User talk:Meyekel Wik/sandbox

Article Evaluation
Everything within the article of "Social science" is completely relevant to the article. There was hardly anything that distracted me, since the written article was very informative in a simple manner. The information used in the article surprised me since the creator had used references and sources dating back to the nineties up until now. In my opinion there is really nothing else that can be added since there are records of the most recent information upon the subject linked to what is said by the author. There are no major improvements that should be made although I can see that it has been edited recently, which gives way to the possibility that there can be room for improvement, however nothing comes to mind at the moment. The information is neutral, which is good in my opinion since it only focuses on the information that is relevant to the article, making everything balanced where nothing is overrepresented or underrepresented. As for the citations, everything is working great, making the sources credible within the article along with the references; nothing between the two can be labeled as being biased in any way in my opinion. According to the Talk Page for the article however, one user says how it focuses more on the development of scientific thought on society in Europe instead of it being well rounded with the inclusion of the society of other places around the world. The article has been rated as a C-Class and is interest to multiple WikiProjects. Wikipedia discusses this article differently than other articles discussed in class since it is written in British English with some terms being different compared to other varieties of English and it cannot be changed without broad consensus, according to the relevant style guide. Meyekel Wik (talk) 23:57, 23 January 2019 (UTC)

"They’re Tryin' to Wash Us Away": New Orleans Musicians Surviving Katrina
In the article, "They're Tryin' to Wash Us Away," it talks about the experiences and ideas expressed by the musicians from New Orleans of whom were affected after Hurricane Katrina even though they lived through it. It also includes statements about how the aftermath of the hurricane affected their music and how it has influenced Gert Town and how the cultures of communities such as Gert Town have affected the music itself. Meyekel Wik (talk) 01:34, 8 February 2019 (UTC)

CONTRIBUTION DRAFT
In the article They're Tryin' to Wash Us Away, it talks about the experiences and ideas expressed by the musicians from New Orleans of whom were affected after Hurricane Katrina even though they lived through it. It also includes statements about how the aftermath of the hurricane affected their music and how it has influenced Gert Town and how the cultures of communities such as Gert Town have affected the music itself.

In the article, it talks about how second line jazz had originated in places where racism and poverty with the addition of high crime is overwhelming, places like Gert Town. However, the article shows just how inspiring second line is in these communities and how it motivates the citizens for a better tomorrow for both themselves and their communities despite their challenging daily realities. A passage from the article describes how second line jazz is a passage of opportunity for not only the Jazzworld, but for people living in the streets trying to make a dollar as portrayed in the quoted description below.

"The scholarship of the anthropologist Helen Regis on "second line" parades (which are not relegated solely to funerals) makes that point. In neighborhoods such as Treme, Gentral Gity, and Gert Town, brass band music generates dancing in the street, inviting all within earshot to join in. The "second lines" enable communities to beset by institutionalized racism, poverty, and high crime and mortality rates to maintain hope in spite of oppressive daily realities. When the "second liners" are on the streets, they "own" them, but if the landscape has been effaced, can it still be contested? One might argue, "yes, more than ever." Piazza fears that the city will turn into a theme park: "If you thought the contracts for Baghdad were fat, wait until you hear the cash registers ringing for Jazzworld." Meyekel Wik (talk) 02:45, 12 February 2019 (UTC)

[Copyright 2007 The Organization of American Historians 1]

Gert Town's Cultural Influence on Hip-Hop and Second Line Jazz
Included in the article are statements on how Gert Town and the cultures of the communities within Gert Town have affected the music genre. In addition, it talks about how second line jazz had originated in places where racism and poverty with the addition of high crime is overwhelming, places like Gert Town. However, the article shows just how inspiring second line is in these communities and how it motivates the citizens for a better tomorrow for both themselves and their communities despite their challenging daily realities. A passage from the article describes how second line jazz is a passage of opportunity for not only the Jazzworld, but for people living in the streets trying to make a dollar as portrayed in the quoted description below. "The scholarship of the anthropologist Helen Regis on "second line" parades (which are not relegated solely to funerals) makes that point. In neighborhoods such as Treme, Gentral Gity, and Gert Town, brass band music generates dancing in the street, inviting all within earshot to join in. The "second lines" enable communities to beset by institutionalized racism, poverty, and high crime and mortality rates to maintain hope in spite of oppressive daily realities. When the "second liners" are on the streets, they "own" them, but if the landscape has been effaced, can it still be contested? One might argue, "yes, more than ever." Piazza fears that the city will turn into a theme park: "If you thought the contracts for Baghdad were fat, wait until you hear the cash registers ringing for Jazzworld." In addition to there being second-line jazz as a motivating anthem for Gert Town, there is also Hip Hop. Hip Hop had originated from many urban places around the United States, but the most influential style of the music genre came from poverty-stricken neighborhoods such as Gert Town. From these neighborhoods arose bounce DJs whom represented the neighborhoods of where the foundation of Hip-Hop came from by calling out their names in specific songs as represented by the quote below. In addition to being recognized by numerous people came the appreciation from each respectable area around the district of Gert Town. Hip-Hop of all other things brought fame and even fortune to the area by representing what hope and desire Gert Town has for its communities, people, and its future as a historical area filled with musical culture. “A bounce DJ will call out every ward, project, and African American neighbor-hood in New Orleans in a single song. For example, in their song ‘‘New Orleans Block Party’’ PNC (Partners’N’Crime) calls out the following neighborhoods: the seventeenth ward, Gert town, the tenth ward, the St. Thomas projects, the fourth ward, the Iberville projects, the third ward, the Calliope projects, the ninth ward, the Desire projects, the seventh ward, the St. Bernard projects, the fifteenth ward, the Fischer projects, the sixth ward, Hollygrove, the Melpomene, and Pigeon Town. The idea is to represent your hood, an integral part of hip-hop culture, by dancing and celebrating harder and louder than the other neighborhoods. Although neighborhood distinctions are often a source of violence—New Orleans is plagued by ward and project-based rivalries—a bounce block party produces a space in which all neighborhoods are given equal opportunity for expression with little to no threat of violence. This accounts for the antecedents to bounce, both in New Orleans culture and in rap in general; the specific history of bounce begins in the early 1990s.” References Raeburn, B. B. (2007-12-01). ""They're Tryin' to Wash Us Away": New Orleans Musicians Surviving Katrina". Journal of American History. 94 (3): 812–819. doi:10.2307/25095143. ISSN 0021-8723. Raeburn, B. B. (2007-12-01). ""They're Tryin' to Wash Us Away": New Orleans Musicians Surviving Katrina". Journal of American History. 94 (3): 812–819. doi:10.2307/25095143. ISSN 0021-8723. Raeburn, B. B. (2007-12-01). ""They're Tryin' to Wash Us Away": New Orleans Musicians Surviving Katrina". Journal of American History. 94 (3): 812–819. doi:10.2307/25095143. ISSN 0021-8723. editor., Hess, Mickey, 1975-. Hip hop in America : a regional guide. ISBN 9780313343223. OCLC 609884046. editor., Hess, Mickey, 1975-. Hip hop in America : a regional guide. ISBN 9780313343223. OCLC 609884046.