Minutes June 17 2008: Fill & Download for Free

I believe that Kanye West is the best and most creative musician working in the world today, in any idiom or genre. Here’s a draft of a paper I’m working on that explains why.A few months ago, I was invited to participate in a tutorial session entitled “Why Hip-Hop Is Interesting” at the 2016 International Society for Music Information Retrieval conference. A typical pop music listener might find it surprising that such a tutorial would be necessary. Hip-hop is the most listened-to music genre in the world, at least among Spotify listeners (Hooton 2015). Surely a musical form with such a broad global impact must be interesting. After the tutorial, however, several audience members remarked that they had never heard rap songs analyzed so closely; one said that it had never occurred to her to think about rap music at all. These conference attendees are representative of the music academy generally.Hip-hop has received significant scholarly attention in recent years, but that has mostly been in the context of cultural studies. When humanities scholars engage with hip-hop as an art form, the focus is usually on the lyrics, reading them as a subgenre of African-American literature that just happens to be performed over beats. Interesting though rap lyrics are, it is not sufficient to study them outside of their musical context. “We need to begin to hear not only what these rappers are saying, but also what these musicians are composing - how they are using rhythm, rhyme, and rhetoric to enact survival and celebration, clamor and community” (Walser 1995, 212).Why do music theorists so rarely examine hip-hop for its musical content? Perhaps it is due in part to the way that hip-hop focuses on rhythm so much more heavily than other musical dimensions. The jazz drummer Max Roach characterizes hip-hop as “rhythm for rhythm’s sake” (quoted in Lipsitz 1994, 37). Theorists trained to understand music in terms of harmonic and thematic development might therefore not expect to find much in rap to interest them. I intend to demonstrate that, to the contrary, hip-hop has rich musical interest beyond its rhythmic innovations, using the example of Kanye West’s song “Famous,” from his album The Life Of Pablo (2016).A note about authorship: Contemporary hip-hop is a collaborative art form, especially in the upper commercial echelon where West resides. West made his name as a producer, but on “Famous” he did not work alone. The album credits list West and Havoc as the producers, with co-production by Noah Goldstein, Charlie Heat, and Andrew Dawson, and additional production by Hudson Mohawke, Mike Dean, and Plain Pat. West is the author of “Famous” in the same sense that Steven Spielberg is the author of “E.T.”—he supervised a creative team, rather than doing all of the hands-on work himself. West does not discuss his creative process in detail, so it is difficult to know what specific role all of his collaborators played. For the purposes of this article, when I refer to a musical decision as having been made “by” West, I mean that it was made by West along with any combination of the other producers listed above.“Famous” was immediately embroiled in controversy upon its release due to its part in the ongoing highly-publicized feud between West and Taylor Swift. It is beyond the scope of post to address the controversy; the popular press has covered it exhaustively, and in any event, it is peripheral to the song’s musical interest. For present purposes, we can acknowledge the feud’s existence, and move on.The music video for “Famous” has been another source of extramusical controversy. It is a ten minute art film that shows West in bed sleeping after what appears to be a group sexual encounter with his wife, Kim Kardashian West; his former lover, Amber Rose; his wife’s former lover, Ray J.; her mother, Kaitlyn Jenner; West’s frequent collaborator Rihanna and her former lover, Chris Brown; West’s high-profile nemeses Taylor Swift, Anna Wintour, and George W. Bush; and, for no obvious reason, Bill Cosby and Donald Trump. While this video is richly interesting, it is once again beyond the scope of the present analysis, which focuses only on the aural content of the song. Suffice to say that in his videos as in his music, West embodies the way that hip-hop “takes pleasure in aggressive insubordination” (Rose 1994, 80).West’s lyrics in “Famous” carry their share of aggressive insubordination. Like many of his songs, this one uses problematic and offensive language. In the first verse alone, West greets “all the Southside n****rs that know me best” and calls Taylor Swift “that bitch.” I am reluctant to fall into the cliche of the white hip-hop critic who celebrates the music’s sonic innovations while judging its regressive lyrics (Chapman 2008, 157). I do not want to patronize West, who for all I know is using this racially charged and misogynistic language ironically or critically. While discussing his collaboration with West on his earlier album Yeezus, the singer Justin Vernon observes: “Kanye feels like a director, and I don't think everything he's saying in the songs is actually him saying it every time. It's like a movie, or a concept” (quoted in Dombal 2013). Perhaps we can read the opening verse of “Famous” as a playful boast or taunt. Rose (1994) points out that for all of its technological innovations, rap music “has also remained critically linked to black poetic traditions and the oral forms that underwrite them. These oral traditions and practices clearly inform the prolific use of collage, intertextuality, boasting, toasting, and signifying in rap's lyrical style and organization” (84).We can also regard the function of West’s lyrics not as conveying particular meaning, but rather as being the topmost layer of a bed of rhythmic sound. Adams (2008) encourages us to hear rap lyrics this way, especially in a song like this one: “In rap songs whose lyrics do not seem to have a single unifying theme or narrative… the best approach is first to disregard the semantic meaning of the lyrics, and to treat the syllables of text simply as consonant/vowel combinations that occupy specific metrical locations” ([12]). While West has written albums worth of songs with clear narrative and autobiographical meaning, “Famous” has neither. Furthermore, in addition to West, the song features four additional vocalists whose lyrics also resist literal interpretation. We can feel some confidence that in this case, as in many rap songs, “the music comes both logically and chronologically before the text, and the meaning of the text is often secondary to its interaction with the music” (Adams 2008, [43]).“Famous” has an unusual structure for a mainstream hip-hop song. The graphic below shows the audio file in Ableton Live’s Arrange view.The sections are color-coded as follows: yellow for the intro, orange for the instrumental break, blue for verses, green for the hook/chorus, brown for a groove section that will be discussed in detail below, and pale yellow for the outtro.Aside from the brief instrumental interlude, every section of “Famous” is six, twelve, or twenty-four bars long. For example, the verses are three sets of four-bar phrases. This is highly unusual for the genre; hip-hop songs are almost always built on phrases that are eight, sixteen or thirty-two bars long. “Because of the high degree of repetition, the short length of repeated units, and clear formal boundaries demarcated by changes in text, texture, and other parameters, structural patterns of larger units such as phrases and sections are generally more perceptually salient in vernacular music than in many forms of art music” (Biamonte 2014, [1.2]). The factor-of-three-length phrases in “Famous” thus represent a mild but noticeable hypermetrical dissonance.The six bar intro consists of Rihanna singing over a subtle gospel-flavored organ accompaniment in F-sharp major. She sings a few lines from “Do What You Gotta Do” by Jimmy Webb. This country/pop standard has been recorded many times, but for West, and presumably his listeners, Nina Simone’s 1968 recording is likely to be the most meaningful reference point. Simone carries clear significance for West; he has sampled her on two previous releases, “Blood On The Leaves” (2013) and “Bad News” (2008). Having Rihanna interpolate Nina Simone is the first of many intertextual moments in “Famous.” Walser (1995) cites veteran hip-hop producer Hank Shocklee as “arguing for a view of music as something discursive and social, created out of dialogue with other people in the past and the present rather than through some sort of parthogenesis” (196). West begins his song with a literal dialog between African-American music’s past, as embodied by Simone, and its present, as embodied by Rihanna.After Rihanna’s intro comes a four-bar groove, a more aggressive organ part over a drum machine beat, with Swizz Beatz ad libbing on top. This beat and organ sample were created by Havoc, and were the first elements of the track to be created (Preezy 2016). The drum part is a minimal funk pattern on kick and snare. The snares fall on the backbeats, with the kick playing more complex syncopated patterns around them. As in the James Brown grooves that inspired so many hip-hop producers, “the emphasis of the downbeat grounds the groove while setting up the playfulness of the rest of the phrase" (Greenwald 2008, 268).Aside from the kick drums on each downbeat, the snare drum hits on beats two and four are the most stable element in the rhythm. If there is a single unifying feature of hip-hop, it is the omnipresent accented backbeat. While the syncopation represented by the backbeat is traditionally thought of as a rhythmic equivalent to tension or dissonance, American vernacular forms like rock and hip-hop make beats two and four rhythmically consonant through sheer force of repetition. “Because it is an essential component of the meter, functioning as a timeline—a rhythmic ostinato around which the other parts are organized—I consider the backbeat in rock music to be an instance of displacement consonance rather than dissonance” (Biamonte 2014, [6.2]).While the “Famous” beat references classic hip-hop’s basis in funk, its timbre is futuristic, soaked in cavernous artificial reverb. This conspicuously unnatural sense of space is a world away from the organic-sounding soul samples underpinning West’s first few albums. The move into increasingly otherworldly timbres is in keeping with the broader sweep of popular music. In 1990, Goodwin pointed out that “pop musicians and audiences have grown increasingly accustomed to making an association between synthetic/automated music and the communal (dance floor) connection to nature (via the body). We have grown used to connecting machines and funkiness” (55). Chapman (2008) describes the production style of West’s contemporary Tim “Timbaland” Mosely as evoking “a sonic no-place, where the dancing body resides as a starkly minimal, mechanical trace of the more ‘human’ breakbeats that earlier rap production would sample from 1960s or 1970s soul” (169). Most contemporary hip-hop combines dance rhythms and party-oriented lyrics with bleakly posthuman electronic timbres. West pushes this juxtaposition to the extreme.Swizz Beatz ad-libs gruffly over the brief introductory groove, as he does over much of the rest of the song—in fact, he is present during a larger portion of the track than West himself. His ad-libs are almost free of semantic meaning, functioning completely as percussion. We can take one interjection more literally, the announcement that “We gon’ let the beat rock.” Swizz Beatz is inviting us to relax into an open-ended groove. We could imagine a DJ extending this section in a club or party setting if the crowd is responding energetically. The tidy loop structures of hip-hop and electronic dance tracks are designed to make it easy for DJs to spontaneously extend them at will. Since its origins lie in social dance, groove-based music exists to create a mood rather than a narrative. As Walser (1995) observes: “Because the groove itself is non-teleological, it situates the listener in a complex present, one containing enough energy and richness that progress seems moot” (204). While looping in the studio and the DJ booth alike are achieved through highly technological means, the musical impulse is warmly organic: to foster dance, socializing, or head-nodding.The organ riff that runs throughout the verses of “Famous” is in F-sharp minor, which is an abrupt mode change from the major tonality of the intro section. West’s co-producer Havoc sampled the organ from the closing section of “Mi Sono Svegliato E…Ho Chiuso Gli Occhi” by Il Rovescio della Medaglia, an Italian progressive rock band. This song is itself built around quotes of Bach’s Well-Tempered Clavier, making a pleasingly recursive chain of musical reference.Rap music has been criticized extensively for the practice of sampling. There is a widespread perception that sampling is nothing more than an expedient way to avoid learning instruments or hiring musicians. In this instance, however, using the organ sample was not much more expedient than recording a soundalike would have been. Given the generic simplicity of this organ riff, it would have been a trivial matter for West to replace it using a similar organ sound from any number of software instruments. Why, then, was West willing to take on the expense of the sample clearance and licensing fee? We must assume that he was drawn to the specific ambiance of the sample, because it allowed him “to signify upon a different kind of space and distance, the long perspective of passing time… [T]he materiality of these recorded samples, their saturation with buzz and crackle, intensified their demarcation of a distance between past and present” (Chapman 2008, 160). West has built his entire discography on carefully selected samples. In his output as in hip-hop generally, “[e]xisting recordings are not randomly or instrumentally incorporated so much as they become the simultaneous subject and object of a creative work” (Culter 1989, 21).Verse one continues over Havoc’s drum machine and organ, with West alternating between aggressive rap and loosely pitched singing. West is more highly regarded as a producer than a rapper, but his flow is nevertheless distinctive. In rap terms, the word “flow” encompasses both emcees’ lyric writing and the rhythmic and articulative aspects of of their delivery. The metrical aspects of flow include the placement of rhyming or otherwise accented syllables, the relationship between lyrical phrase boundaries and musical hypermeasures, and the number of syllables per beat. The articulative aspects include the use of legato or staccato, the articulation of consonants or lack thereof, and the placement of any given syllable ahead of or behind the beat (Adams 2009).Most contemporary emcees use what Krims (2000) has called a “speech-effusive style” characterized by the casual enunciation and loose rhythms of everyday spoken language. This is in contrast to two other major flow styles described by Krims. One is "sung," a schoolyard chant feel with on-beat accents and strict couplet groupings, characteristic of the first generation of rappers like Run-DMC and Kurtis Blow. The other is "percussion-effusive," a more rhythmically complex flow that is freer with metrical boundaries and rhyme schemes, but which still has crisp articulation and clearly discernable regular rhythm patterns. This pattern is more typical of a later cohort of rappers like Rakim and Q-Tip. West’s flow is mostly speech-effusive, but in “Famous,” his rhymes have a simpler chant-like quality harkening back to early rap.It is a widely held belief that rap has no melodic content. However, attentive listening reveals that all rappers use pitch expressively. The border between rapping and singing is a porous one, and most emcees cross it routinely in the course of a song, as West does in “Famous.” Furthermore, even in straight rapping, the pitch sequences are deliberate and meaningful. The pitches might not fall on the piano keys, but they are melodic nonetheless. The easiest way to explore the pitch content of rap is to use pitch-tracking software on acapella tracks. Sadly, there is no acapella version of “Famous” available. However, West delivers one line in the second verse “in the clear” (without instrumental backing), making it amenable to automated pitch detection. The graphic below shows the line as visualized in Melodyne, with lyric annotations by the author:With the assistance of the audio-to-MIDI feature of Ableton Live, it is possible to map these pitches to the closest piano-key note.Even this short fragment shows considerable melodic interest, starting and ending on B3, with a leap up to D4 and drops to G3 in between. Melodic analysis of rap vocals is a largely untapped vein of potential scholarly inquiry, and a promising area of future research.After the first verse would conventionally come the “hook,” the hip-hop term for a chorus. Rihanna continues to interpolate the Jimmy Webb/Nina Simone quote from the intro over the F-sharp major organ part from the intro. Swizz Beatz continues his ad-libbed interjections on top. While his function on the track is mostly to add rhythmic energy, in this section he also adds another layer of intertextuality by quoting “Wake Up Mr. West,” a short skit on West’s album Late Registration. That skit, in turn, is itself richly intertextual—it features a comedian (DeRay Davis) imitating another comedian (Bernie Mac) over a sample of “Someone That I Used To Love” by Natalie Cole (1980).Verse two is much like verse one. At the end, we expect Rihanna to return with the hook, but instead we only hear her sing the pickup, “I just wanted you to know.” In place of the hook, the track shifts into a new F-sharp major groove over fuller drums, including a noisy artificial snare sound resembling a socket wrench. The lead vocal in this section is a sample of “Bam Bam” by Sister Nancy (1982).“Bam Bam” is a frequently-used sample, one that a more-than-casual rap listener is likely to find familiar. The author immediately recognized it from “Lost Ones” by Lauryn Hill (1998), “Just Hangin’ Out” by Main Source (1991), and a variety of unofficial mixtapes.West does not merely sample “Bam Bam.” He also reharmonizes it. Sister Nancy’s original is a I–bVII progression in C Mixolydian. West pitch shifts the vocal to fit it over a I–V–IV–V progression in F-sharp major. Rather than simply transposing the sample up or down a tritone, he instead keeps the pitches close to their original values by changing their chord function. Here is a transcription of Sister Nancy’s original:And here is the sample as it appears in “Famous”:Pitch shifting a vocal by even a small interval alters its timbre. The formants are transposed in parallel with the base pitch, rather than staying constant as they would if the vocalist were actually singing at the new pitch. Also, the phase vocoding that makes it possible to alter pitch independently of tempo further colors the sound. The resulting sonic artifacting gives Sister Nancy the feel of a robot from the future. This association directly conflicts with the lo-fidelity recording artifacts in the sample. As with the Nina Simone interpolation and drum machine part, the juxtaposition of audio past and future represented by the Sister Nancy sample has an otherworldly effect.Like the Il Rovescio della Medaglia song discussed above, Sister Nancy’s song is comprised of pre-existing musical elements. She is singing over a widely used instrumental track (a “riddim” in reggae parlance) called “Stalag 17” by Winston Riley (1973). Furthermore, her chorus is a quote from a song of the same name by Toots Hibbert (1966). There is a pleasing symmetry between her collage aesthetic and West’s. We cannot be certain whether West selected “Bam Bam” on that basis, or because of its lyrics, its melody, its sound, or some motivation known only to him. But it is interesting to speculate. “The arrangement and selection of sounds rap musicians have invented via samples, turntables, tape machines, and sound systems are at once deconstructive (in that they actually take apart recorded musical compositions) and recuperative (because they recontextualize these elements creating new meanings for cultural sounds that have been relegated to commercial wastebins)” (Rose 1994, 85). What new meaning does West create for “Bam Bam” by including it within “Famous”? Sister Nancy’s chorus means “What a bummer” in Jamaican patois. She is referring to her struggles to make it as an emcee in the male-dominated world of dancehall reggae. Does West intend that meaning to rub against the casual misogyny of his own verses?After twenty-four bars of the Sister Nancy groove, the track ends with another Jimmy Webb/Nina Simone quote. But this time, rather than Rihanna singing, we hear a sample of Simone herself.West has combined an interpolation of a sample with the original recording before, on “Gold Digger” (2005), in which Jamie Foxx’s imitation of Ray Charles is followed by a sample of Charles himself. However, that juxtaposition occurred at the very beginning of the track. In “Famous,” Simone’s first appearance comes at the end, and on first hearing comes as quite a surprise.We can read West’s bringing Rihanna and Simone together on his song as a form of bragging. Few producers can afford a guest appearance by Rihanna. Similarly few have the resources or the audacity to sample a sacred and iconic figure like Simone. By doing both, is West engaged a kind of musical conspicuous consumption, the sonic equivalent of flashy jewelry? Or does he intend a deeper musical meaning?Holm-Hudson (1997) observes that John Oswald’s sampling practice “creates a larger web of stylistic references from the interaction of various formerly unrelated samples. Oswald's technique, in particular, often extricates extramusical meaning from the ‘innocent’ sample, ironically commenting on its source, the sampled artist or the music industry that spawned both” (Holm-Hudson 1997, 24). This analysis applies neatly to West’s use of Simone as we compare it retroactively to Rihanna’s interpolation. West presumably wants us to feel the contrast between Rihanna’s heavily processed purr and Simone’s unvarnished, preacherly tone. Reynolds (2012) comments on the way that recorded music in general and sampling in particular can create uncanny links across time: “Recording is pretty freaky, then, if you think about it. But sampling doubles its inherent supernaturalism. Woven out of looped moments that are like portals to far-flung times and places, the sample collage creates a musical event that never happened; a mixture of time-travel and séance” (313). By sampling Simone, West invites us to wonder what she might have made of Rihanna, and of West himself.Below, the author has constructed a flowchart showing the samples and samples of samples in “Famous.”We can classify the samples in “Famous” using the typology of sampled material proposed by Ratcliffe (2014). The kick and snare are short, isolated fragments. The organ riff is a phrase, a self-referential musical element, rather than a pointer to a recognized external source. The Sister Nancy and Nina Simone samples are larger, more extensive referential elements. While sampling is ubiquitous in hip-hop, “Famous” is remarkable for deploying samples at so many different time scales.In interviews, West rarely gives specific insight into his creative process. We are forced to surmise as to how “Famous” came about in the studio after Havoc brought in the beat and organ sample. Gelineck and Serafin (2009) describe two major approaches to creating electronic music. The producer (who Gelineck and Serafin refer to as “the composer”) may start with a clear goal or idea of the finished product. Alternatively, the producer may be inspired by playful exploration and experimentation using whatever sound sources and technologies are at hand. As quoted in Preezy (2016), Havoc describes West as having “the idea for how he wanted to go” with “Famous.” Havoc also describes a process by which West’s collaborators will introduce ideas in the studio for West to react to in the moment. Taken together, these remarks suggest that West combines both a goal-oriented and a playful/experimental approach to composition.West’s music provokes strong emotional responses. In the process of writing this paper, the author discussed it with various friends and students. Their comments ranged from enthusing about West as a genius to denouncing him as an egotistical buffoon. Similarly, their assessments of “Famous” run the gamut from proclaiming it a masterpiece to dismissing it as offensive and empty. As Walser (1995) observes: “Hip hop's appeal to a variety of audiences, its cultural legitimacy, and its vulnerability to censorship all depend upon reactions to the music: whether its repetition enervates or animates, whether its noisiness alienates or accreditates, whether its complexity disorients or situates” (210). In “Famous,” we are reacting to a dense interplay of rhythms, harmonies, timbres, vocal styles, and intertextual meanings, not to mention all the complexities of cultural context. How do we even begin to evaluate such a work?Like many rappers, West praises himself for being “fresh.” The meaning of the word in hip-hop slang could be referencing any of its conventional senses: new, refreshing, appetizing, attractive, or sassy (Hein 2015). We frequently praise music for its originality, but in sample-based music like hip-hop, that term is not as good a proxy for musical quality. We need a criterion that gets at the aspects of a successful rap song: emotional truth-telling, inventive wordplay, creative juxtaposition of existing and novel musical elements, the construction of a compelling soundscape, a beat suitable for dancing or head nodding, and situatedness within a complex cultural context. We can best judge hip-hop by its freshness. “Famous” is a difficult and at times unpleasant work, but it is extraordinarily fresh.ReferencesAdams, K. (2009). On the Metrical Techniques of Flow in Rap Music. Music Theory Online, 15(5), 1–12. Retrieved from http://www.mtosmt.org/issues/mto.09.15.5/mto.09.15.5.adams.html____ (2008). Aspects of the Music/Text Relationship in Rap. Music Theory Online, 14(2). Retrieved from http://www.mtosmt.org/issues/mto.08.14.2/mto.08.14.2.adams.htmlBiamonte, N. (2014). Formal Functions of Metric Dissonance in Rock Music. Music Theory Online, 20(2). Retrieved from http://www.mtosmt.org/issues/mto.14.20.2/mto.14.20.2.biamonte.phpChapman, D. (2008). “That Ill, Tight Sound”: Telepresence and Biopolitics in Post-Timbaland Rap Production. Journal of the Society for American Music, 2(02), 155–175.Cutler, C. (2004). Plunderphonia. In C. Cox & D. Warner (Eds.), Audio culture: Readings in modern music. London: Continuum International Publishing Group.____ (1989). File Under Popular: Theoretical and Critical Writings on Music. New York: Autonomedia.Dombal, R. (2013). The Yeezus Sessions. Pitchfork. Retrieved from http://pitchfork.com/features/article/9157-the-yeezus-sessions/Gelineck, S., & Serafin, S. (2009). From idea to realization-understanding the compositional processes of electronic musicians. Proc. Audio Mostly, 1–5.Goodwin, A. (1990). Sample and Hold: Pop Music in the Age of Digital Reproduction. In S. Frith & A. Goodwin (Eds.), On Record: Rock, Pop, and the Written Word. Abingdon-on-Thames: Routledge.Greenwald, J. (2008). Hip-hop drumming: The rhyme may define, but the groove makes you move. Black Music Research Journal, 22(2), 259–271.Hein, E. (2015). Mad Fresh. NewMusicBox. Retrieved March 24, 2015, from http://www.newmusicbox.org/articles/mad-fresh/Holm-Hudson, K. (1997). Quotation and Context: Sampling and John Oswald’s Plunderphonics. Leonardo Music Journal, 7, 17–25.Hooton, C. (2015). Hip-hop is the most listened to genre in the world, according to Spotify analysis of 20 billion tracks. The Independent. Retrieved from http://www.independent.co.uk/arts-entertainment/music/news/hip-hop-is-the-most-listened-to-genre-in-the-world-according-to-spotify-analysis-of-20-billion-10388091.htmlKrims, A. (2000). Rap music and the poetics of identity. Cambridge University Press.Lipsitz, George. 1994. Dangerous Crossroads. London: Verso.McClary, S. (2004). Rap, minimalism, and structures of time in late twentieth-century culture. In D. Warner (Ed.), Audio Culture. New York: Continuum International Publishing Group.Preezy. (2016). Havoc Breaks Down His Production Work on Kanye West’s “The Life of Pablo” Album. XXL. Retrieved from http://www.xxlmag.com/news/2016/02/havoc-produced-on-kanye-west-the-life-of-pablo-album-interview/Ratcliffe, R. (2014). A Proposed Typology of Sampled Material Within Electronic Dance Music. Dancecult, 6(1), 97–122.Reynolds, S. (2012). Retromania: Pop Culture’s Addiction to its Own Past. London: Faber.Rose, T. (1994). Black Noise: Rap Music and Black Culture in Contemporary America (1st ed.). Hanover, N.H.: Wesleyan.Walser, R. (1995). Rhythm, Rhyme and Rhetoric in the Muse of Public Enemy. Ethnomusicology, 39(2), 193–217.DiscographyBacalov, Luis (1973). Mi Sono Svegliato E… Ho Chiuso Gli Occhi [recorded by Il Rovescio della Medaglia]. On Contaminazione [LP]. New York: RCA. (1973)Cole, Natalie (1980). Someone That I Used To Love. On Don’t Look Back [LP]. Los Angeles: Capitol. (1980)Hibbert, Toots (1966). Bam Bam. On Do The Reggae 1966-70 [LP]. United Kingdom: Attack Records. (1988)Hill, Lauryn (1998). Lost Ones. On The Miseducation Of Lauryn Hill [CD]. Philadelphia: Ruff House. (August 25, 1998)Main Source (1991). Just Hangin’ Out. On Breaking Atoms [CD]. New York: Wild Pitch Records. (July 23, 1991)Riley, Winston (1973). Stalag 17 [recorded by Ansell Collins]. [Single]. Kingston, Jamaica: Technique Records. (1973)Sister Nancy (1982). Bam Bam. On One Two [LP]. Kingston, Jamaica: Technique Records. (1982)Webb, Jimmy (1958). Do What You Gotta Do [recorded by Nina Simone]. On ‘Nuff Said! [LP]. New York: RCA Victor. (1968)West, Kanye (2005). Gold Digger. On Late Registration [CD]. New York: Def Jam/Roc-A-Fella. (August 30, 2005)____ (2005). Wake Up Mr West. On Late Registration [CD]. New York: Def Jam/Roc-A-Fella. (August 30, 2005)____ (2008). Bad News. On 808s and Heartbreak [CD]. New York: Def Jam/Roc-A-Fella. (November 24, 2008)____ (2013) Blood On The Leaves. On Yeezus [CD]. New York: Def Jam/Roc-A-Fella. (June 18, 2013)____ (2016). Famous. On The Life Of Pablo [Digital download/streaming]. New York: GOOD Music/Def Jam. (April 1, 2016)

Since I was a2a, there are numerous books on criminal investigation, criminology, forensic sciences (physical and psychological), interview and interrogation. Some of the works in my personal library:Adams, H. E., & Sutker, P. B. (2004). Comprehensive handbook of psychopathology (3rd ed.). New York: Springer.Adams, H. E., Luscher, K. A., & Bernat, J. A. (2001).The classification of abnormal behavior: An overview. In H. E. Adams, & P. B. Sutker (Eds.), Comprehensive Handbook of Psychopathology (3rd ed., pp. 3-28). New York: Springer.Akers, R. L. (2000). Criminological theories: Introduction, evaluation, and application (3rd ed.). Los Angeles: Roxbury.Akers, R. L. (2009). Social learning and social structure: A general theory of crime and deviance. News Brunswick, NJ: Transaction Publishers.Alison, L. (Ed.). (2005). The forensic psychologist’s casebook: Psychological profiling and criminal investigation. Portland, OR: Willan.Alison, L., Goodwill, A. & Alison, E. (2005). Guidelines for profilers. In L. Alison (Ed.), The forensic psychologist’s casebook: Psychological profiling and criminal investigation (pp. 235-277). Portland, OR: Willan.American Psychiatric Association. (2013). Diagnostic and statistical manual of mental disorders (5th ed.). Washington, D.C.: Author.Association of Certified Fraud Examiners. (2014). Analyzing written statements for deception and fraud. Austin, TX: Author.Bartol, C. R., & Bartol, A. M. (2008). Current perspectives in forensic psychology and criminal behavior (2nd ed.). London: Sage.Bartol, C. R., & Bartol, A. M. (2008). Introduction to forensic psychology research and application (2nd ed.). Los Angeles: Sage.Beasley, J. (2004). Serial murders in America: Case studies of seven offenders [electronic version]. Behavioral Sciences and the Law, 22(3), 395-414. Retrieved August 17, 2007, from EBSCOhost (Academic Search Premier).Bevel, T., & Ross, M. G. (2002). Bloodstain pattern analysis (2nd ed.). Boca Raton, FL: CRC Press.Brantley, A.C., & Kosky, Jr., R.H. (2005, January). Serial murder in the Netherlands. FBI Law Enforcement Bulletin, 74, 26-32.Brown, P. (2003). Killing for sport: Inside the minds of serial killers. Beverly Hills, CA: Millennium Press.Bureau of Justice Statistics. (1996, March). Child victimizers: Violent offenders and their victims (NCJ-153258). Washington, D.C.: Author. http://www.ojp.usdoj.gov/bjs/Buss, D. M. (2005). The murderer next door: Why the mind is designed to kill. New York: Penguin Press.Canter, D.V. (2008). Criminal psychology: Topics in applied psychology. Hachette Livre, UK: Hoder Education.Canter, D.V. (2000). Criminal shadows: The inner narratives of evil. Irving, TX: Authorlink Press.Canter, D.V., Alison, L.J., Alison, E., & Wentink, N. (2004). The organized/disorganized typology of serial murder: Myth or model? Psychology, Public Policy and Law, 10 (3), 293-320.Canter, D., Coffey, T., Huntley, M., & Missen, C., (2000). Predicting serial killers’ home base using a decision support system [electronic version]. Journal of Quantitative Criminology, 16(4), 457-478.Canter, D., & Hammond, L., (2006). A comparison of the efficacy of different decay functions in geographical profiling for a sample of US serial killers [electronic version]. Journal of Investigative Psychology and Offender Profiling, 3(2), 91-103.Canter, D.V., & Youngs, D. (2009). Investigative psychology: Offender profiling and the analysis of criminal action. Chichester, West Sussex, UK: John Wiley & Sons, Ltd.Chisum, W. J., & Turvey, B. E. (2007). Crime reconstruction. Burlington, MA: Elsevier.Concannon, D. M., Fain, B., Fain, D., Honeycutt, A.B., Price-Sharps, J., & Sharps, M. (2008). Kidnapping: An investigator's guide to profiling. Burlington, MA: Academic Press.Conroy, M. A., & Murrie, D. C. (2007). Forensic assessment of violence risk. Hoboken, NJ: John Wiley & Sons, Inc.Cornwell, P. (2002). Portrait of a killer: Jack the Ripper, case closed. New York: Berkley.DeHaan, J. D., & Icove, D. J. (2012). Kirk’s fire investigation (7th ed.). Upper Saddle River, NJ: Pearson Education, Inc.DeLisi, M., & Conis, P. J. (2008). Violent offenders: Theory, research, public policy, and practice. Boston: Jones and Bartlett.Dilnot, G. (1927). The story of Scotland Yard. Boston: Houghton Mifflin. [1896 modus operandi files]Dilnot, G. (1928). Great detectives and their methods. Boston: Houghton Mifflin.Dilnot, G. (Undated). Triumphs of detection: A book about detectives. Pall Mall, England: Geoffrey Bles.DiMaio, V. J., & DiMaio, D. (2001). Forensic pathology (2nd ed.). Boca Raton, FL: CRC Press.DiMaio, V. J. M. (1999). Gunshot wounds: Practical aspects of firearms, ballistics, and forensic techniques (2nd ed.). Boca Raton, FL: CRC Press.Doctor, R. (2008). Murder: A psychotherapeutic investigation. London: Karnac Books, Ltd.Douglas, J. E., Burgess, A. W., Burgess, A. G., & Ressler, R. K. (Eds.). (2006). Crime classification manual: A standard system for investigating and classifying violent crimes (2nd ed.). San Francisco: Josey-Bass.Douglas, J., & Dodd, J. (2007). Inside the mind of BTK: The true story behind the thirty-year hunt for the notorious Wichita serial killer. San Francisco: Jossey-Bass.Douglas, J., & Olshaker, M. (1996). Mind hunter: Inside the FBI’s elite serial crime unit. New York: Pocket Books.Douglas, J., & Olshaker, M. (1999). The anatomy of motive. New York: Pocket Books.Douglas, J., & Olshaker, M. (2000). The cases that haunt us. New York: Scribner.Douglas, J.E., Ressler, R.K., Burgess, A. W., & Hartman, C. R. (1986). Criminal profiling from crime scene analysis. Behavioral Sciences & the Law, 4(4), 401-421. Retrieved from: Academic Search Premier Database.Doyle, A. C. (2001). The true crime files of Sir Arthur Conan Doyle. New York: Berkeley Publishing.Duke, T. S. (1910). Celebrated criminal cases of America. San Francisco: James H. Barry Co.Eagleman, D., (2011). Incognito: The secret lives of the brain. New York: Pantheon Books.Egger, S. A. (2002). The killers among us: An examination of serial murder and its investigation. (2nd ed.) Illinois: Prentice Hall.Ekman, P. (2009). Telling lies: Clues to deceit in the marketplace, politics, and marriage. New York: Norton.Emsley, C., & Shapyer-Makov, H. (2006). Police Detectives in History, 1750-1950. Burlington, VT: Ashgate.Englander, E. K. (2003). Understanding violence (2nd ed.). Mahwah, NJ: Lawrence Earlbaum Publishers.Esherick, J. (2006). Criminal psychology and personality profiling. Philadelphia: Mason Crest Publishers.Evans, C. (2006). The father of forensics: The groundbreaking cases of Sir Bernard Spilsbury, and the beginnings of modern CSI. New York: Berkley.Ewing, C. P. (2008). Trials of a forensic psychologist: A casebook. Hoboken, NJ: John Wiley & Sons, Inc.Fosdick, R. B. (1969). American police systems. Montclaire, NJ: Patterson Smith. (Originally published in 1920)Fosdick, R. B. (1969). European police systems. Montclaire, NJ: Patterson Smith. (Originally published in 1915) [Modus operandi, Scotland Yard, 1896]Frick, P. J., & Silverthorn, P. (2001).Psychopathology in children. In H. E. Adams, & P. B. Sutker (Eds.), Comprehensive Handbook of Psychopathology (3rd ed., pp. 881-920). New York: Springer.Gardner, T. J., & Anderson, T. M. (2000). Criminal law: Principles and cases (7th Ed.). Belmont, CA: Wadsworth.Garns, R. Informal fallacies. Retrieved on August 2, 2005, from http://www.nku.edu/~garns/165/ppt3_2.htmlGazzaniga, M. S. (2005). The ethical brain: The science of our moral dilemmas. New York: Harper.Gazzaniga, M. S. (2011). Whose in charge? Free will and the science of the brain. New York: Harper.Geberth, V. J. (2006). Practical homicide investigation: Tactics, procedures, and forensic techniques (4th ed.). Boca Raton, FL: Taylor & Francis.Geberth, V. J. (2003). Sex-related homicide and death investigation: Practical and clinical perspectives. Boca Raton, FL: CRC Press.Gee, D., & Belofastov, A. (2007). Profiling sexual fantasy: Fantasy in sexual offending and the implications for criminal profiling. In R. N. Kocsis (ed.). Criminal profiling: International theory, research, and practice. Totowa, NJ: Humana Press.Girod, Sr., R. J. (2004). Profiling the criminal mind: Behavioral science and criminal investigative analysis. New York: iUniverse.Glueck, S., & Glueck, E. (2004). Unraveling juvenile delinquency. In J. E. Jacoby (Ed.). Classics of criminology (3rd ed.) (pp. 288-293) . Long Grove, IL: Waveland Press. [Reprinted from Unraveling juvenile delinquency. (1950). Cambridge, MA: Harvard University Press.]Godwin, G. M. (2001). Criminal psychology and forensic technology: A collaborative approach to effective profiling. Boca Raton, FL: CRC Press.Godwin, M. (2002). Reliability, validity, and utility of criminal profiling typologies. Journal of Police and Criminal Psychology, 17(1), 1-18.Godwin, G. M., & Rosen, F. (2005). Tracker: Hunting down serial killers. New York: Thunder’s Mouth Press.Gottfredson, M. R., & Hirschi, T. (1990). A general theory of crime. Stanford, CA: Stanford University Press.Gregory, N. (2005, August). Offender profiling: A review of the literature. The British Journal of Forensic Practice, 7(3), 29-34. Retrieved September 25, 2007, from Proquest Database.Gross, H. (1911). Criminal psychology: A manual for judges, practitioners, and students. (H. M. Kallen, Trans.). New York: Little, Brown, and Company. (Original work published 1905)Hall, R. C. W., & Hall, R. C. W. (2007). A profile of pedophilia: Definition, characteristics of offenders, recidivism, treatment outcomes, and forensic issues. Mayo Clinic Proceedings, 82(4).Harcourt, B. E. (2004). Rethinking racial profiling: A critique of the economics, civil liberties, and constitutional literature, and of criminal profiling more generally. The University of Chicago Law Review, 71(4), 1275-1381.Hare, R. D. (1993). Without conscience: The disturbing world of the psychopaths among us. New York: Pocket Books.Hazlewood, R., & Michaud, S. G. (2001). Dark dreams: Sexual violence, homicide, and the criminal mind. New York: St. Martin’s Press.Healy, J. (2006). The etiology of paraphilia: A dichotomous model. In E. W. Hickey (Ed.), Sex crimes and paraphilia (pp. 57-68). Upper Saddle River, NJ: Pearson.Heuer, Jr., R. J. (1999). The psychology of intelligence analysis. History Staff, Center for the Study of Intelligence, Central Intelligence Agency. Retrieved from: http://www.cia.gov/csi/books/19104/index.html.Hickey, E. W. (Ed.). (2006). Sex crimes and paraphilia. Upper Saddle River, NJ: Pearson, Prentice Hall.Hickey, E. W. (2006). Serial murderers and their victims. Belmont, CA: Thomson Wadsworth.Hicks, S. J., & Sales, B. D. (2006). Criminal profiling: Developing an effective science and practice. Washington, DC: American Psychological Association.Holmes, R. M., & Holmes, S. T. (1998). Contemporary perspectives on serial murder. Thousand Oaks, CA: Sage Publications.Holmes, R. M., & Holmes, S. T. (2009). Profiling violent crimes: An investigative tool (4th ed.). Thousand Oaks, CA: Sage Publications.Hornberger, F. (2002). Mistresses of mayhem: The book of women criminals. Indianapolis, IN: Alpha.Houston, P., Floyd, M., Carnicero, S., & Tennant, D. (2012). Spy the lie: Former CIA officers teach you how to detect deception. New York: St. Martin’s Griffin.Hurley, P. J. (2003). A concise introduction to logic (8th ed.). Belmont, CA: Wadsworth.Hughes, R. (1950). The complete detective: Being the life and strange and exciting cases of Raymond Schindler, master detective. New York: Sheridan House. [First published use of “Serial Murder?”]Icove, D. J., & DeHaan, J. D. (2009). Forensic fire science reconstruction (2nd ed.). Upper Saddle River, NJ: Pearson Education, Inc.Inbau, F. E., Reid, J. E., Buckley, J. P., & Jayne, B. C. (2004). Criminal interrogation and confessions (4th ed.). Boston: Jones and Bartlett.Jacoby, J. E. (2002). Classics of criminology (3rd ed.). Long Grove, IL: Waveland Press.Kahaner, L. (1988). Cults that kill: Probing the underworld of occult crime. New York: Warner.Kendal, N. (Ed.). (1934). Criminal investigation: A practical textbook for magistrates, police officers and lawyers: Adapted from the system der kriminalistik of Dr. Hans Gross (3rd ed.). New York: Little, Brown, and Company.Keppel, R. D., & Birnes, W. J. (1997). Signature killers: Interpreting the calling cards of the serial murderer. New York: Pocket Books.Keppel, R. D., & Birnes, W. J. (1995). The Riverman: Ted Bundy and I hunt for the Green River Killer. New York: Pocket Books.Keppel, R. D. (Ed.). (2006). Offender profiling (2nd ed.). Mason, OH: Thompson.Knight, Z., (2006). Some thoughts on the psychological roots of the behavior of serial killers as narcissists: An object relations perspective. Social Behavior and Personality: An International Journal, 34(10), 1189-1206.Kocsis, R. N. (Ed.). (2007). Criminal profiling: International theory, research, and practice. Totowa, NJ: Humana Press.Kocsis, R. N. (2006). Criminal profiling: Principles and practice. Totowa, NJ: Humana Press.Kocsis, R. N. (2004). Psychological profiling of serial arson offenses: An assessment of skills and accuracy. Criminal Justice and Behavior, 31(3), 341-361.Kocsis, R.N. (2004, December). Profiling the criminal mind: Does it actually work? Medicine, Crime, and Punishment, 364, 14-15.Kocsis, R. N., Irwin, H. J., Hayes, A. F., & Nunn, R. (2000, March). Expertise in psychological profiling: A comparative assessment. Journal of Interpersonal Violence, 15(3), 311-331.Lanning, K. V., & Burgess, A. W. (Eds.). (1995). Child molesters who abduct: Summary of the case in point series. Alexandria, VA: National Center for Missing & Exploited Children.Lanning, K. V. (2001). Child molesters: A behavioral analysis (4th ed.). Alexandria, VA: National Center for Missing & Exploited Children. Retrieved February 15, 2006, http://www.missingkids.com/en_US/publications/NC70.pdf.Lee, H. C., & Labriola, J. (2001). Famous crimes revisited: From Sacco-Vanzetti to O. J. Simpson. Southington, CT: Strong Books.Lee, H. C., & O’Neill, T. W. (2004). Cracking more cases: The forensic science of solving crimes. New York: Prometheus Books.Leipnik, M. R., & Albert, D. P. (Eds.). (2003). GIS in law enforcement: Implementation issues and case studies. New York: Taylor & Francis. [electronic resource] http://www.netlibrary.com.ezproxy.apus.edu/urlapi.asp?action=summary&v=1&bookid=92340Lieberman, D. J. (1998). Never be lied to again: How to get the truth in 5 minutes or less in any conversation or situation. New York: St. Martin’s Griffin.Lundrigan, S., & Canter, D., (2001). Spatial patterns of serial murder: An analysis of disposal site location choice [electronic version]. Behavioral Sciences and the Law, 19(4), 595-610. Retrieved August 17, 2007, from EBSCOhost (Academic Search Premier).Maher, B. A. (2001). Delusions. In H. E. Adams, & P. B. Sutker (Eds.), Comprehensive Handbook of Psychopathology (3rd ed., pp. 309-339). New York: Springer.Malatesta, V. J., & Adams, H. E. (2001). Sexual Dysfunctions. In H. E. Adams, & P. B. Sutker (Eds.), Comprehensive Handbook of Psychopathology (3rd ed., pp. 713-748). New York: Springer.Mauriello, T. P. (2004). The dollhouse murders: A forensic expert investigates 6 little crimes. New York: PI Press.Maxfield, M. G., & Babbie, E. R. (1998). Research methods for criminal justice and criminology (2nd ed.). Belmont, CA: West/Wadsworth.McAnulty, R. D., Adams, H. E., & Dillon, J. (2001). Sexual deviation: Paraphilias. In H. E. Adams, & P. B. Sutker (Eds.), Comprehensive Handbook of Psychopathology (3rd ed., pp. 749-773). New York: Springer.McKinlay, A., & McVittie, C. (2008). Social psychology and discourse. Chichester, United Kindom: Wiley-Blackwell.McMenamin, G. R. (2002). Forensic linguistics: Advances in forensic linguistics. Boca Raton, FL: CRC Press.Michaud, S. G., & Hazelwood, R. (1998). The evil that men do: FBI profiler Roy Hazelwood’s journey into the minds of sexual predators. New York: St. Martin’s Press.Mokros, A., & Alison, L. J. (2002, February). Is offender profiling possible? Testing the predicted homology of crime scene actions and background characteristics in a sample of rapists. Legal & Criminological Psychology, 7(1), 19-44.Morrison, H. (2004). My life among the serial killers: Inside the minds of the world's most notorious murderers. New York: Avon.Morton, R. J., & Hilts, M. A. (2005). Serial Murder: Multi-disciplinary perspectives for investigators. Behavioral Analysis Unit-2, National Center for the Analysis of Violent Crime, Critical Incident Response Group, Federal Bureau of Investigation, Department of Justice: Washington, D.C.Muller, D. A. (2000). Criminal profiling: Real science or just wishful thinking. Homicide Studies, 4(3), 234-265.Murphy, W. D., & Peters, J. M. (1992, March). Profiling: Child sexual abusers: Legal considerations. Criminal Justice and Behavior, 19(1), 150-165.Murray, J. B. (2000). Psychological profile of pedophiles and child molesters. The Journal of Psychology, 134(2), 211-225.Myers, D. G. (2012). Social psychology (11th ed.). New York: McGraw-Hill.National Fire Protection Association. (2012). Fire investigator: Principles and practice to NFPA 921 and 1033 (3rd ed.). Sudbury, MA: Jones & Bartlett Learning.National Institute of Justice. (1995, March). Research Brief: Victims of childhood sexual abuse—later criminal consequences. Washington, D.C.: Author.Navaro, J, & Karlins, M. (2008). What every body is saying: An ex-FBI agent’s guide to speed-reading people. New York: Harper-Collins.O’Brien, D. (1985). Two of a kind: The Hillside Stranglers. New York: Signet.Olsen, J. (1991). Predator: Rape, madness, and injustice in Seattle. New York: Island Books.Pakhomou, S., (2004). Serial killers: Offender’s relationship to the victim and selected demographics [electronic version]. International Journal of Police Science and Management, 6(4), 219-233.Palermo, G. B., (2005). Offender profiling: An introduction to the sociopsychological analysis of violent crime. Springfield, IL: Charles C. Thomas.Patten, B. M. (2004). Truth, knowledge, or just plain bull: How to tell the difference, a handbook of practical logic and clear thinking. Amherst, NY: Prometheus Books.Peters, J. M., & Murphy, W. D. (1992, March). Profiling: Child sexual abusers: Psychological considerations. Criminal Justice and Behavior, 19(1), 166-179.Petherick, W. (2006). Serial crime: Theoretical and practical issues in behavioral profiling. Burlington, MA: Elsevier.Petherick, W. (2006). Induction and deduction in criminal profiling. In W. Petherick (Ed.), Serial crime: Theoretical and practical issues in behavioral profiling, pp. 15-27. Burlington, MA: Elsevier.Pincus, J. H. (2001). Base instincts: What makes killers kill. New York: W.M. Norton & Co.Quinet, K. (2007, November). The missing missing: Toward a quantification of serial murder: Victimization in the United States. Homicide Studies, 11(4), 319-339.Rabon, D. (1994). Investigative discourse analysis. Durham, NC: Carolina Academic Press.Ramsland, K. (2005). The human predator: A historical chronicle of serial murder and forensic investigation. NY: Penguin.Ramsland, K. (2007). Beating the devil’s game: A history of forensic science and criminal investigation. New York: Penguin.Reese, J. T., Horn, J. M., & Dunning, C. D. (Eds.) (1991). Critical incidents in policing: Revised. U.S. Department of Justice, Federal Bureau of Investigation. Washington, D.C.Reiser, M. (1980). Handbook of investigative hypnosis. Los Angeles: Lehi Publications.Ressler, R. K., Burgess, A. W., & Douglas, J. E. (1992). Sexual homicides: Patterns and motives. New York: The Free Press.Ressler, R. K., & Shachtman, T. (1992). Whoever fights monsters. New York: St. Martin’s Press.Ressler, R. K., & Shachtman, T. (1997). I have lived in the monster: Inside the minds of the world’s most notorious serial killers. New York: St. Martin’s Press.Richards, H. J., Washburn, J. J.; Craig, R., Taheri, A., & Yanisch, D. (2004, August). Typing rape offenders from their offense narratives. Individual Differences Research, 2 (2), 97-108.Rule, A. (2004). Green River, running red: The real story of the Green River Killer—America’s deadliest serial killer. New York: Pocket Star Books.Saferstein, R. (2004). Criminalistics: An introduction to forensic science (8th ed.). Upper Saddle River, NJ: Pearson Prentice Hall.Scheck, B., Neufeld, P., & Dwyer, J. (2000). Actual innocence: Five days to execution and other dispatches from wrongly convicted. New York: Doubleday.Samenow, S. E. (2004). Inside the criminal mind. New York: Random House.Schecter, H., (2003). The serial killer files. New York: Ballantine.Schutze, J. (1989). Cauldron of blood: The Matamoros cult killings. New York: Avon Books.Shore, W. T. (1931). Crime and it detection (vol. I). London: Gresham.Shore, W. T. (1931). Crime and it detection (vol. II). London: Gresham.Siegel, L. J. (2006). Criminology (9th Ed.). Belmont, CA: Thomson.Spitz, W. U., & Fisher, R. S. (1973). Medicolegal investigation of death: Guidelines for the application of pathology to crime investigation. Springfield, IL: Charles C. Thomas.Thomas, S., & Davis, D. (2000). JonBenet: Inside the Ramsey murder investigation. New York: St. Martin's Press.Thompson, B. (2006). Table of fallacies. Retrieved on June 29, 2006, fromhttp://www.cuyamaca.edu/bruce.thompson/Fallacies/fallacies_grid.aspThornhill, R., & Palmer, C. T. (2000). A natural history of rape: Biological bases of sexual coercion. London: MIT Press.Tittle, D. R., & Paternoster, R. (2000). Social deviance and crime: An organizational and theoretical approach. Los Angeles, CA: Roxbury Publishing.Torres, A. N., Boccaccini, M. T., & Miller, H. A. (2006, Feb). Perceptions of the validity and utility of criminal profiling among forensic psychologists and psychiatrists. Professional Psychology: Research and Practice, 37(1), 51-58.Trager, J., & Brewster, J. (2001). The effectiveness of psychological profiles. Journal of Police and Criminal Psychology, 16(1), 20-28.Turvey, B. E. (2008). Criminal profiling: An introduction to behavioral evidence analysis (3rd ed.). San Diego, CA: Elsevier Academic Press.Venkatesh, S. (2008). Gang leader for a day: A rogue sociologist takes to the streets. New York: Penguin Press.Vito, G. F., & Blankenship, M. B. (2002). Statistical analysis in Criminal Justice and Criminology. Upper Saddle River, NJ: Prentice Hall.Vrij, A. (2008). Detecting lies and deceit: Pitfalls and opportunities (2nd ed.). Chichester, England : John Wiley & Sons, Inc.Vorpagel, R., & Harrington, J. (1998). Profiles in murder: An FBI legend dissects killers and their crimes. New York: Dell.Walsh, A. (2005), African Americans and serial killings in the media: The myth and the reality. Homicide Studies, 9(4), 271-291.Walters, S. B. (2000). The truth about lying: How to spot a lie and protect yourself from deception. Naperville, IL: Sourcebooks.Warf, B., & Waddell, C., (2002). Heinous spaces, perfidious places: The sinister landscapes of serial killers. Social and Cultural Geography, 3(3), 323-345.Widom, C. S., & Maxfield, M. G. (2001). An update on the “cycle of violence.” National Institute of Justice. Retrieved March 18, 2007, from http://www.ncjrs.gov/pdffiles1/nij/184894Wilson, C. (2005). A criminal history of mankind. London: Mercury Books.Wiltshire, P. (2006). Environmental profiling and forensic palynology. Retrieved January 15, 2007, from http://www.bahid.org/docs/NCF_Env%20Prof.htmlWeiner, I. B., & Hess, A. K. (2006). The handbook of forensic psychology (3rd ed.). Hoboken, NJ: John Wiley & Sons, Inc.Wensley, F. P. (1931). Forty years of Scotland Yard: The record of a lifetime’s service in the Criminal Investigation Department. Garden City, NY: Doubleday.Winerman, L. (2004, July/August). Criminal Profiling: The reality behind the myth. Monitor on Psychology, 35 (7). American Psychological Association.Wright, J. P., Tibbetts, S. G., & Daigle, L. E. (2008). Criminals in the making: Criminality across the life course. Los Angeles: Sage.Zarkaria, E. (2002). Forensics: True crime scene investigations. New York: Barnes & Noble.

There are plenty of Scholars of Middle Eastern and Arab ancestry who left very distinguished fingerprints and contributions in various fields of science. Many of them were considered The godfathers of their respective fields of expertise.I am attaching a short video clip the end of this post. I suggest that you start watching it from the 5th minute. The following content was extracted from Wikipedia: https://en.m.wikipedia.org/wiki/List_of_Islamic_scholars_described_as_father_or_founder_of_a_fieldThe following is a list of internationally recognized Muslim scholars of medieval Islamic civilization who have been described as the father or the founder of a field by some modern scholars:Clockwise from top: Al-Zahrawi, Abbas ibn Firnas, Al-Biruni, Avicenna, Averroes, Ibn al-Nafis, ibn Musa al-Khwarizmi, Alhazen, Ibn Khaldun.Abu al-Qasim al-Zahrawi, "father of modern surgery"[1] and the "father of operative surgery".[2]Ibn Al-Nafis, "father of circulatory physiology and anatomy.[3][4][5]Abbas Ibn Firnas, father of medieval aviation.[6][7]Alhazen, "father of modern optics".[8][9]Jabir ibn Hayyan, father of chemistryIbn Khaldun father of sociology, historiography and modern economics. He is best known for his Muqaddimah.Ibn Sina father of early modern medicine.[10]'Ali ibn al-'Abbas al-Majusi, also known as Haly Abbas: founder of anatomic physiology".[11] In addition, the section on dermatology in his Kamil as-sina'ah at-tibbiyah (Royal book-Liber Regius) has one scholar to regard him as the "father of Arabic dermatology".[12]Al-Biruni: the "founder of Indology", "father of comparative religion" and geodesy, and "first anthropologist" titles for his remarkable description of early 11th-century India.[13]Georg Morgenstierne regarded him as "the founder of comparative studies in human culture".[14] Al-Biruni is also known as the "father of Islamic pharmacy".[15][16]Al-Khawarizmi: most renowned as the "father of algebra". Solomon Gandz states: "In a sense, Khwarizmi is more entitled to be called "the father of algebra" than Diophantus because Khwarizmi is the first to teach algebra in an elementary form and for its own sake, Diophantus is primarily concerned with the theory of numbers".[17]Ibn Hazm: father of comparative religion and "honoured in the West as that of the founder of the science of comparative religion".[18] Alfred Guillaume refers to him the composer of "the first systematic higher critical study of the Old and New testaments".[19] However, William Montgomery Watt disputes the claim, stating that Ibn Hazm's work was preceded by earlier works in Arabic and that "the aim was polemical and not descriptive".[20]Al-Farabi: regarded as the "founder of Islamic/Arab Neoplatonism"[21][22] and by some as the "father of formal logic in the Islamic world".[23][24]Muhammad al-Idrisi: father of world map[25]Averroes (Ibn Rushd) (1126-1198): known in west as The Commentator, "father of free thought and unbelief"[26][27] and has been described by some as the "father of rationalism"[28] and the "founding father of secular thought in Western Europe".[29][30] Ernest Renan called Averroes the absolute rationalist, and regarded him as the father of freethought and dissent.[31]Rhazes: His treatise on Diseases in Childrenhas led many to consider him the "father of pediatrics".[32][33][34] He has also been praised as the "real founder of clinical medicine in Islam".[35]Muhammad al-Shaybani: the father of Muslim international law.[36]Ismail al-Jazari: Father of Automaton and Robotics.[37]Suhrawardi: founder of the Illuminationist school of Islamic philosophy.[38][39]Al-Tusi, "father of trigonometry" as a mathematical discipline in its own right.[40][41][42]You may also watch this short video clip:References^ A, Martín-Araguz; Bustamante-Martínez, C; Fernández-Armayor Ajo, V; Moreno-Martínez, JM (2002). "Neuroscience in Al Andalus and its influence on medieval scholastic medicine". Revista de Neurología. 34 (9): 877–92. doi:10.33588/rn.3409.2001382. PMID 12134355.^ SS, Wijesinha (1983). "El Zahrawi (936-1013 AD), the father of operative surgery". Annals of the Royal College of Surgeons of England. 65 (6): 423. PMC 2494430. PMID 6357042.^ Feucht, Cynthia; Greydanus, Donald E.; Merrick, Joav; Patel, Dilip R.; Omar, Hatim A. (2012). Pharmacotherapeutics in Medical Disorders. Walter de Gruyter. ISBN 9783110276367.^ Moore, Lisa Jean; Casper, Monica J. (2014). The Body: Social and Cultural Dissections. Routledge. ISBN 9781136771729.^ deVries, Catherine R.; Price, Raymond R. (2012). Global Surgery and Public Health: A New Paradigm. Jones & Bartlett Publishers. ISBN 9780763780487.^ How Invention Begins: Echoes of Old Voices in the Rise of New MachinesBy John H. Lienhard^ Sustainable Aviation by T. Hikmet Karakoc, C. Ozgur Colpan, Onder Altuntas, Yasin Sohret^ "International Year of Light: Ibn al Haytham, pioneer of modern optics celebrated at UNESCO". UNESCO. Retrieved 2 June 2018.^ "The 'first true scientist'". 2009. Retrieved 2 June 2018.^ "Avicenna's Canon of Medicine: A Look at Health, Public Health, and Environmental Sanitation" (PDF). ResearchGate | Find and share research. Retrieved 6 January2018.^ Goodman, Herman (1953). "Notable contributors to the knowledge of dermatology". Medical Lay Press: 38.^ Marquis, Leslie (1985). "Arabian Contributors to Dermatology". International Journal of Dermatology. 24(1): 60–64. doi:10.1111/j.1365-4362.1985.tb05366.x.^ Robinson, Francis (2010). Islam in South Asia: Oxford Bibliographies Online Research Guide. Oxford University Press US. p. 10. ISBN 0-19-980644-6.^ G. Morgenstierne, "Al-Biruni, The Founder of Comparative Studies in Human Culture," in The Commemoration Volume of Biruni International Congress (Tehran: High Council for Culture and Art, 1973), 6.^ Yoke, Peng (2006). Explorations in Daoism : medicine and alchemy in literature. Routledge. p. 147. ISBN 0-415-40460-6.^ Hamarneh, Sami K. (1984). Anees, Munawar A. (ed.). Health sciences in early Islam : collected papers. Taylor & Francis. p. 220. ISBN 0-9608754-0-9.^ Gandz and Saloman (1936), The sources of Khwarizmi's algebra, Osiris i, pp. 263–77: .^ Gibb, H. A. R. Sir Thomas Arnold, Alfred Guillaume (ed.). The Legacy of Islam. Retrieved 29 May 2012.^ Crandall, Kenneth H. (1954). The impact of Islam on Christianity. American Friends of the Middle East. p. 3.^ Watt, W. Montgomery (1996). A History of Islamic Spain. Edinburgh University Press. p. 131. ISBN 0748608478.^ Fakhry, Majid. "Al-Farabi, Founder of Islamic Neoplatonism". Retrieved 26 May 2011.^ Collinson, Diané; Plant, Kathryn; Wilkinson, Robert (1999). Fifty Eastern Thinkers. Routledge. p. 26. ISBN 0-203-00540-6.^ Nasr, Seyyed Hossein (2006). Islamic philosophy from its origin to the present : philosophy in the land of prophecy. State Univ. of New York Press. p. 110. ISBN 0-7914-6799-6.^ Bevir, Mark (2010). Encyclopedia of political theory. Sage Publications. p. 14. ISBN 1-4129-5865-2.^ Harley & Woodward, 1992, pp. 156–161.^ Guillaume, Alfred (1945). The Legacy of Islam. Oxford University Press.^ Bratton, Fred (1967). Maimonides, medieval modernist. Beacon Press.^ Gill, John (2009). Andalucía : a cultural history. Oxford: Oxford University Press. pp. 108–110. ISBN 0-19-537610-2.^ "John Carter Brown Library Exhibitions - Islamic encounters". Retrieved 26 May2011.^ "Ahmed, K. S. "Arabic Medicine: Contributions and Influence". The Proceedings of the 17th Annual History of Medicine Days, March 7th and 8th, 2008 Health Sciences Centre, Calgary, AB"(PDF). Retrieved 29 May 2011.^ Walker, Benjamin (1997). The foundations of Islam : the making of a world faith. London: Peter Owen. ISBN 0-7206-1038-9.^ Wren, Benjamin. Teaching world civilization with joy and enthusiasm. University Press of America. p. 139. ISBN 0-7618-2747-1.^ Major, Ralph (1954). A history of medicine. 1. Thomas. p. 239.^ Ahmad, A; O'Leary, JP (Nov 1997). "Observations on early suture materials: the first stitch in time". The American surgeon. 63 (11): 1027–8. ISSN 0003-1348. PMID 9358798. One of his best known treatises was on Diseases in Children, and in some circles he has been acclaimed as the father of pediatrics.^ Frye, Richard (1975). The Cambridge History of Iran. 4. Cambridge University Press. p. 416. ISBN 0-521-20093-8.^ Tabassum, Sadia (20 April 2011). "Combatants, not bandits: the status of rebels in Islamic law". International Review of the Red Cross. 93 (881): 121–139. doi:10.1017/S1816383111000117.^ Tabassum, Sadia (20 April 2011). "Combatants, not bandits: the status of rebels in Islamic law". International Review of the Red Cross. 93 (881): 121–139. doi:10.1017/S1816383111000117.^ Plott, John C.; James Michael Dolin; Wallace Gray (1989). Global history of philosophy. Motilal Banarsidass. p. 38. ISBN 81-208-0552-6.^ Kraemer, Joel L. (2010). Maimonides : the life and world of one of civilization's greatest minds. Doubleday. p. 204. ISBN 0-385-51200-7.^ "Al-Tusi_Nasir biography". http://www-history.mcs.st-andrews.ac.uk. Retrieved 2018-08-05. One of al-Tusi's most important mathematical contributions was the creation of trigonometry as a mathematical discipline in its own right rather than as just a tool for astronomical applications. In Treatise on the quadrilateral al-Tusi gave the first extant exposition of the whole system of plane and spherical trigonometry. This work is really the first in history on trigonometry as an independent branch of pure mathematics and the first in which all six cases for a right-angled spherical triangle are set forth.^ "the cambridge history of science".^ Electric Pulp Web Design, App Development & Digital Marketing. "ṬUSI, NAṢIR-AL-DIN i. Biography – Encyclopaedia Iranica". www.iranicaonline.org. Retrieved 2018-08-05. His major contribution in mathematics (Nasr, 1996, pp. 208-14) is said to be in trigonometry, which for the first time was compiled by him as a new discipline in its own right. Spherical trigonometry also owes its development to his efforts, and this includes the concept of the six fundamental formulas for the solution of spherical right-angled triangles.