Berkers, Pauwke. 2019. “ “Maybe it’s… skin colour?” How race-ethnicity and gender function in consumers’ formation of classification styles of cultural content.” Consumption Markets & Culture 1-17.
Sharpley-Whiting, T. Denean. 2007. Pimp’s up, ho’s down: Hip hop’s hold on young black women. New York: New York University Press.
White, Theresa Renee. “ "Missy "Misdemeanor" Elliott and Nicki Minaj: Fashionistin' Black Female Sexuality in Hip-Hop Culture—Girl Power or Overpowered?." Journal of Black Studies 44.6 (2013): 607-26. Web.
Wolfson, Sam. 2017. “Rap and the gender gap: Why are female MCs still not being heard?” The Guardian, September 9, 2017. https://www.theguardian.com/music/2017/sep/09/rap-gender-gap-why-are-female-mcs-still-not-being-heard
2000. “Tip Drill/ E.I.” Track #3 on Country Grammar. Fo’Reel, Derty, Universal. Nelly (Cornell Iral Haynes Jr.).
2002. “Work it.” Track #4 on Under Construction. Goldmind, Elektra. Missy Elliott.
2014. “Only.” Track #6 on The Pinkprint. Young Money, Cash Money, Republic. Nicki Minaj, Drake, Lil Wayne and Chris Brown.
2015. “Hollyweezy.” Track #9 on Sorry 4 the Wait 2. Young Money. Lil Wayne.
2018. “Big Ole Freak.” Track #7 on Tina Snow. 1501 Certified, 300 (Warner). Megan Thee Stallion.

Hip Hop & Inequality

In this episode Joe bring the table Neon Neon's Stainless Style.  A project from Super Furry Animals front man Gruff Rhys and electronic artist Boom Bip.  

Which turns out to be a concept album about John DeLorean, the eccentric creator of the DeLorean vehicle made infamous from it's history and famous because of Back to the Future.

How do we rate this album?  Listen to find out!

Rate That Album Ep 3: Neon Neon - Stainless Style

The Pod Down

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